Lila Crane is looking through Norman's room in the film, she opens a book with a blank cover whose contents are unseen; in the novel, these are "pathologically pornographic" illustrations. Stefano wanted to give the audience "indications that something was quite wrong, but it could not be spelled out or overdone". In his book of conversations with Hitchcock, François Truffaut says the novel "cheats" by having extended conversations between Norman and "Mother" and stating what Mother is "doing" at various given moments. The first name of the female protagonist was changed from Mary to Marion because a real Mary Crane existed in Phoenix. Also changed is the novel's budding romance between Sam and Lila. Hitchcock preferred to focus the audience's attention on the solution to the mystery, and Stefano thought such a relationship would make Sam Loomis seem cheap. Instead of having Sam explain Norman's pathology to Lila, the film uses a psychiatrist. Stefano was in therapy dealing with his relationship with his own mother while writing the script. The novel is more violent than the film: Marion is beheaded in the shower rather than being stabbed to death. Minor changes include changing Marion's telltale earring found after her death to a scrap of paper that failed to flush down the toilet. This provided some shock effect because toilets almost were never seen in American cinema in the 1960s. The location of Arbogast's death was moved from the foyer to the stairwell. Stefano thought this would make it easier to conceal the truth about "Mother" without tipping that something was being hidden. As Janet Leigh put it, this gave Hitchcock more options for his camera. Pre-production Paramount, whose contract guaranteed another film by Hitchcock, did not want Hitchcock to make Psycho. Paramount was expecting No Bail for the Judge starring Audrey Hepburn, who became pregnant and had to bow out, leading Hitchcock to scrap the production. Their official stance was that the book was "too repulsive" and "impossible for films", and nothing but another of his star-studded mystery thrillers would suffice. They did not like "anything about it at all" and denied him his usual budget. In response Hitchcock financed the film's creation through his own Shamley Productions, shooting at Universal Studios under the Revue television unit. The original Bates Motel and Bates house set buildings, which were constructed on the same stage as Lon Chaney's The Phantom of the