When Marion is driving and thoughts run through her head of what might be happening back at the office the lighting is diegetic and when it changes to night it remains so and you can only see her lights on the road form passing cars and street lights, it also focuses on a first person view from the eyes of Marion as she looks and can only see her lights on the road and can see nothing else which helps create the idea the Hitchcock wanted in making that audience think she is going to crash. The music is the same as the introductory which is now familiar and once again shows she is running away whilst the dialogue of previous characters like the car salesmen run through her mind. It then quotes the house purchaser to say “If anything is missing I'll replace it with her fine soft flesh”, this gives the audience a hint as to what might happen and it also quotes him saying that so he could be a suspect as Marion is later murdered in the famous shower scene, this scene mainly focuses on Marion wondering what people will be thinking of her and then makes the decision to go back a few scene later. The music is fast and makes listeners very tense, the windscreen wiper on Marion's car as she drives seems fast and frantic as it is in time with the music. As she thinks about what the people might be saying about her as she drives the camera very slowly zooms in on her face and her eyes to show the guilt she now feels for the theft. As she gets closer to the motel the camera is pulled back to show the audience that the crisis is over. In this the windscreen wiper links back to the introduction with the images of slashing. This music and windscreen wiper scene ends as a build up for no reason as Hitchcock again manipulates the audience into thinking that she will crash in the adverse weather conditions but then arrives safely at the Bates motel but obviously not safe for long.
Marion then see’s a sign for a motel and takes the sensible option to stop overnight and carry on the journey in the morning. The audience knows that this is an unfavourable place to be by the way the sign suddenly looms out of the dark and mist. The Bates Mansion is also a daunting image. Norman Bates however dispels these feelings by being a likeable and shy young man. During his conversation with Marion, Norman helps her regain her freedom of choice in her life, and helps her decide to do the right thing and return the money. When Norman describes his own life this helps Marion. ‘We are all in our private trap’ he says. Marion sees how far she has lapsed into confusion, and resolves to return to phoenix and return the money. The audience, who has so far seen the entire film through the eyes of Marion, is intent on following her story, and is lulled into a false sense of security by the belief that in her good has triumphed and everything will now sort itself out. After Marion returns to her room Norman walks to a wall, he hesitates at the wall between his office and Marion’s room, glancing around for anyone who might be watching him. The room’s under-lighting gives both Norman and the stuffed birds around him an evil and devious look. Finally he looks at the wall and removes a painting, a painting depicting the Rape of Lucretia, and reveals eye holes looking into Marion's room which gives Norman the view of Marion in just a black bra and slip, the colour hinting to the illicitness of the moment. We are then given an extreme close-up of Norman’s eye, staring wide into the room; the view we have gives us the thrill of actually being there, watching Marion undress. This method of filming, giving the audience the sight of the forbidden, adds thrill to the important scenes. Thrill only encourages us to watch the movie more intently, on the edge of our seats. We can see Marion though the eyes of Norman. This is the first time we are looking though the eyes of anyone other than Marion. It prepares the audience for the change in sympathies that must occur after Marion's death. The audience becomes a ‘peeping tom’, watching Marion through a round shape of vision. For this moment it is not Marion we are relating to.
The shower was cleverly put into the film as a shower usually represents cleanliness and in this represented a fresh start for Marion. When Marion initially enters the shower we see the shower curtain shut on a close up and with the sound it gives the audience another image of slashing. Also in the shower scene, a zoom in effect is used. An example of this is when the attacker comes into the bathroom. We can see him briefly through the shower curtain. As he comes closer, the camera zooms into him. Hitchcock shows this to the audience to let them know that someone else has entered the bathroom. Also Hitchcock teases them by not letting the audience see the killers face, before the killer has entered Marion if filmed in the centre of the screen and then to draw attention away from her and towards the outline of the figure Marion is put into the bottom right of the screen. She is stabbed and the movement of the knife fits the music and then the music it more screechy with stringed instruments which reflects screaming which makes us think she is cut more also a cleaver camera technique is used as the camera shows the stabbing from above to show that the knife has power which is shown between characters usually, the music is very energetical and after the killer leaves its a lot less energetic. The camera focuses on Marion’s hand which is originally centre of the screen then it slides down and this is to represent the loss of life. We then see Marion’s eye with the water from the shower looking like a tear which gives the audience a more sympathetical view on the character. This was a very unusual occurrence for the time as Marion was leading lady as she was a prolific actress and is killed of within the first 45 minutes of the film. For the Shower scene when Marion is murdered it has 30-35 cuts when she is only stabbed eight times, this is to make it feel like she is stabbed a lot more and gives us faster pace to the scene.
At the end of the panning shot, Hitchcock shows the house in which Norman lives. While the picture of the house is there, the audience hear Norman saying, ‘blood’ and ‘mother’ to make the viewers convinced that Normans mother has killed Marion.
