BARGER'S ROBERT MITCHUM BOUTIQUE
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
In the cellar; buried under a stone in the
floor.
THREE SHOT -- PREACHER, OVER CHILDREN
He closes and pockets the knife. His eyes never leave JOHN's.
PREACHER
It'll go hard, boy, if I find you're lyin'.
THREE SHOT -- CHILDREN, OVER PREACHER
PEARL gapes up at JOHN as he speaks.
JOHN
I ain't lyin'. Go look for yourself.
CLOSE SHOT -- PREACHER
... as he gets up, cellar door in BACKGROUND.
PREACHER
All right...
He turns towards the door; then glances around.
PREACHER
Come along.
HEAD CLOSE-UP -- JOHN
JOHN
What?
THREE SHOT -- PREACHER, OVER CHILDREN
PREACHER
Go ahead of me -- the both of you.
They cross him towards the door.
FULL SHOT -- THE CELLAR STEPS -- FROM THE BOTTOM
The CHILDREN precede PREACHER, who carries a candle in holder. PEARL is
gaping at JOHN's lie. JOHN is looking left and right, casing the joint.
PREACHER
(continuing)
You don't reckon I'd leave you?
JOHN
(with forced lightness)
Don't you believe me?
PREACHER
(sardonically)
Why sure, boy, sure.
Now they are at the bottom of the stairs. JOHN sees PEARL's expression and
takes her hand.
PREACHER
Now, where, boy? Mind; no tricks. I can't
abide liars.
JOHN
Yonder.
He squeezes PEARL's hand harder, and points.
FULL SHOT -- NEW ANGLE -- OVER THE THREE
JOHN points out a place beneath a shelf laden with Mason jars; it is at the
most distant part of the cellar from the stairs. PREACHER starts toward it,
leaving them at foot of stairs, then turns, catching JOHN's ruse.
PREACHER
(sardonic)
O no you don't!
He shepherds them ahead of him.
THREE SHOT -- NEW ANGLE
They arrive beneath the shelf.
PREACHER
Now: where?
JOHN
(lying magnificently; meeting
Preacher's eyes)
Under the stone in the floor.
PREACHER sets the candle on a barrel near the shelf-prop and sinks to his
knees below shot as PEARL gapes up at JOHN and JOHN looks stony. She seems
about to speak.
FLASH INSERT -- JOHN SQUEEZES PEARL'S HAND HARD
CLOSE SHOT -- PREACHER, FEATURING FLOOR
His hands sweep dust and expose concrete. He straightens on his knees and
turns to the CHILDREN in close BACKGROUND.
HEAD CLOSE-UP -- PREACHER
... as he turns.
PREACHER
This is concrete.
CLOSE TWO-SHOT -- THE CHILDREN
A moment's silence.
PEARL
John made a Sin. John told a lie.
THREE-SHOT -- FAVORING PREACHER
PREACHER gets slowly to his feet and puts on his "listening" look. His
sincerity is beyond doubt.
PREACHER
The Lord's a-talkin' to me now. He's a-sayin',
"a liar is an abomination before mine eyes."
He takes his knife out, and springs it open.
CLOSE TWO-SHOT -- FAVORING JOHN
PREACHER
Speak, boy: where's it hid?
The knife pricks the flesh under JOHN's ear.
PREACHER
Speak, before I cut your throat and leave you
to drip like a hog hung up in butcherin' time.
CLOSE SHOT -- PEARL
She starts to sob.
CLOSE TWO-SHOT -- JOHN AND PREACHER
JOHN
Pearl, shut up! Pearl, you swore!
PREACHER
You could save him, little bird.
HEAD CLOSE-UP -- PEARL
PEARL
(crying)
Inside my doll! Inside my doll!
TWO-SHOT -- JOHN AND PREACHER, FAVORING PREACHER
PREACHER is astounded. His hands fall away from JOHN. He leans back against
the wall and talks through laughter.
PREACHER
In the doll! Why, sure! Sure!
HEAD CLOSE-UP -- JOHN
His eyes are all over the place.
PREACHER'S VOICE (o.s.)
The last place anyone would look!
THREE-SHOT -- PREACHER, JOHN, PEARL
PREACHER makes a lunge across JOHN for the doll; JOHN, ducking under his arm,
pulls PEARL forward with his left hand; he turns backwards and with his free
hand, in one movement, knocks over the candle and pulls out the support on
the shelf.
CLOSE SHOT -- PREACHER
Jars shower over him; one crowns him and breaks, shedding guck, which he
wipes from his eyes.
TWO SHOT -- THE CHILDREN
They start up the stairs.
FULL SHOT -- PREACHER
He makes one step forward, steps on a rolling jar and falls.
TWO SHOT -- THE CHILDREN
They are near the top of the stairs. We hear PREACHER below them. JOHN
slips and they nearly fall backward. As JOHN recovers, PREACHER enters the
shot, his back to us. The children get through the open door as PREACHER
reaches the top. JOHN slams the door, catching PREACHER's hand. PREACHER
screams. JOHN's astonished eyes peer through the crack in the door; the door
loosens; PREACHER yanks his hand loose and sucks it, groaning; the door
slams to; the bolt is shot home.
HEAD CLOSE-UP -- PREACHER
... over sound of slamming bolt. He snarls like the Big Bad Wolf.
All the above happens at once.
INT. KITCHEN -- CLOSE TWO-SHOT -- JOHN AND PEARL, BY DOOR
PEARL, dangling her doll, cries. JOHN, panting, leans against wall by door.
JOHN is wondering what to do now. Pause.
PREACHER'S VOICE
(o.s., sweetly)
Chill-dren? The only reason I wanted that
money is so's you could have it.
JOHN
(to himself, panting)
The river. That's the only where! Uncle Birdie
Steptoe!
PREACHER'S VOICE
(cooing)
Puhr-urrl? Want your Mommy back?
Pearl hugs her doll.
PREACHER'S VOICE
Want me to get her right now?
PEARL
(sharply)
John?
JOHN
Hush, Pearl. Come on.
They fly out of the house.
PREACHER'S VOICE
(bellowing, as they go)
OPEN THAT DOOR, YOU SPAWN OF THE DEVIL'S OWN
STRUMPET!
FRAMING SHOT -- EXT. HARPER HOUSE
A pretty, pastoral shot of the house in light mist, as they run across and
leave the shot. Before they disappear, we hear PREACHER's fists hammering
against the door. We stay on the house at leisure; we hear him lunging,
shoulder to door; we begin to hear squeaking of hinges and splintering of
wood.
FULL CIRCLE SHOT -- FRAMING BIRDIE'S WHARF-BOAT
An ultra-romantic image of shelter and peace. Frogs or river noises o.s.,
then the rattle of running footsteps. The CHILDREN enter, their backs to us,
sprinting towards the boat. Light mist as in previous shot.
JOHN
(calling)
Uncle Birdie! Uncle Birdie!
INT. BIRDIE'S BOAT -- GROUP SHOT -- BIRDIE AND CHILDREN
We shoot over BESS's turned photograph and over BIRDIE close, passed out in
his rocker.The CHILDREN run through open door in BACKGROUND and JOHN runs up
to BIRDIE.
JOHN
Uncle Birdie!
CLOSE SHOT -- BIRDIE
BIRDIE
(gesturing feebly)
Don't!
CLOSE TWO-SHOT -- NEW ANGLE -- BIRDIE, OVER JOHN
JOHN
Hide us, Uncle Birdie! He's a-comin' with his
knife!
He grabs BIRDIE's shoulder; BIRDIE half-rises, and falls face down on floor.
CLOSE TWO-SHOT -- BIRDIE ON FLOOR, OVER JOHN
JOHN
It's me! John Harper and Pearl! You said to
come a-runnin' if we needed you!
BIRDIE rears on one elbow and looks up at him.
BIRDIE
(in friendly recognition)
Johnny!
He falls face down again.
CLOSE TWO-SHOT -- NEW ANGLE -- FAVORING JOHN
JOHN grabs BIRDIE by one ear, turning his face up.
JOHN
Uncle -- Birdie! Oh -- please! Please, wake
up!
CLOSE TWO-SHOT -- FAVORING BIRDIE
He looks up earnestly at JOHN.
BIRDIE
I never done it, boy. Sweet Heaven, I never
done such a terrible thing! I'll swear on the
Book to it, boy! I never done it! I never!
CLOSE SHOT -- JOHN
He is lost; and he becomes a man.
BIRDIE'S VOICE (o.s.)
Lord save poor old Uncle Birdie Steptoe that
never hurt a fly!
He snores softly.
JOHN
(quiet)
There's still the river. The skiff is down by
the willows.
He masterfully takes PEARL by the hand and leads her into the night.
LONG SHOT -- THE CHILDREN
We shoot from the river. They struggle through the sumac and pokeberry weeds
at edge of river, towards skiff, whose prow, tethered to willow, we see
throughout this unmoving shot, at our extreme right. When they come opposite
skiff -- which is a few yards out from shore --
WE CUT TO
TWO-SHOT -- THE CHILDREN
PEARL, frankly bored, dangling her doll, is yawning. JOHN, as he finishes
undoing the rope from a willow root, looks up and around, checking on
pursuit. His eyes fix.
FULL SHOT -- PREACHER'S SHADOW
On the bank above, it is huge in the mist. Same camera position as foregoing;
new angle.
TWO-SHOT -- THE CHILDREN
BACK view: skiff in BACKGROUND. Same camera position; new angle.
JOHN
(whispering)
Please be quiet-- Oh, please, Pearl!
PEARL
(natural voice)
John, where are we g--
JOHN
Hush.
FULL SHOT -- SHADOW, THEN PREACHER
Same position and angle as before. PREACHER's own figure advances to
supplant his shadow. He peers downward, his open knife catching the light.
PREACHER
(businesslike)
Children?
He starts slashing his way through the brush-filth.
FULL SHOT -- THE CHILDREN
Same camera position as before. They are floundering through mud, half-way
to the skiff.
FULL SHOT -- PREACHER
Same position and angle as in previous shot of him. He is half-way down the
bank. With his knife, he hacks at an entangling vine.
FULL SHOT -- THE CHILDREN
Position and angle as before. They reach the skiff. Hacking sounds, o.s.
JOHN
Get in the skiff, Pearl, goodness, goodness,
hurry!
PEARL
(hesitant)
That's Daddy!
He picks her up and throws her into the skiff.
CLOSE SHOT -- PEARL AND DOLL
... as they land, sprawling, in bottom of skiff among fish-heads and bait
cans. JOHN gets in after them.
FULL SHOT -- PREACHER -- CHILDREN'S VIEWPOINT
He tears free of brush to edge of river, knife glittering.
CLOSE SHOT -- JOHN
With his oar, he tries to push the boat free of mud.
FULL SHOT -- PREACHER -- CHILDREN'S VIEWPOINT
He wades toward them, knee-deep in mud.
CLOSE SHOT -- JOHN
He is shoving at the oar even more desperately.
INSERT -- JOHN'S HANDS
Straining.
FULL SHOT -- PREACHER -- CHILDREN'S VIEWPOINT
He flounders deeper and more heavily through the mud; much closer.
CLOSE SHOT -- JOHN
He pushes the boat free of mud.
CLOSE SHOT -- PREACHER -- CHILDREN'S VIEWPOINT
He hurries much closer through shallow water. Prow of boat in FOREGROUND.
PREACHER
Wait, you little whelps! Wait!
Another step forward and he does a pratt-fall and makes a splash.
CLOSE SHOT -- JOHN -- PEARL IN BACKGROUND
He is trying to feather the boat out to where the current will catch it. In
panic and haste he is clumsy.
JOHN
Why can't I do it when I know how to do it!
FULL SHOT -- PREACHER
... as he gets up at edge of mud.
PREACHER
Wait! Wait! I'll slit your guts!
FULL DOWN SHOT -- THE SKIFF, THEN PREACHER
The current catches it and spins it round like a leaf. JOHN's efforts with
the oars are useless. PREACHER enters, wading fast. His hands are within an
inch of reaching the helpless skiff; capriciously the current takes it
downstream.
TWO-SHOT -- JOHN AND PEARL
The skiff is taken steadily by the current. PEARL sits up, doll in arms.
JOHN is almost asleep with exhaustion.
FULL SHOT -- THE SKIFF, OVER PREACHER
It is well away from him and getting smaller. Waist-deep, he wades a couple
of steps after it, then just looks.
HEAD CLOSE-UP -- PREACHER
He begins a steady, rhythmical, animal scream of outrage and loss.
LONG SHOT -- THE RIVER AND LANDSCAPE
Featuring starlight; and the drifting boat -- PEARL in stern.
TWO-SHOT -- THE CHILDREN -- FRONT ON
JOHN is asleep. PEARL sits sleepily whispering to her doll.
PEARL
Once upon a time there was a pretty fly, and he
had a wife, this pretty fly...
MEDIUM LONG SHOT -- THE DRIFTING BOAT, THROUGH FIREFLIES
PEARL'S VOICE (o.s.)
...and one day she flew away, and then one
night his two pretty fly children...
SPECIAL SHOT -- THE MOVING SKIFF, THROUGH DEW-JEWELED SPIDER-WEB
PEARL'S VOICE (o.s.)
...flew away too, into the sky, into the
moon...
SPECIAL SHOT -- A FROG, AND SKIFF
A big frog is profiled; the skiff drifts by in distance; the frog twangs out
a bass note.
DISSOLVE TO
INSERT -- A PICTURE POSTCARD -- A COUNTY COURTHOUSE
As the card is turned to the handwritten side we
CUT TO
CLOSE TWO-SHOT -- WALT AND ICEY
WALT
(reading aloud)
Dear Walt and Icey: I bet you been worried and
gave us up for lost. Took the kids down here
with me for a visit to my sister Elsie's farm.
Thot a little change of scenery would do us all
a world of good after so much trubble and
heartache. At least the kids will git plenty
of good home cooking. Your devoted Harry Powell
ICEY
Now ain't you relieved, Walt?
WALT
Sure, but you was worried too, Mother; takin'
off with never a word of goodbye. I even got to
figurin' those gypsies busted in and done off
with all three of 'em.
ICEY
You and your gypsies! They been gone a week!
WALT
Not before one of 'em knifed a farmer and stole
his horse. Never caught the gypsies nor the
horse.
LAP DISSOLVE TO
DESCENDING HELICOPTER SHOT -- THE RIVER -- DAY
A man is going along a river lane on horseback. It is PREACHER; he walks the
horse away from us.
DISSOLVE TO
DESCENDING HELICOPTER SHOT -- ANOTHER BEND OF THE RIVER
We descend to a poor riverside farmhouse; JOHN and PEARL tether a boat in
front of it.
GROUP SHOT (FROM GROUND) -- THREE HOMELESS CHILDREN, OVER JOHN AND PEARL
They are eating hot boiled potatoes. A glance at JOHN and PEARL, and they
turn away towards lane in BACKGROUND. JOHN and PEARL proceed towards the
house.
MEDIUM SHOT -- JOHN, PEARL, WOMAN, THROUGH DOOR
We shoot from within open door of kitchen. JOHN and PEARL advance to edge of
porch. A TIRED FARM WOMAN stands by the door within. We shoot OVER her.
TIRED FARM WOMAN
Hungry, I s'pose. Well, I'll see if there's
any more potatoes to spare. Where's your
folks?
JOHN
Ain't got none.
Woman leaves shot briefly (we HOLD on CHILDREN). She re-enters and goes to
them with a bowl of steaming potatoes. They take hands-ful and make to eat.
TIRED FARM WOMAN
Go 'way; go 'way.
They turn and walk towards boat. She looks after them.
TIRED FARM WOMAN
Such times, when youngins run the roads!
She leaves the SHOT. We frame them briefly, walking away, then:
DISSOLVE TO
CLOSE SHOT -- A PLACARD -- NIGHT
It is lit by firelight. It reads:
PEACH-PICKERS WANTED
WEEKLY HIRE
PREACHER'S VOICE (o.s.)
An ungrateful child is an abomination...
LAP DISSOLVE TO
GROUP SHOT -- PREACHER AND MEN
PREACHER stands behind the flames; in FOREGROUND an OLD MAN sits profiled on
a box. Other workers, all men, sit around fire.
PREACHER
(continuing)
...before the eyes of God. The world is fast
going to damnation because of impudent youngins
a-flyin' in the face of Age.
Short silence as the other men look at PREACHER without liking. Then the old
man spits into the fire.
CLOSE SHOT -- THE FLAMES
A spurt of steam as spit strikes.
CLOSE SHOT -- A HOOT OWL
... hooting.
LAP DISSOLVE TO
CLOSE SHOT -- A TURTLE -- NOONDAY
He comes down to water.
JOHN'S VOICE (o.s.)
They make soup out of them...
LONG SHOT -- THE CHILDREN IN PASSING SKIFF
Full landscape in BACKGROUND.
JOHN
(continuing)
... but I wouldn't know how to go about gettin'
him open.
LAP DISSOLVE TO
LONG SHOT -- CHILDREN AND SKIFF, OVER RABBITS IN GRASS
We shoot over two sitting rabbits as they watch, their ears up. The skiff
passes. PEARL plays with doll; JOHN unsnarls line.
LAP DISSOLVE TO
FULL SHOT -- THE CHILDREN AND SKIFF, FRAMED BY WILLOWS -- TWILIGHT
The skiff passes. Baa-ing of sheep o.s.
MOVING SHOT -- FROM RIVER -- A SHEEP
The sheep bleats. We PAN in a big barn near the river, then a lighted house;
willows along shore.
FULL SHOT -- THE SKIFF -- FROM THE BANK
JOHN re-sets his oar. They angle towards us for the shore.
JOHN
We're gonna spend a night on land.
UP-SHOT -- THE CHILDREN, OVER THE MOORED SKIFF
... they reach top of the bank. Corner of barn and lighted window in
BACKGROUND. Sounds of mouth-organ and girl singing o.s.
FULL SHOT -- A LIGHTED WINDOW, THE SHADE DRAWN
A wire bird-cage hangs close to the shade, silhouetted. On the perch, a
canary. Lullaby and mouth-organ continue o.s. After a moment, the CHILDREN
enter, backs to us, and stop, looking.
CLOSE TWO-SHOT -- THE CHILDREN
Window-light on faces, song over. A moment.
PEARL
Are we goin' home, John?
JOHN
Ssh...
He turns, her hand in his. We PAN as they tiptoe towards the big, open door
of barn; big open hayloft window above.
INT. ROOM -- LOW TRACKING SHOT -- THE CHILDREN
As they walk down aisle of barn, we shoot them past bellies and legs of row
of cows. Sounds of munching and soft lowing o.s. JOHN helps PEARL up a
little ladder to the hayloft.
MEDIUM SHOT -- THE CHILDREN, WINDOW -- TWILIGHT
... as the CHILDREN bed down in hay, only legs visible, protruding into frame
of window, which frames a middle-distant white lane beyond house, and a
landscape. Whippoorwill o.s. A darkening of light.
LAP DISSOLVE TO
SAME SET-UP
A full moon is half-risen. Whippoorwill o.s.
LAP DISSOLVE TO
SAME SET-UP
The moon is well above the horizon. Whippoorwill o.s.
LAP DISSOLVE TO
SAME SET-UP
The moon is still higher. A pause; the whippoorwill stops in mid-phrase.
Brief pause; then JOHN sits up into silhouette.
CLOSE SHOT -- JOHN
He listens intently. We hear nothing. His eyes alter. We hear, distantly
PREACHER'S VOICE
(o.s., singing)
Leaning, Leaning ...
At various distances o.s., we hear dogs barking at the sound of the singing.
PREACHER'S VOICE
(continuing; louder)
... safe and secure from all alarms;
[LANE]
The dog from the farm rushes braying to his gate. Other dogs continue o.s.
PREACHER appears astride his walking horse, singing.
PREACHER
Leaning...
CLOSE SHOT -- JOHN
Watching dread and despair. Sounds go.
PREACHER (o.s.)
Leaning; Leaning on the Everlasting Arms.
FULL SHOT -- PREACHER
He approaches and crosses center screen, continuing the hymn. (We do not PAN
with him; he crosses the frame of the great window.)
CLOSE SHOT -- JOHN
Eyes following PREACHER. PREACHER and dogs continue o.s.
JOHN
(to himself)
Don't you never sleep?
FULL SHOT -- PREACHER
He vanishes beyond trees, his singing more distant. Dogs continue.
CLOSE SHOT -- JOHN AND PEARL -- NEW ANGLE
He wakes her. PREACHER's singing o.s.
FULL SHOT -- PREACHER
He vanishes; scuttling of CHILDREN in hay, o.s.; dogs quiet; his song dies.
Brief silence. The whippoorwill resumes.
MEDIUM LONG SHOT -- THE CHILDREN, NEAR BARN
Hand in hand, they hurry out of barn and, as we PAN, along its side, towards
River, o.s. Whippoorwill o.s.
FULL SHOT -- A BRIGHT FULL MOON
The whippoorwill's singing continues o.s.
FULL SHOT -- CHILDREN AND SKIFF
JOHN steers through turbulent moonlit water. Whippoorwill continues. Low
moon.
CLOSE SHOT -- A FOX, BARKING
CLOSE DOWN-SHOT -- CHILDREN ASLEEP IN SKIFF (TANK)
Blank, calm water; the skiff enters and passes full length below us, the
CHILDREN asleep in it; blank water again; again the fox barks.
MEDIUM SHOT -- THE SKIFF, DRIFTING SHOT, THROUGH RIVERSIDE GRASS
Crickets o.s. The skiff nears a sand-bar.
INSERT -- THE PROW, GROUNDING
The prow softly grates against sand.
MEDIUM SHOT -- THE GROUNDED SKIFF, AGAIN THROUGH GRASS
Crickets fainter. TILTING UPWARD.
LAP DISSOLVE TO
FULL SHOT -- THE STARLIT SKY
LAP DISSOLVE TO
FULL SHOT -- RIVER LANDSCAPE -- SUNRISE
Distant; medium; the near; roosters crow o.s.
CLOSE SHOT -- JOHN WAKING
He looks to PEARL o.s.
FULL SHOT -- PEARL, THEN RACHEL, OVER JOHN
PEARL is picking daisies. A fence up beyond her. Beyond the fence, a woman,
RACHEL COOPER, appears. She carries a berry-basket on her arm. JOHN
scrambles up, grabs an oar, and holds it defensively. PEARL freezes.
RACHEL
(loud)
You two youngsters get up here to me this
instant!
TWO-SHOT -- JOHN AND PEARL -- RACHEL'S ANGLE
RACHEL (o.s.)
Mind me now!
JOHN lowers the oar at the female authority in her voice.
RACHEL (o.s.)
Now git on up to my house.
They hesitate.
THREE-SHOT -- OVER JOHN
RACHEL
I'll get me a willow switch!
They still hesitate. She breaks off a switch and comes for them, squishing
through the mud. She surrounds them and drives them like geese up the bank.
LOW FULL SHOT -- THE THREE, FROM SIDE
They move across the meadow like a nursery frieze. She tweaks with her
switch. As she goes near PEARL's calves, JOHN turns.
JOHN
Don't you hurt her!
RACHEL
Hurt her nothin'! Wash her's more like it!
(hand to mouth, yelling)
Ruby!
FULL SHOT -- A TOMATO PATCH
Three crouching figures pick tomatoes beyond a low white fence; Rachel's
house in BACKGROUND. RUBY, thirteen, pops her head up like a rifle-target.
RACHEL (o.s.)
Clary!
CLARY, eleven, pops up.
RACHEL (o.s.)
Mary!
MARY, four, pops up.
THE GIRLS
(in chorus)
Yes, Miz Cooper!
GROUP SHOT -- RACHEL AND HARPERS, MOVING TOWARDS FENCE
She has JOHN and PEARL by their napes.
RACHEL
Bring yer baskets.
The three girls enter, their backs to us, carrying baskets of tomatoes.
GROUP SHOT -- THE GIRLS, OVER RACHEL AND HARPER CHILDREN
She holds JOHN and PEARL very firmly, inspecting baskets across gate of
fence.
RACHEL
Nicely picked, Clary. Mary; put the big ones
on top. Ruby, most o' them ain't fit to go to
market. Put them baskets down. Ruby, fetch
the washtub and put it by the pump. Mary,
Clary, fetch me a bar o' laundry soap and the
scrub brush.
GIRLS
(in chorus)
Yes, Miz Cooper!
They hurry off.
RACHEL
Come on, now; up to the house.
She opens the gate, pushes the Harper children through, shuts the gate, and
walks between them, her back to us. The CHILDREN hesitate. She turns to
them and stops.
THREE -SHOT -- THE CHILDREN, OVER RACHEL
She looks them up and down. If we saw her face, her lips would be pursed and
working with anger.
RACHEL
Gracious! If you hain't a sight to beat all!
Where you from?
No answer; their eyes are wide with curiosity.
RACHEL
Where's your folks?
CLOSE SHOT -- JOHN
RACHEL (o.s.)
Speak up now!
His eyes go down to her feet. He, and we, start to examine her from foot to
head; for this is our heroine at last.
CLOSE TILTING SHOT -- RACHEL
... from JOHN's eye-level. We TILT SLOWLY UP her height. She wears man's
shoes, heavy with mud; a rough skirt; a shapeless sweater hangs over her
shoulders; she is in her middle sixties and wears a man's old hat. Her face
says:
RACHEL
(sort of roughly)
Gracious! So I've got two more mouths to
feed!
CLOSE SHOT -- JOHN
For no reason at all he feels he has come home.
LAP DISSOLVE TO
GROUP SHOT -- JOHN, PEARL, RACHEL, RUBY, DURING WASHING
RACHEL mercilessly scrubs JOHN; JOHN doesn't like it; RUBY washes PEARL with
a cloth.
CLOSE SHOT -- JOHN
Hating the scrubbing. He breaks away.
FULL SHOT -- JOHN AND RACHEL
JOHN dodges behind a bush, RACHEL in hot pursuit.
CLOSE SHOT -- THE BUSH; RACHEL
RACHEL's head bobs up and down above the bush; we hear the unmistakable hand
of a female hand on the child's bottom.
LAP DISSOLVE TO
FULL SHOT -- A SHELF
Full of market baskets, neatly covered with damp muslin.
LAP DISSOLVE TO
FULL SHOT -- THE CARRIED BASKETS, IN MOTION
EXT. MOUNDSVILLE STREET -- TRACKING SHOT -- RACHEL AND HER BROOD
All carry baskets. RACHEL charges along at the head of the procession. A
CATTLE DEALER strolls the other way.
CATTLE DEALER
Howdy, Miz Cooper -- you goin' to sell me yer
hog this year?
RACHEL doesn't stop walking.
RACHEL
With the price o' pork what it is?
CLOSE TRACKING SHOT -- RACHEL
She keeps walking.
RACHEL
(talking to herself)
I'm butcherin' my hog myself, smokin' the hams,
and cannin' the sausage.
(she calls to the children
over her shoulder)
You-all have your work cut out!
CLOSE TRACKING TWO-SHOT -- JOHN AND CLARY IN MID-PROCESSION
JOHN
She talks to herself.
CLARY
All the time.
JOHN
Your Maw's funny.
CLARY
She ain't our Maw. We just live at her house.
They walk in silence.
JOHN
Where's your folks?
CLARY
Some place.
MARY
My Daddy's in Dee-troit.
JOHN
(to Ruby)
Who's your folks?
RUBY
I dunno.
FULL SHOT -- THE STREET
A WAITRESS, wearing an apron labeled EMPIRE EATS, hurries across the street
towards the GROUP. We PAN her into MARY. The procession halts briefly. She
embraces MARY.
WAITRESS
Mary! Honey!
(to Rachel)
Mornin', Miz Cooper.
(to Mary)
Guess what! I'm savin' up to buy ye a charm
bracelet!
CLOSE SHOT -- RACHEL
RACHEL
Never mind the geegaws; don't you miss your
visit this Sunday; and come to Church with us.
FULL STREET SHOT
The WAITRESS hurries away. She dodges past a car.
WAITRESS
See ye Sunday, love!
CLOSE SHOT -- RACHEL
She follows WAITRESS, then LOVERS in car, with her eyes.
FULL STREET SHOT
The car CENTERS, held up in traffic; two lovers in it, sitting close.
CLOSE SHOT -- RACHEL
She takes in the LOVERS.
RACHEL
Women is durn fools! All of 'em!
She sighs, angry at all women, herself included, and turns away. We are at
the door of a GROCERY STORE. The GROCER is on his doorstep.
FULL SHOT -- GROUP AND GROCERY
RACHEL
(to children)
Take yer baskets in.
The CHILDREN file in past her and GROCER.
RACHEL
(to Grocer)
Looky there.
(she indicates the lovers)
She'll be losin' her mind to a tricky mouth and
a full moon, and like as not I'll be saddled
with the consequences.
She starts into store with the GROCER.
INT. STORE -- GROUP SHOT -- RACHEL, GROCER, CHILDREN
RACHEL and GROCER come up to counter. She takes a list from her bosom and
gives it to the GROCER.
RACHEL
Here's what you owe me.
(she counts baskets)
One, two, three, four, five... where's the
other basket? Where's Ruby?
CLARY
She went.
RACHEL
John, you go fetch Ruby.
JOHN goes. As GROCER empties baskets and tots up, RACHEL continues:
RACHEL
Big Ruby's my problem girl. She can't gather
eggs without bustin' 'em; but Ruby's got mother
hands with a youngin, so what're you to say?
EXT. DRUG STORE -- FULL SHOT -- RUBY
She stands with her market-basket, reacting to wolf whistles o.s.; she is
seeking the world.
THREE-SHOT -- RUBY, OVER TWO YOUNG LOAFERS
1ST LOAFER
How 'bout tonight, Ruby?
RUBY gestures RACHEL's nearness.
2ND LOAFER
(to 1st)
What gives?
1ST LOAFER
The Old Lady's around.
(to Ruby)
How 'bout Thursday?
RUBY nods.
1ST LOAFER
(to 2nd)
The old gal thinks she comes in fer sewin'
lessons o' Thursday.
FULL SHOT -- RUBY; JOHN IN BACKGROUND
JOHN
(calling)
Miz Cooper wants you.
He turns and goes; RUBY, with an eye to 1ST LOAFER, turns and follows.
INT. GROCERY STORE -- GROUP SHOT -- CENTERING RACHEL
GROCER
(to Pearl)
And will you show me your dolly, little lady?
JOHN has entered in BACKGROUND. PEARL holds the doll to her, and JOHN moves
in quietly by her side. They stand together, as so often before.
GROCER
See ye got two more peeps to your brood.
RACHEL
Yeah, and ornerier than the rest.
GROCER
How's your own boy, Miz Cooper?
RACHEL
Ain't heard from Ralph since last Christmas.
Don't matter -- I've got a new crop.
(she laughs, loudly)
I'm a strong tree with branches for many birds.
I'm good for something in this old world and I
know it, too!
We know that she will rout the Devil.
GROCER
(a good tradesman)
Got a good buy in soap, Miz Cooper.
RACHEL
(triumphant)
Don't need no soap. I'm boilin' down the fat
from my hog.
DISSOLVE TO
INT. RACHEL'S SCREENED PORCH - EVENING - GROUP SHOT-RACHEL, GIRLS, JOHN ASIDE
CENTERING RACHEL as she takes a book from table, and the GIRLS move to set at
her seat, and JOHN stands to one side. RACHEL glances at him.
CLOSE SHOT -- JOHN
He looks suspiciously to the Book in her hands, for to him it has come to
mean only Preacher.
INSERT -- THE BIBLE
... as she opens it on her lap o.s. we hear a screen door open.
GROUP SHOT -- RACHEL, CHILDREN, JOHN IN BACKGROUND
We see the door closing as JOHN goes out. The GIRLS sit on low stools in
semi-circle at RACHEL's feet. We CENTER RACHEL. RACHEL, keenly aware of
JOHN, pretends to ignore him. JOHN crosses behind her and stands with his
back to us. RACHEL, changing her mind about what story to tell, finds the
new page she's after, and spreads her hands flat on the pages. She never
glances at the text. She is fishing for JOHN.
RACHEL
Now old Pharaoh, he was the King of Egyptland!
And he had a daughter, and once upon a time...
(louder)
... she was walkin' along the river bank and
she seen somethin' bumpin' and scrapin' along
down on a sandbar under the willows.
CLOSE SHOT -- THE BACK OF JOHN'S HEAD -- IMMOBILE
RACHEL (o.s.)
And do you know what it was, children?
RESUME GROUP SHOT
RUBY, CLARY, MARY
(excited)
No!
PEARL
No!
RACHEL
(still loud)
Well, it was a skiff, washed up on the bar.
And who do you reckon was in it?
RUBY
(confidently)
Pearl and John!
RACHEL
(still loud)
Not this time! It was just one youngin -- a
little boy babe. And do you know who he was
children?
CLOSE SHOT -- JOHN'S HEAD
... as he turns around.
RUBY, MARY, CLARY, PEARL
(o.s., in unison)
No!
RESUME GROUP SHOT
RACHEL closes the Bible; she knows the Lord's battle is won. As she
continues, she puts aside the book and takes up her mending.
RACHEL
(very quietly)
It was Moses! A King of men, Moses, children.
Now. Off to bed. Hurry.
On "off to bed," JOHN turns his back again.
CLOSE SHOT -- RACHEL; JOHN IN BACKGROUND
She mends for a few moments.
RACHEL
(commandingly)
John, git me an apple.
JOHN crosses behind her and off, towards door. We hear it open and close.
RACHEL
Git one for yourself, too.
MEDIUM SHOT -- JOHN
he approaches with two apples. We PAN him into a:
TWO-SHOT -- JOHN AND RACHEL
He gives her an apple. She immediately takes a bite. He doesn't bite his.
She looks at him from her apple.
RACHEL
(suddenly)
John, where's your folks?
JOHN
(plainly)
Dead.
RACHEL
Dead.
She nods with finality. JOHN starts to eat his apple.
RACHEL
Where ye from?
JOHN
Up river.
RACHEL
I didn't figger ye rowed that skiff from
Parkersburg!
JOHN makes a move; he slowly and tenderly reaches out his hand and lays his
fingers on her knuckles.
JOHN
Tell me that story again.
Our heroine would like to thank the Lord openly, but she knows she must not
show her feelings; she speaks gruffly --
RACHEL
Story, honey? Why, what story?
JOHN
About them Kings. That the Queen found down on
the sandbar in the skiff that time.
RACHEL
Kings! Why, honey, there was only one.
JOHN
I mind you said there was two.
RACHEL
Well, shoot! Maybe there was!
CLOSE SHOT -- RACHEL
Maybe we see -- though JOHN does not -- the thanksgiving in her eyes.
RACHEL
Yes, come to think of it, there was two, John.
O.s., in distance, we hear the whistle of a river boat.
DISSOLVE TO
EXT. MOUNDSVILLE STREET -- EVENING -- MOVING SHOT -- RUBY
Her head and shoulders from behind as she walks down the neon-lighted street;
drugstore and loafers in b.g.; jazz music o.s.
FULL SHOT -- RUBY, OVER DRUGSTORE LOAFERS
Our two loafers lounge on bench. RUBY approaches.
2ND LOAFER
(to 1st)
Hey. Must be Thursday.
1ST LOAFER
Here we go.
He gets up and starts towards RUBY, who catches his eye.
RUBY, FROM BEHIND
She turns to a magazine stand and fingers a magazine, awaiting LOAFER, who
approaches in BACKGROUND.
INSERT -- RUBY'S HAND; MAGAZINES
They are lurid, tawdry fan and pin-up magazines.
PREACHER enters, between RUBY and LOAFER, and turns to RUBY into CLOSE TWO-
SHOT. LOAFER pauses in BACKGROUND.
PREACHER
You're Ruby, ain't you, my child?
RUBY
Can I have this?
PREACHER
Surely. I'd like to talk to you, my dear.
RUBY
Will you buy me a choclit sody?
LOAFERS
Watch out, Preacher! Why, Preacher!
PREACHER
(sternly)
Shet yer dirty mouths!
CLOSE SHOT -- RUBY
She looks up at him admiringly; then to LOAFERS; back to PREACHER.
LAP DISSOLVE TO
INT. DRUGSTORE -- CLOSE TWO-SHOT -- PREACHER AND RUBY
RUBY is finishing her soda.
RUBY
Ain't I purty?
This is a familiar clue to PREACHER.
PREACHER
Why, you're the purtiest girl I've seen in all
my wandering. Didn't nobody never tell you
that, Ruby?
RUBY
(hoarsely)
No. No one ever did.
PREACHER
(moving in)
There's two new ones over at your place, ain't
there, Ruby?
She nods.
PREACHER
What's their names?
RUBY
Pearl and John.
PREACHER
Ahhh.
(whispering)
And is there -- a doll?
RUBY
(nods)
Only she won't never let me play with it.
PREACHER
Ahh!
He gets up and heads for door. RUBY, dismayed, hurries after him.
PREACHER
(firmly)
Yes!
He strides through door, RUBY following.
THREE-SHOT -- PREACHER AND RUBY ON SIDEWALK, 2ND LOAFER IN B.G.
1ST LOAFER has gone. PREACHER comes out fast, RUBY touches his arm, he turns
on her. They are in CLOSE TWO-SHOT. RUBY goes on tiptoe. PREACHER inclines
his ear.
CLOSE SHOT -- RUBY
RUBY
Did you ever see such purty eyes in all your
born days?
CLOSE SHOT -- PREACHER
INSERT -- PREACHER'S HAND
It slides into his knife pocket. We hear a click.
2ND LOAFER (o.s.)
Don't let him git away, Sugar!
THREE-SHOT -- PREACHER AND RUBY, LOAFER IN B.G.
RUBY
He ain't like you-all! Next time I won't even
ask him to buy me a sody!
She turns to PREACHER, but PREACHER, on "next time," has left the SHOT.
CLOSE SHOT -- RUBY
She looks after him, clasping the magazine under her chin.
FULL SHOT -- PREACHER
Her hero strides away into darkness.
CLOSE SHOT -- RUBY
Gazing after him.
RUBY
I been bad!
DISSOLVE TO
CLOSE DOWN-SHOT -- THE MAGAZINE, OPEN, IN RACHEL'S LAP
We PULL UP and AWAY into:
TWO-SHOT -- RACHEL, SEATED; RUBY STANDING BESIDE HER
RACHEL
Ruby, you didn't have no money to buy this.
RUBY
You'll whip me!
RACHEL
When did I ever?
RUBY
This man down at the Drugstore...
RACHEL
The Drugstore?
RUBY
Miz Cooper. I never went to sewin' lessons all
them times.
RACHEL
What you been up to?
RUBY
I been out with men.
RUBY collapses face down over RACHEL's lap and sobs, as we TRACK IN CLOSE.
RACHEL
Dear God, child!
Now RACHEL also weeps. She bends low over RUBY, stroking her hair.
RACHEL
You was lookin' for love, Ruby, the only
foolish way you knowed how.
She lifts RUBY's face cheek to cheek beside her own.
RACHEL
We all need love. Ruby, I lost the love of my
son -- I've found it with you all.
They weep together.
RACHEL
You must grow up to be a fine, full woman; and
I'm goin' to see to it you do.
She starts making up RUBY's hair like that of a young woman.
RUBY
This gentleman wasn't like them! He just give
me a sody and the book.
RACHEL
Now who was this?
RUBY
He never asked me for nothin'.
RACHEL
He must have wanted somethin', Ruby. A man
don't waste time on a girl unless he gets
something.
RUBY shakes her head.
RACHEL
What'd you all talk about?
RUBY
Pearl and John.
RACHEL
John and Pearl!
RUBY nods.
RACHEL
Is he their Pap?
RUBY shrugs.
RACHEL
Why hasn't he been to the house?
DISSOLVE TO
FULL SHOT -- PREACHER ON HORSE ON ROAD
FULL FIGURE SHOT -- RUBY
Seeing PREACHER, she drops two eggs.
RUBY
(shouting)
Miz Cooper!
RACHEL
(o.s., from within house)
What?
RUBY
The man! The man!
JOHN
(whispering)
Please be quiet-- Oh, please, Pearl!
PEARL
(natural voice)
John, where are we g--
JOHN
Hush.
FULL SHOT -- SHADOW, THEN PREACHER
Same position and angle as before. PREACHER's own figure advances to
supplant his shadow. He peers downward, his open knife catching the light.
PREACHER
(businesslike)
Children?
He starts slashing his way through the brush-filth.
FULL SHOT -- THE CHILDREN
Same camera position as before. They are floundering through mud, half-way
to the skiff.
FULL SHOT -- PREACHER
Same position and angle as in previous shot of him. He is half-way down the
bank. With his knife, he hacks at an entangling vine.
FULL SHOT -- THE CHILDREN
Position and angle as before. They reach the skiff. Hacking sounds, o.s.
JOHN
Get in the skiff, Pearl, goodness, goodness,
hurry!
PEARL
(hesitant)
That's Daddy!
He picks her up and throws her into the skiff.
CLOSE SHOT -- PEARL AND DOLL
... as they land, sprawling, in bottom of skiff among fish-heads and bait
cans. JOHN gets in after them.
FULL SHOT -- PREACHER -- CHILDREN'S VIEWPOINT
He tears free of brush to edge of river, knife glittering.
CLOSE SHOT -- JOHN
With his oar, he tries to push the boat free of mud.
FULL SHOT -- PREACHER -- CHILDREN'S VIEWPOINT
He wades toward them, knee-deep in mud.
CLOSE SHOT -- JOHN
He is shoving at the oar even more desperately.
INSERT -- JOHN'S HANDS
Straining.
FULL SHOT -- PREACHER -- CHILDREN'S VIEWPOINT
He flounders deeper and more heavily through the mud; much closer.
CLOSE SHOT -- JOHN
He pushes the boat free of mud.
CLOSE SHOT -- PREACHER -- CHILDREN'S VIEWPOINT
He hurries much closer through shallow water. Prow of boat in FOREGROUND.
PREACHER
Wait, you little whelps! Wait!
Another step forward and he does a pratt-fall and makes a splash.
CLOSE SHOT -- JOHN -- PEARL IN BACKGROUND
He is trying to feather the boat out to where the current will catch it. In
panic and haste he is clumsy.
JOHN
Why can't I do it when I know how to do it!
FULL SHOT -- PREACHER
... as he gets up at edge of mud.
PREACHER
Wait! Wait! I'll slit your guts!
FULL DOWN SHOT -- THE SKIFF, THEN PREACHER
The current catches it and spins it round like a leaf. JOHN's efforts with
the oars are useless. PREACHER enters, wading fast. His hands are within an
inch of reaching the helpless skiff; capriciously the current takes it
downstream.
TWO-SHOT -- JOHN AND PEARL
The skiff is taken steadily by the current. PEARL sits up, doll in arms.
JOHN is almost asleep with exhaustion.
FULL SHOT -- THE SKIFF, OVER PREACHER
It is well away from him and getting smaller. Waist-deep, he wades a couple
of steps after it, then just looks.
HEAD CLOSE-UP -- PREACHER
He begins a steady, rhythmical, animal scream of outrage and loss.
LONG SHOT -- THE RIVER AND LANDSCAPE
Featuring starlight; and the drifting boat -- PEARL in stern.
TWO-SHOT -- THE CHILDREN -- FRONT ON
JOHN is asleep. PEARL sits sleepily whispering to her doll.
PEARL
Once upon a time there was a pretty fly, and he
had a wife, this pretty fly...
MEDIUM LONG SHOT -- THE DRIFTING BOAT, THROUGH FIREFLIES
PEARL'S VOICE (o.s.)
...and one day she flew away, and then one
night his two pretty fly children...
SPECIAL SHOT -- THE MOVING SKIFF, THROUGH DEW-JEWELED SPIDER-WEB
PEARL'S VOICE (o.s.)
...flew away too, into the sky, into the
moon...
SPECIAL SHOT -- A FROG, AND SKIFF
A big frog is profiled; the skiff drifts by in distance; the frog twangs out
a bass note.
DISSOLVE TO
INSERT -- A PICTURE POSTCARD -- A COUNTY COURTHOUSE
As the card is turned to the handwritten side we
CUT TO
CLOSE TWO-SHOT -- WALT AND ICEY
WALT
(reading aloud)
Dear Walt and Icey: I bet you been worried and
gave us up for lost. Took the kids down here
with me for a visit to my sister Elsie's farm.
Thot a little change of scenery would do us all
a world of good after so much trubble and
heartache. At least the kids will git plenty
of good home cooking. Your devoted Harry Powell
ICEY
Now ain't you relieved, Walt?
WALT
Sure, but you was worried too, Mother; takin'
off with never a word of goodbye. I even got to
figurin' those gypsies busted in and done off
with all three of 'em.
ICEY
You and your gypsies! They been gone a week!
WALT
Not before one of 'em knifed a farmer and stole
his horse. Never caught the gypsies nor the
horse.
LAP DISSOLVE TO
DESCENDING HELICOPTER SHOT -- THE RIVER -- DAY
A man is going along a river lane on horseback. It is PREACHER; he walks the
horse away from us.
DISSOLVE TO
DESCENDING HELICOPTER SHOT -- ANOTHER BEND OF THE RIVER
We descend to a poor riverside farmhouse; JOHN and PEARL tether a boat in
front of it.
GROUP SHOT (FROM GROUND) -- THREE HOMELESS CHILDREN, OVER JOHN AND PEARL
They are eating hot boiled potatoes. A glance at JOHN and PEARL, and they
turn away towards lane in BACKGROUND. JOHN and PEARL proceed towards the
house.
MEDIUM SHOT -- JOHN, PEARL, WOMAN, THROUGH DOOR
We shoot from within open door of kitchen. JOHN and PEARL advance to edge of
porch. A TIRED FARM WOMAN stands by the door within. We shoot OVER her.
TIRED FARM WOMAN
Hungry, I s'pose. Well, I'll see if there's
any more potatoes to spare. Where's your
folks?
JOHN
Ain't got none.
Woman leaves shot briefly (we HOLD on CHILDREN). She re-enters and goes to
them with a bowl of steaming potatoes. They take hands-ful and make to eat.
TIRED FARM WOMAN
Go 'way; go 'way.
They turn and walk towards boat. She looks after them.
TIRED FARM WOMAN
Such times, when youngins run the roads!
She leaves the SHOT. We frame them briefly, walking away, then:
DISSOLVE TO
CLOSE SHOT -- A PLACARD -- NIGHT
It is lit by firelight. It reads:
PEACH-PICKERS WANTED
WEEKLY HIRE
PREACHER'S VOICE (o.s.)
An ungrateful child is an abomination...
LAP DISSOLVE TO
GROUP SHOT -- PREACHER AND MEN
PREACHER stands behind the flames; in FOREGROUND an OLD MAN sits profiled on
a box. Other workers, all men, sit around fire.
PREACHER
(continuing)
...before the eyes of God. The world is fast
going to damnation because of impudent youngins
a-flyin' in the face of Age.
Short silence as the other men look at PREACHER without liking. Then the old
man spits into the fire.
CLOSE SHOT -- THE FLAMES
A spurt of steam as spit strikes.
CLOSE SHOT -- A HOOT OWL
... hooting.
LAP DISSOLVE TO
CLOSE SHOT -- A TURTLE -- NOONDAY
He comes down to water.
JOHN'S VOICE (o.s.)
They make soup out of them...
LONG SHOT -- THE CHILDREN IN PASSING SKIFF
Full landscape in BACKGROUND.
JOHN
(continuing)
... but I wouldn't know how to go about gettin'
him open.
LAP DISSOLVE TO
LONG SHOT -- CHILDREN AND SKIFF, OVER RABBITS IN GRASS
We shoot over two sitting rabbits as they watch, their ears up. The skiff
passes. PEARL plays with doll; JOHN unsnarls line.
LAP DISSOLVE TO
FULL SHOT -- THE CHILDREN AND SKIFF, FRAMED BY WILLOWS -- TWILIGHT
The skiff passes. Baa-ing of sheep o.s.
MOVING SHOT -- FROM RIVER -- A SHEEP
The sheep bleats. We PAN in a big barn near the river, then a lighted house;
willows along shore.
FULL SHOT -- THE SKIFF -- FROM THE BANK
JOHN re-sets his oar. They angle towards us for the shore.
JOHN
We're gonna spend a night on land.
UP-SHOT -- THE CHILDREN, OVER THE MOORED SKIFF
... they reach top of the bank. Corner of barn and lighted window in
BACKGROUND. Sounds of mouth-organ and girl singing o.s.
FULL SHOT -- A LIGHTED WINDOW, THE SHADE DRAWN
A wire bird-cage hangs close to the shade, silhouetted. On the perch, a
canary. Lullaby and mouth-organ continue o.s. After a moment, the CHILDREN
enter, backs to us, and stop, looking.
CLOSE TWO-SHOT -- THE CHILDREN
Window-light on faces, song over. A moment.
PEARL
Are we goin' home, John?
JOHN
Ssh...
He turns, her hand in his. We PAN as they tiptoe towards the big, open door
of barn; big open hayloft window above.
INT. ROOM -- LOW TRACKING SHOT -- THE CHILDREN
As they walk down aisle of barn, we shoot them past bellies and legs of row
of cows. Sounds of munching and soft lowing o.s. JOHN helps PEARL up a
little ladder to the hayloft.
MEDIUM SHOT -- THE CHILDREN, WINDOW -- TWILIGHT
... as the CHILDREN bed down in hay, only legs visible, protruding into frame
of window, which frames a middle-distant white lane beyond house, and a
landscape. Whippoorwill o.s. A darkening of light.
LAP DISSOLVE TO
SAME SET-UP
A full moon is half-risen. Whippoorwill o.s.
LAP DISSOLVE TO
SAME SET-UP
The moon is well above the horizon. Whippoorwill o.s.
LAP DISSOLVE TO
SAME SET-UP
The moon is still higher. A pause; the whippoorwill stops in mid-phrase.
Brief pause; then JOHN sits up into silhouette.
CLOSE SHOT -- JOHN
He listens intently. We hear nothing. His eyes alter. We hear, distantly
PREACHER'S VOICE
(o.s., singing)
Leaning, Leaning ...
At various distances o.s., we hear dogs barking at the sound of the singing.
PREACHER'S VOICE
(continuing; louder)
... safe and secure from all alarms;
[LANE]
The dog from the farm rushes braying to his gate. Other dogs continue o.s.
PREACHER appears astride his walking horse, singing.
PREACHER
Leaning...
CLOSE SHOT -- JOHN
Watching dread and despair. Sounds go.
PREACHER (o.s.)
Leaning; Leaning on the Everlasting Arms.
FULL SHOT -- PREACHER
He approaches and crosses center screen, continuing the hymn. (We do not PAN
with him; he crosses the frame of the great window.)
CLOSE SHOT -- JOHN
Eyes following PREACHER. PREACHER and dogs continue o.s.
JOHN
(to himself)
Don't you never sleep?
FULL SHOT -- PREACHER
He vanishes beyond trees, his singing more distant. Dogs continue.
CLOSE SHOT -- JOHN AND PEARL -- NEW ANGLE
He wakes her. PREACHER's singing o.s.
FULL SHOT -- PREACHER
He vanishes; scuttling of CHILDREN in hay, o.s.; dogs quiet; his song dies.
Brief silence. The whippoorwill resumes.
MEDIUM LONG SHOT -- THE CHILDREN, NEAR BARN
Hand in hand, they hurry out of barn and, as we PAN, along its side, towards
River, o.s. Whippoorwill o.s.
FULL SHOT -- A BRIGHT FULL MOON
The whippoorwill's singing continues o.s.
FULL SHOT -- CHILDREN AND SKIFF
JOHN steers through turbulent moonlit water. Whippoorwill continues. Low
moon.
CLOSE SHOT -- A FOX, BARKING
CLOSE DOWN-SHOT -- CHILDREN ASLEEP IN SKIFF (TANK)
Blank, calm water; the skiff enters and passes full length below us, the
CHILDREN asleep in it; blank water again; again the fox barks.
MEDIUM SHOT -- THE SKIFF, DRIFTING SHOT, THROUGH RIVERSIDE GRASS
Crickets o.s. The skiff nears a sand-bar.
INSERT -- THE PROW, GROUNDING
The prow softly grates against sand.
MEDIUM SHOT -- THE GROUNDED SKIFF, AGAIN THROUGH GRASS
Crickets fainter. TILTING UPWARD.
LAP DISSOLVE TO
FULL SHOT -- THE STARLIT SKY
LAP DISSOLVE TO
FULL SHOT -- RIVER LANDSCAPE -- SUNRISE
Distant; medium; the near; roosters crow o.s.
CLOSE SHOT -- JOHN WAKING
He looks to PEARL o.s.
FULL SHOT -- PEARL, THEN RACHEL, OVER JOHN
PEARL is picking daisies. A fence up beyond her. Beyond the fence, a woman,
RACHEL COOPER, appears. She carries a berry-basket on her arm. JOHN
scrambles up, grabs an oar, and holds it defensively. PEARL freezes.
RACHEL
(loud)
You two youngsters get up here to me this
instant!
TWO-SHOT -- JOHN AND PEARL -- RACHEL'S ANGLE
RACHEL (o.s.)
Mind me now!
JOHN lowers the oar at the female authority in her voice.
RACHEL (o.s.)
Now git on up to my house.
They hesitate.
THREE-SHOT -- OVER JOHN
RACHEL
I'll get me a willow switch!
They still hesitate. She breaks off a switch and comes for them, squishing
through the mud. She surrounds them and drives them like geese up the bank.
LOW FULL SHOT -- THE THREE, FROM SIDE
They move across the meadow like a nursery frieze. She tweaks with her
switch. As she goes near PEARL's calves, JOHN turns.
JOHN
Don't you hurt her!
RACHEL
Hurt her nothin'! Wash her's more like it!
(hand to mouth, yelling)
Ruby!
FULL SHOT -- A TOMATO PATCH
Three crouching figures pick tomatoes beyond a low white fence; Rachel's
house in BACKGROUND. RUBY, thirteen, pops her head up like a rifle-target.
RACHEL (o.s.)
Clary!
CLARY, eleven, pops up.
RACHEL (o.s.)
Mary!
MARY, four, pops up.
THE GIRLS
(in chorus)
Yes, Miz Cooper!
GROUP SHOT -- RACHEL AND HARPERS, MOVING TOWARDS FENCE
She has JOHN and PEARL by their napes.
RACHEL
Bring yer baskets.
The three girls enter, their backs to us, carrying baskets of tomatoes.
GROUP SHOT -- THE GIRLS, OVER RACHEL AND HARPER CHILDREN
She holds JOHN and PEARL very firmly, inspecting baskets across gate of
fence.
RACHEL
Nicely picked, Clary. Mary; put the big ones
on top. Ruby, most o' them ain't fit to go to
market. Put them baskets down. Ruby, fetch
the washtub and put it by the pump. Mary,
Clary, fetch me a bar o' laundry soap and the
scrub brush.
GIRLS
(in chorus)
Yes, Miz Cooper!
They hurry off.
RACHEL
Come on, now; up to the house.
She opens the gate, pushes the Harper children through, shuts the gate, and
walks between them, her back to us. The CHILDREN hesitate. She turns to
them and stops.
THREE -SHOT -- THE CHILDREN, OVER RACHEL
She looks them up and down. If we saw her face, her lips would be pursed and
working with anger.
RACHEL
Gracious! If you hain't a sight to beat all!
Where you from?
No answer; their eyes are wide with curiosity.
RACHEL
Where's your folks?
CLOSE SHOT -- JOHN
RACHEL (o.s.)
Speak up now!
His eyes go down to her feet. He, and we, start to examine her from foot to
head; for this is our heroine at last.
CLOSE TILTING SHOT -- RACHEL
... from JOHN's eye-level. We TILT SLOWLY UP her height. She wears man's
shoes, heavy with mud; a rough skirt; a shapeless sweater hangs over her
shoulders; she is in her middle sixties and wears a man's old hat. Her face
says:
RACHEL
(sort of roughly)
Gracious! So I've got two more mouths to
feed!
CLOSE SHOT -- JOHN
For no reason at all he feels he has come home.
LAP DISSOLVE TO
GROUP SHOT -- JOHN, PEARL, RACHEL, RUBY, DURING WASHING
RACHEL mercilessly scrubs JOHN; JOHN doesn't like it; RUBY washes PEARL with
a cloth.
CLOSE SHOT -- JOHN
Hating the scrubbing. He breaks away.
FULL SHOT -- JOHN AND RACHEL
JOHN dodges behind a bush, RACHEL in hot pursuit.
CLOSE SHOT -- THE BUSH; RACHEL
RACHEL's head bobs up and down above the bush; we hear the unmistakable hand
of a female hand on the child's bottom.
LAP DISSOLVE TO
FULL SHOT -- A SHELF
Full of market baskets, neatly covered with damp muslin.
LAP DISSOLVE TO
FULL SHOT -- THE CARRIED BASKETS, IN MOTION
EXT. MOUNDSVILLE STREET -- TRACKING SHOT -- RACHEL AND HER BROOD
All carry baskets. RACHEL charges along at the head of the procession. A
CATTLE DEALER strolls the other way.
CATTLE DEALER
Howdy, Miz Cooper -- you goin' to sell me yer
hog this year?
RACHEL doesn't stop walking.
RACHEL
With the price o' pork what it is?
CLOSE TRACKING SHOT -- RACHEL
She keeps walking.
RACHEL
(talking to herself)
I'm butcherin' my hog myself, smokin' the hams,
and cannin' the sausage.
(she calls to the children
over her shoulder)
You-all have your work cut out!
CLOSE TRACKING TWO-SHOT -- JOHN AND CLARY IN MID-PROCESSION
JOHN
She talks to herself.
CLARY
All the time.
JOHN
Your Maw's funny.
CLARY
She ain't our Maw. We just live at her house.
They walk in silence.
JOHN
Where's your folks?
CLARY
Some place.
MARY
My Daddy's in Dee-troit.
JOHN
(to Ruby)
Who's your folks?
RUBY
I dunno.
FULL SHOT -- THE STREET
A WAITRESS, wearing an apron labeled EMPIRE EATS, hurries across the street
towards the GROUP. We PAN her into MARY. The procession halts briefly. She
embraces MARY.
WAITRESS
Mary! Honey!
(to Rachel)
Mornin', Miz Cooper.
(to Mary)
Guess what! I'm savin' up to buy ye a charm
bracelet!
CLOSE SHOT -- RACHEL
RACHEL
Never mind the geegaws; don't you miss your
visit this Sunday; and come to Church with us.
FULL STREET SHOT
The WAITRESS hurries away. She dodges past a car.
WAITRESS
See ye Sunday, love!
CLOSE SHOT -- RACHEL
She follows WAITRESS, then LOVERS in car, with her eyes.
FULL STREET SHOT
The car CENTERS, held up in traffic; two lovers in it, sitting close.
CLOSE SHOT -- RACHEL
She takes in the LOVERS.
RACHEL
Women is durn fools! All of 'em!
She sighs, angry at all women, herself included, and turns away. We are at
the door of a GROCERY STORE. The GROCER is on his doorstep.
FULL SHOT -- GROUP AND GROCERY
RACHEL
(to children)
Take yer baskets in.
The CHILDREN file in past her and GROCER.
RACHEL
(to Grocer)
Looky there.
(she indicates the lovers)
She'll be losin' her mind to a tricky mouth and
a full moon, and like as not I'll be saddled
with the consequences.
She starts into store with the GROCER.
INT. STORE -- GROUP SHOT -- RACHEL, GROCER, CHILDREN
RACHEL and GROCER come up to counter. She takes a list from her bosom and
gives it to the GROCER.
RACHEL
Here's what you owe me.
(she counts baskets)
One, two, three, four, five... where's the
other basket? Where's Ruby?
CLARY
She went.
RACHEL
John, you go fetch Ruby.
JOHN goes. As GROCER empties baskets and tots up, RACHEL continues:
RACHEL
Big Ruby's my problem girl. She can't gather
eggs without bustin' 'em; but Ruby's got mother
hands with a youngin, so what're you to say?
EXT. DRUG STORE -- FULL SHOT -- RUBY
She stands with her market-basket, reacting to wolf whistles o.s.; she is
seeking the world.
THREE-SHOT -- RUBY, OVER TWO YOUNG LOAFERS
1ST LOAFER
How 'bout tonight, Ruby?
RUBY gestures RACHEL's nearness.
2ND LOAFER
(to 1st)
What gives?
1ST LOAFER
The Old Lady's around.
(to Ruby)
How 'bout Thursday?
RUBY nods.
1ST LOAFER
(to 2nd)
The old gal thinks she comes in fer sewin'
lessons o' Thursday.
FULL SHOT -- RUBY; JOHN IN BACKGROUND
JOHN
(calling)
Miz Cooper wants you.
He turns and goes; RUBY, with an eye to 1ST LOAFER, turns and follows.
INT. GROCERY STORE -- GROUP SHOT -- CENTERING RACHEL
GROCER
(to Pearl)
And will you show me your dolly, little lady?
JOHN has entered in BACKGROUND. PEARL holds the doll to her, and JOHN moves
in quietly by her side. They stand together, as so often before.
GROCER
See ye got two more peeps to your brood.
RACHEL
Yeah, and ornerier than the rest.
GROCER
How's your own boy, Miz Cooper?
RACHEL
Ain't heard from Ralph since last Christmas.
Don't matter -- I've got a new crop.
(she laughs, loudly)
I'm a strong tree with branches for many birds.
I'm good for something in this old world and I
know it, too!
We know that she will rout the Devil.
GROCER
(a good tradesman)
Got a good buy in soap, Miz Cooper.
RACHEL
(triumphant)
Don't need no soap. I'm boilin' down the fat
from my hog.
DISSOLVE TO
INT. RACHEL'S SCREENED PORCH - EVENING - GROUP SHOT-RACHEL, GIRLS, JOHN ASIDE
CENTERING RACHEL as she takes a book from table, and the GIRLS move to set at
her seat, and JOHN stands to one side. RACHEL glances at him.
CLOSE SHOT -- JOHN
He looks suspiciously to the Book in her hands, for to him it has come to
mean only Preacher.
INSERT -- THE BIBLE
... as she opens it on her lap o.s. we hear a screen door open.
GROUP SHOT -- RACHEL, CHILDREN, JOHN IN BACKGROUND
We see the door closing as JOHN goes out. The GIRLS sit on low stools in
semi-circle at RACHEL's feet. We CENTER RACHEL. RACHEL, keenly aware of
JOHN, pretends to ignore him. JOHN crosses behind her and stands with his
back to us. RACHEL, changing her mind about what story to tell, finds the
new page she's after, and spreads her hands flat on the pages. She never
glances at the text. She is fishing for JOHN.
RACHEL
Now old Pharaoh, he was the King of Egyptland!
And he had a daughter, and once upon a time...
(louder)
... she was walkin' along the river bank and
she seen somethin' bumpin' and scrapin' along
down on a sandbar under the willows.
CLOSE SHOT -- THE BACK OF JOHN'S HEAD -- IMMOBILE
RACHEL (o.s.)
And do you know what it was, children?
RESUME GROUP SHOT
RUBY, CLARY, MARY
(excited)
No!
PEARL
No!
RACHEL
(still loud)
Well, it was a skiff, washed up on the bar.
And who do you reckon was in it?
RUBY
(confidently)
Pearl and John!
RACHEL
(still loud)
Not this time! It was just one youngin -- a
little boy babe. And do you know who he was
children?
CLOSE SHOT -- JOHN'S HEAD
... as he turns around.
RUBY, MARY, CLARY, PEARL
(o.s., in unison)
No!
RESUME GROUP SHOT
RACHEL closes the Bible; she knows the Lord's battle is won. As she
continues, she puts aside the book and takes up her mending.
RACHEL
(very quietly)
It was Moses! A King of men, Moses, children.
Now. Off to bed. Hurry.
On "off to bed," JOHN turns his back again.
CLOSE SHOT -- RACHEL; JOHN IN BACKGROUND
She mends for a few moments.
RACHEL
(commandingly)
John, git me an apple.
JOHN crosses behind her and off, towards door. We hear it open and close.
RACHEL
Git one for yourself, too.
MEDIUM SHOT -- JOHN
he approaches with two apples. We PAN him into a:
TWO-SHOT -- JOHN AND RACHEL
He gives her an apple. She immediately takes a bite. He doesn't bite his.
She looks at him from her apple.
RACHEL
(suddenly)
John, where's your folks?
JOHN
(plainly)
Dead.
RACHEL
Dead.
She nods with finality. JOHN starts to eat his apple.
RACHEL
Where ye from?
JOHN
Up river.
RACHEL
I didn't figger ye rowed that skiff from
Parkersburg!
JOHN makes a move; he slowly and tenderly reaches out his hand and lays his
fingers on her knuckles.
JOHN
Tell me that story again.
Our heroine would like to thank the Lord openly, but she knows she must not
show her feelings; she speaks gruffly --
RACHEL
Story, honey? Why, what story?
JOHN
About them Kings. That the Queen found down on
the sandbar in the skiff that time.
RACHEL
Kings! Why, honey, there was only one.
JOHN
I mind you said there was two.
RACHEL
Well, shoot! Maybe there was!
CLOSE SHOT -- RACHEL
Maybe we see -- though JOHN does not -- the thanksgiving in her eyes.
RACHEL
Yes, come to think of it, there was two, John.
O.s., in distance, we hear the whistle of a river boat.
DISSOLVE TO
EXT. MOUNDSVILLE STREET -- EVENING -- MOVING SHOT -- RUBY
Her head and shoulders from behind as she walks down the neon-lighted street;
drugstore and loafers in b.g.; jazz music o.s.
FULL SHOT -- RUBY, OVER DRUGSTORE LOAFERS
Our two loafers lounge on bench. RUBY approaches.
2ND LOAFER
(to 1st)
Hey. Must be Thursday.
1ST LOAFER
Here we go.
He gets up and starts towards RUBY, who catches his eye.
RUBY, FROM BEHIND
She turns to a magazine stand and fingers a magazine, awaiting LOAFER, who
approaches in BACKGROUND.
INSERT -- RUBY'S HAND; MAGAZINES
They are lurid, tawdry fan and pin-up magazines.
PREACHER enters, between RUBY and LOAFER, and turns to RUBY into CLOSE TWO-
SHOT. LOAFER pauses in BACKGROUND.
PREACHER
You're Ruby, ain't you, my child?
RUBY
Can I have this?
PREACHER
Surely. I'd like to talk to you, my dear.
RUBY
Will you buy me a choclit sody?
LOAFERS
Watch out, Preacher! Why, Preacher!
PREACHER
(sternly)
Shet yer dirty mouths!
CLOSE SHOT -- RUBY
She looks up at him admiringly; then to LOAFERS; back to PREACHER.
LAP DISSOLVE TO
INT. DRUGSTORE -- CLOSE TWO-SHOT -- PREACHER AND RUBY
RUBY is finishing her soda.
RUBY
Ain't I purty?
This is a familiar clue to PREACHER.
PREACHER
Why, you're the purtiest girl I've seen in all
my wandering. Didn't nobody never tell you
that, Ruby?
RUBY
(hoarsely)
No. No one ever did.
PREACHER
(moving in)
There's two new ones over at your place, ain't
there, Ruby?
She nods.
PREACHER
What's their names?
RUBY
Pearl and John.
PREACHER
Ahhh.
(whispering)
And is there -- a doll?
RUBY
(nods)
Only she won't never let me play with it.
PREACHER
Ahh!
He gets up and heads for door. RUBY, dismayed, hurries after him.
PREACHER
(firmly)
Yes!
He strides through door, RUBY following.
THREE-SHOT -- PREACHER AND RUBY ON SIDEWALK, 2ND LOAFER IN B.G.
1ST LOAFER has gone. PREACHER comes out fast, RUBY touches his arm, he turns
on her. They are in CLOSE TWO-SHOT. RUBY goes on tiptoe. PREACHER inclines
his ear.
CLOSE SHOT -- RUBY
RUBY
Did you ever see such purty eyes in all your
born days?
CLOSE SHOT -- PREACHER
INSERT -- PREACHER'S HAND
It slides into his knife pocket. We hear a click.
2ND LOAFER (o.s.)
Don't let him git away, Sugar!
THREE-SHOT -- PREACHER AND RUBY, LOAFER IN B.G.
RUBY
He ain't like you-all! Next time I won't even
ask him to buy me a sody!
She turns to PREACHER, but PREACHER, on "next time," has left the SHOT.
CLOSE SHOT -- RUBY
She looks after him, clasping the magazine under her chin.
FULL SHOT -- PREACHER
Her hero strides away into darkness.
CLOSE SHOT -- RUBY
Gazing after him.
RUBY
I been bad!
DISSOLVE TO
CLOSE DOWN-SHOT -- THE MAGAZINE, OPEN, IN RACHEL'S LAP
We PULL UP and AWAY into:
TWO-SHOT -- RACHEL, SEATED; RUBY STANDING BESIDE HER
RACHEL
Ruby, you didn't have no money to buy this.
RUBY
You'll whip me!
RACHEL
When did I ever?
RUBY
This man down at the Drugstore...
RACHEL
The Drugstore?
RUBY
Miz Cooper. I never went to sewin' lessons all
them times.
RACHEL
What you been up to?
RUBY
I been out with men.
RUBY collapses face down over RACHEL's lap and sobs, as we TRACK IN CLOSE.
RACHEL
Dear God, child!
Now RACHEL also weeps. She bends low over RUBY, stroking her hair.
RACHEL
You was lookin' for love, Ruby, the only
foolish way you knowed how.
She lifts RUBY's face cheek to cheek beside her own.
RACHEL
We all need love. Ruby, I lost the love of my
son -- I've found it with you all.
They weep together.
RACHEL
You must grow up to be a fine, full woman; and
I'm goin' to see to it you do.
She starts making up RUBY's hair like that of a young woman.
RUBY
This gentleman wasn't like them! He just give
me a sody and the book.
RACHEL
Now who was this?
RUBY
He never asked me for nothin'.
RACHEL
He must have wanted somethin', Ruby. A man
don't waste time on a girl unless he gets
something.
RUBY shakes her head.
RACHEL
What'd you all talk about?
RUBY
Pearl and John.
RACHEL
John and Pearl!
RUBY nods.
RACHEL
Is he their Pap?
RUBY shrugs.
RACHEL
Why hasn't he been to the house?
DISSOLVE TO
FULL SHOT -- PREACHER ON HORSE ON ROAD
FULL FIGURE SHOT -- RUBY
Seeing PREACHER, she drops two eggs.
RUBY
(shouting)
Miz Cooper!
RACHEL
(o.s., from within house)
What?
RUBY
The man! The man!
TRACKING SHOT -- PREACHER
He tethers his horse and, as we PAN and TRACK on behind him, walks to the
bottom of the steps; RUBY moves into side of SHOT: beyond PREACHER, RACHEL
stands behind her screen door, hands folded under apron.
PREACHER
Mornin', ladies.
FULL FIGURE SHOT -- RACHEL, BEHIND SCREEN
RACHEL
How'do.
FULL FIGURE SHOT -- PREACHER
RACHEL'S VIEWPOINT, through screen.
FULL FIGURE SHOT -- RACHEL, BEHIND SCREEN
PREACHER
You're Miz Cooper, I take it.
RACHEL
(coming through door)
It's about that John and that Pearl?
THREE SHOT -- PREACHER, RACHEL, RUBY IN BACKGROUND
PREACHER's face twitches with emotion. He breaks out into great thankful
sobs. He falls to his knees.
PREACHER
My little lambs! To think I never hoped to see
them again in this world! Oh, dear Madam, if
you was to know what a thorny crown I have
borne in my search for these strayed chicks.
CLOSE SHOT -- RACHEL
She takes him in. He doesn't take her in.
THREE-SHOT -- AS BEFORE
RACHEL
Ruby, go fetch them kids.
RUBY minces off around the side of the house.
CLOSE SHOT -- PREACHER -- RACHEL'S ANGLE
He wipes off tears with the heel of his left hand, watching her.
PREACHER
Ah, dear Madam, I see you're looking at my
hands!
CLOSE SHOT -- RACHEL
She is.
CLOSE SHOT -- PREACHER -- AS BEFORE
He holds up the right hand.
PREACHER
Shall I tell ye the little story of Right-Hand-
Left-Hand -- the tale of Good and Evil?
CLOSE SHOT -- RACHEL
PREACHER (o.s.)
It was with this left hand that old Brother
Cain struck the blow that laid his brother
low--
RACHEL
(wanting to know)
Them kids is yours?
CLOSE SHOT -- PREACHER
PREACHER
(recovering from the interruption)
My flesh and blood!
CLOSE SHOT -- RACHEL
RACHEL
Where's your Missus?
TWO-SHOT -- PROFILING RACHEL AND PREACHER
PREACHER gets to his feet.
PREACHER
She run off with a drummer one night. Durin'
prayer-meetin'.
RACHEL
Where's she at?
PREACHER
Somewheres down river! Parkersburg, mebbe!
Cincinnati! One of them Sodoms on the Ohio
River.
RACHEL
She took them kids with her?
PREACHER
Heaven only knows what unholy sights and sounds
those innocent little babes has heard in the
dens of perdition where she dragged them!
CLOSE SHOT -- RACHEL
RACHEL
Right funny, hain't it, how they rowed all the
way up river in a ten-foot john-boat!
CLOSE SHOT -- PREACHER
... recovering, and by-passing it.
PREACHER
Are they well?
He turns his head.
FULL SHOT -- RACHEL AND PREACHER, FROM SIDE
All the CHILDREN enter, around corner of house. As they move in, RACHEL
replies:
RACHEL
A sight better than they was.
By now, JOHN is on the top step beside RACHEL. One of his hands holds on to
her skirt, as if he were pulling her towards him. His eyes never leave hers.
All the CHILDREN freeze, PEARL is on ground, just beyond JOHN. Others in
BACKGROUND; RUBY as near PREACHER as she can get.
PREACHER
Gracious, gracious! You are a good woman, Miz
Cooper!
RACHEL
How you figgerin' to raise them two without a
woman?
PREACHER
The Lord will provide.
PEARL with a wail of happiness, drops the DOLL on the step and runs to
PREACHER, who picks her up. JOHN instantly picks up the DOLL and holds it to
him. He looks up at RACHEL.
CLOSE TWO-SHOT -- JOHN AND RACHEL
JOHN looks deep into RACHEL's eyes.
PREACHER (o.s.)
The Lord is merciful! What a day is this! And
there's little John!
RACHEL
What's wrong, John?
JOHN
Nothin'.
He smiles.
PREACHER (o.s.)
Come to me, boy!
RACHEL
What's wrong, John?
TWO-SHOT -- PREACHER AND PEARL
PREACHER
Didn't you hear me, boy?
TWO-SHOT -- JOHN AND RACHEL
RACHEL bends a little over him. She wants the situation clarified.
RACHEL
John, when your Dad says 'come', you should
mind him.
JOHN
He ain't my Dad.
HEAD CLOSE-UP -- RACHEL
She takes this in; JOHN has sold her. She looks to PREACHER o.s.
RACHEL
He ain't no Preacher, neither. I've seen
Preachers in my time, an' some of 'em was
saints on earth. A few was crookeder'n a dog's
hind leg, but this 'un's got 'em all beat for
badness.
She starts to turn.
GROUP SHOT
She walks purposefully into the house. PREACHER lunges for JOHN and the
DOLL.
CLOSE TWO-SHOT -- PREACHER AND JOHN
JOHN ducks under the porch and PREACHER tries to follow him. He can't get
under. O.s., we hear the slam of the screen door. PREACHER's head comes up
to see and we TILT UP, shooting OVER the back of his head. RACHEL stands
there full figure, with a pump-gun.
RACHEL
Just march yourself yonder to your horse,
Mister.
Back of PREACHER's head is still immobile.
RACHEL
March, Mister! I'm not foolin'.
CLOSE SHOT -- PREACHER, OVER GUN BARREL
PREACHER gets to his feet. The open knife is in his hand. As we see it, the
gun barrel twitches. PREACHER backs away towards his horse, bouncing the
knife lightly in his hand.
PREACHER
(screaming)
You ain't done with Harry Powell yet! The Lord
God Jehovah will guide my hand in vengeance!
You devils! You Whores of Babylon! I'll come
back when it's dark.
As he mounts his horse we
DISSOLVE TO
FULL SHOT -- RACHEL'S HOUSE -- NIGHT
It is dark. O.s. we hear PREACHER singing "Leaning."
FULL FIGURE SHOT -- RACHEL
She sits in profile, her gun across her knees. Song continues o.s.
FULL SHOT -- THE CHILDREN, ASLEEP
... in a big bed. RUBY sits up, listening to song o.s.
FULL FIGURE SHOT -- RACHEL, AS BEFORE
Song continues o.s. We PAN to PREACHER outside. We see him through window.
He sits hunched on a stump.
FULL SHOT -- THE HOUSE, OVER PREACHER
He continues singing.
HEAD PROFILE -- RACHEL
After a moment, we see her mouth open; and either to comfort herself or to
drown out PREACHER's voice, she joins in the hymn.
FULL SHOT -- THE HOUSE -- AS IN OPENING SHOT
A descending candle moves past a window; RACHEL and PREACHER sing o.s.
FULL SHOT -- PREACHER ON STUMP
... over back of RACHEL's head. The song ends. RUBY enters SHOT carrying a
candle. Its light blacks out the window-glass. RACHEL looks up.
RACHEL
Moonin' around the house over that mad dog of a
Preacher! Shame, Ruby!
She blows out the candle. We see through the window. PREACHER has gone.
CLOSE SHOT -- RACHEL
RACHEL
Merciful Heaven!
She stands up.
CLOSE TWO-SHOT -- RACHEL AND RUBY
RACHEL
Ruby, get the children out of bed. Bring them
all down here to the kitchen.
RUBY leaves the SHOT. RACHEL moves towards window. She puts her hand over
her eyes.
RACHEL
Women is such fools!
The soft hoot of an owl o.s. RACHEL looks up.
CLOSE SHOT -- AN OWL ON A BRANCH LOOKING DOWN
CLOSE SHOT -- A BABY RABBIT
CLOSE SHOT -- THE OWL SPREADS HIS WINGS AND SWOOPS
CLOSE SHOT -- RACHEL
Still for a second; then, o.s., the scream of a rabbit.
RACHEL
It's a hard world for little things.
OVER this line we have heard the patter of feet down staircase. She turns.
GROUP SHOT -- THE CHILDREN [IN KITCHEN]
They look at her with complete trust.
GROUP SHOT -- RACHEL, OVER CHILDREN
RACHEL
(snapping)
Children, I got lonesome. I figgered we might
play games.
PEARL and MARY jump up and down, patting their palms. RACHEL extends her
hands and they gather close to her.
PEARL
Won't you tell us a story?
CLOSE SHOT -- RACHEL
RACHEL
I might.
(a swift furious glance
into the moonlight)
I might tell a story.
She sits down, the gun against her knees.
GROUP SHOT -- RACHEL AND CHILDREN
... as MARY and PEARL sit at her feet. RUBY stands beside RACHEL. JOHN
stands near RACHEL.
CLARY
I'll light the lamp.
RACHEL
It's more fun hearin' stories in the dark.
CLARY sits at RACHEL's feet.
CLOSE PANNING SHOT -- JOHN
He is alert now. He moves in close beside RACHEL, whom we PAN into
CLOSE TWO-SHOT with him, and presses the whole of his right arm against her
arm. RACHEL registers quietly.
GROUP SHOT -- RACHEL AND CHILDREN
RACHEL
Well... mind what I told you about little Jesus
and his Ma and Pa and how there was No Room at
the Inn?
HEAD CLOSE-UP -- RACHEL
Her eyes, sharp and glittering, look outside.
FULL SHOT -- THE OUTSIDE
Featuring empty stump, RACHEL's viewpoint.
GROUP SHOT -- RACHEL AND CHILDREN
She gets up with gun; we PULL AWAY; in BACKGROUND, CHILDREN turn faces to
keep watching her. She comes close to window, gun ready, CHILDREN in
BACKGROUND.
RACHEL
Well, there was this sneakin', no-'count,
ornery King Herod!
She turns round and walks back to her chair; CHILDREN's eyes always on her.
RACHEL
And he heard tell of this little King Jesus
growin' up and old Herod figgered: Well, shoot!
There sure won't be no room for the both of us!
(she sits down)
I'll just nip this in the bud.
GROUP SHOT -- RACHEL AND CHILDREN, FROM SIDE
RACHEL
(continuing)
Well, he never knowed for sure which one of all
them babies in the land was King Jesus.
HEAD CLOSE-UP -- RACHEL
Her eyes glittering as she turns to look towards us.
RESUME SIDE GROUP SHOT
RACHEL gets up with gun. Again we PULL AWAY, as faces of all CHILDREN in
b.g. turn to watch her.
RACHEL
And so that cursed old King Herod figgered if
he was to kill all the babies in the land, he'd
be sure to get little Jesus.
Without speaking, she goes back to her chair.
FRONT GROUP SHOT
RACHEL
And when little King Jesus' Ma and Pa heard
about that plan, what do you reckon they went
and done?
CLARY
They hid in a broom closet!
MARY
They hid under the porch!
HEAD CLOSE-UP -- JOHN
JOHN
No; they went a-runnin'.
TWO-SHOT -- RACHEL AND JOHN
RACHEL
Well, now, John, that's just what they done!
They went a-runnin!
The clock starts striking three. RACHEL looks to sound o.s.
FULL SHOT -- CLOCK AND HALL MIRROR, BEYOND DARK KITCHEN
In the mirror, a shadow ducks.
FULL GROUP SHOT -- RACHEL AND CHILDREN
RACHEL gets up, gun at port, and faces into the darkness.
PREACHER (o.s.)
Figured I was gone, huh?
Eyes on the darkness, she bends low to the CHILDREN.
RACHEL
(whispering)
Run, hide in the staircase! Run quick!
They scatter out of SHOT; RUBY lingers.
RACHEL
(without turning to her)
Ruby, git.
RUBY obeys in a trance. RACHEL, gun at ready, looks into the darkness.
FULL SCREEN -- DARKNESS
Pause.
RACHEL
(o.s., in a high, steady voice)
What do you want?
PREACHER (o.s.)
Them kids!
RACHEL (o.s.)
What are you after them for?
PREACHER (o.s.)
None of your business, Madam.
RACHEL
I'm givin' you to the count of three to get out
that screen door; then I'm a-comin' across this
kitchen shootin'!
A stepped-on cat screams o.s. and PREACHER's satanic face, and his hand
lifting the open knife, rise swiftly from the floor.
FULL FIGURE SHOT -- RACHEL -- SAME SHOT AS BEFORE
She fires off her gun.
FULL SHOT -- SCREEN DOOR
PREACHER staggers out and runs yelping with pain into the barn. O.s. we hear
the zing-zing of a country phone being cranked.
GROUP SHOT -- RACHEL, OVER BACKS OF CHILDREN'S HEADS
They huddle on the stairs in reverent silence. RACHEL, her gun slung
sportily under one arm, talks into wall phone which hangs just within the box
stairway.
RACHEL
Miz Booher? Rachel Cooper. Git them State
Troopers over to my place. I done treed
somep'n up in my barn.
DISSOLVE TO
FULL SHOT -- RACHEL AND JOHN
RACHEL sits on the screened porch, awake, gun on knees. JOHN sits on floor,
asleep, his head leaning against her. Barn in BACKGROUND. Sunrise.
CLOSE SHOT -- RACHEL AND JOHN
Same position. JOHN awakes.
JOHN
I'll see to Pearl.
RACHEL
I'll make coffee.
They get up and start into kitchen.
GROUP SHOT -- THE CHILDREN, OVER RACHEL AND JOHN
They lie huddled in calm sleep. JOHN and RACHEL watch a moment.
JOHN
She's all right.
They start for the stove.
TWO-SHOT -- RACHEL AND JOHN, AROUND STOVE
RACHEL puts her gun beside the stove, ready to hand, and picks up a coffee-
pot; JOHN puts kindling in stove.
RACHEL
John, you know? When you're little, you have
more endurance than God is ever to grant you
again? Children are Man at his strongest.
They abide.
JOHN looks at her a moment. O.s. we hear police car sirens. They look
towards the sound.
FULL SHOT -- THROUGH POLICE CAR WINDSHIELD
We SHOOT OVER TWO TROOPERS. Sirens loud, they rapidly approach RACHEL's
house as RACHEL, without gun, holding JOHN's hand, comes down to fence.
Presently, the other CHILDREN hurry out of house behind. The car brakes.
FULL SHOT -- RACHEL AND CHILDREN OVER TWO POLICE CARS -- BARN IN BACKGROUND
The TROOPERS, fanning wide, advance towards the barn. RACHEL and the
CHILDREN are grouped a short distance behind them. The barn door gapes
black. Short pause; then PREACHER appears.
A TROOPER
(shouting)
Is that him, Ma'am?
RACHEL
(shouting)
Yes! Mind where you shoot, boys! There's
children here!
TROOPER
Whyn't you call us up before?
RACHEL
Didn't want yer big feet trackin' up my clean
floors.
CLOSE SHOT -- PREACHER
He stands, swaying; his left arm is bloody and helpless. In his right hand
the open knife hangs apathetic. His eyes are glazed. He does not seem to
care whether they come or not.
TROOPER'S VOICE (o.s.)
Harry Powell, you're under arrest for the
murder of Willa Harper!
MEDIUM SHOT -- PREACHER AND TROOPERS -- JOHN'S VIEWPOINT
TROOPERS close in on PREACHER, from before and behind, exactly as for BEN's
arrest.
CLOSE SHOT -- JOHN
The same sickly look, as at BEN's arrest.
MEDIUM SHOT -- PREACHER AND TROOPERS -- JOHN'S VIEWPOINT
One TROOPER smacks the back of PREACHER's head with a pistol-barrel.
CLOSE SHOT -- JOHN
JOHN
(shouting)
Don't!
RESUME VIEWPOINT SHOT
Another TROOPER, with pistol-barrel, knocks the knife from PREACHER's lifted
hand.
CLOSE SHOT -- JOHN
JOHN
(shouting)
Don't!
RESUME VIEWPOINT SHOT
PREACHER sinks to his knees as both men, and two others from the front, close
in on him. The tableau is the same as in BEN's arrest.
CLOSE SHOT -- JOHN
JOHN
(shouting)
DAD!
FRONT GROUP SHOT -- RACHEL AND CHILDREN
JOHN grabs the DOLL from PEARL and starts to run.
RACHEL
John! John!
She starts after him.
FULL SHOT -- TROOPERS, JOHN, RACHEL, OVER PREACHER
PREACHER prostrate along bottom of screen. TROOPERS are beating him. JOHN
runs up from BACKGROUND followed by RACHEL. JOHN rushes among the TROOPERS,
flogging PREACHER over the head with the DOLL. The TROOPERS, astounded, lay
off. RACHEL is stopped in her tracks.
JOHN
Here! Here! Take it back! I can't stand it,
Dad! It's too much, Dad! I don't want it! I
can't do it! Here! Here!
The DOLL has burst open and the money has spilled over PREACHER. Now two
TROOPERS gently lift JOHN away. RACHEL lifts him in her arms; she turns
towards house.
FULL FIGURE SHOT -- RACHEL AND JOHN -- GROUP IN BACKGROUND
She carries JOHN towards the house. His head hangs back over her arm. We
hear his dry, exhausted sobs.
INT. COURTROOM -- DAY -- CLOSE SHOT -- ICEY
ICEY
(yelling)
Lynch him! Lynch him!
TWO-SHOT -- WALT AND ICEY
ICEY
(yelling)
Bluebeard!
WALT
(yelling at all the men around him)
Twenty-five wives!
ICEY
And he killed every last one of 'em!
GROUP SHOT -- WALT, ICEY, MEMBERS OF COURTROOM AUDIENCE
Perhaps ten faces. Most are frenetic. Our two LOAFERS are having fun.
General hubbub o.s. A gavel o.s.
ICEY
(yelling)
If the People of Marshall County...
LOAFERS
(cynically, across her)
Bluebeard! Bluebeard!
CLOSE SHOT -- JOHN
He looks to sound of gavel. The hubbub and the gaveling stop.
LAWYER (o.s.)
Will you identify the prisoner?
JOHN looks over his shoulder in same direction as the gavel.
LAWYER (o.s.)
Please, little lad. Won't you look yonder...
His pointing finger enters the SHOT. JOHN shakes as if he had a cold.
LAWYER (o.s.)
...and tell the Court if that is the man who
killed your mother?
JOHN looks at the finger. Short pause.
LAWYER (o.s.)
It's all right, Mrs. Cooper. You can take the
little fellow away.
The LAWYER's hands gently help him from chair.
GROUP SHOT -- RACHEL AND CHILDREN
... as LAWYER's hands consign JOHN to RACHEL.
LAWYER (o.s.)
Merry Christmas to you and yours, Mrs. Cooper.
The CHILDREN bob and reply, ad lib, "Merry Christmas to you." RACHEL sniffs.
LAWYER (o.s.)
And what's Santy Claus going to bring you,
little man?
Above JOHN's head, by winding and holding to ear, RACHEL pantomimes a watch.
LAWYER (o.s.)
Oh-ho-oo-o!
ICEY (o.s.)
Them is the ones he sinned against, my friends!
Gaveling starts.
LOAFER (o.s.)
Bluebeard! Bluebeard!
CROWD (o.s.)
Bluebeard! Bluebeard!
As RACHEL and CHILDREN turn to go, gaveling and hubbub fade and we
LAP DISSOLVE TO
INT. A CAFE -- NIGHT
RACHEL and her CHILDREN sit in two booths in a corner, next to a big front
window. Christmas parcels on bench at RACHEL's right.
FULL SHOT -- RACHEL AND HER GROUP, THEN CAFE AND WINDOW
Sound o.s. of approaching crowd. As we PULL BACK we bring in a few other
customers and the big window. There are Christmas decorations in the cafe
and the street outside is hung with them. Thirty feverish people, some of
whom carry torches, enter the scene; ICEY stares in the window and screams.
ICEY
(high-pitched)
Them's hers!
Everyone in the cafe stands up. RACHEL gathers her parcels. ICEY rushes to
door and opens it.
ICEY
Them's her orphans!
She turns to crowd.
RACHEL
Where's Ruby?
CLARY
She went.
ICEY shouts into the cafe.
ICEY
Them poor little lambs!
ICEY turns to the street mob. RACHEL hurries her CHILDREN to door. ICEY
leaves door to yell at mob.
ICEY
Them's the ones he sinned against, my friends!
CASHIER
(across Icey)
Go out the back way, Miz Cooper.
As RACHEL leaves SHOT, the CASHIER shouts and locks the door.
EXT. BACK ALLEY -- NIGHT -- PANNING SHOT -- RACHEL AND COMPANY
...emerging from door. MARY and CLARY come out first and start walking to
our left. RACHEL comes out and hurries off to our right, followed by JOHN
holding PEARL's hand. We PAN to MARY and CLARY.
CLARY
Ain't we goin' to the Bus Depot?
No answer. They turn and we PAN with them as they hurry after RACHEL, and we
bring in RACHEL, charging away from us with her brood hustling to keep up.
GROUP SHOT -- FEATURING WALT AND ICEY
ICEY carries a torch. She is flanked by rabid faces and smiling LOAFERS, one
of whom carries an axe. As she speaks, a MAN rushes up to WALT and gives him
a rope.
ICEY
(shouting, high-pitched)
Draggin' the name of the Lord through the evil
mud of his soul!
WALT
(bellowing)
Come on!
They all start marching, in step.
PANNING SHOT -- RACHEL AND CHILDREN
Marching and voices o.s. and in BACKGROUND. Carrying Christmas parcels, they
hurry alongside a building and at CENTER of PAN, cross the end of a street.
The MOB marches down the street TOWARDS CAMERA; MEN run to join it.
ICEY
(high-pitched)
He lied!
WALT
Tricked us!
ICEY
He taken the Lord's name in vain and he
trampled on his Holy Book!
WALT
String that Bluebeard up to a pole!
ICEY
He's Satan hiding behind the Cross!
OTHERS
(ad lib)
Lynch him! String him up!
We PAN RACHEL and CHILDREN past this street and they hurry towards RUBY, who
stands alone in BACKGROUND, facing the jail.
HEAD CLOSE-UP -- RUBY'S ECSTATIC FACE
In BACKGROUND, RACHEL and CHILDREN hurry towards her. MOB noise o.s.
Hearing the approach of RACHEL'S GROUP, RUBY turns the back of her head
towards us. Now there are no mob voices; only the ominous sound of fifty-odd
people marching step.
RUBY
I love him!
TRACKING SHOT -- RUBY
Ominous silence.
RUBY
He loves me because I'm so purty! You think
he's like them others!
SIDE TRACKING SHOT -- RUBY, RACHEL AND GROUP
Marching sound o.s. RACHEL firmly takes RUBY's arm and drags her off in our
direction. RACHEL shoos MARY and CLARY ahead of her. JOHN and PEARL flank
RACHEL, clinging to her wide skirts. RUBY, nearest us, keeps looking back
over her shoulder. We TRACK them alongside of JAIL to rear of JAIL.
RUBY
(continuing)
You took on something awful about him buying me
that there movie book. You was so mad, you
shot him and the blue men took him.
On "blue men," we stop TRACKING and, as GROUP leaves SHOT, CENTER a POLICE
CAR, waiting at rear door of JAIL. POLICEMEN start out of door.
MEDIUM GROUP SHOT -- POLICEMEN AND PREACHER
They roughly hustle PREACHER into the car. Marching sound o.s.
SHOT -- FROM WITHIN CAR -- BART
PREACHER and POLICE are in b.g. Through car window we see BART THE HANGMAN
come out of his door. He wears his derby. A POLICEMAN puts head out of
window. Marching o.s.
MEDIUM SHOT -- BART THE HANGMAN
On porch, by door, is a doll's perambulator, but this time there is a
Christmas wreath on the door. Marching o.s.
POLICEMAN (o.s.)
Hey, Bart!
Auto engine starts up o.s.
HEAD CLOSE-UP -- BART
BART
Yeah?
MEDIUM SHOT -- POLICEMAN
Marching o.s.
POLICEMAN (o.s.)
We're savin' this bird up fer you!
HEAD CLOSE-UP -- BART
Marching o.s.
BART
This time it'll be a privilege.
FULL PANNING SHOT -- POLICE CAR, THEN RACHEL AND GROUP
The car jumps fast out of SHOT and we PAN PAST BART and CENTER RACHEL and
GROUP, walking fast away from us. Mob voices o.s.
A VOICE
(o.s., over departing car)
Bust the door down!
CLOSE GROUP SHOT -- RACHEL AND CHILDREN
Clutching Christmas parcels, they hurry away from us into darkness. RUBY,
hanging back, dragged by RACHEL, babbles over her shoulder.
RUBY
(happily)
They'll git him out. I'll git my things ready
-- my shawl and my Mickey Mouse watch that
don't run and the straw hat with the flower,
and we'll be married and live happily ever
after.
VOICES
(o.s., ad lib, cutting across Ruby)
Bust down the door! Set fahr to it! Where's
that axe?! Climb up on the balcony! You six
git 'round to the back!
ICEY
(o.s., screaming)
People of Marshall County!
DISSOLVE TO
FULL SHOT -- NIGHT LANDSCAPE -- PINE TREES AND SOFTLY FALLING SNOW
DISSOLVE TO
EXT. RACHEL'S HOUSE -- EVENING; SNOWING -- CLOSE SHOT -- RACHEL AT MAILBOX
She peers into empty mailbox.
RACHEL
Nothing!
She slams the box shut and, as we TILT and PAN, walks away from us through
snow towards her lighted house.
RACHEL
I'm glad they didn't send me nothing! Whenever
they do it's never nothing I want but something
to show me how fancy and smart they've come up
in the world.
She goes into the house.
INT. RACHEL'S KITCHEN
It is decorated for Christmas.
GROUP SHOT -- RACHEL AND CHILDREN
Rachel enters; the four girls stand in line, packages ready; JOHN stands in
b.g., in doorway to next room.
MARY
Can we give you your presents now?
CLOSE SHOT -- RACHEL
RACHEL
Shoot! You don't mean to say you got me a
present?
Their hands hold packages up to her.
RACHEL
Shoot now!
She takes a package.
CLOSE SHOT -- JOHN
RACHEL (o.s.)
Why, Ruby!
Embarrassed, JOHN leaves the SHOT.
RACHEL (o.s.)
A POT-HOLDER!
CLOSE SHOT -- JOHN -- NEW ANGLE
From a fruit bowl, he selects the biggest apple, shines it on his shirt,
wraps it in the doily under his bowl, opens a drawer and gets out a clip
clothes-pin, clips his package, and leaves SHOT.
RACHEL
(o.s., continuing)
And much neater than last year's, Ruby!
Sound of tearing gift paper o.s.
RACHEL (o.s.)
And Clary! ANOTHER POT-HOLDER! Ain't that
thoughtful. I'm always burnin' my hands.
FULL SHOT -- RACHEL AND CHILDREN, OVER JOHN
... as he enters with present. RUBY and CLARY are standing aside; MARY and
PEARL hold up a third pot-holder.
RACHEL
And did you two make this together?
MARY
You hop us, some.
CLOSE SHOT -- RACHEL, ACCEPTING JOHN'S GIFT
She opens it.
RACHEL
(quietly)
John, that's the richest gift a body could have.
(continued, briskly)
You'll find your presents in the cupboard under
the china-closet.
GROUP SHOT -- RACHEL AND CHILDREN
RACHEL
You know where, Ruby.
All turn and run through door except RUBY, whom RACHEL detains.
RACHEL
Ruby:
(she takes a box from
her apron pocket)
This is yours.
RUBY opens it quickly; it is a cheap costume jewelry flower-spray. RUBY and
RACHEL kiss like grown women and RUBY goes to join the others.
FULL SHOT -- RACHEL
She turns to her stove and is framed by Christmas garland in b.g.; banging
pots about and stirring; praying as she works, which is the best way to pray.
Appropriate noise, o.s., of opening presents.
RACHEL
Lord save little children! (bang) You'd think
the world would be ashamed to name such a day
as Christmas for one of them... (bang) ... and
then go on the same old way.
(she starts stirring)
My soul is humble when I see the way little
ones accept their lot.
(she pauses in stirring)
Lord save little children! The wind blows and
the rain is cold. Yet, they abide...
In BACKGROUND, the GIRLS run upstairs, their new dresses over their arms.
RACHEL glances over her shoulder.
MEDIUM SHOT -- JOHN -- RACHEL'S VIEWPOINT
JOHN stands in next room, looking at something in his hand.
CLOSE SHOT -- JOHN -- IN OTHER ROOM
We see he holds a watch. He looks like any boy, rich or poor, with his first
watch.
HEAD CLOSE-UP -- RACHEL
RACHEL
(whispering, so that
he does not hear)
For every child, rich or poor, there's a time
of running through a dark place; and there's no
word for a child's fear. A child sees a shadow
on the wall, and sees a Tiger. And the old
ones say, "There's no Tiger; go to sleep." And
when that child sleeps, it's a Tiger's sleep,
and a Tiger's night, and a Tiger's breathing
on the windowpane. Lord save little children!
JOHN enters boldly behind her and, with a scrape, masterfully swings a chair
around close to her and straddles it. RACHEL turns her back to us. She
expects him to speak, he doesn't, so she fills in:
RACHEL
That watch sure is a fine, loud ticker!
JOHN gives her a burning, proud smile.
RACHEL
It'll be nice to have someone around the house
who can give me the right time of day.
JOHN finds his tongue.
JOHN
This watch is the nicest watch I ever had.
RACHEL
A fella just can't go around with run-down,
busted watches.
She turns back, face to us, and goes on with her stirring. JOHN goes off
towards the staircase to join the GIRLS; then turns back.
CLOSE SHOT -- JOHN
JOHN
I ain't afraid no more! I got a watch that
ticks! I got a watch that shines in the dark!
He turns and hurries to the stairs.
HEAD CLOSE-UP -- RACHEL
Over the sound of his running upstairs:
RACHEL
(telling us)
They abide and they endure.
LAP DISSOLVE TO
FULL SHOT -- STARRY SKY
FADE IN TITLE:
THE END
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in the family pictures
south park pictures homer
simpson images
bob dylan pictures elizabeth
taylor photos drawn
together images
saturday night live pictures hee
haw pictures james
brown images pete
townshend photos
tina turner pictures
dixie chicks photos
robert anton wilson images
guns n roses pictures
paula abdul pictures
jodie foster photos
borat
eminem
frank sinatra photos
van halen images