Bates Motel
First You Dream, Then You Die

Episode Report Card
Jacob Clifton: A+ | 14 USERS: A+
YOU GRADE IT
The Cord of Communion

If the world had room for a woman like Norma, they wouldn't feel the need to turn her into this. The world has an immune system -- call it male privilege, call it the patriarchy -- specifically in place to deal with bitches like her and it's breaking down. In some countries, on some socioeconomic levels, the old ways aren't working anymore and Bradley's proof. But Norman's proof too.

Norman has the distinct and historic pleasure and pressure of being part of the first generation of young men in the world, in the correct country and socioeconomic level, to have this sort of mother. He is the birth pains of what happened to the world, the day women became people; he doesn't make a lot of sense to everybody else because they're still stuck on obsolete stories: Stuck in the world this story last described, a century ago.

But tonight he's poetry, to them and to himself. He's poetry, tonight. Broken words, reformed. Curated and placed perfectly between objects.

Norman: "That's kind of weird."
Bradley: "You're kind of weird."

He loves it. He holds her gaze -- like his mother, he barely ever blinks when he's considering you -- and for a second she can see it: He's not shy. He's the opposite of shy. It's just that he's quiet enough you could be mistaken: "...Weird good," she murmurs, hypnotized.

Richard appears; he seems to be the boyfriend, he calls her "Brad." She introduces them, laughing -- Richard's homework tonight was a diorama of the Globe Theatre -- and he absorbs the weird, good vibe. His hostility is submerged, he doesn't see Norman as a threat, but he's not enamored of the kid either.

Richard: "Great. Listen, babe, Jones just got here. Let's go say hi?"

Against his obvious wishes she invites Norman along, but he doesn't need to go. He's happy in the quiet, cold kitchen. Everything is still.

SUMMERS

When Keith Summers breaks in, Norma screams for Norman until she is hoarse. And when he rapes her, this is what he says: "This house is mine. And everything in this house is mine." And in her eyes you can see it: "Fuck me for trying. Fuck me for thinking I'd found a loophole, a crack in the concrete. A world safe from you."

All she ever wanted was a home. She made the mistake of hoping the world would overlook it.

Once Norman's knocked the guy out with an old black-steel iron note, she takes a second and then tells him to get the keys off the guy. Her son can't see it, but she's been handcuffed there, to the table. The table that was Keith's. Summers's legs start to jolt, as she gets herself free and she sends Norman off for bandages: He cut her, hand and panties, with a box-cutter. He brought gaffer's tape and handcuffs and a box cutter, to the house that was once his. It wasn't going to be a short night. He's not dead yet, but he really should be. Soon. Sometimes it's best to turn the rape into a murder. Honestly, sometimes that's the right call:

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Bates Motel

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