The penultimate shot from Psycho (see Figure 6.4) contains a good example of a tracking shot, combined with unusual framing. Norman Bates has been caught and is being held in a cell. We see a long shot of Norman, but the framing produces an awkward composition in which he is placed to the left of the shot and his lower legs are out of the frame. It is an uncomfortable shot visually. The long shot emphasizes Norman's isolation in a bare, white room. The camera gradually tracks in to a close-up of Norman's face in the centre of the screen, at which point he slowly looks up from under his eyebrows with an evil grin. At the beginning of the shot we feel safely distanced from Norman, but by the end of the tracking shot we are close to him and feel threatened.