TH." As the panning continues, a slow zoom begins to bring us closer to one of the buildings. The last title appears in the same fashion as the preceding, "TWO FORTY-THREE P.M." Yet another dissolve stops the camera on a rather unattractive wall, slowly zooming in on a window with Venetian blinds drawn down. A cut to a closer view of the window reveals an opening a few inches below the blind in which the camera continues to zoom in on, bringing us into a dark apartment room. Since we have grown accustomed to the bright sun outside, the apartment, in contrast, seems gloomy. The camera pans to the right at the same speed as before, allowing us to make out a couple of blurred objects. Now the picture begins to focus and we see the torso of a shirt less Sam Loomis standing next to a bed where a half-nude Marion Crane lies gazing upward at him. The first words are spoken while at the same time the music comes to a halt. "Never did eat your lunch, did you?" says Sam. With this line a cut places the camera on a close-up of a small table on which lies a water pitcher, glasses, a paper cup, and a wrapped up uneaten sandwich. Marion answers, "Ive got to get back to the office." The first half of the opening sequence symbolizes the films progress as a whole. We are taken from the broad surface view of Phoenix into the depths of its intricate workings. We go from beautiful daylight to a grim darkness. Furthermore, we move from a public and general view to a most private and intimate one, just as the movie will as it progresses. We even duplicate Norman Batess later action of peeping through a hole to see Marion partially nude as we "peep" beneath the blind to see the same woman, again partially nude. Hitchcock successfully uses these opening camera shots to foreshadow later events in the film as well as suggest we are not totally unlike Norman. We too have erotic desires that possess our minds. Hitchcock explains that the line between our "normal" ...
