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Psycho (1960)

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You never did eat your lunch,|did you?
I better get back to the office.|These extended lunch hours...
give my boss excess acid.
Why don't you call your boss|and tell him...
you're taking the rest|of the afternoon off?
It's Friday anyway,|and hot.
What do I do with my free afternoon?|Walk you to the airport?
Well, we could laze|around here a while longer.
Checking-out time is 3:00 p.m.
Hotels of this sort aren't|interested in you when you come in...
but when your time is up...
Oh, Sam, I hate having to be with you|in a place like this.
I've heard of married couples who|deliberately spend a night...
in a cheap hotel.
When you're married you can do|a lot of things deliberately.
You sure talk like|a girl who's been married.
Oh, Sam, this is|the last time.
- Yeah? For what?|- For this.
For meeting you in secret|so we can be secretive.
You come down here|on business trips...
and we steal lunch hours.
I wish you|wouldn't even come.
What do we do instead?|Write each other lurid love letters?
Oh, I have to go, Sam.
- I can come down next week.|- No.
Not even just to see you?|Have lunch in public?
Oh, we can see each other.|We can even have dinner.
But respectably.
In my house with my mother's|picture on the mantel and...
my sister helping me broil|a big steak f or three.
And after the steak, do we|send sister to the movies...
turn Mama's picture to the wall?
Sam!
All right.
Marion, whenever it's possible,|I want to see you.
And under any circumstances,|even respectability.
You make respectability|sound disrespectful.
I'm all f or it. It requires patience,|temperance, a lot of sweating out.
Otherwise, though,|it's just hard work.
But if I can see you and touch you|even as simply as this, I won't mind it.
I'm tired of sweating|f or people who aren't there.
I sweat to pay off my f ather's|debts, and he's in his grave.
I sweat to pay my ex-wif e alimony,|and she's living...
on the other side of the world.
I pay too.
They also pay|who meet in hotel rooms.
A couple of years and|my debts will be paid off.
If she ever remarries,|the alimony stops.
- I haven't even been married once yet.|- But when you do, you'll swing.
Oh, Sam, let's get married.
And live with me in a storeroom|behind a hardware store in Fairvale?
We'll have lots of laughs.|I'll tell you what.
When I send my ex-wif e her alimony,|you can lick the stamps.
I'll lick the stamps.
You want to cut this off, go out|and find yourself somebody available?
I'm thinking of it.
How could you even|think a thing like that?
- Don't miss your plane.|- We can leave together, can't we?
Mm-mm. I'm late and, uh,|you have to put your shoes on.
Isn't Mr Lowery|back from lunch?
He's lunching with the man who's|buying the Harris Street property.
The old lease man. That's why|he's late. You got a headache?
It'll pass.|Headaches are like resolutions...
you f orget them|as soon as they stop hurting.
Have you got some aspirin?|I've got something, not aspirin.
My mother's doctor gave them to me|the day of my wedding.
Teddy was furious when he f ound out|I'd taken tranquillizers.
Any calls?
Teddy called me. My mother|called to see if Teddy called.
Oh, your sister called to say she's|going to Tucson to do some buying...
- and she'll be gone the whole weekend...|- (Horn Honking)
Wow. It's as hot|as fresh milk.
Hey, you girls oughta get your boss|to air condition ya up.
He can aff ord it today.|(Chuckles)
Marion, will you get the copies|of that deed ready f or Mr Cassidy?
- Yes, sir.|- Tomorrow's the day, my little girl.
Oh... Oh, not you.|My daughter.
A baby.
Tomorrow she stands her sweet self|up there and gets married away from me.
- (Chuckles)|- I want you to take a look at my baby.
(Chuckles)|Eighteen years old...
and she never had an unhappy day|in any one of those years.
Come on, Tom.|My office is air conditioned.
Do you know what I do|about unhappiness?
I buy it off.
Are, uh...|Are you unhappy?
Uh, not inordinately.
I'm buying this house|f or my baby's wedding present.
Forty thousand|dollars cash.
Now that's...|that's not buying happiness.
That's just buying off unhappiness.|(Chuckles)
(Money Flapping)
I never carry more than|I can aff ord to lose.
- Count 'em!|- I declare!
I don't. That's how|I get to keep it.
Tom, a cash transaction|of this size is most irregular.
Ah, so what?|It's my private money.
- Now it's yours.|- Suppose we put it in the saf e...
and then Monday morning|when you're f eeling good...
Oh, speaking of f eeling good, where's|that bottle you said was in your desk?
Uh-oh.|(Chuckles)
You know, uh, sometimes|I can keep my mouth shut.
(Chuckles)
Lowery, I am dying|of "thirst-aroonie."
I don't even want it in|the office over the weekend.
Put it in the saf e deposit box in the|bank, and we'll get a cheque on Monday.
Yes.
He was flirting with you. I guess|he must've noticed my wedding ring.
(Lowery)|Come in.
The copies. If you don't mind,|I'd like to go home after the bank.
- I have a slight...|- You go right on home.
Because me and your boss are goin' out|and get ourselves...
a little drinkin' done, right?
- Of course. Do you f eel ill?|- Just a headache.
What you need is a weekend in Las Vegas,|the playground of the world.
I'm going to spend this weekend|in bed. Thank you.
Aren't you going to take the pills?|They'll knock that headache out.
Can't buy off unhappiness|with pills.
I guess I'll go put this money in the|bank and then go home and sleep it off.
(Sighs)
(Sam's Voice) Marion, what in|the world... What are you doing up here?
Of course I'm glad to see you.|I always am.
What is it, Marion?
(Brakes Squeak)
- (Starts Motre)|- Uh, hold it there.
(Stops Motre)
In quite a hurry.
I didn't intend to sleep so long. I|almost had an accident from sleepiness.
- So, I decided to pull over.|- You slept here all night?
Yes. As I said,|I couldn't keep my eyes open.
There are plenty of motels|in this area. You should've...
I mean, just to be saf e.
I didn't intend to sleep all night.|I just pulled over.
Have I broken any laws?
- No, ma'am.|- Then I'm free to go?
Is anything wrong?
Of course not. Am I acting|as if there's something wrong?
- Frankly, yes.|- Please, I'd like to go.
- Well, is there?|- Is there what?
I've told you there's nothing wrong,|except I'm in a hurry...
and you're taking up my time.
- Now, just a moment.|- (Starts Motre)
- Turn your motor off, please.|- (Turns Motre Off)
May I see your licence?
- Why?|- Please.
(Starts Motre)
Be with you|in a second!
- I'm in no mood f or trouble.|- What?
There's an old saying: "First customer|of the day is always the most trouble."
But I'm in no mood f or it...
so I'm gonna treat you so f air|you won't have one reason...
- Can I trade my car and take another?|- Do anything you have a mind to.
Bein' a woman, you will.|That yours?
Yes, it's, it's... There's|nothing wrong with it. I just...
Sick of the sight of it.
Have a look around and see if there's|something that strikes your eyes...
and I'll have my mechanic|give yours the once-over.
- You want some coff ee?|- No, thank you. I'm in a hurry...
and just wanna make a change.
One thing people never oughta be|when they're buyin' used cars...
and that's in a hurry, but like I said,|it's too nice a day to argue.
I'll shoot your car|in the garage here.
(Car Door Closes,|Motre Starts)
That's the one I'd have|picked f or you myself.
- How much?|- Go ahead.
- Spin it around the block.|- It looks fine.
How much would it be|with my car?
You mean you don't want the usual day|and a half to think it over?
You are in a hurry, aren't you?|Somebody chasin' ya?
Of course not.|Please.
Well, it's the first time the customer|ever high pressured the salesman.
Ah, I figure roughly...
your car plus $700.
- Seven hundred.|- You always got time to argue money.
All right.
I take it you can prove|that car is yours.
I mean, out-of-state licence.|You got your pink slip...
I believe I have the necessary papers.|Is there a ladies room?
In the building.
Over there.
(Door Opens)
I think you better take it|f or a trial spin.
I don't want any bad word of mouth|about Calif ornia Charlie.
I'd really rather not.|Can't we just settle this...
I might as well be perf ectly honest with|you. It's not that I don't trust you...
But what? Is there|anything so terribly wrong...
about making a decision|and wanting to hurry?
- Do you think I've stolen my car?|- No, ma'am.
All right,|let's go inside.
(Motre Starts)
(Man)|Hey!
Just put it in here, please.
Thank you.
(Calif ornia Charlie's Voice) Heck,|Officer, that was the first time...
I saw the customer|high pressure the salesman.
Somebody chasin' her?
(Officer) I better have|a look at those papers, Charlie.
- She look like a wrong one to you?|- Acted like one.
The only funny thing,|she paid me $700 in cash.
(Caroline's Voice)|Yes, Mr Lowery.
(Lowery)|Caroline. Marion still isn't in?
No, Mr. Lowery, but then she's always|a bit late on Monday mornings.
Buzz me the minute|she comes in.
And call her sister.|No one's answering at the house.
I called her sister where she works...|The Music Makers Music Store...
and she doesn't know where Marion|is any more than we do.
You better run out to the house. She may|be, well, unable to answer the phone.
Her sister's going to do that.|She's as worried as we are.
(Lowery's Voice)|No, I haven't the f aintest idea.
As I said, I last saw your sister|when she left this office on Friday.
She said she didn't f eel well and wanted|to leave early, and I said she could.
That was the last I saw...|Oh, wait a minute.
I did see her|some time later driving...
Uh, I think you'd better come|over here to my office, quick.
Caroline,|get Mr Cassidy f or me.
After all, Cassidy,|I told you, all that cash!
I'm not taking|the responsibility.
Oh, f or heaven's sake. A girl works|f or you f or ten years, you trust her.
All right, yes,|you better come over.
(Cassidy's Voice) Well, I ain't|about to kiss off $40,000!
I'll get it back, and if any of it's|missin', I'll replace it...
with her fine, soft flesh!
- We'll track her, never you doubt it.|- (Lowery) Hold on, Cassidy.
I still can't believe... It must be|some kind of a mystery. l, I can't...
You checked with the bank, no?|They never laid eyes on her, no?
You still trustin'? Hot creepers!|She sat there while I dumped it out!
Hardly even looked at it. Plannin'.|And, and even flirtin' with me!
(Horn Honking)
(Horn Honking)
Gee, I'm sorry I didn't hear you|in all this rain. Go ahead in, please.
- Dirty night.|- Do you have a vacancy?
Oh, we have 12 vacancies.|12 cabins, 12 vacancies.
They, uh... They moved|away the highway.
Oh, I thought I'd gotten|off the main road.
I knew you must have. Nobody ever stops|here any more unless they've done that.
But... there's no sense|dwelling on our losses.
We just keep on lighting the lights|and f ollowing the f ormalities.
Your home address.|Oh, just the town will do.
Los Angeles.
Cabin one. It's closer in case you want|anything. It's right next to the office.
I want sleep more than anything else,|except maybe f ood.
There's a big diner about ten miles|up the road, just outside of Fairvale.
- Am I that close to Fairvale?|- Fifteen miles. I'll get your bags.
(Unlocking Lock)
Boy, it's stuffy in here.
Well, the, uh, mattress|is soft and...
there's hangers in the closet|and stationary...
with "Bates Motel"|printed on it...
in case you wanna make your|friends back home f eel envious.
And the, uh...
- Over there.|- The bathroom.
Yeah.
Well, uh, i-i-if you want anything,|just... just tap on the wall.
- I'll be in the office.|- Thank you, Mr Bates.
Norman Bates.
You're not really gonna go out again|and drive up to the diner, are you?
- No.|- Then would you do me a f avour?
Would you have dinner with me?
I was just about to myself. Nothing|special... just sandwiches and milk.
But I'd like it very much|if you'd come up to the house.
I don't set a f ancy table,|but the kitchen's awful homey.
- I'd like to.|- All right.
You get yourself settled and,|and take off your wet shoes.
- I'll be back as soon as it's ready.|- Okay.
- With my... With my trusty umbrella.|- (Laughs)
(Old Woman)|No! I tell you no!
I won't have you bringing strange|young girls in f or supper!
By candlelight, I suppose,|in the cheap, erotic f ashion...
- of young men with cheap, erotic minds!|- (Norman) Mother, please.
And then what, after supper?|Music? Whispers?
Mother, she's just a stranger.|She's hungry and it's raining out.
"Mother, she's just a stranger." As if|men don't desire strangers. As if...
Oh! I refuse to speak of disgusting|things, because they disgust me!
Do you understand, boy?|Go on.
Go tell her she'll not be|appeasing her ugly appetite...
with my f ood or my son!
Or do I have to tell her|'cause you don't have the guts?
- Huh, boy? You have the guts, boy?|- Shut up! Shut up!
(Door Opens, Closes)
- I've caused you some trouble.|- No, uh...
Mother...|My mother, uh...
What is the phrase?
She isn't quite|herself today.
You shouldn't have bothered. I really|don't have that much of an appetite.
Oh, I'm sorry.
I wish you could apologize|f or other people.
Don't worry about it.
But as long as you've fixed|the supper, we may as well eat it.
It, uh... It might be, uh, nicer|and warmer in the office.
Well, it stopped|raining.
Uh, eating in an office|is just... just too officious.
- I have the parlour back here.|- All right.
- Sit down.|- Oh, thank you.
You're very kind.
It's all f or you.|I'm not hungry. Go ahead.
You... You eat like a bird.
And you'd know,|of course.
No, not really.
Anyway, I hear the expression|"Eats like a bird"...
is really a f al...|f alse... f alsity.
Because birds really|eat a tremendous lot.
But I really don't know anything about|birds. My hobby is stuffing things.
You know, taxidermy.
And I guess I'd just rather|stuff birds because...
I hate the look of beasts|when they're stuff ed.
You know,|f oxes and chimps.
Some people even stuff dogs and cats,|but, oh, I can't do that.
I think only birds|look well stuff ed because...
Well, because they're kind|of passive to begin with.
It's a strange hobby.|Curious.
- Uncommon too.|- Oh, I imagine so.
And it's... it's not as expensive|as you'd think. It's cheap, really.
You know, needles|and thread, sawdust.
The chemicals are the only|thing that, that cost anything.
A man should have a hobby.
Well, it's...|it's more than a hobby.
A hobby's supposed to|pass the time, not fill it.
Is your time so empty?
No. Uh...
Well, I run the office...
and tend the cabins|and grounds...
and do little, uh,|errands f or my mother...
the ones she allows|I might be capable of doing.
Do you go out with friends?
Well, a boy's best friend|is his mother.
You've never had an empty moment|in your entire lif e, have you?
- Only my share.|- Where are you going?
I didn't mean to pry.
I'm looking f or|a private island.
What are you|running away from?
- Why do you ask that?|- No.
People never run away|from anything.
The rain didn't last long,|did it? You know what I think?
I think that...
we're all in|our private traps...
clamped in them, and none of us|can ever get out.
We scratch and...|and claw...
but only at the air,|only at each other.
And f or all of it,|we never budge an inch.
Sometimes we deliberately|step into those traps.
I was born in mine.|I don't mind it any more.
Oh, but you should.|You should mind it.
Oh, I do, but I say I don't.|(Chuckles)
You know, if anyone ever talked|to me the way I heard...
the way she spoke to you...
Sometimes when she talks|to me like that...
I f eel I'd like to go up there and|curse her and, and leave her f orever.
Or at least defy her.
But I know I can't.|She's ill.
She sounded strong.
No, I mean... ill.
She had to raise me all by herself,|after my f ather died.
I was only five and it,|it must've been quite a strain f or her.
I mean, she didn't have to go to work or|anything. He left her a little money.
Anyway, a f ew years ago,|Mother met this man.
And he... he talked her|into building this motel.
He could have talked her|into anything.
And when he died too, it was|just too great a shock f or her.
And the way|he died...
(Chuckles) I guess it's nothing|to talk about while you're eating.
Anyway, it was just too great|a loss f or her. She had nothing left.
Except you.
Well, a son is a poor substitute|f or a lover.
Why don't you go away?
To a private island,|like you?
(Sighs)|No... not like me.
I couldn't do that.|Who'd look after her?
She'd be alone up there.
The fire would go out.
It'd be cold and damp|like a grave.
If you love someone, you don't do that|to them, even if you hate them.
You understand, l...|I don't hate her.
I hate what she's become.|I hate the illness.
Wouldn't it be better|if you put her... some place?
You mean an institution?|A madhouse?
(Chuckles) People always call|a madhouse "some place," don't they?
Put her in "some place."
I'm sorry. I didn't mean it|to sound uncaring.
What do you know|about caring?
Have you ever seen the inside|of one of those places?
The laughing and the tears...
and the cruel eyes|studying you.
My mother there?
(Chuckles)|But she's harmless.
She's as harmless as one|of those stuff ed birds.
I am sorry.
I only f elt...|It seems she's hurting you.
- I meant well.|- People always mean well.
They cluck their thick tongues|and shake their heads and suggest...
oh, so very delicately...
Of course,|I've suggested it myself.
But I hate to even think about it.|She needs me.
It... It's not as if she were|a... a maniac, a raving thing.
She...
She just goes|a little mad sometimes.
We all go a little mad|sometimes.
(Chuckles)|Haven't you?
Yes.
Sometimes just one time|can be enough. Thank you.
Thank you, "Norman."
Norman.
Oh, you're not... you're not|going back to your room already?
(Sighs)|I'm very tired.
And I have a long drive tomorrow,|all the way back to Phoenix.
Really?
I stepped into a private trap|back there...
and I'd like to go back and try|to pull myself out of it...
bef ore it's too late|f or me too.
Are you sure you wouldn't like|to stay a little while longer?
- I mean, just f or talk.|- Oh, I'd like to, but...
All right. Well,|I'll see you in the morning.
I'll bring you some breakf ast,|all right?
- What time?|- Very early. Dawn.
All right, Miss, uh...
- Crane.|- Crane. That's it.
Good night.
(Door Opens)
(Door Closes)
(Door Closes)
(Rummaging)
(Banging Glass)
(Sighs)
(Sighs)
(Unwrapping Soap)
(Screaming)
Ow! No!|(Screaming Continues)
No! Aaah!
(Screams)
(High-Pitched Screaming)
(Panting)
(Shower Continues Running)
(Norman)|Mother! Oh, God, Mother!
Blood! Blood!
(Shower Continues Running)
(Shower Continues Running)
(Pail Bangs Floor)
(Turns Water On)
(Turns Water Off)
(Starts Motre)
(Stops Motre)
(Latching Suitcase)
(Car Passing By)
(Banging)
(Starts Motre)
(Engine Off)
(Sloshing, Gurgling)
(Sloshing,|Gurgling Resume)
(Air Bubbles Popping)
(Woman)|I've tried many brands.
So f ar, of those I've used, I haven't|had much luck with any of them.
Let's see what they say|about this one.
They tell you|what its ingredients are...
and how it's guaranteed to exterminate|every insect in the world...
but they do not tell you|whether it's painless.
And I say, insect or man,|death should always be painless.
This one seems to claim more and better|qualities than lots of the others.
Sam?
Sam!|Lady wants to see ya.
- Yes, miss?|- I'm Marion's sister.
- Oh, sure. Lila.|- Is Marion here?
- Well, of course not. Something wrong?|- (Woman) Thank you.
(Cash Register Rings)
- She left home on Friday.|- (Door Opens)
I was in Tucson over the weekend|and I haven't heard from her since.
Not even|a phone call.
If you two are in this together,|it's none of my business...
but I want Marion to tell me it's none|of my business and then I'll go...
Bob, run out and get yourself|some lunch, will ya?
- That's okay. I brought it with me.|- Run out and eat it.
(Sam) Now, what thing|could we be in together?
Sorry about the tears.
Well, is Marion in trouble?|What is it?
(Man) Let's all talk about|Marion, shall we?
Who are you,|friend?
My name is Arbogast,|friend.
I'm a private|investigator.
- Where is she, Miss Crane?|- I don't know you.
I know you don't, because if you did|I wouldn't be able to f ollow you.
What's your interest|in this?
Well, $40,000.
- $40,000?|- That's right.
One of you'd better tell me what's going|on, and f ast. I can take so much...
Now, take it easy,|friend.
It's just that your girlfriend|stole $40,000.
What are you talking about?|What is this?
She was supposed to bank it on Friday|f or her boss, and she didn't.
- No one has seen her since.|- Someone has seen her.
Someone always sees a girl|with $40,000.
They don't want to prosecute,|they just want the money back.
- Sam, if she's here...|- She isn't. She isn't.
Miss Crane, can I ask you, did you come|up here on a hunch and nothing more?
Oh, not even a hunch.|Just hope.
Well, with a little checking|I could get to believe you.
I don't care|if you believe me or not.
All I want to do is see Marion|bef ore she gets in this too deeply.
Did you check Phoenix?|Maybe she had an accident, or a hold-up.
No, she was seen leaving town in her|own car... by her employer, I might add.
I can't believe it.|Can you?
We're always quickest|to doubt people...
who have a reputation|f or being honest.
I think she's here,|Miss Crane.
Where there's|a boyfriend...
She's not back there with the nuts and|bolts, but she's in this town somewhere.
I'll find her.|I'll be seeing you.
(Car Approaching)
(Engine Off)
- Evening.|- Evening.
I almost drove|right past.
I'm always f orgetting to turn|the sign on, but we do have a vacancy.
Twelve, in f act.|Twelve cabins, twelve vacancies.
- Candy?|- No, thanks.
Last two days I've been to so many|motels my eyes are bleary with neon...
but this is the first place that looks|like it's hiding from the world.
To tell the truth, I didn't|really f orget to turn the sign on.
- Just doesn't seem like|any use any more.|- Oh?
See, that used to be|the main highway right there.
- Wanna register?|- Sit down. I don't wanna trouble you.
- I just wanna ask a f ew questions.|- No trouble. Today's linen day.
I always change the beds once a week|whether they've been used or not.
Hate the smell of dampness. It's such|a, I don't know... creepy smell.
You out to buy|a motel?
No.
Reason I ask, you said you'd seen|so many the past couple of days...
I thought maybe...
What, uh... What was it|you wanted to ask?
I'm looking f or|a missing person.
My name's Arbogast.|I'm a private investigator.
I've been trying|to trace a girl...
that's been missing f or,|oh, about a week now from Phoenix.
It's a private matter.|The f amily wants to f orgive her.
She's not|in any trouble.
I didn't think the police went looking|f or people who aren't in trouble.
- I'm not the police.|- Oh, yeah.
We have reason to believe she came|along this way. Did she stop here?
No one's stopped here|f or a couple of weeks.
Mind looking at the picture|bef ore committing yourself?
Commit myself?
- You sure talk like a policeman.|- Look at the picture, please.
- Mm-mmm. Yeah.|- Sure?
Well, she may have|used an alias.
Marion Crane's|her real name...
but she could've registered|under a diff erent one.
I tell ya, I don't even much bother|with guests registering any more.
One by one,|you drop the f ormalities.
I shouldn't even bother changing|the sheets, but old habits die hard.
Which reminds me...
- What's that?|- The sign.
A couple last week said|if the thing hadn't been on...
they would've thought|this was an old, deserted...
You see,|that's exactly my point.
Nobody'd been here|f or a couple weeks...
and there's a couple came by|and didn't know that you were open.
As you say,|old habits die hard.
This girl could've registered|under another name. Mind if I look?
- No.|- Thank you.
All right.
I'll get the date|somewhere. Mm-hmm.
See, there's nobody.
Let's see, I have a sample|of her handwriting here.
Oh, yes.
Here we are.
- Marie Samuels.|- Hmm.
That's an interesting|alias.
- Is that her?|- Yeah, I think so.
Marie, Marion.
- Samuels. Her boyfriend's name is Sam.|- Mm-hmm.
Mm-hmm. Was she|in disguise, by any chance?
- Wanna check the picture again?|- I wasn't lying to you.
Oh, I know that.|I know you wouldn't lie.
It's tough keeping track|of the time around here.
I know.
Oh, yeah.
Well, i-i-it was raining|and, um, her hair was all wet.
I tell ya, it's not really|a very good picture of her.
No, I guess not.
Tell me all about her.
Well, um...
she arrived, um, rather late|one night, went straight to sleep...
and, uh, left early|the next morning.
- How early?|- Oh, ex... very early.
Mm-hmm.|Which morning was that?
Uh, the, um...|(Sighs)
(Stuttering)|Th-Th-Th-The next morning.
- Sunday.|- I see. Mm-hmm.
- Did anyone meet her here?|- No.
- Did she arrive with anyone?|- No.
- Did she make any phone calls or...|- No.
- Locally?|- Uh-uh.
- Did you spend the night with her?|- No.
Then how would you know|she didn't make any calls?
Uh, w-w...
Well, she was very tired|a-and, uh...
See, l... N-Now I'm starting|to, um... remember.
l-I'm making a mental picture|of it in my mind.
- If you make a mental picturization...|- Right. Take your time.
Um, she was...|she was sitting back there...
N-No, she was standing back there|with a sandwich in her hand.
She said she had to|go to sleep early...
because she had a long d-d-dr-drive,|uh, ahead of her.
- Mm-hmm. Back where?|- Back where she came from.
No, you said bef ore she|was standing back there...
Yes, b-back in my parlour.
She was very hungry,|I made her a sandwich...
and then she said she was tired and|she, uh, um, had to go r-right to bed.
I see.|How did she pay you?
- Cash? Cheque?|- Cash.
Cash, huh?|Mm-hmm.
- After she left, she didn't come back?|- Uh-uh. Why should she?
Hmm.
(Clears Throat)
Well, M-Mr. Arbogast, uh,|I guess that's about it.
l-I've got some work to do,|if you don't mind.
To tell you the truth,|I do mind.
See, if it doesn't jell,|it isn't aspic, and this ain't jelling.
It's not coming together.|Something's missing.
Well, l-l-I don't know|what you c-could expect me to know.
People just come and go,|you know.
That's right.|She isn't still here, is she?
No.|(Laughs)
If I wanted to check the cabins, all|twelve, I'd need a warrant, wouldn't I?
If you don't believe me, come on|with me. You can help me change beds.
Oh. (Chuckles)|No, thanks.
Uh, change your mind?
Oh.
You know, l... I think I have one of|those f aces you can't help believing.
- Is anyone at home?|- No.
Oh? There's somebody|sitting in the window.
- N-N-No, there isn't.|- Sure. Take a look.
Oh, th-that must be|my mother.
She's an, uh, "inavlid..."|an invalid.
Uh, it's practically|like living alone.
Oh, I see.
If this girl, Marion Crane, were here,|you wouldn't be hiding her, would you?
- No.|- Not even if she paid you well?
No.|(Chuckles)
Let's say, f or the sake of argument,|she wanted you to gallantly protect her.
You'd know|you were being used.
- You wouldn't be made a f ool of.|- I'm not a f ool.
And I'm not capable of being f ooled,|not even by a woman.
- This is not a slur on your manhood.|- Let's put it this way.
She might have f ooled me,|but she didn't f ool my mother.
Then your mother met her.|Could I talk to your mother?
No. As I told you,|she's confined.
Just f or a f ew minutes. There might be|some hint that you missed out on.
Sick old women|are usually pretty sharp.
- I wouldn't disturb her.|- Mr Arbogast, l-I think I've...
- I think I've talked to you all I want.|- Yes, but just f or...
It'd be much better|if you left now. Thanks.
Well, all right.
You sure would save me a lot of|leg work if you'd let me talk to her.
- Would I need a warrant f or that too?|- Sure.
All right.|Thanks, anyway.
(Car Door Opens,|Closes)
(Car Engine Starts)
(Car Pulls Away)
Hello, Loomis.|This is Arbogast. Is Lila there?
Let me talk to her,|please.
Hello, Lila.
Lila, listen.|Marion was up here.
Yes, she spent last Saturday night|at the Bates Motel.
It's out|on the old highway.
I even know what cabin she was in...|it was number one.
Well, this young f ella that runs the|place said she just spent the night...
left the next day|and that was it.
Mmm.|Um, no, not exactly.
Well, I did question him,|believe me...
but I think I got|all there was to get.
I'll just have to pick up|the pieces from here.
Well, I tell ya,|I don't f eel entirely satisfied, uh...
See, this boy|had a sick old mother.
I think she saw Marion|and talked to her.
No. No, unf ortunately,|he wouldn't let me see her.
Well, I was, but I think I'll go|back to the motel first.
No, you stay there with Loomis.|I'll be back in about an hour.
All right, fine.|Listen, l...
You'll be happy to know|what I think.
Uh, I think our friend Sam Loomis|didn't know that Marion was here.
All right. See ya|in about an hour... or less.
All right, bye-bye.
Bates?
(Arbogast Screams)
Sometimes Saturday night has a lonely|sound. Ever notice that, Lila?
Sam, he said|an hour or less.
Yeah.
(Sighs)|It's been three.
Are we just|going to sit here and wait?
He'll be back.
Let's sit still|and hang on, okay?
(Sighs)
- How f ar is the old highway?|- You wanna go out there, don't you?
- Bust in on Arbogast and the old lady.|- Yes.
- Maybe shake her up.|- Yes!
- That wouldn't be wise.|- Patience doesn't run in my f amily.
- I'm going out there.|- Arbogast said...
An hour, or less.
- Well, I'm going.|- (Slams Receiver Down)
You'll never find it.
- Stay here.|- Why can't I go?
I don't know. One of us has to be here,|in case he's on the way.
What am I supposed to do,|just sit here and wait?
Yeah. Stay here.
- (Door Opens)|- (Wind Whistling)
(Door Closes)
Arbogast?
Arbogast!
Arbogast!
(Echoing)
(Car Approaches,|Stops)
(Parking Brake Sets)
(Car Door Opens,|Closes)
(Door Opens)
- He didn't come back here?|- Sam!
No Arbogast, no Bates.|Only the old lady at home.
Sick old lady unable to answer|the door... or unwilling.
Where could he|have gone?
Maybe he got|some definite lead.
- Maybe he went right on.|- Without calling me?
- In a hurry.|- Sam, he called...
when he had nothing|but a dissatisfied f eeling.
Don't you think he'd have called|if he had anything at all?
Yes, I think|he would've.
- Let's go see Al Chambers.|- Who's he?
- Our deputy sheriff around here.|- Let me get my coat.
(Sam)|Good evening.
Well, l... I don't know where to start,|except at the beginning.
Yes.
- This is Lila Crane from Phoenix.|- How do you do?
She's been here|searching f or her sister.
There's this|private detective helping.
We got a call from this|detective... he'd traced her...
to that motel|on the old highway.
That must be|the Bates Motel.
He called to say he was going|to question Mrs Bates.
Norman took a wif e?
(Sam) No, l-I don't think so.|An old woman. His mother.
That was early this evening. We|haven't seen or heard from him since.
Now, your sister's|missing how long?
She left Phoenix a week ago|yesterday without a trace.
How'd you and this detective come|to trace her to Fairvale?
They thought|she'd be coming to me.
- Left Phoenix under her own steam?|- Yes.
She's not missing so much|as she's run away.
(Sam)|That's right.
From what?
She stole some money.
A lot?
Forty thousand dollars.
The police haven't|been able to...
Everyone concerned thought if they|could get her to give the money back...
they could avoid involving her|with the police.
That explains|the private detective.
He traced her|to the Bates place.
What exactly did he say|when he called you?
He said Marion was there|f or one night, then she left.
- With the $40,000?|- He didn't say anything...
about the money.
It isn't important|what he said, is it?
He was supposed to come talk to us after|he talked to the mother, and he didn't.
That's what I want you|to do something about.
Like what?
(Sighs) I'm sorry if|I seem overanxious.
I'm sure there's something wrong|out there, and I have to know what.
Well, I think there's something wrong|too, Miss, but not the same thing.
I think what's wrong|is your private detective.
I think he got himself a hot lead|as to where your sister was goin'...
probably from Norman Bates...
and called you to keep you still while|he took off after her and the money.
No, no, he said he was dissatisfied|and he was going back there.
Call Norman and let him|say what happened.
(Sheriff)|At this hour?
He was out when I was there a while ago.|If he's back, he probably isn't in bed.
He wasn't out; he just wasn't answerin'|the door in the dead of night|like some people do.
This f ellow lives|like a hermit.
You must remember that bad business|out there about ten years ago.
Please. Call.
Florrie, the sheriff wants you|to connect him with the Bates Motel.
Norman?|Sheriff Chambers.
Ye... I been|just fine, thanks.
Listen, we got|worries here.
Yeah, have you had a f ella|stop by there tonight...
Well, this one|wouldn't be a customer.
- A private detective, name of...|- Arbogast.
Arbogast.
And after he left?
No, that's...|that's okay, Norman.
(Hangs Up Receiver)
This detective was there,|Norman told him about the girl...
the detective thanked him|and he went away.
And he didn't come back?|He didn't see the mother?
Your detective told you|he couldn't come right back...
because he was going to question|Norman Bates' mother, right?
Yes.
Norman Bates' mother|has been dead and buried...
in Greenlawn Cemetery|f or the past ten years.
I helped Norman pick out the dress|she was buried in. Periwinkle blue.
'Tain't only|local history, Sam.
It's the only case of murder|and suicide on Fairvale ledgers.
Mrs Bates poisoned this guy|she was... involved with...
when she f ound out|he was married...
then took a helpin' of|the same stuff herself.
Strychnine.|Ugly way to die.
Norman f ound them|dead together.
(Whispers)|In bed.
You mean that old woman I saw sittin'|in the window wasn't Bates' mother?
Now, wait a minute, Sam.|Are you sure you saw an old woman?
Yes! In the house|behind the motel!
I called and pounded|but she just ignored me!
You saw|Norman Bates' mother?
But it had to be...|because Arbogast said so too!
And the young man wouldn't let him|see her because she was too ill.
Well, if the woman up there|is Mrs Bates...
who's that woman buried|out in Greenlawn Cemetery?
Now, Mother, um...|l-I'm gonna bring something up...
(Mrs Bates Laughs)|I am sorry, boy...
but you do manage to look ludicrous|when you give me orders.
(Norman)|Please, Mother.
(Mrs Bates) No!|I will not hide in the fruit cellar.
Ha! You think|I'm fruity, huh?
I'm staying right here.
This is my room and|no one will drag me out of it...
least of all|my big, bold son.
(Norman)|They'll come now, Mother.
He came after the girl,|and now someone will come after him.
Mother, please, it's just f or|a f ew days so they won't find you.
(Mrs Bates)|Just f or a f ew days?
In that dark, dank|fruit cellar? No!
You hid me there once, boy, and you|won't do it again, not ever again!
Now get out!
- I told you to get out, boy.|- I'll carry you, Mother.
Norman, what do you|think you're doing?
Don't you touch me!|Don't! Norman!
Put me down! Put me down!|I can walk on my own.
(Church Bell Ringing)
(Indistinct Chatter)
(Woman)|Wonderful sermon today.
- Good morning.|- (Both) Good morning.
We thought we'd drive out|to that motel with you.
- He's already been.|- Went out bef ore service.
- Did you two have breakf ast?|- Didn't find anything?
Nothing. Let's|clear the way here.
What did he say|about my sister?
Just what he told your detective:|She used a f ake name.
Saw the register myself. Saw the|whole place. That boy's alone there.
- No mother?|- You must have seen an illusion, Sam.
I know you're not|the seein'-illusions type...
but no woman was there and I don't|believe in ghosts, so there it is.
I still f eel|there's something...
Can see you do. I'm sorry I couldn't|make you f eel better.
Come to my office this afternoon and|report a missing person and a theft.
The sooner you drop this|in the lap of the law...
that's the sooner you stand a chance|of your sister bein' picked up.
How 'bout that?
- I don't know.|- It's Sunday.
Come to the house and do your reporting|around dinnertime. It'll make it nicer.
You too, Sam.
Thank you.
- Maybe I am the seeing-illusions type.|- No, you're not.
- You want me to drop you at the hotel...|- Sam.
I still won't f eel satisfied|until I go out there.
Neither will I.|Come on.
We better decide what we're gonna say|or do when we walk in there.
We're going to register|as man and wif e.
We're going to|get shown to a cabin...
and then we're going to search every|inch of the place, inside and out.
(Truck Door Opens,|Closes)
I wonder where Norman Bates|does his hermiting.
Someone's at that window.|I just saw the curtain move.
Come on.
- Well?|- Just coming up to ring f or you.
Uh-huh.|Suppose you want a room.
We were gonna try to make it|to San Francisco...
but we don't like the look|of that sky.
Looks like a bad day coming,|doesn't it?
- I'll take you to cabin ten.|- Better sign in first, hadn't we?
That's not necessary.
My boss is paying f or this trip|and, uh, well, it's 90%business.
He wants practically|notarized receipts.
I'd better sign in|and get a receipt.
Thank you.
- I'll get your bags.|- Haven't any.
- I'll show you the room, then.|- First time I've ever seen it happen.
You check in any other place|in this country without bags...
- and you have to pay in advance.|- Ten dollars.
(Paper Crinkling)
That receipt.
I'll go on ahead.
(Norman) All right, there's|your receipt. I'll show you the cabin.
Don't bother yourself.|We'll find it.
Sam, we have to go into that cabin|and search it...
no matter what we're afraid of|finding or how much it may hurt.
I know.
Do you think if something|happened, it happened there?
I don't know, but if you had...
a useless business like this motel,|what would you need to get out?
To get a new business somewhere else?|Forty thousand dollars?
How could we prove that...
If he opens a motel on|the new highway in, say, a year...
There must be some proof|that exists now...
something that proves he got|that money away from Marion somehow.
- What makes you sound so certain?|- Arbogast. He liked me, Sam.
Or he f elt sorry f or me|and he was beginning to f eel...
the same way about you.
I could tell the last time|I talked to him on the phone.
He wouldn't have gone anywhere or done|anything without telling us...
unless he was stopped.
And he was stopped. So he must|have f ound out something.
We'll start with cabin one.
If he sees us,|we're just taking the air.
Bates.
No shower curtain.
- Sam! Look!|- Huh? What is it?
It's figuring. It didn't|get washed down. Look.
Some figure has been added to|or subtracted from 40,000.
That proves Marion was here.|It'd be too wild a coincidence...
Bates never denied she was here.
Oh. Doesn't that prove|he f ound out about the money?
Do we simply ask him|where he's hidden it?
But that old woman, whoever she is,|she told Arbogast something.
I want her to tell us|the same thing.
- You can't go up there.|- Why not?
- Bates.|- Well, let's find him.
One of us can keep him occupied while|the other gets to the old woman.
You'll never be able to hold him|still if he doesn't want to be held.
I don't like you going|into that house alone.
I can handle a sick old woman.
All right, I'll find Bates|and keep him occupied.
Wait a minute.
If you get anything|out of the mother...
can you find your way|back to town?
Yes, of course.
If you do get anything,|don't stop to tell me.
- You looking f or me?|- Why, yes, as a matter of f act.
Wif e's taking a nap and...
I never can keep quiet enough f or her,|so I thought I'd look you up and talk.
- Good. You satisfied with your cabin?|- Oh, it's fine.
I've been doing all the talking|so f ar, haven't I?
I thought it was the people|who were alone most of the time...
who did all the talking|when they got the chance.
Here you are|doing all the listening.
- You are alone here, aren't you?|- Mm-hmm.
Drive me crazy.
I think that would be a rather|extreme reaction, don't you?
Just an expression. What I meant was,|uh, I'd do anything to get away.
- Wouldn't you?|- No.
- (Knocking On Door)|- Mrs Bates?
(Gasps)
(Sighs)
I'm not saying you|shouldn't be contented here...
I'm just doubting that you are.
I think if you saw a chance to get out|from under you'd unload this place.
This place? This place happens|to be my only world.
I grew up in that house.|I had a very happy childhood.
My mother and I|were more than happy.
You look frightened. Have I been|saying something frightening?
I don't know|what you've been saying.
I've been talking about your mother,|about your motel.
- How you gonna do it?|- Do what?
Buy a new one in a new town where you|won't have to hide your mother.
Why don't you just get in|your car and drive away?
Where will you get the money to do that?|Or do you already have it socked away?
- Shut up!|- A lot of it. Forty thousand dollars.
I bet your mother knows where the money|is and what you did to get it.
I think|she'll tell us.
Where's that girl you came here with?|Where is she?
Mrs Bates, it's...
- (Screaming)|- (Footsteps)
(Norman Yelling)
Norman Bates!|(Screaming)
(People Chattering)
If anyone gets any answers|it'll be the psychiatrist.
Even I couldn't get to Norman|and he knows me.
- You warm enough, miss?|- Yes.
Did he talk|to you?
No.
I got the whole story, but not from|Norman. I got it from his "mother."
Norman Bates|no longer exists.
He only half-existed|to begin with.
And now the other half|has taken over...
probably f or all time.
Did he kill my sister?
Yes... and no.
Now look, if you're trying to lay|some psychiatric groundwork...
f or some sort of plea|this f ellow would like to cop...
(Chuckling) A psychiatrist|doesn't lay the groundwork.
He merely tries|to explain it.
- But my sister is...|- Yes.
Yes, I'm sorry.|The private investigator too.
If you drag that swamp somewhere in|the vicinity of the motel, you'll...
Uh, have you any unsolved|missing persons cases on your books?
- Yes, two.|- Young girls?
- Did he conf ess to...|- Like I said...
the "mother."
To understand it the way I understood|it, hearing it from the "mother"...
that is from the "mother" half|of Norman's mind...
you have to go back|ten years...
to the time when Norman murdered|his mother and her lover.
He was already dangerously disturbed,|had been since his f ather died.
His mother was|a clinging, demanding woman...
and f or years the two of them lived as|if there was no one else in the world.
Then she met a man...
and it seemed to Norman that|she threw him over f or this man.
That pushed him over the line|and he killed them both.
Matricide is probably the most|unbearable crime of all...
most unbearable|to the son who commits it.
So he had to erase the crime,|at least in his own mind.
He stole her corpse.
A weighted coffin|was buried.
He hid the body|in the fruit cellar...
even treated it to keep it|as well as it would keep.
And that still|wasn't enough.
She was there...|but she was a corpse.
So he began to think|and speak f or her...
give her half his lif e,|so to speak.
At times he could be both personalities,|carry on conversations.
At other times, the "mother" half|took over completely.
He was never all Norman,|but he was often only "Mother"...
and because he was so|pathologically jealous of her...
he assumed that she|was as jealous of him.
Theref ore, if he f elt a strong|attraction to any other woman...
the "mother" side of him|would go wild.
When he met your sister...
he was touched by her,|aroused by her.
He wanted her.
That set off the jealous "mother"|and "Mother" killed the girl.
After the murder Norman returned|as if from a deep sleep...
and, like a dutiful son, covered up|all traces of the crime...
he was convinced|his "mother" had committed!
Why was he...|dressed like that?
He's a transvestite.
Uh, not exactly.
A man who dresses in women's clothing|in order to achieve a sexual change...
or satisf action,|is a transvestite.
But in Norman's case, he was simply|doing everything possible...
to keep alive the illusion|of his mother being alive.
And when reality|came to close...
when danger or desire|threatened that illusion...
he dressed up, even to|a cheap wig he bought.
He'd walk about the house,|sit in her chair, speak in her voice.
He tried to be|his mother.
And, uh, now he is.
That's what I meant when I said|I got the story from the "mother."
You see, when the mind|houses two personalities...
there's always|a conflict, a battle.
In Norman's case,|the battle is over...
and the dominant personality|has won.
And the $40,000?|Who got that?
The swamp. These were|crimes of passion, not profit.
He f eels a little chill.|Can I bring him this blanket?
- Oh, sure.|- All right.
(Norman Speaking As "Mother")|Thank you.
("Mother's" Voice) It's sad when|a mother has to speak the words...
that condemn her own son...
but I couldn't allow them|to believe that I would commit murder.
They'll put him away now,|as I should have years ago.
He was always bad,|and in the end...
he intended to tell them I killed|those girls and that man...
as if I could do anything|except sit and stare...
like one|of his stuff ed birds.
They know I can't even|move a finger, and I won't.
I'll just sit here and be quiet,|just in case they do suspect me.
They're probably watching me.|Well, let them.
Let them see|what kind of a person I am.
I'm not even|gonna swat that fly.
I hope they are watching.|They'll see.
They'll see|and they'll know...
and they'll say, "Why, she|wouldn't even harm a fly."
P S 2004
P T U
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Pod Njenim Oknom (Beneath Her Window)
Podium
Poika ja ilves
Point Break - CD1 1991
Point Break - CD2 1991
Pokemon - Movie 1 - Mewtwo Strikes Back
Poker (2001) CD1
Poker (2001) CD2
Pokrovsky Gates The 25fps 1982
Pola X 1999 CD1
Pola X 1999 CD2
Police Academy (1984)
Police Academy 2 Their First Assignment 1985
Police Academy 3 Back in Training 1986
Police Academy 4 - Citizens on Patrol 1987
Police Story (2004) CD1
Police Story (2004) CD2
Police Story 2
Poltergeist
Poltergeist 2 The Other Side 1986
Poltergeist 3 (1988)
Polyester
Poolhall Junkies
Pork Chop Hill
Porky - Awful Orphan (1949)
Porky - Dough for the Do Do (1949)
Porky - Porky Chops (1949)
Porky - The Wearing of the Grin (1951)
Porkys
Pornographer The
Pornography 2003
Pornostar (Poruno Suta)
Port of Call (1948)
Portrait of a Lady The
Poseidon Adventure The
Poslusne hlasim (1957)
Possession (2002)
Possible Loves - Eng - 2000
Post Coitum 2004
Postman Blues (1997)
Posutoman Burusu
Powder
Power Play (2002)
Practical Magic
Predator (1987)
Prem Rog
Presidents Analyst The (1967)
Presidio The
Pressure
Prevrashcheniye (Metamorphosis)
Prick Up Your Ears
Pride and Prejudice
Pride and Prejudice CD1
Pride and Prejudice CD2
Pride and Prejudice CD3
Pride and Prejudice CD4
Pride and Prejudice CD5
Pride and Prejudice CD6
Pride and Prejudice The Making of
Pride and the Passion The
Prime of Miss Jean Brodie The CD1
Prime of Miss Jean Brodie The CD2
Prince and the Showgirl The
Princess Blade The
Princess Bride The
Princess Diaries The CD1
Princess Diaries The CD2
Princess Mononoke
Princess Of Thieves
Princess and the Warrior The
Prisoner of Second Avenue The
Private Life of Sherlock Holmes The (1970)
Private Parts
Producers The
Profondo rosso
Project A CD1
Project A CD2
Propaganda
Psycho (1960)
Psycho - Collectors Edition
Public Enemy (2002 Korean) CD1
Public Enemy (2002 Korean) CD2
Public Enemy The
Pulp Fiction (1984)
Pump Up The Volume
Pumping Iron (1977)
Punch-Drunk Love
Punisher The (2004)
Punisher The 1989
Pupendo (2003) CD1
Pupendo (2003) CD2
Purple Rose Of Cairo The
Purple Sunset (2001)
Pusher
Pusong Mamon CD1
Pusong Mamon CD2
Pygmalion
Pyrokinesis (2000)