ideas and characterization only to turn it around and reinvent itself, as if to have never even implied any motives in the first place. That was Hitchcock's way. Janet Leigh is Marion Crane. We open to a scene of her with her secret lover. She has a headache and is going to work; they may never see each other again. Our interest has already flared. After arriving at work Marion asks for the rest of the day off after she takes an envelope filled with forty thousand dollars in cash to the bank (a client's payment on a new home). But instead of depositing the money she skips town without telling anyone and checks in at the Bates Motel. Here she meets the owner, Norman Bates, who ensures her that he has a vacancy, `in fact I have twelve. Twelve cabins, twelve vacancies.' Normal takes a liking to the girl, he is lonely and has no one but his mother. He watches Marion through a hole in the wall of his parlour; he even invites her up to his hillside home for diner. His mother won't allow this, she is much to overbearing we learn, not from seeing her but understanding her through voiced assumption. Mystery begins to peak. This all seems minimal, it isn't. These opening scenes are a form of admission to the good ones, not to say they are any less enjoyable. They build up character, making us feel like we are part of something that we aren't through melding words of falsehoods. We see them as import

Some topics in this essay:
Norman Bates, Gein Psycho, Ed Gein, Marion Crane, Van Sant, Alfred Hitchcock, Alfred Hitchcock's, , Bates Motel, Vince Vaughn, scare audience, ed gein, films scare, norman bates, shower scene, films scare audience, parlour scene,