|Starring|| Anthony Perkins|
|Series Order||3 of 4|
|Directed By||Anthony Perkins|
|Written By|| Charles Edward Pogue (written by)|
|Producers||Hilton A. Green|
|Release Date||July 2, 1986|
Psycho III is the third movie in the Psycho series. It stars Anthony Perkins as Norman Bates, Diana Scarwid as Maureen Coyle, and Jeff Fahey as Duane Duke. It was released in 1986. It marks the directorial debut of star Anthony Perkins.
"Anthony Perkins stars in and directs the most shocking Psycho film of all: Psycho III. After spending 22 years in a lunatic asylum, Norman Bates returns home to his house on the hill and the motel where all the nasty deeds once took place. When a pretty young woman (Diana Scarwid) runs to the motel - and Norman's open arms - to escape a scandalous secret, he finally gets a chance at a new life. But he has one murderous skeleton in his closet that will do anything not to share him. Norman also hires a guitar playing drifter (Jeff Fahey) to work at the now-busy motel while trying to keep a nosy reporter (Roberta Maxwell) away from finding out about Mother. It's a new day at the Bates Motel, but the nightmares are just beginning."
Norman Bates still mans the desk at the Bates Motel and lives with the preserved corpse of his mother, Emma Spool. Local law enforcement and Norman's ex-boss, Ralph Statler, are concerned because Mrs. Spool has been missing for over a month. Duane Duke, a sleazy musician desperate for money, is offered the job of assistant motel manager to replace the late Warren Toomey who was fired by Norman. Maureen Coyle, a mentally unstable young nun, is a long-term tenant at the Bates Motel.
Tracy Venable, a pushy journalist from Los Angeles, is working on an article about serial killers being put back on the streets. She is trying to support a theory that Norman is back to his old ways, so when Norman appears at the diner, Tracy jumps at the chance to talk with him. Unaware of her ulterior motives, Norman opens up to her but is distracted when Maureen enters. He is startled because she strongly resembles his long-ago victim, Marion Crane. Seeing the initials "M.C." on her suitcase, Norman panics and leaves the diner.
After a conversation with "Mother", Norman spies on Maureen as she undresses to take a shower. Keeping her word, "Mother" enters Maureen's room. Upon pulling back the shower curtain, it is revealed Maureen has attempted suicide by cutting her wrists, a sight which breaks the established "cycle" and snaps Norman back to his "normal" side. Due to blood loss, Maureen hallucinates. She mistakes Norman, dressed up as "Mother", for the Virgin Mary holding a silver crucifix.
Norman gets Maureen to the hospital. After she is released, he invites her to stay back at the motel and they begin a romantic relationship.
Duane picks up a girl called "Red" at a bar. They head to Bates Cabin 12 and have sex. Red makes it clear she wants more than just a fling and calls him a pig when he refuses. Duane, infuriated, throws her out. Red tries to call a cab, but "Mother" shatters the phone booth door and stabs Red to death.
Tourists arrive at the motel, where they plan to watch a local football game. Norman and Maureen go to a restaurant while Tracy searches Mrs. Spool's apartment. She discovers the Bates Motel's phone number written on a magazine cover. Norman and Maureen return to the motel to find most of the other guests engaged in drunken stupor. Norman goes with Maureen to her room and they fall asleep in each other's arms.
Patsy Boyle, the only sober guest, is murdered by "Mother". Norman discovers Patsy's body and he buries her in the motel's ice chest outside the office. The next morning, Sheriff Hunt and Deputy Leo appear to investigate Patsy's disappearance. Norman tries to prevent Hunt from entering his mother's bedroom, when he discovers that "Mother"/Mrs. Spool has disappeared.
Tracy tells Maureen all about Norman's past. This causes Maureen to leave the motel and go stay with Father Brian, who took care of her at the hospital. Norman searches for his mother all over the house and finds a note from her stating that she is in Cabin 12. There he learns it was Duane who took "Mother"/Mrs. Spool.
Duane demands a large sum of money to keep quiet or else he will turn Norman over to the police for the murders. Norman appears to give in, but unexpectedly throws an ashtray at Duane's head. They fight and Norman hits Duane several times with his own guitar.
Tracy talks to Statler and Myrna about Mrs. Spool and discovers she was working at the diner before Statler bought it from Harvey Leach. Tracy meets with Leach, a resident at an assisted living facility, and is informed that Mrs. Spool had also once been institutionalized for murder.
Norman drives Duane's car to the swamp with Duane and Patsy's bodies in it. Duane, still alive, regains consciousness and attacks Norman, who accidentally drives into the swamp. He struggles out of the car while Duane drowns.
Maureen convinces herself that Norman is her true love and returns to the motel. Norman and Maureen share a tender moment at the top of the staircase when "Mother" shouts furiously at Norman, which startles him. He loses his grip on Maureen's hands. She falls down the stairs into the cupid statue, which impales her skull. Norman screams and promises "Mother" that he will get her for this.
Tracy arrives. She enters the house and finds Maureen dead. Then she sees Norman dressed as "Mother," bearing a knife, but is unable to flee. She tries to reason with Norman by explaining his family history: Emma Spool was his aunt and was in love with Norman's father, but he married her sister, Norma, instead. Mrs. Spool then kidnapped Norman when he was a baby, after she killed Mr. Bates, believing Norman was the child "she should have had with him". When she got caught, Norman was returned to Norma while Mrs. Spool was institutionalized.
Tracy discovers Mrs. Spool's corpse in the bedroom. Norman takes off his dress. "Mother" orders him to kill Tracy, but when Norman raises the knife, he brutally attacks "Mother" instead, dismembering Mrs. Spool's preserved remains.
Sheriff Hunt takes Norman to his squad car, with Father Brian and Tracy following behind. Hunt informs Norman that they may never let him out of the institution again, Norman replies: "But I'll be free...I'll finally be free."
Norman, sitting silently in the back of the squad car, caresses a trophy he had concealed up one sleeve: the severed hand of Mrs. Spool. As he strokes the hand, he begins to smile craftily.
DVD and VideoEdit
- Anthony Perkins as Norman Bates
- Diana Scarwid as Maureen Coyle
- Jeff Fahey as Duane Duke
- Roberta Maxwell as Tracy Venable
- Hugh Gillin as Sheriff John Hunt
- Lee Garlington as Myrna
- Robert Alan Browne as Ralph Statler
- Gary Bayer as Father Brian
- Patience Cleveland as Sister Margaret
- Juliette Cummins as Red
- Steve Guevara as Deputy Leo
- Kay Heberle as Ruthie
- Donovan Scott as Kyle
- Karen Hensel as Sister Catherine
- Jack Murdock as Lou
- Katt Shea Ruben as Patsy Boyle
- Hugo L. Stanger as Harvey Leach
- Lisa Ives as Belltower Nun
- Angele Ritter as Bartender
- Diane Rodriguez as Nun
- Claudia Bryar as Mrs. Emma Spool (archive footage)
- Janet Leigh as Marion Crane (archive footage)
- Virginia Gregg as Norma Bates (voice)
- Brinke Stevens as body double: Diana Scarwid
- Directed by Anthony Perkins
- Charles Edward Pogue .... screenplay
- Robert Bloch .... characters
- Hilton A. Green .... producer
- Donald E. Zepfel .... associate producer
- Original Music by Carter Burwell
- Cinematography by Bruce Surtees
- Film Editing by David Blewitt
- Casting by Nancy Nayor
- Production Design by Henry Bumstead
- Set Decoration by Mickey S. Michaels
- Costume Design by Peter V. Saldutti and Marla Denise Schlom
- Vivian McAteer .... hair stylist
- Mark Reedall .... makeup artist
- Michael Westmore .... special makeup effects artist
- Don Zepfel .... unit production manager
- Gary Daigler .... first assistant director
- Katterli Frauenfelder .... second assistant director
- Mike Henry .... second second assistant director
- Scott Printz .... DGA trainee
- 'Dangerous' Bob Widin .... property master
- Kelly Osborn .... painter (uncredited)
- Wayne Allwine .... sound editor
- Michael C. Casper .... sound re-recording mixer
- Samuel C. Crutcher .... sound editor
- George Fredrick .... sound editor
- Ron Harris .... adr mixer
- Roger Heman Jr. .... sound re-recording mixer
- Gil Hudson .... adr artist
- Jerry Jost .... sound mixer
- Angie Luckey .... assistant sound editor
- Lorane Mitchell .... sound editor
- Joe Parker .... sound editor
- John Stacy .... supervising sound editor
- John J. Stephens .... sound re-recording mixer
- Jim Thompson .... sound recordist
- David A. Whittaker .... sound editor
- Jeffrey Wilhoit .... foley artist
- Louis R. Cooper .... special effects
- Danny Lester .... special effects
- Karl G. Miller .... special effects
- Syd Dutton .... visual effects
- Bill Taylor .... special visual effects
- George Cheung .... stunts
- Alexandra Kenworthy .... stunt double
- Sandra Kenworthy .... stunts
- Glenda Moore .... stunts
- Kurt Paul .... stunts
- Bob Yerkes .... stunt coordinator
- Kirk Bales .... dolly grip
- Michael Dugan .... underwater cinematographer
- Christine M. Loss .... still photographer
- Richard Neff .... camera operator
- Charles Saldana .... key grip
- Bruce D. Spellman .... second company grip
- Michael D. Weldon .... first assistant camera
- Steven Jacobs .... casting: New York
- Brian O'Dowd .... set costumer
- Liza Stewart .... set costumer
- Leslie Sackheim .... apprentice film editor
- Leslie Schwartz .... apprentice film editor
- James Seidelman .... assistant editor
- Wally Weber .... negative cutter
- Steve Forman .... musician: percussions
- Gary Lux .... scoring mixer
- David Sanborn .... musician: saxophone
- Alan Kaminsky .... driver generator operator
- Betty Abbott Griffin .... script supervisor
- Booker McClay .... publicist
- Ed McDermott II .... stand-in: re-shoots
- Lisa J. Watters .... production coordinator
- Jeff Winn .... craft service assistant
- As director, Anthony Perkins looked to Alfred Hitchcock for inspiration. He tried to mimic several shots and camera angles from the original Psycho and originally wanted to shoot this film in black and white.
- The film uses archive footage of the murder of Emma Spool from Psycho II and of the Shower Scene in Psycho.