behavior and Normans "abnormal" behavior is a fine one, easily crossed. As the camera zooms in on Sam and Marion, they embrace each other and lie down on the bed. While they have a quiet conversation and continue to caress each other with soft kisses, the camera slowly moves in a circular motion half-way around the room as to not constrict us to only one view of the couple (again fulfilling our erotic desires). They go on to talk about the frustrations of their love life in the dark room. The camera does not anticipate the actors actions in the next shot. Marion gets up and a cut is made to a medium shot of her in the foreground dressing while her lover sits in the background by the window (blind still down). Both are in focus. Marion begins to speak in a despondent fashion, implying she will not settle for meeting Sam during lunch break in a cheap hotel any longer. She asks him to act more respectable, to go home with her and meet her sister (the only mentioned family of Marion), and to meet her in public. Her melancholy attitude matches the obscurity of the apartment room we have grown accustomed to. As they speak on the subject and Sam tries to joke about the matter she takes so seriously, the camera switches back and forth between their faces using close-up shots. By using these separate close-up shots and abandoning the medium shot that incorporated both of them, Hitchcock illustrates the mental barrier that has risen between them. Finally Sam gives in to Marions wishes, and with a shrug of the shoulders he answers, "All right." Just as he responds, subtle music begins to play, symbolizing the arrival of hope. Marion and Sam embrace in a medium shot, after which Sam retreats to the background by the window again. As he rips the blind open, allowing daylight to pour into the room, the music comes to a sudden stop. Soon after, they begin to speak hopefully of marrying in the future and working things out between them. In this sense, ...
