as if she is about to be stopped at any minute. The picture stops when she stops in the motel, and this is the first lengthy sequence without movement as she talks to Norman and rethinks her position, finally deciding to go back and return the money. This decision marks a turning point in the film, a very unusual turning point in that the main character is killed just as she has repented.
Hitchcock's editing skills are masterfully shown in the famous shower sequence as dozens of shots in some 30 seconds make the viewer think he or she is seeing a woman sliced to death by a knife, when in fact the knife never touches the woman at all. Juxtaposition of images is used in the classic method of Eisenstein and Pudovkin--a raised knife followed by a pained reaction by the victim implies that the knife has found its mark without showing it. The slicing music by Bernard Herrmann adds to the effect as the many shots are paced rapidly
...