Psycho (1960) movie script - Screenplays for You.pdf

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Screenplays for You - free movie scripts and screenplays 1 About Links Screenplays and movie scripts organized alphabetically: # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z PDF Psycho (1960) movie script by Joseph Stefano. Based on the novel by Robert Bloch. Revised December 1, 1959. More info about this movie on FADE IN: EXT. PHOENIX, ARIZONA - (DAY) - HELICOPTER SHOT Above Midtown section of the city. It is early afternoon, a hot mid-summer da
  Screenplays for You  - f    ree movie scripts and screenplays 1  About     Links     Screenplays and movie scripts organized alphabetically:#     A    B    C    D    E    F G    H    I J    K    L    M    N    O    P Q    R    S    T    U    V    W    X    Y    Z    PDF    Psycho (1960) movie script by Joseph Stefano. Based on the novel by Robert Bloch.Revised December 1, 1959. More inf    o about this movie on   FADE IN:EXT. PHOENIX, ARIZONA - (DAY) - HELICOPTER SHOTAbove Midtown section of the city. It is early afternoon, ahot mid-summer day. The city is sun-sunblanched white andits drifted-up noises are muted in blanched their own echoes.We fly low, heading in a downtown direction, passing overtraffic-clogged streets, parking lots, white businessbuildings, neatly patterned residential districts. As weapproach downtown section, the character of the city beginsto change. It is darker and shabby with age and industry. Wesee railroad tracks, smokestacks, wholesale fruit-and-vegetable markets, old municipal buildings, empty lots.vegetable The very geography seems to give us a climate ofnefariousness, of back-doorness, dark and shadowy. And secret.We fly lower and faster now, as if seeking out a specificlocation. A skinny, high old hotel comes into view. On itsexposed brick side great painted letters advertise Transients-Low Weekly Rates-Radio in Every Room. We pause long enoughto establish the shoddy character of this hotel. Its open,curtainless windows, its silent resigned look socharacteristic of such hole-and-corner hotels. We move forwardwith purposefulness and-toward a certain window. The sash israised as high as it can go, but the shade is pulled down tothree or four inches of the inside sill, as if the occupantsof the room within wanted privacy but needed air. We areclose now, so that only the lower half of the window frameis in shot. No sounds come from within the room.Suddenly, we tip downward, go to the narrow space betweenshade and sill, peep into the room.A young woman is stretched out on the mussed bed. She wearsa full slip, stockings, no shoes. She lies in and attitudeof physical relaxation, but her face, seen in the dimness ofthe room, betrays a certain inner-tension, worrisomeconflicts. She is MARY CRANE, an tension, attractive girlnearing the end of her twenties and her rope.A man stands beside the bed, only the lower half of his figurevisible. We hold on this tableau for a long moment, thenstart forward. As we pass under the window shade, CUT TO:INT. THE HOTEL ROOM - (DAY)A small room, a slow fan buzzing on a shelf above the narrowbed. A card of hotel rules is pasted on the mirror above thebureau. An unopened suitcase and a woman's large, straw open-top handbag are on the bureau.  On the table beside the bed there are a container of Coco-Cola and an unwrapped, untouched egg-salad sandwich. Thereis no radio.The man standing by the bed, wearing only trousers, T-shirtand sox, is SAM LOOMIS, a good-looking, sensual shirt manwith warm humorous eyes and a compelling smile. He is blottinghis neck and face with a thin towel, and is staring down atMary, a small sweet smile playing about his mouth. Mary keepsher face turned away from him.After a moment, Sam drops the towel, sits on the bed, leansover and takes Mary into his arms, kisses her long and warmly,holds her with a firm possessiveness. The kiss is disturbedand finally interrupted by the buzzing closeness of aninconsiderate fly. Sam smiles, pulls away enough to allowMary to relax again against the pillow. He studies her, frownsat her unresponsiveness, then speaks in a low, intimate,playful voice. SAM Never did eat your lunch, did you.Mary looks at his smile, has to respond, pulls him to her,kisses him. Then, and without breaking the kiss, she swingsher legs over the side of the bed, toe-searches around, findsher shoes, slips her feet into searches them. And finallypulls away and sits up. MARY I better get back to the office. These extended lunch hours give my boss excess acid.She rises, goes to the bureau, takes a pair of small earringsout of her bag, begins putting them on, not bothering orperhaps not wanting to look at herself in the mirror. Samwatches her, concerned but unable to inhibit his cheery,humorous good mood. Throughout remainder of this scene, theyoccupy themselves with dressing, hair-combing, etc. SAM Call your boss and tell him you're taking the rest of the afternoon off. It's Friday anyway... and hot. MARY (soft sarcasm) What do I do with my free afternoon, walk you to the airport? SAM (meaningfully) We could laze around here a while longer. MARY Checking out time is three P.M. Hotels of this sort aren't interested in you when you come in, but when your time's up... (a small anguish) Sam, I hate having to be with you in a place like this. SAM I've heard of married couples who deliberately spend occasional nights in cheap hotels. They say it...    (interrupting) When you're married you can do a lot of things deliberately. SAM You sure talk like a girl who's been married. MARY Sam! SAM I'm sorry, Mary. (after a moment) My old Dad used to say 'when you can't change a situation, laugh at it.' Nothing ridicules a thing like laughing at it. MARY I've lost my girlish laughter. SAM (observing) The only girlish thing you have lost. MARY (a meaningful quiet, then, with difficulty:) Sam. This is the last time. SAM For what? MARY This! Meeting you in secret so we can be... secretive! You come down here on business trips and we steal lunch hours and... I wish you wouldn't even come. SAM Okay. What do we do instead, write each other lurid love letters? MARY (about to argue, then turning away) I haven't time to argue. I'm a working girl. SAM And I'm a working man! We're a regular working-class tragedy! (he laughs) MARY It is tragic! Or it will be... if we go on meeting in shabby hotels whenever you can find a tax-deductible excuse for flying down deductible here... SAM (interrupting, seriously) You can't laugh at it, huh? MARY Can you?   SAM Sure. It's like laughing through a broken jaw, but...He breaks off, his cheeriness dissolved, goes to the window,tries to raise the shade. It sticks. He pulls at it.It comes down entirely, and the hot sun glares into the room,revealing it in all its shabbiness and sordidness as ifcorroborating Mary's words and attitude. Sam kicks at thefallen shade, laughs in frustration, grabs on to his humoragain. SAM And besides, when you say I make tax- deductible excuses you make me out a criminal. MARY (having to smile) You couldn't be a criminal if you committed a major crime. SAM I wish I were. Not an active criminal but... a nice guy with the conscience of a criminal. (goes close to mary, touches her) Next best thing to no conscience at all. MARY (pulling away) I have to go, Sam. SAM I can come down next week. MARY No. SAM Not even just to see you, to have lunch... in public? MARY 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 for three! SAM And after the steak... do we send Sister to the movies and turn Mama's picture to the wall? MARY Sam! No! SAM (after a pause, simply) All right.She stares at him, surprised at his willingness to continuethe affair on her terms, as girls are so often surprisedwhen they discover men will continue to want them even afterthe sexual bait has been pulled in. Sam smiles reassuringly,places his hands gently on her arms, speaks with gentle and 
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