Psycho (17 page)

Lila chose the second door, switched on the light. Another weak and naked overhead bulb, but its illumination was sufficient to reveal the room for what it was. Bates's bedroom—singularly small, singularly cramped, with a low cot more suitable for a little boy than a grown man. Probably he'd always slept here, ever since he was a child. The bed itself was rumpled and showed signs of recent occupancy. There was a bureau over in the corner, next to the closet—one of those antique horrors with a dark oak finish and corroded drawer-pulls. She had no compunctions about searching the drawers.

The top one contained neckties and handkerchiefs, most of them soiled. The neckties were wide and old-fashioned. She found a tie clasp in a box from which it had apparently never been removed, and two sets of cuff links. The second drawer contained shirts, the third held socks and underwear. The bottom drawer was filled with white, shapeless garments which she finally—and almost incredulously—identified as nightgowns. Maybe he wore a bedcap, too. Really, this whole house belonged in a museum!

It was odd that there were no personal mementos, though; no papers, no photographs. But then, perhaps he kept them down at the motel, in the desk there. Yes, that was very likely.

Lila turned her attention to the pictures on the walls. There were two of them. The first showed a small boy sitting on a pony, and the second showed the same child standing in front of a rural schoolhouse with five other children, all girls. It took Lila several moments before she identified the youngster as Norman Bates. He had been quite thin as a child.

Nothing remained, now, except the closet and the two large bookshelves in the corner. She disposed of the closet quickly; it contained two suits on hangers, a jacket, an overcoat, a pair of soiled and paint-spotted trousers. There was nothing in any of the pockets of these garments. Two pairs of shoes and a pair of bedroom slippers on the floor completed the inventory.

The bookshelves now.

Here Lila found herself pausing, puzzling, then peering in perplexity at the incongruous contents of Norman Bates's library.
A New Model of the Universe
,
The Extension of Consciousness
.
The Witch-Cult in Western Europe
,
Dimension and Being
. These were not the books of a small boy, and they were equally out of place in the home of a rural motel proprietor She scanned the shelves rapidly. Abnormal psychology, occultism, theosophy. Translations of
L Bas
,
Justine
. And here, on the bottom shelf, a nondescript assortment of untitled volumes, poorly bound. Lila pulled one out at random and opened it. The illustration that leaped out at her was almost pathologically pornographic.

She replaced the volume hastily and stood up. As she did so, the initial shock of revulsion ebbed away, giving place to a second, stronger reaction. There was something here, there must be. What she could not read in Norman Bates's dull, fat, commonplace face was all too vividly revealed here in his library.

Frowning, she retreated to the hall. The rain clattered harshly on the roof and thunder boomed as she opened the dark, paneled door leading to the third room. For a moment she stood staring into the dimness, inhaling a musty, mingled odor of stale perfume and—what?

She pressed the light switch at the side of the doorway, then gasped.

This was the front bedroom, no doubt of it. And the Sheriff had said something about how Bates had kept it unchanged since his mother's death. But Lila wasn't quite prepared for the actuality.

Lila wasn't quite prepared to step bodily into another era. And yet she found herself there, back in the world as it had been long before she was born.

For the decor of this room had been outmoded many years before Bates's mother died. It was a room such as she thought had not existed for the past fifty years; a room that belonged in a world of gilt ormolu clocks, Dresden figurines, sachet-scented pincushions, turkey-red carpet, tasseled draperies, frescoed vanity tops and four-poster beds; a room of rockers, china cats, of hand-embroidered bedspreads and overstuffed chairs covered with antimacassars.

And it was still alive
.

That was what gave Lila the feeling of dislocation in space and time. Downstairs were remnants of the past ravaged by decay, and upstairs all was shabbiness and neglect. But this room was composed, consistent, coherent; a vital, functioning entity complete unto itself. It was spotlessly clean, immaculately free of dust and perfectly ordered. And yet, aside from the musty odor, there was no feeling of being in a showplace or a museum. The room
did
seem alive, as does any room that is lived in for a long time. Furnished more than fifty years ago, untenanted and untouched since the death of its occupant twenty years ago, it was still the room of a living person. A room where, just yesterday, a woman had sat and peered out of the window—

There are no ghosts
, Lila told herself, then frowned again at the realization that it had been necessary to make the denial. And yet, here in this room, she could feel a living presence.

She turned to the closet. Coats and dresses still hung in a neat row, though some of the garments were sagging and wrinkled through long lack of pressing. Here were the short skirts of a quarter of a century ago; up on the shelf the ornate hats, the head-scarves, several shawls such as an older woman might wear in a rural community. At the rear of the closet was a deep, empty recess which might have been meant for the storage of luggage. And nothing more.

Lila started over to examine the dresser and vanity, then halted beside the bed. The hand-embroidered bedspread was very lovely; she put out a hand to feel the texture, then drew it back hastily.

The bedspread was tucked in tightly at the bottom and hung perfectly over the sides. But the top was out of line. It had been tucked in, yes, but quickly, carelessly, so that an inch of the double pillow showed; the way a spread is tucked in when a bed has been made in a hurry

She ripped the spread down, pulled back the covers. The sheets were a smudgy gray and covered with little brown flecks. But the bed itself, and the pillow above it, bore the faint yet unmistakable indentation made by a recent occupant. She could almost trace the outline of the body by the way the undersheet sagged, and there was a deep depression in the center of the pillow where the brown flecks were thickest.

There are no ghosts
, Lila told herself again. This room has been used. Bates didn't sleep here—his own bed offered sufficient evidence of that. But somebody had been sleeping, somebody had been staring out of the window.
And if it had been Mary, where was she now?

She could ransack the rest of the room, go through the drawers, search downstairs. But that wasn't important at the moment. There was something else she had to do first, if she could only remember.
Where was Mary, now?

Then she knew.

What was it Sheriff Chambers had said? That he found Norman Bates down in the woods behind the house, gathering firewood?

Firewood for the furnace. Yes, that was it.
The furnace in the basement
—

Lila turned and fled down the stairs. The front door was open and the wind howled in. The front door was open, because she'd used the skeleton key, and now she knew why the term bothered her, it was because of the
skeleton
of course, and she knew why she had been so angry, too, ever since finding the earring. She had been angry because she was afraid, and the anger helped to hide the fear. The fear of what had happened to Mary, what she
knew
had happened to Mary, down in the cellar. It was because of Mary that she was afraid, not for herself. He had kept her here all week, maybe he'd tortured her, maybe he'd done to her what that man was doing in that filthy book, he'd tortured her until he found out about the money, and then—

The cellar. She had to find the cellar
.

Lila groped her way along the downstairs hall, into the kitchen. She found the light, then gasped at the tiny furry creature crouched on the shelf before her, ready to spring. But it was only a stuffed squirrel, its button eyes idiotically alive in the reflection of the overhead light.

The basement stairs were just ahead. She fumbled at the wall until her hand brushed over another switch. The light went on below, just a faint and faltering glow in the darkened depths. Thunder growled in counterpoint to the clatter of her heels.

The, bare bulb dangled from a cord directly in front of the furnace. It was a big furnace, with a heavy iron door. Lila stood there, staring at it. She was trembling now, she admitted that to herself; she could admit everything now. She'd been a fool to come here alone, a fool to do what she had done, a fool to do what she was doing now. But she had to do it, because of Mary. She had to open the furnace door and see what she knew would be inside.
God, what if the fire was still going? What if
—

But the door was cold. And there was no heat from the furnace, no heat from within the dark, utterly empty recess behind the door. She stooped, peering, without even attempting to use the coal-poker. No ashes, no smell of burning, nothing at all. Unless it had been recently cleaned, the furnace hadn't been used since last spring.

Lila turned away. She saw the old-fashioned laundry tubs, and the table and chair beyond them, next to the wall. There were bottles on the table, and carpentry tools, plus an assortment of knives and needles. Some of the knives were oddly curved, and several of the needles were attached to syringes. Behind them rose a clutter of wooden blocks, heavy wire, and large shapeless blobs of a white substance she could not immediately identify. One of the bigger fragments looked something like the cast she had worn as a child, that time she'd broken her leg. Lila approached the table, gazing at the knives in puzzled concentration.

Then she heard the sound.

At first she thought it was thunder, but then came the creaking from overhead, and she knew.

Somebody had come into the house. Somebody was tiptoeing along the hall. Was it Sam? Had he come to find her? But then why didn't he call her name?

And why did he close the cellar door?

The cellar door had closed, just now. She could hear the sharp click of the lock, and the footsteps moving away, back along the hall. The intruder must be going upstairs to the second floor.

She was locked in the cellar. And there was no way out. No way out, nowhere to hide. The whole basement was visible to anyone descending the cellar stairs. And somebody would be coming down those stairs soon. She knew it now.

If she could only keep herself concealed for a moment, then whoever came after her would have to descend all the way into the basement. And she'd have a chance to run for the stairs, then.

The best place would be under the stairway itself. If she could cover up with some old papers or some rags—

Then Lila saw the blanket pinned to the far wall. It was a big Indian blanket, ragged and old. She tugged at it, and the rotted cloth ripped free of the nails which held it in place. It came off the wall, off the door.

The door
. The blanket had concealed it completely, but there must be another room here, probably an old-fashioned fruit cellar. That would be the ideal place to hide and wait.

And she wouldn't have to wait much longer. Because now she could hear the faint, faraway footsteps coming down the hall again, moving along into the kitchen.

Lila opened the door of the fruit cellar.

It was then that she screamed.

She screamed when she saw the old woman lying there, the gaunt, gray-haired old woman whose brown, wrinkled face grinned up at her in an obscene greeting.

"Mrs. Bates!" Lila gasped.

"
Yes
."

But the voice wasn't coming from those sunken, leathery jaws. It came from behind her, from the top of the cellar stairs, where the figure stood.

Lila turned to stare at the fat, shapeless figure, half-concealed by the tight dress which had been pulled down incongruously to cover the garments beneath. She stared up at the shrouding shawl, and at the white, painted, simpering face beneath it. She stared at the garishly reddened lips, watched them part in a convulsive grimace.

"
I am Norma Bates
," said the high, shrill voice. And then there was the hand coming out, the hand that held the knife, and the feet were mincing down the stairs, and other feet were running, and Lila screamed again as Sam came down the stairs and the knife came up, quick as death. Sam grasped and twisted the hand that held it, twisted it from behind until the knife clattered to the floor.

Lila closed her mouth, but the scream continued. It was the insane scream of an hysterical woman, and it came from the throat of Norman Bates.

It took almost a week to reclaim the cars and the bodies from the swamp. The county highway crew had to come in with a dredger and hoist, but in the end the job was done. They found the money, too, right there in the glove compartment. Funny thing, it didn't even have a speck of mud on it, not a speck.

Somewhere along about the time they finished with the swamp, the men who knocked over the bank at Fulton were captured down in Oklahoma. But the story rated less than half a column in the Fairvale
Weekly Herald
. Almost the entire front page was given over to the Bates case. AP and UP picked it up right away, and there was quite a bit about it on television. Some of the write-ups compared it to the Gein affair up north, a few years back. They worked up a sweat over the "house of horror" and tried their damnedest to make out that Norman Bates had been murdering motel visitors for years. They called for a complete investigation of every missing person case in the entire area for the past two decades, and urged that the entire swamp be drained to see if it would yield more bodies.

But then, of course, the newspaper writers didn't have to foot the bill for such a project.