Psycho (1960 film) Quotes

Psycho (1960 film) is a television show that appeared on TV in 1970 . Psycho ended its run in 1970.

It features Alfred Hitchcock as producer, Bernard Herrmann in charge of musical score, and John L. Russell (cinematographer) as head of cinematography.

Psycho (1960 film) is recorded in English and originally aired in United States. Each episode of Psycho (1960 film) is 109 minutes long. Psycho (1960 film) is distributed by Paramount Pictures.

The cast includes: Anthony Perkins as Norma Bates, Anthony Perkins as Norman Bates, Janet Leigh as Marion Crane, Simon Oakland as Dr. Fred Richmond, Mort Mills as Officer, John McIntire as Sheriff Al Chambers, George Eldredge as Police Chief James Mitchell, John Gavin as Sam Loomis, Vera Miles as Lila Crane, John Anderson as California Charlie, Mort Mills as Highway Patrol officer, Pat Hitchcock as Caroline, Vaughn Taylor as George Lowery, and Frank Albertson as Tom Cassidy.

Psycho (1960 film) Quotes

Anthony Perkins as Norman Bates

• (Anthony Perkins) "No. I tell you no. I won't have you bringing some young girl in for supper. By candlelight, I suppose, in the cheap, erotic fashion of young men with cheap, erotic minds."
• (Anthony Perkins) "Mother, please --."
• (Anthony Perkins) "And then what? After supper? Music? Whispers?"
• (Anthony Perkins) "Mother, she's just a stranger. She's hungry, and it's raining out."
• (Anthony Perkins) ""Mother, she's just a stranger". As if men don't desire strangers. As if -- ohh, I refuse to speak of disgusting things, because they disgust me. You understand, boy? Go on, go tell her she'll not be appeasing her ugly appetite with MY food -- or my son. Or do I have tell her because you don't have the guts. Huh, boy? You have the guts, boy?"
• (Anthony Perkins) "Shut up. Shut up."

• (Anthony Perkins) "People always mean well. They cluck their thick tongues and shake their heads and suggest oh, so very delicately --"

• (Anthony Perkins) "The rain didn't last long, did it? So -- where are you off too?"
• (Anthony Perkins) "Sorry. I didn't mean to pry."
• (Janet Leigh) "Oh, I don't know. I guess I'm looking for a private island someplace where I can be alone and no one can find me."
• (Anthony Perkins) "What are you running away from?"
• (Janet Leigh) "Why do you ask that?"
• (Anthony Perkins) "No reason. No one really runs away from anything. It's like a private trap that holds us in like a prison. 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 we claw, but only at the air, only at each other, and for all of it, we never budge an inch."
• (Janet Leigh) "Sometimes -- we deliberately step into those traps."
• (Anthony Perkins) "I was born into mine. I don't mind it anymore."
• (Janet Leigh) "Oh, but you should. You should mind it."
• (Anthony Perkins) "Oh, I do --"
• (Anthony Perkins) "But I say I don't."
• (Janet Leigh) "You know -- if anyone ever talked to me the way I heard -- the way she spoke to you --"
• (Anthony Perkins) "Sometimes -- when she talks to me like that -- I feel I'd like to go up there -- and curse her -- and-and-and leave her forever. Or at least defy her. But I know I can't. She's ill."

• (Anthony Perkins) "Hate the smell of dampness, don't you? It's such a, I don't know, creepy smell."

• (Anthony Perkins) "Well, a son is a poor substitute for a lover."
• (Janet Leigh) "Why don't you go away?"
• (Anthony Perkins) "What, to a private island like you?"
• (Janet Leigh) "No, not like me."
• (Anthony Perkins) "I couldn't do that. Who would look after her? The fire in her fireplace would go out. It would be cold and damp up there like a grave. If you love sombody, you wouldn't leave them even if they treat your badly. Do you understand? I don't hate my mother. I hate at what she's become. I hate her illness."

• (Anthony Perkins) "I don't set a fancy table, but the kitchen's awful homey."

• (Anthony Perkins) "I'm Norma Bates."

• (Milton Arbogast) "Now, if this Marion Crane were here -- you wouldn't be hiding her would you?"
• (Anthony Perkins) "No."
• (Milton Arbogast) "Not even if she paid you?"
• (Anthony Perkins) "No."
• (Milton Arbogast) "All right, then lets say for the sake of argument that she needed your help and that she made you out to be a fool in helping her --"
• (Anthony Perkins) "Well, I'm not a fool. And I'm not capable of being fooled. Not even by a woman."

• (Anthony Perkins) "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 but just sit and stare, like one of his stuffed birds. They know I can't 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 going to 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 -- ""

• (Anthony Perkins) "Mother. Oh God, mother. Blood. Blood."

• (Anthony Perkins) "She might have fooled me, but she didn't fool my mother."

• (Anthony Perkins) "I think I must have one of those faces you can't help believing."

• (Anthony Perkins) "Now mother, I'm going to uh, bring something up --"
• (Anthony Perkins) "Haha -- I am sorry, boy, but you do manage to look ludicrous when you give me orders."
• (Anthony Perkins) "Please, mother."
• (Anthony Perkins) "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."
• (Anthony Perkins) "They'll come now, mother. He came after the girl, and now someone will come after him. Please mother, it's just for a few days, just for a few days so they won't find you."
• (Anthony Perkins) ""Just for a few days"? In that dark, dank fruit cellar? No. You hid me there once, boy, and you'll not do it again, not ever again; now get out. I told you to get out, boy."
• (Anthony Perkins) "I'll carry you, mother."
• (Anthony Perkins) "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 --"

• (Anthony Perkins) "Dirty night."

• (Anthony Perkins) "A son is a poor substitute for a lover."

• (Anthony Perkins) "Uh-uh, Mother-m-mother, uh, what is the phrase? She isn't quite herself today."

• (Anthony Perkins) "You-you eat like a bird."
• (Janet Leigh) "And you'd know, of course."
• (Anthony Perkins) "No, not really. Anyway, I hear the expression 'eats like a bird'; it-it's really a"
• (Anthony Perkins) "fals-fals-fals-falsity. Because birds really eat a tremendous lot. But -I-I don't really know anything about birds. My hobby is stuffing things. You know; taxidermy."

John McIntire as Sheriff Al Chambers

• (John McIntire) "Your detective told you he couldn't come right back because he was goin' to question Norman Bates' mother. Right?"
• (Vera Miles) "Yes."
• (John McIntire) "Norman Bates' mother has been dead and buried in Greenlawn Cenetery for the past ten years."
• (Eliza Chambers) "I helped Norman pick out the dress she was buried in. Periwinkle blue."
• (John McIntire) "'Tain't only local history, Sam. It's the only case of murder and suicide on Fairvale ledgers."

Janet Leigh as Marion Crane

• (Janet Leigh) "I'll lick the stamps."

• (Janet Leigh) "Do you go out with friends?"
• (Anthony Perkins) "A boy's best friend is his mother."

• (Janet Leigh) "Wouldn't it be better if you put her -- some place?"
• (Anthony Perkins) "You mean an institution? A madhouse?"
• (Janet Leigh) "No, I didn't mean it like --"
• (Anthony Perkins) "People always call a madhouse "someplace", don't they? "Put her in someplace.""
• (Janet Leigh) "I'm sorry. I didn't mean to sound so uncaring."
• (Anthony Perkins) "What do you know about caring? Have you ever seen the inside of one of those places? The laughing, and the tears, and those cruel eyes studying you? My mother THERE?"
• (Anthony Perkins) "Oh, but she's harmless. She's as harmless as one of those stuffed birds."
• (Janet Leigh) "I'm sorry. I felt that -- well, from what you told me about your mother is that she might be hurting you. I meant well."
• (Anthony Perkins) "People always mean well. They cluck their thick tongues, and shake their heads and suggest, oh, so very delicately."

• (Janet Leigh) "Thank you."
• (Anthony Perkins) "Thank you, Norman."
• (Janet Leigh) "Norman."

• (Janet Leigh) "Do you have any vacancies?"
• (Anthony Perkins) "Oh, we have 12 vacancies. 12 cabins, 12 vacancies."

• (Janet Leigh) "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 for three."
• (John Gavin) "And after the steak, do we send Sister to the movies? Turn mama's picture to the wall?"

• (Janet Leigh) "Taxidermy. That is a strange hobby to fill."
• (Anthony Perkins) "A hobby should pass the time, not fill it."

John Anderson as California Charlie

• (John Anderson) "I'm in no mood for trouble."
• (Janet Leigh) "What?"
• (John Anderson) "There's an old saying, "First customer of the day is always the trouble." But like I say, I'm in no mood for it, so I'm gonna treat you so fair and square that you won't have one human reason to give me --"
• (Janet Leigh) "Can I trade my car in and take another?"
• (John Anderson) "Do anything you've a mind to. Bein' a woman, you will. That yours?"
• (Janet Leigh) "Yes, it's just that; there's nothing wrong with it. I just --"
• (John Anderson) "Sick of the sight of it. Well, why don't you have a look around here and see if there's somethin' that strikes your eyes, and meanwhile I'll have my mechanic give yours the once over. You want some coffee? I was just about --"
• (Janet Leigh) "No, thank you. I'm in a hurry. I just want to make a change, and --"
• (John Anderson) "One thing people never oughtta 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 uh; shoot your car in the garage here."

• (John Anderson) "Heck, Officer, that was the first time I ever saw the customer high-pressure the salesman. Somebody chasin' her?"
• (Mort Mills) "I better have a look at those papers, Charlie."
• (John Anderson) "She look like the wrong-one to you?"
• (Mort Mills) "Acted like one."
• (John Anderson) "The only funny thing, she paid me seven hundred dollars in cash."
• (Pat Hitchcock) "Yes, Mr. Lowery?"
• (Vaughn Taylor) "Caroline? Marion still isn't in?"
• (Pat Hitchcock) "No, Mr. Lowery. But then, she's always a bit late on Monday mornings."
• (Vaughn Taylor) "Buzz me the minute she comes in. Then call her sister; if no one's answering at the house."
• (Pat Hitchcock) "I called her sister, Mr. Lowery, where she works,; the Music Makers Music Store, you know,; and she doesn't know where Marion is any more than we do."
• (Vaughn Taylor) "You'd better run out to the house. She may be, well; unable to answer the phone."
• (Pat Hitchcock) "Her sister's going to do that. She's as worried as we are."
• (Vaughn Taylor) "No, I haven't the faintest idea. As I said, I last saw your sister when she left the office on Friday. She said she didn't feel well and wanted to leave early; I said she could. That was the last I saw -- Now wait a minute. I did see her sometime later, driving; Ah, I think you'd better come over here to my office; quick. Caroline, get Mr. Cassidy for me."
• (Vaughn Taylor) "After all, Cassidy, I told you; all that cash. I'm not taking the responsibility. Oh, for heaven's sake. A girl works for you for ten years, you trust her. All right. Yes. You better come over."
• (Frank Albertson) "Well, I ain't about to kiss off forty thousand dollars. I'll get it back, and if any of it's missin' I'll replace it with her fine, soft flesh. I'll track her, never you doubt it."
• (Vaughn Taylor) "Oh, hold on, Cassidy. I-I still can't believe; it must be some kind of mystery. I-I can't --"
• (Frank Albertson) "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; even flirtin' with me."

• (John Anderson) "It's the first time the customer ever high-pressured the salesman. I figure roughly -- your car plus seven hundred dollars."
• (Janet Leigh) "Seven hundred dollars?"
• (John Anderson) "You always got time to argue money, huh?"

Frank Albertson as Tom Cassidy

• (Frank Albertson) "I'm buying this house for my baby's wedding present. Forty thousand dollars, cash. Now, that's -- not buying happiness. That's just -- buying off unhappiness."
• (Frank Albertson) "I never carry more than I can afford to lose. Count 'em."
• (Pat Hitchcock) "I declare."
• (Frank Albertson) "I don't. That's how I get to keep it."
• (Vaughn Taylor) "Tom, uh -- cash transactions of this size. Most irregular."

Pat Hitchcock as Caroline

• (Pat Hitchcock) "I've got something; not aspirin. My mother's doctor gave them to me the day of my wedding. Teddy was furious when he found out I had taken tranquilizers."
• (Janet Leigh) "Any calls?"
• (Pat Hitchcock) "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, and"

John Gavin as Sam Loomis

• (John Gavin) "You mean the old woman I saw tonight wasn't Mrs. Bates?"
• (John McIntire) "Now wait a minute, Sam, are you sure you saw an old woman?"
• (John Gavin) "Yes. In the house behind the motel. I called and I pounded, but she just ignored me."
• (John McIntire) "You mean to tell me you saw Norman Bates' mother?"
• (Vera Miles) "It had to be; because Arbogast said so too. And the young man wouldn't let him see her because she was too ill."
• (John McIntire) "Well, if the woman up there is Mrs. Bates -- who's that woman buried out in Greenlawn Cemetery?"

• (John Gavin) "Bob. Run out and get yourself some lunch, will you?"
• (Bob Summerfield) "Oh, that's okay, Sam, I brought it with me."
• (John Gavin) "Run out and eat it."

• (John Gavin) "I've been doing all the talking so far, 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, aren't you?"
• (Anthony Perkins) "Hm-hmm."
• (John Gavin) "Would drive me crazy."
• (Anthony Perkins) "I think that would be a rather extreme reaction, don't you?"
• (John Gavin) "Just an expression. What I meant was, I'd do just about anything to get away, wouldn't you?"
• (Anthony Perkins) "No."

• (John Gavin) "You never did eat your lunch, did you?"
• (Janet Leigh) "I better get back to the office. These extended lunch hours give my boss excess acid."
• (John Gavin) "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."
• (Janet Leigh) "What do I do with my free afternoon? Walk you to the airport?"
• (John Gavin) "We could laze around here a while longer."
• (Janet Leigh) "Checking out time is 3 P.M. Hotels of this sort are 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."
• (John Gavin) "Married couples deliberately spend occasional nights in cheap hotels like this."

Simon Oakland as Dr. Fred Richmond

• (Simon Oakland) "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 for all time."
• (Vera Miles) "Did he kill my sister?"
• (Simon Oakland) "Yes,; and no."

Mort Mills as Highway Patrol officer

• (Mort Mills) "He's a tranvestite."
• (Simon Oakland) "Ah, not exactly. A man who dresses in women's clothing in order to achieve a sexual change, or satisfaction, 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 too 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."
• (Simon Oakland) "Now, 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."
• (John McIntire) "And the forty thousand dollars? Who got that?"
• (Simon Oakland) "The swamp. These were crimes of passion, not profit."
• (Mort Mills) "He feels a chill. Can I bring him this blanket?"
• (Simon Oakland) "Oh, sure."
• (George Eldredge) "All right."

• (Mort Mills) "Uh -- hold it there. In quite a hurry."
• (Janet Leigh) "Yes. Uh -- I didn't intend to sleep so long. I almost had an accident last night, from sleepiness. So I decided to pull over."
• (Mort Mills) "You slept here all night?"
• (Janet Leigh) "Yes. As I said, I couldn't keep my eyes open."
• (Mort Mills) "There are plenty of motels in this area. You should've -- I mean, just to be safe."
• (Janet Leigh) "I didn't intend to sleep all night. I just pulled over. Have I broken any laws?"
• (Mort Mills) "No, ma'am."
• (Janet Leigh) "Then I'm free to go?"
• (Mort Mills) "Is anything wrong?"
• (Janet Leigh) "Of course not. Am I acting as if there's something wrong?"
• (Mort Mills) "Frankly, yes."
• (Janet Leigh) "Please -- I'd like to go."
• (Mort Mills) "Well, is there?"
• (Janet Leigh) "Is there what? I've told you there's nothing wrong, except that I'm in a hurry and you're taking up my time."
• (Mort Mills) "Now, just a moment. Turn off your motor, please. May I see your license?"
• (Janet Leigh) "Why?"
• (Mort Mills) "Please."

Vera Miles as Lila Crane

• (Vera Miles) "Look, that old woman, whoever she is, she told Arbogast something. I want her to tell us the same thing."
• (John Gavin) "Hold it, you can't go up there."
• (Vera Miles) "Why not?"
• (John Gavin) "Bates."
• (Vera Miles) "Then, let's find him. One of us can keep him occupied while the other gets to the old woman."
• (John Gavin) "You'll never be able to hold him still even if he doesn't want to be held. And, I don't like you going into that house alone."
• (Vera Miles) "I can handle a sick old woman."

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