INT. BOY’S BEDROOM - DAY
OVERHEAD SHOT -- The light tells us it’s late afternoon and
we are looking down at a BEAUTIFUL TEENAGE BOY splayed on his
back across his bed -- still dressed like he fell asleep in
his clothes. Completely still -- unconscious? Dead? In the
BG we hear what sounds like DIALOGUE from an old romantic
comedy - David Nivens and Doris Day. We SLOWLY MOVE DOWN AND
CLOSER until we are RIGHT UP AGAINST HIS FACE...
CU ON NORMAN CHARLES BATES
Angelic in sleep. Sixteen years old. Good looking. Refined
features. A sweetness and a sensuality. We HEAR him
breathing. Good, he’s not dead. Soft, even breaths.
Then his eyes open. He just stares for a moment, almost as
if he isn’t sure where he is. Then he slowly sits up. Looks
a little disoriented. Turns off the TV. Was I watching this?
INT. HALLWAY - MOMENTS LATER
Norman walks down the hall. The way it’s shot is STYLIZED.
We see him from the back, shadowed. Then from a LOW ANGLE as
he PASSES BY CAMERA.
CU on his hands -- steadying himself on the wall for a
second. He seems almost dizzy.
Norman’s head tracks past FAMILY PHOTOS on the wall. Old,
black and white photos of hard scrabble depression-era
family members staring out at us hauntingly, like the photos
of Dorthea Lange or Walker Evans.
Further down, the photos get newer. BABY PHOTOS. Other
family members now in COLOR. We land on one photo in
particular -- a MAN and a WOMAN on their wedding day. All
happiness and light...
Norman stops to look at the PHOTO. The wide smiles of the
couple. It’s almost like it takes him out of his trance.
Norman starts to remember where he is. Then, anxious...
INT. KITCHEN - MOMENTS LATER
CLOSE ON TWO POTS ON THE STOVE -- ANGRILY BOILING OVER.
STEAMING WHITE FOAM running down the sides into the FLARING
GAS BURNERS. Dinner ignored. CLOSE ON NORMAN’S HANDS
turning off the BURNERS.
(where the hell is she)
NORMAN’S POV - A FLICKERING LIGHT
What the hell is that? Sputtering on and off, coming through
the door into the house FROM THE GARAGE.
Approaching the open door. Slowly. Not sure what’s
happening. He looks into the garage. STAY ON HIS FACE as he
sees something horrible and heartbreaking...
INT. GARAGE - CONTINUOUS
CLOSE ON A MAN’s FACE...head against the floor...eyes
open...staring...blood pooling on the floor around the back
of his head.
This is SAM BATES (45). PULL BACK SLOWLY to see A HUGE METAL
SHELVING UNIT has FALLEN OVER ON TOP OF HIM...Paint and tools
and hardware all over the place... PAINT PLOPS slowly from
one of the cans onto the floor.
BACK ON SAM’S UNSEEING EYES. We may recognize Sam -- he is
the man in the wedding picture in the hallway...
THE OVERHEAD FLUORESCENT LIGHT was hit by the falling
shelving unit. It is DANGLING on one side and slowly
SWAYING, FLICKERING and HUMMING, trying to stay lit.
CU ON NORMAN’S FACE as he kneels down and touches Sam’s face.
Realizes he’s DEAD.
He jumps up.
INT. HALLWAY - CONTINUOUS
SMASH CUT TO Norman RACING DOWN THE HALLWAY, shot from
EXTREME UP ANGLES. Toward the BEDROOM. We now HEAR A
He runs THROUGH HER BEDROOM. HIS FISTS POUND on the BATHROOM
MOTHER! OPEN THE DOOR!
The DOOR FINALLY OPENS and we see...
NORMA LOUISE BATES
Closing the ROBE she’s just put on -- a quick flash of skin.
Norma is a strikingly beautiful woman in her early forties.
Smart and grounded. At the moment she has a peculiar,
HEARTBROKEN look on her face. Considering the circumstances,
should she not seem more alarmed?