For the same purpose, her costume is a stylish 1960's dress, which in contrast to Bates's homely outfit, presents her as a woman of a different class to him. She is unattainable to him and would never have feelings beyond sympathy for him, which heightens Bate's frustration with the attraction he feels towards her.
His stuttering "mother- my, my mother" not only exposes his own nerves but creates tension and unease among viewers, as we are still trying to make sense of this mysterious deserted motel and its strange, introverted owner. Her voice now is calm and pleasant, which highlights the nervoud edge in Norman's voice even more obviously.
As Norman says "She isn't quite herself today" the high pitched music suddenly plays for a moment, to add a sinister tint to these words and arouse audience curiosity.
As she leans back with her hands folded across her front and invites him into her motel room to eat, Norman steps forward and backward one step, stiffens uncomfortably and lowers his gaze, and then proposes that it would be "nicer and warmer" in the motel office. After previous shot which was at a slower pace, the three fast and sudden shot reverse shots of Marion and Norman's reactions creates further tension, which Marion interpretes as his bashfulness and pathetic self-consciousness which makes her both amused and sympathetic to his nervous awkwardness around her. .
Norman has just stepped into the light and is brightly lit, but swiftly moved back into the shadows and disappears into the main entrance of the hotel. His constant shifting from light and dark can be interpreted as a foreshawdowing of his mind slipping between sanity and insanity. Now, his face is heavily cast with shadows, 'Eating in the office is just too officious", he suggests the darkened parlor behind the office: "I-I-I-I have the parlor back here." .
The room is pitch black and even as Norman turns on the lamp, the room is still not bright enough as some objects in the distance are left obscure and not completely lit.
