| The Night of the Hunter | 专题辅导
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| 日期：2006-8-8 20:27:25 | ||||||||||||||||||||||||||||||||||||||||||||||||
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by James Agee,David Grubb & Charles Laughton
FULL SHOT -- THE STARLIT SKY
VOICE
And he opened his mouth and taught them,
saying...
FADE sky to DAY.
LAP DISSOLVE TO
LONG SHOT -- HELICOPTER -- OHIO RIVER COUNTRY
High over the country, CENTERING the winding river.
VOICE
Beware of false prophets....
LOWER LONG SHOT -- HELICOPTER -- RIVER COUNTRY
We approach a riverside village.
VOICE
... which come to you in sheep's clothing ...
A CLOSER, LOWER HELICOPTER SHOT
We descend low over a deserted house; CHILDREN in yard run and hide; we
hear "IT" counting "five, ten, fifteen, twenty..."
VOICE
... but inwardly, they are ravening wolves.
MEDIUM SHOT -- "IT"
He finishes his count with a loud "Hundred" and turns, then:
"IT"
What's wrong?
We PAN as he comes towards a little boy, beside an open cellar door, who
gestures towards the open door. "IT" looks down.
"IT"
(a low gasp)
Heyy!
(then he shouts to all
and to us)
Heyy!
We DOLLY IN fast to, and TILT DOWN into, open cellar, into:
CLOSE SHOT -- A LEG
A skeletal leg in a rotted fume of stocking and a high-heeled shoe. We
HOLD a moment, then PULL UP and AWAY over the converging heads of several
CHILDREN. A CHILD whimpers softly.
HELICOPTER SHOT
The yard and the CHILDREN, same angle and height as the last descending
helicopter shot. We PULL BACK and AWAY.
VOICE
Ye shall know them by their fruits.
DISSOLVE TO
HIGH LONG SHOT -- HELICOPTER
CENTERING the river.
VOICE
A good tree cannot bring forth evil fruit....
LOWER LONG SHOT (HELICOPTER)
CENTERING on open touring car, as it drives along a river road.
VOICE
Neither can a corrupt tree bring forth good
fruit.
We stoop low towards the car.
VOICE
Wherefore by their fruits, ye shall know them.
CUT TO
CLOSE SHOT -- PREACHER
He is the driver of the car. Pleasant river landscapes (PROCESS) flow behind
him. He is dressed in dark clothes, a paper collar, a string tie. As he
drives, he talks to himself.
PREACHER
What's it to be, Lord, another widow? Has it
been six? Twelve? ... I disremember.
He nods, smiles, and touches his hat. We see a farm couple in a poor wagon.
PREACHER
You say the word, and I'm on my way.
LAP DISSOLVE TO
CLOSE SHOT -- PREACHER DRIVING
He brakes his car in a small riverside town; then proceeds.
PREACHER
You always send me money to go forth and preach
your Word. A widow with a little wad of bills
hidden away in the sugar-bowl.
LAP DISSOLVE TO
CLOSE SHOT -- PREACHER DRIVING
He shifts into second gear, climbing a steep little hill.
PREACHER
I am tired. Sometimes I wonder if you really
understand.
(pause)
Not that you mind the killin's...
The stones of a country graveyard gleam in the last daylight.
PREACHER
Yore Book is full of killin's.
He starts fast and noisily down a steep hill.
PREACHER
But there are things you do hate, Lord:
perfume-smellin' things -- lacy things --
things with curly hair --
CUT TO
INT. A BURLESQUE HOUSE -- MEDIUM CLOSE SHOT -- A DANCER
She is hard at work to music o.s.
FULL SHOT -- AUDIENCE -- CENTERING ON PREACHER, IN AISLE SEAT
Among the members of the sad burlesque audience, he is in strong contrast:
a sour and aggressive expression. Music o.s. We MOVE IN fast to a HEAD
CLOSE-UP.
MEDIUM CLOSE SHOT -- THE DANCER
INSERT -- PREACHER'S LEFT HAND
Labeled H-A-T-E in tattoo across four knuckles, it grips and flexes.
INSERT -- HIS RIGHT HAND
Before we see the lettering he slides it into his pocket.
EXTREME CLOSE SHOT -- PREACHER
His head slants; a cold smile; one eyelid flutters.
INSERT -- RIGHT HAND AND POCKET
We hear the snapping open of a switchblade knife and the point of the knife
cuts through his clothes.
LESS EXTREME CLOSE SHOT -- PREACHER
He seems to "listen" for something.
PREACHER
No, There are too many of them; you can't kill
the world.
A hand descends firmly onto his shoulder. He glances up behind him as we
TILT TO
CLOSE SHOT -- A STATE TROOPER
He bends down and speaks quietly next PREACHER's ear.
TROOPER
You driving an Essex tourin'-car with a
Moundsville license?
LAP DISSOLVE TO
INT. COURTROOM -- CLOSE THREE-SHOT -- JUDGE AND CLERK, OVER PREACHER
JUDGE
Harry Powell, for the theft of that touring car
you will spend thirty days in the Moundsville
Penitentiary.
PREACHER
(correcting Clerk)
Preacher Harry Powell.
JUDGE
A car thief! Picked up where you were! A man
of God?
(to Clerk)
Harry Powell.
LAP DISSOLVE TO
FULL SHOT -- MOUNDSVILLE PENITENTIARY -- DAY (HELICOPTER)
A grim, stone-turretted facade; an American flag idles at top center.
LAP DISSOLVE TO
CLOSE DOWNWARD TWO-SHOT -- JOHN AND PEARL HARPER
They sit in the grass, a sentimental picture. JOHN is nine; PEARL is five.
They are working together on PEARL's doll; PEARL is dressing her, while
JOHN gets on a difficult shoe.
PEARL
Stand still, Miss Jenny!
JOHN
(across her)
There! What's so hard about that?
He proudly exhibits the shod foot.
They hear the sound of an auto engine o.s. They look o.s. and get up, PEARL
dangling the doll.
LONG SHOT -- OVER THE CHILDREN -- BEN HARPER'S FORD
A Model-T Ford approaches at maximal speed on uneven dirt road.
PEARL
(to John, happily)
Daddy!
The car careens towards us; then swings into the sideyard as we PAN, and
stops.
They run towards their father fast; then JOHN looks puzzled and they stop
short.
BEN HARPER half-falls out of the far door, his shoulder blood-stained, his
eyes wild. A hefty, simple man of thirty. He looks at them, dazed, across
the car.
MEDIUM SHOT -- BEN HARPER
BEN
Where's your Mom?
JOHN
Out shopping -- you're bleeding, Dad --
BEN
Listen to me, John.
On this he comes around clear of the car with a revolver in one hand and a
bloody roll of banknotes in the other.
CLOSE SHOT -- JOHN
He screams. BEN slaps him with the back of the money hand, leaving blood on
JOHN's cheek.
CLOSE GROUP SHOT -- JOHN, BEN, PEARL
PEARL, and the house, are in the BACKGROUND. PEARL just clutches her doll.
During BEN's next lines, JOHN touches his cheek and looks at the blood on his
fingers and at the bloody money -- of which we FLASH-CUT an INSERT.
BEN
(rushing)
Listen! This money here! We got to hide it
before they get me! There's close to ten
thousand dollars.
(his eyes dart wildly)
Under a rock in the smokehouse? Ah, no. Under
the bricks in the grape arbor? No, they'd dig
for it.
CLOSE SHOT -- BEN
BEN
(sudden triumph)
Why, sure! That's the place!
He moves forward and OUT and in his place we see two police cars, small in
distance, coming fast. We hear sirens.
INT. FRONT POLICE CAR -- THROUGH WINDSHIELD
...and over two STATE TROOPERS. They move at high speed, with sirens.
BEN and his CHILDREN, tiny in the distance, dilate.
TROOPER
(driving)
That's him.
2ND TROOPER
(over his shoulder, as if to us)
He prob'ly still has that gun.
CLOSE GROUP SHOT -- BEN AND THE CHILDREN
Police cars approaching in BACKGROUND. PEARL hugs her doll. JOHN is dazed.
BEN stands, pistol in hand.
BEN
Here they come.
JOHN
Dad, you're bleeding....
He grabs JOHN's shoulder and stoops as we TIGHTEN IN.
BEN
Listen to me, son. You got to swear. Swear
means promise. First swear you'll take care of
little Pearl. Guard her with your life, boy.
Then swear you won't never tell where that
money's hid. Not even your Mom.
JOHN
Yes, Dad.
BEN
You understand?
JOHN
Not even her?
In b.g. the TROOPERS get out of their cars and fan out cautiously to
surround BEN: guns in hand.
BEN
You got common sense. She ain't. When you grow
up that money will be yours. Now swear. "I
will guard Pearl with my life ..."
JOHN
(fumbling)
I will guard Pearl with my life ...
BEN
... "And I won't never tell about the money."
JOHN
And I won't never tell about the money.
BEN
You, Pearl. You swear too.
CLOSE SHOT -- PEARL
PEARL
(giggling)
Who's them Blue Men yonder?
HEAD CLOSE-UP -- JOHN
JOHN
(under his breath)
Blue men.
GROUP SHOT -- TROOPERS IN BACKGROUND
A TROOPER
Ben Harper!
BEN
I'm goin' now children. Goodbye.
BEN backs away from his CHILDREN, raising his hands, gun in one hand. We
PULL BACK a little, enlarging the GROUP SHOT and the role of the TROOPERS in
it.
TROOPER
Drop that gun, Harper. We don't want them kids
hurt.
TWO TROOPERS approach BEN from behind.
BEN
Just mind what you swore, son. Mind, boy!
CLOSE SHOT -- JOHN
He runs forward and clasps his stomach, with his mouth open.
MEDIUM SHOT -- BEN AND TROOPERS -- JOHN'S VIEWPOINT
One TROOPER smacks the back of BEN's head with a pistol barrel.
CLOSE SHOT -- JOHN
JOHN
(shouting; a sickly smile)
Don't!
MEDIUM SHOT -- BEN AND TROOPERS -- AS BEFORE
Another TROOPER, with a pistol barrel, knocks the pistol from BEN's lifted
hand.
CLOSE SHOT -- JOHN
JOHN
(shouting)
Don't!
BEN AND TROOPERS
BEN sinks to his knees as both men, and two others from the front, close in
on him.
HEAD CLOSE UP -- JOHN
JOHN
Dad!
He takes in the GROUP with his mouth open.
O.S., we hear the slamming of car doors, and car starting away.
FULL SHOT -- JOHN'S VIEWPOINT -- THE CARS
They drive away fast in road dust.
THREE-SHOT -- THE CHILDREN AND WILLA HARPER
Carrying a shopping bag, their mother, WILLA, runs up from BACKGROUND between
the CHILDREN, looking always to cars o.s.
CLOSE SHOT -- WILLA
She has a rich body.
RESUME THREE-SHOT
PEARL comes to her and she picks up PEARL and the doll; JOHN, laden with his
oath, walks quickly into the house. WILLA does a bewildered take, then looks
again towards the cars o.s.
LAP DISSOLVE TO
INT. COURTROOM -- CLOSE THREE-SHOT -- JUDGE AND CLERK, OVER BEN
JUDGE
Ben Harper, it is the sentence of this Court
that for the murder of Ed Smiley and Corey
South, you be hanged by the neck until you are
dead, and may God have mercy on your soul.
LAP DISSOLVE TO
FULL SHOT -- THE MOUNDSVILLE PENITENTIARY
Same view as before but now it is NIGHT.
LAP DISSOLVE TO
INT. BEN'S CELL -- NIGHT -- CLOSE DOWN-SHOT -- BEN
He lies on his back, chuckling and murmuring indistinctly in his sleep.
BEN
I got you all buffaloed! You ain't never gonna
git it outen me; not none o' you!
PREACHER'S VOICE
(o.s.., very low)
Where, Ben? Where? Where?
BEN
(distinctly)
And a little child shall lead them.
CLOSE TWO-SHOT -- NEW ANGLE -- BEN, THEN PREACHER
BEN lies in profile. From the bunk above, the face of PREACHER stretches
down into the SHOT, upside down, snake-like.
PREACHER
(softly)
Come on, boy: tell me.
BEN awakes, sees PREACHER, and hits him so hard in the face that he falls
from bunk to floor. PREACHER collects himself into a squat, nursing his
face, BEN sits up in bed.
PREACHER
(with wholesome dignity)
Ben, I'm a Man of God.
BEN
Tryin' to make me talk about it in my sleep!
PREACHER
No, Ben.
BEN
What'd I say?
(he grabs Preacher by the
throat and shakes him)
What? What? What? What?
PREACHER
(choking)
You was quotin' Scripture. You said -- you
said, "And a little child shall lead them."
BEN
Hm!
He lies back, amused. PREACHER sits on the bedside; manner of a parson
visiting the sick.
PREACHER
(gravely)
You killed two men, Ben Harper.
BEN
That's right, Preacher. I robbed that bank
because I got tired of seein' children roamin'
the woodlands without food, children roamin'
the highways in this year of Depression,
children sleepin' in old abandoned car bodies
on junk-heaps; and I promised myself I'd never
see the day when my youngins'd want.
PREACHER
With that ten thousand dollars I could build a
Tabernacle that'd make the Wheeling Island
Tabernacle look like a chicken-house!
BEN
Would you have free candy for the kids,
Preacher?
He picks up and wads a sock.
PREACHER
Think of it, Ben! With that cursed, bloodied
gold!
BEN
How come you got that stick-knife hid in your
bed-blankets, Preacher?
PREACHER
I come not with Peace, but with a Sword.
BEN
You, Preacher?
PREACHER gets and pockets the knife.
PREACHER
That Sword has served me through many an evil
time, Ben Harper.
BEN
What religion do you profess, Preacher?
PREACHER
The religion the Almighty and me worked out
betwixt us.
BEN
(contemptuously)
I'll bet.
PREACHER
Salvation is a last-minute business, boy.
BEN
(sock near mouth)
Keep talkin', Preacher.
He wads the sock into his mouth and lies back, sardonic.
PREACHER
(his voice fading into Dissolve)
You reckon the Lord wouldn't change his mind
about you if...
DISSOLVE TO
EXT. PENITENTIARY -- NIGHT
DISSOLVE TO
INSERT -- PREACHER'S HANDS
They rest on sill of cell window, the lettered fingers legible. The right
hand is lettered L-O-V-E. The hands open, disclosing his open knife. They
close over it.
CLOSE SHOT -- PREACHER, AT CELL WINDOW
His eyes lift from his hands, heavenward. Moonlight on his face. He prays,
quietly.
PREACHER
Lord, You sure knowed what You was doin' when
You brung me to this very cell at this very
time. A man with ten thousand dollars hid
somewheres, and a widder in the makin'.
DISSOLVE TO
EXT. PENITENTIARY COURTYARD -- NIGHT
Same shot as before, but now, prison lights are on: and a man, a prison
GUARD, waits close inside door. BART THE HANGMAN joins him with a silent
salute. BART wears a hard derby.
EXT. PENITENTIARY -- THE DOOR (REVERSE)
They walk in silence into MEDIUM, MOVING SHOT, the GUARD talkative, BART
reluctant to talk.
The Penitentiary recedes in b.g.
GUARD
Any trouble?
BART
No.
GUARD
He was a cool one, that Harper. Never broke.
BART
He carried on some; kicked.
EXT. BART'S HOUSE -- MEDIUM SHOT -- BART AND THE GUARD
On porch, by door, is a doll's perambulator. BART and GUARD walk into the
SHOT.
GUARD
He never told about the money.
BART
(walking up steps)
No.
GUARD
What do you figure he done with it?
BART
(turning, at door)
He took the secret with him when I dropped him.
The GUARD leaves the shot; BART goes in.
INT. BART'S HALLWAY -- CLOSE SHOT -- BART
He hangs up his coat and hat. Across this his wife speaks o.s.; a lighted
door is ajar at rear of hall. A clatter of dishes and pans o.s.
BART'S WIFE (o.s.)
That you, Bart? Supper's waitin'.
BART just nods and, tiptoeing, walks into a door next the kitchen and snaps
on a light and turns on water o.s. His wife comes out of the kitchen and
goes in.
INT. BART'S BATHROOM -- CLOSE TWO-SHOT -- BART AND WIFE
He is washing his hands in thick lather. Passing, she pecks his cheek and,
as we PAN, looks into the next room. He looks past her, and we see two small
CHILDREN asleep in a big brass bed. BART registers, turns again to the
basin, and we PAN them back into the original TWO-SHOT.
BART
(low)
Mother: sometimes I think it might be better if
I was to quit my job as guard.
His WIFE's eyes go sharp and quiet.
WIFE
(low)
You're always this way when there's a hangin'.
You never have to be there.
BART rinses his hands. A sigh; he takes up the towel.
BART
Sometimes I wish I was back at the mine.
WIFE
And leave me a widow after another blast like
the one in '24? Not on your life, old mister!
He looks at her for a moment. She goes out. He looks o.s. towards his
CHILDREN. He goes into their room on tiptoe.
MEDIUM SHOT -- BART
He approaches his children, across whose bed we SHOOT without yet seeing
them. He comes into MEDIUM CLOSE-UP. As he leans and we TILT DOWN, he
extends his large hands.
CLOSE DOWNWARD TWO-SHOT -- HIS CHILDREN
Two rose-and-gold little GIRLS lie in sleep; BART's hands enter the SHOT and
gently rearrange the covers so that their mouths and throats are free. We
watch for a moment more, the two sleeping faces.
LAP DISSOLVE TO
HEAD CLOSE-UP -- BART, HOVERING HIS CHILDREN
CHILDREN'S VOICES
(o.s., chanting)
Hing, hang, hung. See what the Hangman done!
LAP DISSOLVE TO
EXT. CRESAP'S LANDING -- DAY
We are in Peacock Alley. The tree-shaded dirt street of a small, one-street
river town; a picturesque, mid-19th century remnant of the old river
civilization, which general Progress has left behind. Chiefly we see, in
this order: A schoolhouse (on far side of street); Miz Cunningham's second-
hand shop; a Grange House sporting a poster for a Western movie; Spoon's Ice
Cream Parlor. At the end of the street, down the river-bank, is a brick
wharf and Uncle Birdie's wharf-boat. In b.g. and in passing, suggestions of
sleepy small-town life.
From the HEAD CLOSE-UP of BART the Hangman o.s. chanting, we
LAP DISSOLVE TO
HEAD CLOSE-UP -- JOHN HARPER
Chanting voices o.s. complete "see what the Hangman done!"
PULL BACK TO
CLOSE PULLING TWO-SHOT -- PEARL AND JOHN
They stroll barefoot down the empty dirt sidewalk. They look towards the
voices, PEARL friendly, JOHN hostile.
MEDIUM SHOT -- THE CHILDREN, OVER JOHN AND PEARL
Several, within the door of the Schoolhouse, stick their heads around the
edge. They chant at the HARPER CHILDREN. Another next the door, is drawing
something on the wall.
CHILDREN
(chanting)
Hung, hang, hing! See the Robber swing!
OVER these lines we CUT briefly to --
CLOSER SHOT -- THE CHILDREN
... chanting, drawing. The ARTIST completes in chalk, a large simple sketch
of a man hanging from gallows. As the verse ends we CUT TO
MEDIUM SHOT -- THE CHILDREN, OVER JOHN AND PEARL
They look towards OUR CHILDREN; JOHN pays them no attention. The drawing is
revealed. JOHN takes PEARL's hand. The other CHILDREN giggle.
CHILDREN
(chanting)
Hing, hang, hung! Now my song is done!
Between lines one and two JOHN turns away from them into --
CLOSE TWO-SHOT -- JOHN AND PEARL -- THROUGH WINDOW
We SHOOT them through the window of MIZ CUNNINGHAM's second-hand store. The
back of a watch is silhouetted large in FOREGROUND; JOHN's eyes instantly fix
on it; in b.g. the SCHOOL-CHILDREN finish their song and vanish, giggling,
into the schoolhouse. We hear the ticking of the watch.
INSERT -- THE WATCH
A watch with a moving sweep-hand, ticking.
CLOSE TWO-SHOT -- JOHN AND PEARL
PEARL
Are you goin' to buy it, John?
No answer. JOHN's eyes are fixed on the watch. OVER a shop door-bell we
hear:
MIZ CUNNINGHAM'S VOICE (o.s.)
Uh-Hawwww!
They glance toward her.
MEDIUM SHOT -- MIZ CUNNINGHAM
Fantastically dirty and fantastically dressed, she hustles to them and we PAN
her into a THREE-SHOT. She talks like a Tidewater Cockatoo.
MIZ CUNNINGHAM
(continuing)
So your Mommy's keepin' you out of school!
Poor little lambs!
PEARL watches her; JOHN the watch.
MIZ CUNNINGHAM
And how is your poor, poor mother?
JOHN
She's at Spoon's Ice Cream Parlor.
MIZ CUNNINGHAM
(she snuffles)
The Lord tends you both these days!
JOHN doesn't take his eyes off the watch.
CLOSE SHOT -- JOHN
His eyes are fixed on the watch o.s.
MIZ CUNNINGHAM'S VOICE (o.s.)
Didn't they never find out what your father
done with all that money he stole?
Eyes as before till "money," then he looks up towards her.
MEDIUM SHOT -- MIZ CUNNINGHAM
MIZ CUNNINGHAM
When they caught him, there wasn't so much as a
penny of it to be seen! Now what do you make of
that! Eh, boy?
She grins horribly.
TWO-SHOT -- OVER JOHN AND PEARL
JOHN
Pearl and me, we have to go.
He walks off fast as we DOLLY BEHIND THEM; he leads PEARL who hugs her doll.
PEARL
(chanting)
Hing, hang, hung.
JOHN
You better not sing that song.
PEARL
Why?
JOHN
'Cause you're too little.
A few paces in silence; now they come to the big window of Spoon's Ice Cream
Parlor.
PEARL
Can we get some candy?
WILLA's face is seen within; serving a customer, she sees them and waves them
away.
JOHN
No.
He keeps her strolling. WALT SPOON comes out, proffering two lollypops.
WALT
Howdy, youngins.
PEARL drags at JOHN's hand but JOHN, pretending not to see or hear, drags her
out of the SHOT, shaking his head. We DOLLY IN on WALT, who looks after
them, surprised and touched, then goes inside.
INT. SPOON'S PARLOR -- GROUP SHOT -- WALT, WILLA, ICEY SPOON
We PAN WALT across a little of his Parlor; he plants the lollypops back in a
jar on the counter and leaves the SHOT as we TIGHTEN IN on WILLA and ICEY.
WILLA slides used dishes into wash-water; ICEY jaws down her back, from first
moment of SHOT.
ICEY
Willa Harper, there is certain plain facts of
life that adds up just like two and two makes
four and one of them is this: No woman is good
enough to raise growin' youngsters alone. The
Lord meant that job for two!
WILLA
Icey, I don't want a husband.
CLOSE SHOT -- ICEY
ICEY
(fiercely)
Fiddlesticks!
LAP DISSOLVE TO
FULL SHOT -- EXT. STREET -- NIGHT
The weekly movie audience is letting out, next door to Spoon's. Some start
cars or wagons, others stroll to Spoon's.
LAP DISSOLVE TO
INT. SPOON'S PARLOR -- EVENING -- TWO SHOT -- ICEY AND WILLA
We start with a CLOSE SHOT as ICEY's hands slap together a gooey banana
split; TILT UP to TWO-SHOT, favoring ICEY; finish on WILLA, on "it's a man
you need," etc.
Murmur of customers o.s.
WALT'S VOICE
(calling o.s.)
One solid brown sody, one Lover's Delight.
ICEY
'Tain't a matter of wantin' or not wantin'!
You're no spring chicken, you're a grown woman
with two little youngins. It's a man you need
in the house, Willa Harper.
LAP DISSOLVE TO
LONG SHOT -- NIGHT -- A TRAIN
A short, lighted, toy-like train departs the town along the river-bank,
whistling. The whistle TIES OVER the previous DISSOLVE. Starlit sky.
LAP DISSOLVE TO
FRAMING SHOT -- EXT. HARPER HOUSE -- NIGHT
A square, HEAD-ON SHOT, river water below and vibrant starlight above;
featuring a gas-lamp by the road; a tree; and pretty tree-shadows which work
across a window.
INT. HARPER CHILDREN'S BEDROOM -- NIGHT -- TWO SHOT -- JOHN, PEARL, SHADOWS
PEARL lies in their bed, her doll snug on her shoulder. JOHN sits on the edge
of the bed, in his underwear.
PEARL
Tell me a story, John.
JOHN
Once upon a time there was a rich king...
He sees the shadows on the wall and gets up and looks at them.
JOHN
... and he had him a son and a daughter and
they all lived in a castle over in Africa.
Well, one day this king got taken away by bad
men and before he got took off he told his son
to kill anyone that tried to steal their gold,
and before long these bad men come back and --
PEARL
The Blue Men?
He moves and as his shadow moves away we see the shadow of PREACHER,
motionless. PEARL sits up and points at it. JOHN notices her and sees it.
We PAN JOHN to the window. He looks out.
FULL SHOT -- PREACHER -- THROUGH WINDOW -- JOHN'S VIEWPOINT
He stands motionless.
RESUME PREVIOUS SHOT -- JOHN AT WINDOW
He turns and we PAN him to bed.
JOHN
(casually)
Just a man.
He climbs into bed and pulls up the covers.
JOHN
Goodnight, Pearl, sleep tight; and don't let
the bedbugs bite.
PEARL
(to doll)
'Night, Miss Jenny; don't let the bedbugs bite.
As they settle down we hear PREACHER's singing, sweet and quiet o.s.:
"Leaning on the Everlasting Arms."
DISSOLVE TO
EXT. RIVER AND TOWN -- MORNING -- FULL SHOT -- A GINGERBREAD SIDE-WHEELER
She steams around a bend towards a toy-like small town. PREACHER's song,
o.s., TIES OVER. People are waving from shore and boat.
FULL PANNING SHOT -- THE BOAT, FROM SHORE
We PAN her into frame UNCLE BIRDIE STEPTOE's toy-like little wharf-boat. As
she passes broadside we CUT TO
MEDIUM SHOT -- BIRDIE, THEN JOHN
... as boat passes. BIRDIE's head sticks through a porthole. He is a wiry
old river character. The boat whistles. As BIRDIE speaks we PAN JOHN, and
foundered skiff, into TWO-SHOT with BIRDIE.
BIRDIE
She don't put in at Cresap's Landing no more,
but she still blows as she passes. Come on in
and have a cup of coffee.
JOHN
Ain't nobody stole Dad's skiff.
BIRDIE
Ain't nobody goin' to neither, long as Uncle
Birdie's around.
He vanishes from the porthole. We PAN JOHN from skiff to wharf and BIRDIE's
door.
BIRDIE'S VOICE
(calling o.s.)
First day my jints is limber enough, I'll haul
her up and give her a good caulkin'.
INT. BIRDIE'S BOAT -- TWO-SHOT -- JOHN AND BIRDIE
JOHN enters and sits on a box. BIRDIE, in a ramshackle rocking chair, pours
coffee. BESS's photograph on chest near BIRDIE.
BIRDIE
Ain't seen you in a coon's age, Johnny.
JOHN
I been mindin' Pearl.
BIRDIE
Pshaw, now! Ain't it a caution what women'll
load onto a feller's back when he ain't lookin'?
He gives JOHN a cup of coffee.
BIRDIE
'Scuse me, Cap, while I sweeten up my coffee.
He fetches a liquor bottle from beneath the rocking chair; about to pour, he
does a take at BESS'S PHOTOGRAPH.
INSERT -- THE PHOTOGRAPH
It stands in a cabinet frame: A fine-looking young woman in archaic dress,
with sharp, accusing black eyes.
BIRDIE'S VOICE (o.s.)
Dead and gone these twenty-five years and never
takes her eyes off me.
CUT OVER his line to --
CLOSE TWO-SHOT -- JOHN AND BIRDIE
He turns the picture away and splashes liquor into his coffee.
BIRDIE
(pouring)
Man o' my years needs a little snort to get his
boiler heated of a morning.
They drink. BIRDIE, satisfied, sighs and rocks.
BIRDIE
This mornin' I was talkin' to this stranger
up at the boardinghouse. He knowed your Dad!
CLOSE SHOT -- JOHN
JOHN looks cautious.
JOHN
Where'd he know Dad?
CLOSE SHOT - BIRDIE
BIRDIE's face falls; he takes another drink.
BIRDIE
Well, boy, I'll not hide the truth; it was up
at Moundsville Penitentiary.
CLOSE TWO-SHOT -- NEW ANGLE
JOHN puts his cup down and gets up.
JOHN
I got to go now, Uncle Birdie.
BIRDIE
Why, shucks, boy, you just got here.
JOHN
(running)
I told Mom I'd be back to Spoon's for Pearl.
EXT. STREET -- MEDIUM SHOT -- JOHN
He runs up the street close to Spoon's and stops dead.
CLOSE SHOT -- JOHN
He is horrified by what he sees.
INT. SPOON'S ICE CREAM PARLOR
GROUP SHOT through door-glass, from JOHN'S VIEWPOINT:
PREACHER, WILLA and PEARL surround a little table. WALT stands by, puffing
his pipe. ICEY, in BACKGROUND, stirs fudge at a little soda-fountain stove.
WILLA looks both moved and pleased. PEARL, shyly flirting with PREACHER, all
but hides in WILLA's skirts. PREACHER dandles PEARL's doll on his knee as he
talks. All the grown-ups are avid for his words, which we don't hear through
the glass.
CLOSE SHOT -- JOHN
We SHOOT THROUGH the DOOR; he quietly enters.
GROUP SHOT
They look casually to JOHN, and continue talking.
ICEY
(stirring, with a meaningful
glance at Willa)
God works in a mysterious way, His wonders to
perform.
OVER this JOHN ENTERS the SHOT and stands at the fringe of the GROUP, staring
at PREACHER's hands and at the doll.
PREACHER
I was with Brother Harper almost to the end...
GROUP SHOT -- NEW ANGLE -- FAVORING JOHN AND PREACHER
PREACHER
(continuing)
... and now that I'm no longer employed by the
Penitentiary, it is my joy to bring this small
comfort to his loved ones.
FLASH-CUT CLOSE-UP -- JOHN
On "Penitentiary" he glances quickly at PREACHER's face; then back to his
hands.
GROUP SHOT -- ICEY
ICEY
(sniffing)
It's a mighty good man would come out of his
way to bring a word of cheer to a grieving
widow!
CLOSE SHOT -- WALT
WALT
So you ain't with the State no more?
GROUP SHOT -- FAVORING PREACHER AND JOHN
PREACHER
No, Brother; I resigned only yesterday. The
heart-renderin' spectacle of them poor men was
too much for me.
He becomes aware of JOHN's staring.
PREACHER
Ah, little lad, you're staring at my fingers.
He hands the doll to PEARL. JOHN's eyes follow the doll. PREACHER holds up
both hands to JOHN. JOHN looks back at his hands.
PREACHER
Shall I tell you the little story of Right-Hand-
Left-Hand -- the tale of Good and Evil?
JOHN stands still. PEARL, with her doll, crosses to PREACHER and twines
about his knee.
CLOSE SHOT -- JOHN
He looks on, in dumb alarm.
CLOSE SHOT -- PREACHER
PREACHER
H-A-T-E!
(he thrusts up his left hand)
It was with this left hand that old brother
Cain struck the blow that laid his brother low!
L-O-V-E!
(he thrusts up his left hand)
See these here fingers, dear friends! These
fingers has veins that run straight to the soul
of man! The right hand, friends! The hand of
love!
GROUP SHOT -- ICEY, WALT, WILLA -- OVER PREACHER'S HANDS
They are impressed in their different ways.
PREACHER (o.s.)
Now watch and I'll show you the Story of Life.
The fingers of these hands, dear hearts! --
They're always a-tuggin' and a-warrin', one
hand agin t'other.
He locks his fingers and writhes them, cracking the joints.
PREACHER
Look at 'em, dear hearts!
MEDIUM SHOT -- JOHN -- OVER PREACHER'S HANDS
He looks on with unseeing eyes.
PREACHER (o.s.)
Old Left Hand Hate's a-fightin' and it looks
like Old Right Hand Love's a goner!
GROUP SHOT -- WALT, ICEY, WILLA -- OVER HANDS
PREACHER (o.s.)
But wait now! Hot dog! Love's a winnin'!
Yessirree!
CLOSE SHOT -- PREACHER
PREACHER
It's Love that won! Old Left Hand HATE gone
down for the count!
He crashes both hands down to the table.
FULL SHOT -- THE WHOLE GROUP
Slight applause from the ADULTS. PREACHER takes PEARL with her doll, onto
his lap.
ICEY
I never heard it better told. I wish every
soul in this community could git the benefit.
You jest got to stay for our church pick-nick
Sunday!
PEARL offers PREACHER the doll to kiss. PREACHER complies.
CLOSE SHOT -- JOHN'S REACTION
RESUME GROUP SHOT
PREACHER
(finessing it)
I must wend my way down River on the Lord's
work.
ICEY
You ain't leavin' in no hurry if we can help
it!
WILLA
John: take that look offen your face and act
nice.
PREACHER
He don't mean no impudence, do ya, boy?
(no answer)
Do you, boy? Ah, many's the time poor Brother
Ben told me about these youngins.
JOHN
What did he tell you?
CLOSE SHOT -- PREACHER
He does a little take. His eyes twinkle palely.
PREACHER
Why, he told me what fine little lambs you and
your sister both was.
GROUP SHOT
JOHN
Is that all?
CLOSE SHOT -- PREACHER
Something new enters his eyes; a game has begun between them.
PREACHER
Why, no, boy; he told me lots and lots of
things. Nice things, boy.
A tight silence. ICEY pours fudge into a buttered pan.
PREACHER
My, that fudge smells yummy!
CLOSE SHOT - ICEY
ICEY
(with horrid archness)
It's for the pick-nick. And you won't get a
smidgen of my fudge unless you stay for the
pick-nick!
Over her line, o.s., hymn-singing begins and now, over her "the case rests"
smile, we bring up the singing and
LAP DISSOLVE TO
EXT. THE RIVER-BANK - CHURCH IN B.G. - FULL SHOT - THE SINGING PICKNICKERS
A pleasant, grassy river-bank. Few men in proportion to women and children.
We CENTER PREACHER. They are singing "Brighten the Corner;" PREACHER sings
conspicuously well. The women watch him and admire him. He gives WILLA the
eye as we PAN to CENTER WILLA, who looks wooed and self-conscious. ICEY
enters the SHOT and whispers and beckons WILLA and, as the singing continues,
they leave the group and start towards a shade tree in MEDIUM GROUND, which
we PAN TO CENTER.
FULL SHOT -- WILLA AND ICEY
They walk; singers in BACKGROUND.
ICEY
Don't he have the grandest singin' voice?
WILLA nods. ICEY, looking ahead, is displeased.
MEDIUM SHOT -- THE TREE, JOHN AND PEARL
They sit on the bench, their backs to us, partly concealed by the tree trunk.
ICEY'S VOICE
(sharp)
John! Pearl!
They look around. ICEY and WILLA enter the SHOT, their backs to us.
ICEY
Run along and play, you two.
JOHN
Where?
ICEY
Down by the river. My goodness!
Docile, they leave the shot as WILLA and ICEY approach the bench.
CLOSE TWO-SHOT -- WILLA AND ICEY
They sit on the bench, their backs to us. The CHILDREN recede towards the
river in BACKGROUND. WILLA meekly keeps her head down. Singing continues
o.s.
ICEY
That feller's just achin' to settle down with
some nice woman and make a home for himself.
WILLA
It's awful soon after Ben's passing.
ICEY
If ever I saw a sign from Heaven!
WILLA
John don't like him much.
ICEY
Pearl dotes on him.
WILLA
The boy worries me. It's silly, but it's like
there was something still between him and his
Dad.
ICEY
What he needs is a good dose o' salts!
WILLA
There's something else.
ICEY
What?
WILLA
The money, Icey.
ICEY
I declare, you'll let that money haunt you to
your grave, Willa Harper!
WILLA
I would love to be satisfied Harry Powell don't
think I've got that money somewhere.
ICEY
You'll come right out and ask that Man of God!
(turning and yelling)
Mr. Paow-well!
(to Willa)
Clear that evil mud out of your soul!
PREACHER starts towards her. ICEY pivots and we PAN OVER her to CHILDREN by
the river.
ICEY
(yelling)
John! Pearl!
CLOSE SHOT -- PEARL AND JOHN
JOHN looks up from pebble-skimming and loosens his tie.
ICEY
(yelling o.s.)
Come along hee-ere and get some fuu-udge!
JOHN
(calling)
I don't want no fudge.
His brow is furrowed. He skims another pebble.
ICEY
(shouting o.s.)
You'll do what you're told!
They unwillingly get moving.
RESUME TWO-SHOT -- ICEY AND WILLA
ICEY
You go set down by the River.
WILLA
(getting up)
Oh, Icey, I'm a sight!
ICEY
Get along with you.
Both women set off, WILLA to River, ICEY towards GROUP. We TRACK after ICEY.
PREACHER approaches. ICEY, crossing him, gives him a little shove towards
WILLA and a coy --
ICEY
You!!!
CLOSE GROUP SHOT -- ICEY AND WOMEN, FAVORING ICEY
... a few men in BACKGROUND, and, beyond them, PREACHER sits down by WILLA at
water's edge. JOHN and PEARL approach. As ICEY starts yammering, the men,
WALT among them, shyly withdraw.
ICEY
That young lady'd better look sharp or some
smart sister between here and Captina's a-gonna
snap him up right from under her nose!
They nod and agree, ad lib.
ICEY
She's not the only fish in the river!
More agreement. JOHN and PEARL join ICEY. ICEY speaks to JOHN.
ICEY
Now, you two stay put!
CLOSE SHOT -- JOHN
He looks hard towards WILLA and PREACHER o.s.
ICEY
(o.s., to women)
Shilly-shallying around ...
LONG SHOT -- WILLA AND PREACHER
... from JOHN'S VIEWPOINT in tableau of decorous courtship, framed by heavy
domestic bodies.
ICEY (o.s.)
A husband's one piece of store goods ye never
know till you get it home and take the paper
off.
CLOSE TWO-SHOT -- WILLA AND PREACHER
They sit by the water; drooping willows; almost in travesty of a romantic
scene. WILLA dabbles one hand in the water.
WILLA
(very shy)
Did Ben Harper ever tell you what he done with
that money he stole?
HEAD CLOSE-UP -- PREACHER
His head goes slantwise and he smiles oddly.
PREACHER
My dear child, don't you know?
CLOSE SHOT -- JOHN
He watches intently towards his mother; PEARL holds his hand. ICEY's voice
o.s.
GROUP SHOT -- WOMEN, JOHN AND PEARL
ICEY
She's moonin' about Ben Harper. That wasn't
love, it was just flapdoodle.
(agreeing nods and murmurs)
Have some fudge, lambs.
She hands some down to JOHN and PEARL. PEARL smears her mouth with it;
JOHN, watching always towards his mother, takes one nibble and throws the
rest away.
ICEY
When you're married forty years, you know all
that don't amount to a hill o' beans! I been
married to my Walt that long, and I'd swear in
all that time I'd just lie there thinking about
my canning.
In BACKGROUND WALT looks sheepish.
WILLA'S VOICE
(calling o.s.)
John! John?
All look towards her.
LONG SHOT -- OVER GROUP
WILLA is standing, beckoning JOHN.
MEDIUM TWO-SHOT -- JOHN AND PEARL
They start towards their mother.
GROUP SHOT -- ICEY AND WOMEN -- NEW ANGLE
ICEY
A woman's a fool to marry for that. It's
something for a man. The good Lord never meant
for a decent woman to want that -- not really
want it! It's all just a fake and a pipe dream.
The others agree with her. She puts a piece of fudge in her mouth.
CLOSE GROUP SHOT -- PREACHER, WILLA, CHILDREN
... as JOHN and PEARL (with DOLL) come shyly up. WILLA is seated again. She
is radiant.
WILLA
John, Mr. Powell has got something to tell you.
PREACHER
Well, John, the night before your father died,
he told me what he did with that money.
CLOSE SHOT -- JOHN
He desperately conceals his reaction; he thinks BEN has betrayed him.
RESUME GROUP SHOT
PREACHER
That money's at the bottom of the river,
wrapped around a twelve-pound cobblestone.
CLOSE SHOT -- JOHN AND PEARL
He now conceals his new reaction.
RESUME GROUP SHOT
WILLA touches PREACHER's hand, warmly.
WILLA
Thank you, Harry.
She looks all around her, glowing, and stands up, hands to hair.
PEARL
John...
JOHN
Sshhh...
WILLA
I feel clean now! My whole body's just
a-quivering with cleanness!
She walks away towards ICEY and the WOMEN.
CLOSE SHOT -- PREACHER
PREACHER
John: here.
CLOSE SHOT -- JOHN AND PEARL
JOHN moves to stand in front of him; PEARL to stand beside PREACHER, with the
DOLL.
CLOSE SHOT -- PREACHER AND CHILDREN
From JOHN's eye-level; as JOHN steps in front of him and PEARL beside him.
PREACHER
Your tie's crooked.
HEAD CLOSE-UP -- JOHN
The hand named LOVE and the hand named HATE come in to straighten the
necktie. JOHN looks down. He looks up and sees:
GROUP SHOT -- JOHN'S VIEWPOINT
PREACHER, in close-up, hands busy o.s.; PEARL with doll; and between them, in
BACKGROUND, WILLA. She is now running fast towards ICEY, who walks towards
her with arms outstretched. Behind them the group of WOMEN. BIRDIE's guitar
music begins o.s.
DISSOLVE TO
EXT. BIRDIE'S BOAT -- EVENING -- MEDIUM SHOT -- BIRDIE, JOHN AND SKIFF
BIRDIE sits beside his open door, strumming a guitar and singing. The scene
is lamplighted from within. BEN's skiff is inverted on trestles in
FOREGROUND. At start of scene, we see only JOHN's feet; he's under the skiff
examining it. After three lines of song, he comes out from under, and
lounges against the skiff, tracing a tarry seam with his forefinger.
BIRDIE
(singing)
'Twas down at Cresap's Landing, Along the River
Shore, Birdie Steptoe was a Pilot in the good
old days of yore. Now he sets in his old
wharf-boat...
JOHN
(across him)
When'll Dad's skiff be ready?
BIRDIE
Can't hear ye, boy.
(singing)
So the big boats heave a sigh, They blow for
Uncle Birdie...
JOHN
(across him)
When'll the skiff be ready?
BIRDIE
(singing)
And the times that are gone by. I'll have her
ready inside of a week; and then we'll go
fishin'. How's your Maw?
Through rest of scene BIRDIE picks lazily at his guitar.
JOHN
O, she's all right.
BIRDIE
How's your sister Pearl?
JOHN
Just fine.
He gets up.
BIRDIE
Leavin', boy?
JOHN
Yep; gotta watch out for Pearl, Uncle Birdie.
BIRDIE
Well, goodnight, boy. Come again -- any time.
JOHN leaves the SHOT.
BIRDIE
And mind now -- I'll have your Paw's skiff in
ship-shape, 'side of a week.
MOVING SHOT -- JOHN
As he runs past SPOON's, looking in, he is curious.
MOVING SHOT -- SPOON'S, HIS VIEWPOINT
ICEY embraces WILLA or waltzes her around; WALT looks on, pleased.
FULL SHOT -- JOHN
He hurries away from us towards home.
FRAMING SHOT -- THE HARPER HOUSE
In the otherwise dark house, one window is lighted. JOHN enters the SHOT,
his back to us. Seeing the lighted window, he hesitates.
JOHN
(softly)
Is somebody there?
Silent pause, listening; then he walks cautiously towards us.
FULL SHOT -- JOHN
A tall, narrow shooting-frame; right and left thirds of screen are black. We
SHOOT from inside the screen door. JOHN crosses the porch and softly opens
the door and enters on tiptoe and pauses, close to us, in the dark hallway,
listening sharp.
JOHN
(softly)
Is somebody here?
Silence. Relieved, but puzzled, he tiptoes along towards the rear of the
hallway in CLOSE-UP as we PULL AWAY. We bring in the bottom of the stairs.
PREACHER'S VOICE (o.s.)
Good evening, John.
JOHN gasps, peering, and looks up.
TWO-SHOT -- JOHN AND THE PREACHER -- NARROW SCREEN
PREACHER looks at JOHN; JOHN sinks onto the edge of a chair. PREACHER sits
opposite. A bar of light from door falls on PREACHER's face.
PREACHER
I had a little talk with your mother tonight,
John; and your mother decided it might be best
for me to -- let you know the news.
From JOHN, just a questioning helpless reaction.
PREACHER
Your mother told me tonight she wanted me to be
a daddy to you and your sister. We're going to
get married, son.
JOHN is still.
PREACHER
Did you hear what I said, son?
JOHN
Huh?
PREACHER
Married! We have decided to go to Sistersville
tomorrow, and when we come back --
JOHN
(breathing it)
You ain't my Dad! You won't never be my dad!
PREACHER
(obsessed, disregarding him)
-- and when we come back, we'll all be friends --
and share our fortunes together, John!
JOHN
(screaming)
You think you can make me tell! But I won't! I
won't! I won't!
He gawks at his own folly, covers his moth with his hand and looks up at
PREACHER.
PREACHER
(softly)
Tell me what, boy?
JOHN
Nothin'!
PREACHER
Are we keeping secrets from each other, little
lad?
JOHN
No. No.
PREACHER stiffens, relaxes, and chuckles softly.
PREACHER
No matter, boy, we've got a long time together.
CLOSE TWO-SHOT -- JOHN AND PREACHER
JOHN starts for the stairs.
DISSOLVE TO
EXT. HARPER YARD -- MORNING -- CLOSE SHOT -- BEN'S FORD
It stands vibrating, then moves out of shot with receding engine sound o.s.,
disclosing:
TWO-SHOT -- JOHN AND PEARL
ICEY's skirts in BACKGROUND. They are awfully spic-and-span; they even wear
shoes.
ICEY (o.s.)
Wave yer hands! Great sakes!
They wave after the car, bewilderedly.
ICEY (o.s.)
You wait here while I get your night things.
She hustles out of shot.
PEARL
Now can I tell?
JOHN
Hm?
PEARL
When Mr. Powell's our Daddy, then can I tell
him about--
His hand clamps over her mouth. She struggles and whimpers.
JOHN
You swore, Pearl!
PEARL
(across him)
John! Don't!
JOHN
You promised Dad you wouldn't never tell!
He takes his hand away but holds it ready.
PEARL
I love Mr. Powell lots and lots, John.
JOHN grabs her by the shoulders and glares.
JOHN
Don't you tell! Don't you NEVER DARE tell!
Over them we
LAP DISSOLVE TO
SHOULDER CLOSE-UP -- WILLA
She is caressing her shoulders.
FULL SHOT -- WILLA
Her back is to us. She is in a pathetic night dress; she stands before a
mirror in a hotel bedroom in Sistersville. She walks to the door.
INSERT -- WILLA'S HAND
It hesitates on the doorknob.
CLOSE SHOT -- WILLA
Shooting OVER her as she opens the door, we see PREACHER in bed, his back to
us. Beyond him, a window. The drawn shade rustles quietly.
CLOSE SHOT -- THE DOOR
... from within the room. WILLA closes the door on which PREACHER's coat
hangs. The closing brings a knocking sound. WILLA feels the outside of the
coat; feels something hard; takes out the knife and looks at it.
INSERT -- THE KNIFE IN HER HAND
CLOSE SHOT -- WILLA
A moment of perplexity; then a little smile.
WILLA
(whispering)
Oh! It's... uh...
She puts it back in the pocket and gives the pocket a pat. She starts
towards the bed.
TWO-SHOT -- WILLA AND PREACHER
We SHOOT OVER PREACHER as she approaches modestly and stands by the bed.
WILLA
(softly)
Harry...
His hand comes up; she puts out her own, expecting a loving hand-clasp; but
PREACHER points to the window.
PREACHER
Fix that window shade.
Startled, then again tender, she moves to:
CLOSE SHOT -- WILLA AT WINDOW
She adjusts the shade, looking always towards the bed. She smiles
maternally. As we PULL BACK and PAN into FULL SHOT OF BED, she comes to the
bed and sits on the edge and slips off her mules. PREACHER's back is to her.
WILLA
(softly)
Harry!
PREACHER
(cool and clear)
I was praying.
WILLA
Oh, I'm sorry, Harry! I didn't know! I
thought maybe--
With a sounding of bedsprings, PREACHER turns. His voice is quiet and cold.
PREACHER
You thought, Willa, that the moment you walked
in that door, I'd start in to pawing you in the
abominable way men are supposed to do on their
wedding night. Ain't that right now?
WILLA
No, Harry! I thought--
PREACHER
I think it's time we got one thing perfectly
clear, Willa. Marriage to me represents a
blending of two spirits in the sight of Heaven.
He gets out of bed. WILLA puts her face down to the pillow and moans.
PREACHER snaps on a harsh bare bulb at center of room.
PREACHER
(quietly)
Get up Willa.
WILLA
Harry, what--
PREACHER
Get up.
She obeys.
PREACHER
Now go and look at yourself yonder in that mirror.
WILLA hesitates.
FULL SHOT -- OVER PREACHER -- CENTERING A STAINED BUREAU MIRROR
PREACHER
Do as I say.
WILLA walks to meet her image in the mirror; her eyes on PREACHER.
PREACHER
Look at yourself.
Her head drops, facing the mirror.
CLOSE SHOT -- WILLA, PREACHER, BULB
WILLA is in HEAD CLOSE-UP; bulb hangs at center; PREACHER, in his nightshirt,
is beyond it.
PREACHER
What do you see girl?
Her mouth trembles; she can't talk.
PREACHER
You see the body of a woman! The temple of
creation and motherhood. You see the flesh of
Eve that man since Adam has profaned. That body
was meant for begetting children. It was not
meant for the lust of men.
WILLA just opens her mouth.
PREACHER
Do you want more children, Willa?
WILLA
I-- no, I--
PREACHER
It's the business of our marriage to mind those
two you have now -- not to beget more.
WILLA
Yes.
He stands watching her for a moment; then he snaps off the light and gets
into bed.
PREACHER
You can get back into bed now and stop
shivering.
WILLA
(whispering)
Help me to get clean so I can be what Harry
wants me to be.
LAP DISSOLVE TO
INSERT -- A TORCH OR RAILROAD FLARE
VOICES (o.s.)
AAA-MEN!
GROUP SHOT -- CONGREGATION
A dozen country men and women in religious ecstasy.
(NOTE: No set necessary for this scene. Flare, or flares, in every SHOT.
Faces lighted by flares.)
CONGREGATION
AAA-MEN!
WILLA
(o.s., very loud)
You have all sinned!
CONGREGATION
Yes! Yes!
HEAD CLOSE-UP -- WILLA
WILLA
But which one of you can say, as I can say: I
drove a good man to murder because I kept
a-houndin' him, for clothes and per-fumes and
face paint!
GROUP SHOT -- CONGREGATION
WILLA (o.s.)
And he slew two human beings and he come to me
and he said: Take this money and buy your
per-fumes and paint!
FULL FIGURE SHOT -- WILLA, STANDING; PREACHER STANDING IN B.G.
WILLA
But Brethren, that's where the Lord stepped in!
That's where the LORD stepped in!
PREACHER
Yes!
CONGREGATION (o.s.)
Yes! Yes!
GROUP SHOT -- CONGREGATION
WILLA
(o.s., screaming)
And the Lord told that man--
CONGREGATION
Yes! Yes!
CLOSE SHOT -- WILLA
WILLA
The Lord said, take that money and throw it in
the River!
CONGREGATION (o.s.)
Yes! Yes! Hallelujah!
WILLA
Throw that money in the River! In THE RIVER!
CONGREGATION (o.s.)
IN THE RIIV-ER!
CUT TO
EXTREME CLOSE DOWN-SHOT -- PEARL'S DOLL
It lies face down on arbor bricks, its back wide open; money spilling out. A
little breeze toys with the money. HOLD, a moment in silence. Then we hear
a snipping sound o.s. TILT UPWARD into --
CLOSE SHOT -- PEARL
She sits at the end of the grape-arbor. She finishes cutting a skirted
paper-doll out of a hundred dollar bill and lays it down beside a male
hundred dollar paper-doll. She pats the dolls.
PEARL
Now! You're John -- and you're Pearl.
JOHN'S VOICE
(o.s., calling)
Pearl? ... Pearl?
PEARL starts guiltily and looks towards him, scrambling money together.
JOHN's footsteps o.s.
PEARL
You'll get awful mad, John. I done a Sin!
CLOSE SHOT -- JOHN -- PEARL'S ANGLE
JOHN
You what?
He hears the frantic rustling of paper --
JOHN
(aghast)
Pearl! You ain't--
CLOSE SHOT -- PEARL, OVER JOHN
PEARL
John, don't be mad! Don't be mad! I was just
playing with it! I didn't tell no one!
FLASH CUT CLOSE-UP -- JOHN
... as he stoops towards her, dumb with horror.
CLOSE SHOT -- PEARL
She continues to gather the money together.
PEARL
(pleading)
It's all here.
CLOSE TWO-SHOT -- JOHN AND PEARL
JOHN
Pearl! Oh, Pearl!
She's stuffing bills back into the torn doll. They slide through her
fingers. He helps.
FLASH INSERT -- PREACHER'S FOOT
... as he plants it, with sound, in damp grass.
CLOSE SHOT -- THE CHILDREN
JOHN freezes.
PREACHER'S VOICE (o.s.)
John?
JOHN
Oh -- yes?
LONG SHOT -- PREACHER -- CHILDREN'S VIEWPOINT
He stands at far end of arbor.
PREACHER
What are you doing, boy?
LONG SHOT -- CHILDREN -- PREACHER'S VIEWPOINT
JOHN
Getting Pearl to bed. I--
PREACHER
What's taking you so long about it?
FLASH INSERT -- THEIR FRANTIC HANDS, MONEY, THE DOLL
JOHN (o.s.)
It-- she--
CLOSE SHOT -- PREACHER -- PEERING TOWARDS THEM
PREACHER
What's that you're playing with, boy?
LONG SHOT -- CHILDREN -- PREACHER'S VIEWPOINT
JOHN
Pearl's junk. Mom gets mad when she plays out
here and don't clean up afterward.
PREACHER
Come on, children!
INSERT -- JOHN'S HANDS PIN THE DOLL TOGETHER
FULL SHOT -- CHILDREN
They stand up, look towards PREACHER, and slowly start towards him. The two
forgotten paper-dolls are blown towards him too.
MOVING SHOT -- PREACHER -- JOHN'S VIEWPOINT
PREACHER's watch-chain gleams. The shot SLOWLY CLOSES DOWN on it and becomes
still. We see the paper-dolls blow past him.
PREACHER'S VOICE
Now, up to bed with the both of you.
CLOSE SHOT -- JOHN AND PEARL
JOHN starts to laugh uncontrollably. We PAN them past PREACHER's stomach
into FULL SHOT.
PREACHER'S VOICE
Come here, John. Run along, Pearl.
PEARL goes, JOHN comes towards PREACHER.
PREACHER -- JOHN'S VIEWPOINT
PREACHER
Your mother says you tattled on me, boy. She
says you told her that I asked you where that
money was hid.
JOHN (o.s.)
Yes. Yes.
PREACHER
That wasn't very nice of you, John. Have a
heart, boy.
CLOSE SHOT -- JOHN
His helpless reaction. Pause.
PREACHER'S VOICE
Run along to bed.
As JOHN turns away we
LAP DISSOLVE TO
CLOSE SHOT -- WILLA IN PROFILE
...and PULL AWAY showing JOHN as he turns to her. (PEARL's head is turned
away; she's asleep.)
WILLA
Were you impudent to Mr. Powell, John?
JOHN
Mom, I didn't mean--
WILLA
What were you impudent about?
JOHN
He asked me about the money again, Mom.
WILLA
You always make up that lie, John. There is no
money, John. Can't you get that through your
head?
LAP DISSOLVE TO
CLOSE SHOT -- A GAR, UNDERWATER
CLOSE UPWARD TWO-SHOT -- JOHN AND BIRDIE
They look down into the water.
BIRDIE
Meanest, orneriest, sneakiest critter in the
whole river, boy! A gar!
CLOSE TWO-SHOT -- JOHN AND BIRDIE
They sit up into it.
JOHN
Here's your can o' hooks, Uncle Birdie.
BIRDIE
There hain't nary a hook in the land smart
enough to hook Mister Gar. What a feller needs
is mother-wit -- and a horse-hair.
Over this, he pulls horse-hair out of his hatband. He sets to work rigging
his noose.
JOHN
Won't he bust it, Uncle Birdie?
BIRDIE
Shoot, a horse-hair'll hold a lumpin' whale.
He puts over his line. Pause.
BIRDIE
You don't mind my cussin', boy?
JOHN
No.
BIRDIE
Tell you why I ask -- your step-pa bein' a
Preacher an' all...
JOHN's lips go like string. BIRDIE sees it.
BIRDIE
Never was much of a one for preachers myself.
I dunno what's wrong up at your place, but just
remember one thing, Cap -- if ever you need
help, you just holler out and come a-runnin'.
Old Uncle Birdie's your friend.
A powerful strike. BIRDIE lands the gar. The air is full of sparkling water.
BIRDIE
There! You slimy, snaggle-toothed, egg-suckin',
bait-stealin' so-and-so!
QUICK INSERT -- THE THUMPING FISH IN BOTTOM OF BOAT
FULL SHOT
He beats the fish with the heel of an old shoe.
BIRDIE
(beating)
Mind what I told you. If ever you get in a
crack just come a-runnin'.
Now there is no sound or thumping or beating.
CLOSE SHOT -- JOHN
Admiring BIRDIE, he squares his shoulders, full of confidence.
JOHN
Can we eat him, Uncle Birdie?
BIRDIE
If you got n appetite for bones and bitterness.
On this, he flings the dead gar in a wide arc out into the river.
LAP DISSOLVE TO
INT. CHILDREN'S BEDROOM -- NIGHT
The children are ready for bed.
CLOSE SHOT -- PREACHER
Smiling awaiting an answer.
CLOSE SHOT -- JOHN
JOHN
I don't know.
TWO-SHOT -- JOHN AND PREACHER
PEARL plays unconcernedly in BACKGROUND.
PREACHER
(intimately)
She thinks that money's in the river, but you
and me, we know better, don't we, boy?
JOHN
I don't know nothin'!
PREACHER
The summer is young yet, little lad.
(he turns away from John)
Pearl?
He holds out his hands to her; she comes to his lap, dropping her doll at his
feet. JOHN turns his back and looks out the window beside bureau.
PREACHER
John's a feller who likes to keep secrets.
PEARL
Mm-hm.
PREACHER
I'll tell you a secret.
PEARL
Yes?
PREACHER
I knowed your Daddy.
PEARL frowns.
PREACHER
And do you know what your Daddy said to me? He
said, "Tell my little girl Pearl there's to be
no secrets between her and you."
INSERT -- JOHN'S HAND COMES TO REST BESIDE A HAIRBRUSH
RESUME TWO-SHOT -- PREACHER AND PEARL, JOHN IN B.G.
PEARL
Yes?
PREACHER
Now it's your turn.
PEARL
What secret shall I tell?
PREACHER
How old are you?
PEARL
That's no secret. I'm five.
CLOSE SHOT -- JOHN -- PREACHER AND PEARL IN B.G.
A look of impotent hatred.
PREACHER
Sure, that's no secret.
RESUME TWO-SHOT
PREACHER
(continuing)
What's your name?
PEARL
(giggling)
You're just foolin'! My name's Pearl.
PREACHER
Tst-tst! Then I reckon I'll have to try again!
Where's the money hid?
JOHN throws the hairbrush, striking PREACHER's head.
JOHN
(screaming as he throws)
You swore you wouldn't tell!
(he beats the air with his fists)
You swore! You swore! You swore!
CLOSE SHOT -- PREACHER
He is sure know PEARL knows.
THREE-SHOT -- PEARL, PREACHER, JOHN
PEARL
(awed)
You hit Daddy with a hairbrush!
Another silence.
PREACHER
(cheerfully)
You see? We just can't have anything to do
with John.
(light off)
You and me will go down to the parlor.
PEARL
Miz Jenny! Miz Jenny!
She gets the doll. We PAN them through the door.
TWO-SHOT -- PREACHER AND PEARL
Outside door as he closes it.
PREACHER
John's just plumb bad through and through--
CLOSE SHOT -- PEARL
As PREACHER's hand locks the door.
PEARL
(at door)
Yes, John's just plumb bad.
CUT TO
INT. SPOON'S ICE CREAM PARLOR -- THREE-SHOT -- WILLA, ICEY, WALT
We shoot over ICEY as WILLA opens the door to leave. WILLA is in outdoor
clothes and is not dressed for work in the parlor.
WILLA
That boy's as stubborn and mulish as a sheep!
ICEY
It's a shame!
WILLA's face shines like one possessed.
WILLA
Goodnight.
WALT enters the shot, his back to us.
ICEY
Goodnight, honey.
As WILLA starts away, we DOLLY THROUGH DOOR and PAN her to deserted street.
There is a river mist.
TWO SHOT -- WALT AND ICEY
WALT is ill at ease.
RESUME SHOT ON WILLA
ICEY
(o.s., calling)
Plan on a longer visit next time.
WALT (o.s.)
You don't hardly get settled till your frettin'
to git home again.
Again WILLA pauses and turns.
WILLA
(with sweet radiance, to Walt)
I'm needed to keep peace and harmony between
them.
(to Icey)
It's my burden and I'm proud of it, Icey.
She walks off into the mist.
LAP DISSOLVE TO
EXT. HARPER HOME -- NIGHT -- MEDIUM SHOT -- LIGHTED PARLOR WINDOW-
REST OF HOUSE DARK
Distant muffled sound of river-boat whistle.
PEARL (o.s.)
John's bad.
WILLA enters, her back to us; she stops.
PREACHER
Yes, John's bad.
PEARL
Tell me another secret about my dad.
CLOSE SHOT -- WILLA
She smiles benignly.
PREACHER (o.s.)
O no! Your turn!
PEARL
All right.
PREACHER
Where's the money hid?
WILLA keeps smiling.
PEARL
John's bad.
PREACHER
Where's the money hid? Tell me, you little
wretch, or I'll tear your arm off!
Still smiling, shaking her head in disbelief, WILLA makes for house as PEARL
screams.
INT. HARPER HALLWAY -- TWO-SHOT -- WILLA AND PREACHER
Narrow screen, same set-up as in earlier corridor scene, PREACHER and WILLA.
Their eyes meet. Pause.
PREACHER
(stunned)
I didn't expect you home so soon.
CLOSE SHOT -- WILLA
She still smiles; her eyes turn to sound of PEARL's sobbing.
TWO SHOT -- AS BEFORE
PREACHER stands still; WILLA in BACKGROUND opens closet door where PEARL sobs.
CUT TO
TWO SHOT -- WALT AND ICEY
...washing and drying glasses. ICEY is washing briskly, WALT is drying slowly.
WALT
Icey, I'm worried about Willa.
ICEY
How do you mean?
WALT
I'm figurin' how I can say it so's you won't get
mad.
ICEY
Say what, Walt Spoon!
WALT
There's something wrong about it, Mother.
ICEY
About what?
WALT
About Mr. Powell. All of it!
ICEY
Walt!
WALT
Now, Mother, a body can't help their feelin's.
ICEY
May the Lord have mercy on you, Walt Spoon!
WALT
Mother, I only--
CUT TO
INT. WILLA'S AND THE PREACHER'S BEDROOM -- FULL SHOT -- WILLA ON BED --
PREACHER IN BACKGROUND
WILLA lies in profile on the bed along the bottom of the frame. A prim, old
woman's nightdress makes her look like a child. Her hands are clasped.
PREACHER, fully dressed, stands at the window, which is in BACKGROUND towards
foot of bed. His coat, hung over a chair, is in silhouette. River mist
outside window halated by exterior gas-lamp. The window shade is up. She is
mumbling in prayer. She stops.
PREACHER
(his back still turned)
Are you through praying?
WILLA
I'm through, Harry.
He turns. WILLA is calm and immobile with the ecstasy of a martyr.
PREACHER
You were listening outside the parlor window.
WILLA
It's not in the river, is it, Harry?
PREACHER
Answer me!
WILLA
Ben never told you he throwed it in the river.
Did he?
PREACHER hits her across the mouth. A pause.
WILLA
(continues, unruffled)
Then the children know where it is hid? John
knows? Is that it? Then it's still here,
somewhere amongst us, taintin' us?
CLOSE SHOT -- PREACHER, LISTENING FOR A VOICE
RESUME TWO-SHOT
WILLA
So you must have known it all along, Harry.
CLOSE SHOT -- PREACHER, LISTENING
After a moment, the river boat whistle blows, nearer. HOLD CLOSE-UP for a
moment after whistle.
CLOSE DOWN-SHOT -- WILLA, SAINT-LIKE
WILLA
But that ain't why you married me, Harry. I
know that much. It couldn't be that because
the Lord just wouldn't let it.
RESUME TWO-SHOT -- WILLA
WILLA
He made you marry me, so's you could show me
the Way and the Life and the Salvation of my
soul! Ain't that so, Harry?
CLOSE SHOT -- PREACHER
He has heard the voice and starts to move out of CLOSE SHOT.
RESUME TWO-SHOT
He has moved over to the coat on back of chair.
CLOSE SHOT -- COAT
His hand goes into the pocket and brings the knife out. (It is the same
coat, and pocket, as in the wedding-night scene.)
RESUME TWO SHOT
WILLA
So you might say that it was the money that
brung us together.
He pulls down the blind. He moves toward the bed.
WILLA
The rest of it don't matter, Harry.
INSERT -- PREACHER'S HAND AND KNIFE
It clicks open.
RESUME TWO-SHOT
As he raises his arm to strike:
HEAD CLOSE-UP -- WILLA
...with foolish, ecstatic eyes.
WILLA
Bless us all!
DISSOLVE TO
INT. CHILDREN'S BEDROOM -- FULL SHOT -- THE SHADOWS ON THE WALL
They are shaped as in earlier scene, but altered by mist. Set-up as in
earlier scene. Over them we hear the whinny-and-catch and the failure of the
Ford being cranked; once; then again: then JOHN's shadow moves on the wall
and on a third cranking which engages the engine, we PAN TO WINDOW, shooting
over JOHN, who peers out, into blind mist. The gears of the car shift; the
car moves away unseen; its sounds diminish slowly, and die. A moment of
silence; then JOHN turns and we PAN him to the bed. He gets in beside PEARL,
who is asleep, and, as we TIGHTEN IN CLOSE, puts his hand across the face of
the doll.
DISSOLVE TO
HEAD CLOSE-UP -- ICEY
An ominous expression. She looks sharp to WALT, beckoning secretly, through
rear screen door of kitchen, onto porch.
ICEY
(loud whisper)
Walt! Come quick!
FULL FIGURE SHOT -- WALT
He is scrubbing out an ice cream container on the back porch. He looks up
and moves towards her.
WALT
(natural voice)
What's wrong, Mother?
MEDIUM CLOSE -- ICEY, THEN WALT
ICEY
(whisper)
Sshhh! He's in there.
WALT ENTERS SHOT with pipe.
WALT
Who?
ICEY
(whisper)
Mr. Powell!
(Walt looks enquiry)
Willa has run away!
WALT
I'll be switched! ...
They enter the kitchen. We hear muffled sounds of sobbing o.s.
MEDIUM CLOSE -- TWO-SHOT
WALT
Just went?
ICEY
She took out some time during the night -- in
that old Model-T --
WALT clucks his tongue.
WALT
Is he hit pretty bad?
ICEY
All to pieces!
WALT moves towards kitchen cabinet.
WALT
There's a little peach brandy -- maybe a sip?
ICEY
A man of the Cloth?
MEDIUM CLOSE SHOT -- WALT
He pours, snaps it down; weak-defiance.
MEDIUM CLOSE SHOT -- ICEY
ICEY
Walt Spoon, that's for sickness in the house!
MEDIUM CLOSE SHOT -- WALT
He looks towards o.s. sobbing.
WALT
What can we do, Mother?
TWO-SHOT
ICEY
I thought if you went and talked to him --
another man --
MEDIUM SHOT -- PREACHER
He sits at a table, his back towards us, mumbling over his Bible.
TWO-SHOT -- WALT, ICEY BEHIND HIM, ENTERING THROUGH DOOR
WALT
Mister Powell?
PREACHER
(suddenly loud)
A strange woman is a narrow pit!
ICEY
(a reverent whisper)
Amen! Amen!
PREACHER
She lieth and wait as for a prey. And
increaseth the transgressors among men.
He closes his Bible and turns to them with weepy eyes and a brave little
smile.
PREACHER
My dear, dear friends! Whatever would I do
without you!
CLOSE SHOT -- ICEY
ICEY
(wailing)
Mister Powell!
THREE-SHOT -- NEW ANGLE
WALT
Is there anythin' -- anythin' ...?
PREACHER
It is my shame -- my crown of thorns. And I
must wear it bravely.
ICEY
What could have possessed that girl?
PREACHER
(simply)
Satan.
ICEY
Ah.
WALT sits across from PREACHER. ICEY is at PREACHER's elbow.
WALT
Didn't you have no inkling?
PREACHER
Yes; from the first night.
WALT
The first night?
PREACHER
Our honeymoon.
CLOSE SHOT -- WALT
WALT
How's that?
TWO-SHOT -- PREACHER AND ICEY
PREACHER
She turned me out of the bed.
ICEY
(with pleasure)
Nnnoooo!!
CLOSE SHOT -- WALT
Filling his pipe.
WALT
What do you figure to do?
TWO-SHOT -- PREACHER AND ICEY
PREACHER
Do? Why, stay and take care of them little
kids. Maybe it was never meant for a woman
like Willa to taint their young lives.
ICEY
(hands clasped; with approval)
Mmmmm!
CLOSE SHOT -- WALT
Dabbing at moisture in the corner of his eye.
WALT
That's mighty brave of you, Reverend.
TWO-SHOT -- PREACHER AND ICEY
PREACHER
I reckon it's been ordained this way, Brother
Spoon.
CLOSE SHOT -- WALT
WALT
Didn't-- didn't she leave no word?
TWO-SHOT -- PREACHER AND ICEY
PREACHER
A scrawl. On a piece of notepaper on the
bureau.
ICEY smiles sideways.
PREACHER
I burned it.
PREACHER holds out his hand, stares in disgust, and wipes his palm
dramatically on his coat sleeve.
PREACHER
I tore it up and burned it -- it stank so
strong of hellfire.
ICEY
Amen.
PREACHER
The pitcher has went to the well once too often,
my friends.
CLOSE SHOT -- WALT
WALT
She'll come draggin' her tail back home.
CLOSE SHOT -- PREACHER
PREACHER
She'll not be back. I reckon I'd be safe in
promising you that.
CLOSE SHOT -- WALT
WALT
Maybe she's just run off on a spree.
PREACHER'S VOICE (o.s.)
No!
WALT
Well, there's no harm in hopin'.
TWO-SHOT -- PREACHER AND ICEY
PREACHER
Ain't no sense in it, neither. I figured
somethin' like this was brewin' when she went
to bed last night.
ICEY
(all woman)
How?
PREACHER
She tarried around the kitchen after I'd gone
up, and when I went downstairs to see what was
wrong...
ICEY
(eagerly)
What?
PREACHER
She'd found this fruit jar of dandelion wine...
(Icey touches him)
... that the husband -- Harper -- had hid
somewheres in the cellar.
(playing his ace)
She was drinking.
CLOSE SHOT -- ICEY
ICEY is happy to let her mouth fall open and let out a gasp.
CLOSE SHOT -- WALT
Sniffling.
THREE-SHOT -- PREACHER, ICEY, WALT
PREACHER
I tried to save her.
ICEY
I know you did, Reverend. Oh, I know how you
tried!
PREACHER
The devil wins sometimes!
CLOSE SHOT -- PREACHER
PREACHER
(eyes upturned)
Can't nobody say I didn't do my best to save
her!
DISSOLVE TO
CLOSE UNDERWATER SHOT (Tank)
We PAN, with slowly streaming weeds, and bring in WILLA in close profile; the
current, coming from behind her, drifts her long hair across her throat.
MEDIUM SHOT -- WILLA AND CAR
She is in profile as before--
CLOSE SHOT -- A BAITED HOOK
It descends and catches on the windshield, and the line tautens; then tugs.
We start to follow the line up.
CLOSE SHOT -- ABOVE WATER -- THE LINE
We continue to follow the line up, and bring in, close, the stern of BEN
HARPER's skiff.
MEDIUM SHOT -- UNCLE BIRDIE
He sits back, tugging unconcernedly at the line. Then he leans over to see
what's wrong.
CLOSE SHOT -- BIRDIE
... as he peers over side.
DOWNSHOT -- FULL SHOT OF CAR AND WILLA; BIRDIE'S VIEWPOINT
CLOSE SHOT -- BIRDIE, HORROR-STRICKEN
MOVING UNDERWATER SHOT -- WILLA
We hear PREACHER's voice o.s., singing:
PREACHER (o.s.)
Leaning! Leaning! Safe and secure from all
alarms!
Meanwhile, we move vertically DOWNWARDS TOWARDS HER FACE, serene in death.
We may or may not glimpse the gashed throat, through drifting hair.
LAP DISSOLVE TO
EXT. HARPER HOME -- FULL SHOT -- THE HOUSE AND TREE
PREACHER leans against the tree; he continues singing:
PREACHER
Leaning! Leaning! Leaning on the everlasting
arms!
(seductively)
Children!
CLOSER MOVING SHOT -- PREACHER
We start moving before he does. LOW CAMERA; full figure. We TILT to frame
him from the waist downward and follow close behind him. As he leaves the
tree and walks along the side of the house; we TILT DOWNWARD and CLOSE IN, to
follow only his feet; he steps past a tiny cellar window and we PAN and
TIGHTEN IN CLOSE ON IT, into--
CLOSE TWO-SHOT -- JOHN AND PEARL
Their noses are flat against the glass; their cheeks touch; their window
isn't quite big enough to hold both their heads. It is on the ground; we
don't see their chins. They look towards the departed PREACHER.
PREACHER'S VOICE (o.s.)
Chill-dren?
PEARL, who is on the side PREACHER has left by, turns her head towards JOHN.
INT. CELLAR -- MEDIUM CLOSE TWO-SHOT -- JOHN AND PEARL
They are standing on a coal heap, faces at the window.
PEARL
John, why do we have to hide?
JOHN has taken charge. He speaks very quietly, but calmly and cheerfully, as
to an invalid. He starts down the rustling coal-heap, helping PEARL down.
JOHN
Careful.
The following dialogue as they climb down, making as little noise as
possible. We PULL slowly away.
PEARL
Where's Mom?
JOHN
She's gone to Moundsville.
PEARL
To see Dad?
JOHN
Yes, I reckon that's it.
They have achieved the cellar floor.
PREACHER'S VOICE
(more peremptorily outside)
Children!
During the following dialogue we hear, o.s., the opening of a door, and
PREACHER's footsteps indoors as he crosses floor, climbs stairs, and opens
another door.
JOHN
Someone is after us, Pearl.
PEARL
I want to go upstairs. It's cold and spidery
down here. I'm hungry.
JOHN
Now, listen to me, Pearl. You and me is
runnin' off tonight.
PEARL
Why?
JOHN
If we stay here, somethin' awful will happen to
us.
PEARL
Won't Daddy Powell take care of us?
JOHN
No, that's just it. No.
FULL SHOT -- A ROOM UPSTAIRS
PREACHER looks under a bed.
RESUME CELLAR -- TWO-SHOT -- THE CHILDREN
PEARL
Where are we goin', John?
JOHN
Somewheres. I don't know yet.
O.s., PREACHER's footsteps come down stairs; JOHN leads PEARL carefully past
a rake, a hoe, and a shelf-prop and they crouch down into --
CLOSE TWO-SHOT -- JOHN AND PEARL
... beside an apple barrel. PREACHER's footsteps cross kitchen, o.s.
PEARL
I'm hungry, John.
JOHN
We'll steal somethin' to eat.
PEARL
It'll spoil our supper.
PREACHER'S VOICE (o.s.)
Pearl?
Both look sharp towards cellar door o.s.
THE CELLAR DOOR -- THE CHILDREN'S VIEWPOINT
The door opens; PREACHER'S head, carrying a candle in holder, a white-washed
wall and stairs are lighted.
PREACHER'S VOICE
I hear you whisperin', children, so I know
you're down there. I can feel myself gettin'
awful mad, children.
CLOSE TWO-SHOT -- THE CHILDREN
PEARL
(whispering)
John...
JOHN claps his hand over her mouth.
CELLAR DOOR
PREACHER'S VOICE
My patience has run out, children. I'm comin'
to find you now.
He clop-clops nearly to the bottom of the stairs. ICEY's voice cuts
cheerfully across his descent.
ICEY
(calling o.s.)
Yoo-Hooooo! Mis-ter Paow-welll!
He goes up the stairs and vanishes. Light on wall through open door to
kitchen.
ICEY'S VOICE
Just a little hot supper I fixed for you and
the children.
PREACHER'S VOICE
Bless you, bless you!
ICEY'S VOICE
And how are the children?
PREACHER'S VOICE
They're down there playin' games in the cellar
and they won't mind me when I call 'em. I'm at
my wit's end, Miz Spoon.
ICEY clucks her tongue o.s.
ICEY'S VOICE
(yelling)
John: Pearl:
She appears at head of stairs. Her voice crackles with authority.
ICEY
John! Pearl! Shake a leg!
She claps her hands smartly.
FULL SHOT -- THE KITCHEN -- OVER ICEY
ICEY
(continuing)
I won't have you worrying poor Mister Powell
another minute.
A short pause; then the children, covered with coal-dust, emerge into the
light and climb the stairs. JOHN's head is hung in defeat. As they enter
the kitchen, we PULL BACK.
ICEY
Just look at you! Dust and filth from top to
toe!
GROUP SHOT -- THE CHILDREN, OVER PREACHER AND ICEY
ICEY
Want me to take 'em up and wash 'em good?
PREACHER
Thank you, no. Thank you, dear Icey. I'll tend
to them. Thank you.
ICEY pats JOHN's head.
CLOSE SHOT -- JOHN
ICEY'S VOICE
Don't be too hard on 'em, Reverend. Poor
motherless children.
JOHN looks to PEARL and we PAN HER IN as PREACHER's hand named LOVE moves
through her locks. We PAN with PREACHER and ICEY as they move towards the
door.
ICEY
Remember now, Mister Powell, don't be afraid to
call on us. Good night.
CLOSE SHOT -- JOHN
He watches ICEY leave, o.s.
PREACHER (o.s.)
Good night, Miz Spoon, and thank you again.
FULL SHOT -- PREACHER AND ICEY
ICEY goes away along path outside. PREACHER, his back to us, watches her a
moment, then turns.
PREACHER
Weren't you afraid, my little lambs, down there
in all that dark?
HEAD CLOSE-UP -- JOHN
Wondering what to do next.
LAP DISSOLVE TO
CLOSE SHOT -- BIRDIE, OVER BESS'S PICTURE
We begin with HEAD CLOSE-UP of BIRDIE as he rocks, and PULL BACK. He is
rocking; and drunk. A bottle stands beside the picture. He turns and speaks
to the picture.
BIRDIE
They'll think it was me! They'll think it was
old Uncle Birdie.
CLOSE SHOT -- BIRDIE -- NEW ANGLE
His hands grip the edge of the chest on either side of the picture, which we
now see.
BIRDIE
If you'd o' seen it, Bess! I'm drunk as a lord
and I know it, but...
INSERT -- BESS'S PICTURE
BIRDIE'S VOICE
(o.s., continuing)
Sweet Heaven, if you'd o' seen it!
RESUME PREVIOUS SHOT
BIRDIE picks up the bottle. His hand and the liquor tremble.
BIRDIE
(continuing)
Down there in the deep place... her hair wavin'
lazy and soft like meadow grass under flood
waters, and that slit in her throat, just
like she had an extry mouth.
INSERT -- BESS'S PICTURE
BIRDIE'S VOICE (o.s.)
And there ain't a mortal human I can tell but
you...
RESUME PREVIOUS SHOT
BIRDIE
(continuing)
... Bess, for if I go to the Law, they'll hang
it on to me.
The bottle falls from his hand onto its side on the edge of the chest.
CLOSE SHOT -- BIRDIE -- NEW ANGLE
The reverse angle of the opening shot. BIRDIE rocks heavily; liquor gurgles
from bottle to floor.
BIRDIE
Sweet heavens, save poor old Uncle Birdie.
LAP DISSOLVE TO
MEDIUM THREE-SHOT -- PREACHER, JOHN, PEARL
PREACHER sits at head of table. JOHN stands to PREACHER's right, around
corner of table. He remains expressionless and immobile until he speaks.
PEARL stands to JOHN's right, hugging the DOLL. The table is loaded with
good food. PREACHER, well-fed and at leisure, dabs his mouth delicately with
his napkin, folds it, puts it in a ring, and folds his hands. He waits.
PEARL
(at last)
I'm hungry.
PREACHER
Why, sure. And there's fried chicken and
candied sweets and cornsticks and apple
cobbler!
PEARL
Can I have my supper, please?
PREACHER
Naturally.
PEARL
Can I have milk too?
PREACHER
Yes. But, first of all, we'll have a little
talk.
PEARL frowns and puts her finger in her mouth; she remembers he twisted her
arm.
PREACHER
(softly)
About our secrets.
PEARL
No.
PREACHER
Why, pray tell?
PEARL
Because John said I mustn't.
THREE SHOT REVERSE -- PREACHER, OVER NECKS OF CHILDREN
He slaps the table; his eyes crackle.
PREACHER
NEVER--MIND--WHAT--JOHN--SAID!
PEARL starts to snivel.
PREACHER
John is a meddler. Stop sniveling. Looky here
a minute!
He brings out the knife.
PREACHER
Know what this is?
PEARL shakes her head for no.
PREACHER
Want to see something cute? Looky now!
He touches the spring; the blade flicks open.
PREACHER
How about that! This is what I use on
meddlers.
He lays the open knife on the table.
PREACHER
John might be a meddler.
THREE SHOT -- THE CHILDREN, OVER PREACHER
PEARL thinks the knife is a toy and crosses behind JOHN to pick it up.
PREACHER
NO -- no, my lamb. Don't touch it! Now, don't
touch my knife! That makes me mad. Very, very
mad.
She hugs the DOLL and he puts the hand named LOVE on her curls.
PREACHER
Just tell me now; where's the money hid?
PEARL
(affectionately)
But I swore. I promised John I wouldn't tell.
CLOSE SHOT -- PREACHER
PREACHER
JOHN--DOESN'T--MATTER! Can't I get that
through your head, you poor silly, disgusting
little wretch!
HEAD CLOSE-UP -- PEARL
Her mouth quivers; a large tear brims in her eyes.
CLOSE SHOT -- PREACHER
PREACHER
There now! You made me lose my temper!
THREE SHOT -- CHILDREN, OVER PREACHER
PREACHER
I'm sorry! I'm real sorry!
PEARL sniffles and wipes here eyes with her free fist.
PREACHER
Now! Where's it hid, honey?
JOHN
(suddenly and lightly)
I'll tell.
THREE SHOT -- PREACHER, OVER NAPES OF CHILDREN
PREACHER
(lightly)
I thought I told you to keep your mouth shut--
JOHN
(light and quick)
NO -- it ain't fair to make Pearl tell when she
swore she wouldn't. I'll tell.
PREACHER's eyes crinkle and he turns to PEARL, smiling brightly.
PREACHER
(chuckling)
Well, I declare! Sometimes I think poor John
will make it to Heaven yet!
His eyes snap back to JOHN and his voice is like a whip.
PREACHER
All right, boy: where's the money?
HEAD CLOSE-UP -- JOHN
JOHN
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