A young boy stays with his aunt and uncle, and befriends his cousin who's the same age. But his cousin begins showing increasing signs of psychotic behavior.
A deranged, misogynistic killer assaults a journalist. When he discovers that she survived the attack, he follows her to the hospital to finish her off.
After a break-in at their house, a couple gets help from one of the cops that answered their call. He helps them install the security system, and begins dropping by on short notice and unofficial patrol, and spends a lot of time discussing the couple's problems with the wife. The husband begins wondering if they're getting too much help.
When secretive new neighbors move in next door, suburbanite Ray Peterson and his friends let their paranoia get the best of them as they start to suspect the newcomers of evildoings and commence an investigation. But it's hardly how Ray, who much prefers drinking beer, reading his newspaper and watching a ball game on the tube expected to spend his vacation.
A young female embezzler arrives at the Bates Motel, which has terrible secrets of its own. Although this version is in color, features a different cast, and is set in 1998, it is closer to a shot-for-shot remake than most remakes, Gus Van Sant often copying Hitchcock's camera movements and editing, and Joseph Stefano's script is mostly carried over. Bernard Herrmann's musical score is reused as well, though with a new arrangement by Danny Elfman and recorded in stereo.