"No one's going to help us, Norman. No one's going to help us."
Not only does it intimate Norman's isolation, but Norma's defiance and makes her domineering aspects more overt. The absence of a father figure compounds Norman's isolation, even for the simple reason that most addictive murderers often have absent fathers, which is directly taken from Ed Gein's own life.
Bizarrely, while disposing of Norma's rapist's body, they talk of the most banal thing: the plans to build a bypass that threatens their unopened business. If this scene is the banality of evil dramatised, then it makes it writ large with uncanny accuracy. The idea of killing someone and then talking about the possibility of losing business due to a new road really is downright sinister and almost a sign of detachment that would even make Bertoldt Brecht blanche in terror.
Thus the programme is a powerful portrait of evil in the making, which captures the very ordinary nature of evil itself. It is the characters ordinariness that is the most chilling, from the former Motel owner to Norman Bates himself that is the most terrifying of all. You only have to look at Ariel Castro to realise it could be your neighbour or Dennis Rader to realise it could be your husband or boss at work. If Chris Morris wrote a conventional sit com, I could easily imagine the characters being exactly like these. I can even think of the title: "At Home with The Geins".
Are you afraid yet?