The Remarkable Mrs. Hawk
FADE IN
1 EXT. HOBO JUNGLE - NIGHT
In a small clearing near the railroad tracks, two "Knights
of the Road" wait beside their campfire. One, JASON
CLEANTHES LONGFELLOW, an aging, emaciated gent (with a
prominent mole on his chin) whose inherent air of superi-
ority and whose use of language suggests an education
and background not consistent with his present low estate.
The other, PETE GOGAN, an ex-pug, youngish, slow-witted,
whose otherwise pleasant features are punctuated with a
flattened nose and cauliflower ear. Despite his gladiator-
ial appearance, there is something very childlike, very
appealing, about Pete. Jason is lounging comfortably in a
battered armchair, toasting his stockinged feet by the
fire while plucking idly at a battered lyre. Behind him
we see his modus vivendi -- an ancient touring car on which
is piled, tied and otherwise attached, every manner of
item which could conceivably make his migratory life more
comfortable. In complete contrast to Jason's contented
reverie is Pete's nervous restlessness. He is breaking
a dead branch into bits and tossing the pieces into the
fire. He looks at his wristwatch, glances at Jason,
then turns to the car, reaches in and TOOTS the horn,
holding the button down.
PETE
There, that ought to do it. You
think he heard that?
Jason exhales slowly.
JASON
He isn't deaf, my friend.
PETE
Well, then, come on! Let's load
up. When Johnny comes we gotta
be ready to take off!
He begins to throw various camping items into the car, in-
cluding the hassock under Jason's feet. But Jason who has
been playing a J.S. Bach partita (the one written for the
lute) has hit a sour note. Frowning, he tries the diffi-
cult passage again, much to Pete's aggravation.
PETE
Jason! Will you put that thing
away?! We gotta get a head
start on the cops!
Jason ignores him.
PETE
(exasperated)
Oh, I dunno why we ever took up
with you!
Pete crosses to a small rise where he parts the willows and
stares o.s. at:
2 EXT. HOG FARM - NIGHT - FULL SHOT - (STOCK)
Sparkling white house and outbuildings, neat fences and
pens, etc., set back from the road which winds pleasantly
through the moonlit valley below.
3 EXT. FARMHOUSE - NIGHT - CLOSER ANGLE FROM ROAD
Lights shine cheerily from behind crisp white curtains
and at the roadside gate, two polished brass lanterns
pick out a neat sign upon which is painted the legend:
"ISLE OF AIAE - HOME OF THE PAMPERED PIG". The lettering
is borne on the shoulders of two frolicking pigs. In
smaller script, we read: "Visitors Welcome - Mrs. C. Hawk,
Owner-Mgr."
4 INT. KITCHEN - NIGHT - CLOSE ON JOHNNY NORTON
a harshly handsome man of about twenty-five. He
wears levis and a distinctive plaid shirt, with sleeves
rolled up to expose muscular arms and a tattoo -- an arrow-
pierced heart. He is seated at a big maple table covered
with a bright cloth, toying nervously with his food. At
the SOUND of a distant TRAIN WHISTLE, Johnny's eyes
lift from his plate and a sense of furtive urgency comes
over him as he listens. CAMERA PULLS BACK to CATCH his
hostess -- MRS. CISSY HAWK -- who is entering from the
pantry with a delicious-looking cake. She is a handsome
woman with classical features which are crowned by dark
hair fixed in a neat, practical chignon. She is the
ageless type whose face is unlined and whose figure is
still admirable though the springtime of her life has long
passed. She wears a bright gingham dress with a modest
Peter Pan collar which does very little to conceal her
mature charm.
MRS. HAWK
I baked a little surprise for
you, Johnny. Something special
for your dessert -- why, Johnny,
you haven't touched your supper.
Aren't you feeling well?
He avoids her eyes. His silence is nervous, guilt-laced.
She sets down the cake and goes over to him, but he slips
out of his chair and moves away. She continues to pursue him,
as if compelled to be close to touch him.
MRS. HAWK
Well, never mind. I expect it's
just a touch of the sun. You'll
have to remember to wear a hat in
the future.
JOHNNY
(bluntly)
Ain't gonna be no future. I'm...
quittin'.
MRS. HAWK
(distressed)
Quitting...?! But, Johnny, I
thought you liked working here.
JOHNNY
I...I'm leavin'. Tonight.
MRS. HAWK
Couldn't we talk this over? If
there's something bothering you --
I mean, if your room isn't
comfortable or anything at all ---
She has cornered him and his face flushes dangerously as:
JOHNNY
(cuts her)
I wanna go, that's all.
MRS. HAWK
Oh...that is a pity -- and just
when we were getting along so
splendidly...Johnny! Don't frown
so. You needn't be so depressed.
She has attempted to feel his brow. But he has edged away
and:
JOHNNY
(dangerously)
I want my pay. Now.
MRS. HAWK
Of course, dear boy. But you're
not leaving this house without
something to cheer you up.
I have just the thing. The last
of my home-made blackberry cordial.
Now you drink this and no nonsense.
She has gone to the sideboard, unlocked it, brought out
a decanter and glass and poured him a generous shot.
MRS. HAWK
Do as I say now. I want to see
that gone when I return with your
money.
She puts the glass in his hand and goes into a small room --
her office -- in which she has an old-fashioned roll top
desk, a library of farm journals, hog production charts,
etc., etc. Johnny watches her nervously as she unlocks
the desk, then a drawer, out of which she takes a cash
box. Meanwhile, he has sipped the cordial, found it to
his taste, gulped it back, then put the decanter to his
mouth and emptied it. His courage thus fortified, he now
grasps the neck of the decanter and moves furtively up be-
hind her as she unlocks the cash box.
5 INT. FARM OFFICE - NIGHT
Just as Johnny raises the decanter to strike her, she
turns, the open cash box in her hands. Their eyes meet
and he freezes.
MRS. HAWK
(at length; sadly
disillusioned with him)
Oh, Johnny...that's not necessary.
Not necessary at all. I've told
you...you have only to ask for
what you want. Anything you want.
Now if you must have this money,
take it and leave. I won't even
phone the police....
Her disarming poise, her unnerving permissiveness, stops
him cold. As if mesmerized, he slowly lowers the decanter.
But then the SOUND of the TRAIN WHISTLE -- close now --
snaps his head clear. He drops the decanter, snatches
the cash box, shoving her roughly aside as he rips out the
telephone cord before bolting through the kitchen and out
the back door. Mrs. Hawk sighs regretfully and begins
to gather up the pieces of the smashed decanter, pausing
as she hears the first of Johnny's strangled, incredulous
CRIES coming from the yard:
JOHNNY'S VOICE
Oh...! Oh, no....!
6 CLOSE SHOT - MRS. HAWK
She listens with frightening impassiveness as his increduli-
ty changes to sheer horror.
JOHNNY'S VOICE
No...! Help me! Help me somebody!
No!! Noooo....!!!
INTERCUT:
7 EXT. PIG PEN - NIGHT
The sleeping pigs are startled awake and as Johnny's
SCREAMS continue, they set up a squealing terrified BEDLAM.
INTERCUT:
8 EXT. HOBO JUNGLE - NIGHT
Pete reacts to Johnny's SCREAMS and the SQUEALING pigs, a
terrifying cacophony which ECHOES across the valley. As
Jason rushes to his side:
PETE
That's Johnny!
Pete starts toward the sound. Jason grabs him. They
struggle.
PETE (contd)
He's in trouble! Lemme go!!
JASON
No! You fool, it's too late!
Pete breaks free, turns away from Jason, stumbles to his knees.
But as he rises, Jason clubs him from behind with a rock.
9 BACK TO MRS. HAWK
Still listening, her expression unchanged. She can no
longer hear Johnny's screams now -- only the BEDLAM from
the hogs. With a small sigh of finality, she moves to the
two peacock feathers which are crossed on the wall, framing
a long-handled ivory back-scratcher. Taking the back
scratcher she returns to the kitchen and goes out the back
door as we:
FADE OUT
BORIS KARLOFF
Imagine a woman with such poise...such
calm in the presence of...of whatever
happened to young Johnny! Remarkable!
"The Remarkable Mrs. Hawk." That's the
title of our excursion into the impossible
tonight. Or is what happened to Johnny
impossible in this day and age? He was a
thief -- whatever he got, he deserved,
you say? My friend, how can you judge
until you know the full horror of what
overtook him out here (there) in the
farmyard? That's the puzzle I invite
you to solve with our cast:
Jason Cleanthes Longfellow, played by
_____________________; Pete, played
by________________; Sheriff Willetts
played by_________________; Johnny, played
by___________________. And, of course,
the remarkable Mrs. Hawk, played by
_______________________________________.
If you've ever yearned for a small farm --
with a few chickens, a cow and a pig or
two -- I particularly recommend this story.
Because as sure as my name's Boris Karloff
you'll learn some farming techniques that
even the experts never dreamed of.
ACT I
FADE IN
10 EXT. HOBO JUNGLE - NIGHT - LONG SHOT
11 CLOSER ANGLE
Continue action from Scene 8.
PETE
Wha...what happened?
JASON
(lies smoothly)
You fell and hit your head. On
a stone.
PETE
We gotta go an' help Johnny!
Jason restrains him with a grave gesture as:
JASON
I'm afraid Johnny is beyond our
aid.
(grimly)
Or anyone's.
PETE
What made him scream like
that, Jason...? Do...d'ya suppose
she shoved Johnny into the hog
pen? When hogs are hungry they...
they're dangerous.
Jason thoughtfully rubs the mole on his chin with a
skeletal forefinger, as:
JASON
If I knew Johnny's fate, my
friend, I'd understand why Mrs.
Hawks' farm is designated "cave
canem" by the brotherhood.
PETE
Huh? Talk American, will ya?
JASON
Cave canem. Beware! Be on your
guard!
PETE
Oh.
(it hits him)
Hey...! You sent Johnny to mooch
a job from her -- and all the
time you knew what would happen
to him!
Suddenly Pete has Jason by his scrawny throat.
PETE
You crummy weasel! You knew
what would happen to Johnny!
JASON
(choking)
I didn't know! I heard rumors,
that's all. I still don't know what
happened to him. But if you want
to find out -- and maybe line
your pockets in the process --
let go of me!
With surprising agility, he chops Pete across the bridge of
the nose with the heel of his hand. Pete reels back,
momentarily blinded by the excruciating blow.
PETE
(cries)
I...I can't see! I can't see!!
Jason calmly straightens his dusty clothing as:
JASON
Stop bellowing. It's only a
temporary disability.
Jason shoves Pete into the chair at the table. Pete blinks
and digs his knuckles into his eyes, as:
PETE
We...we never shoulda hooked up
with you. You just used Johnny
to...to....
JASON
To confirm the rumor. You're a
bright lad, Pete. I like you.
And I'm going to take you into
my confidence.
PETE
Don't do me no favors.
JASON
Ordinarily a mere hobo rumor
wouldn't interest me -- certainly
not enough to follow it half way
across the country. Then what
did excite me, you ask?
PETE
I ain't askin'.
Jason produces a tattered magazine as he continues:
JASON
This. A copy of "Wedding Bells"
magazine -- and a certain advertisement
which reads: "Attractive widow,
owner of profitable farm, desires
lonely young man to share her
work and her future. Signed:
Mrs. C. Hawk, Box 35, Wedding
Bells Magazine," et cetera.
PETE
Don't tell me no more. I'm
catchin' me a freight East.
JASON
What does the phrase "lonely young
man" suggest to you? Why must the
young man be lonely? I'll tell
you why. Because lonely young
men are not apt to have relatives
who can question their sudden
disappearance.
During the following Jason finds a pen and paper.
JASON (contd)
(grimly)
Neither are hobos. Apparently
when the lady's supply of drifters
swindled, she turned to another
source. A lonely hearts' magazine....
PETE
I...if you know so much, why
don't you go to the police?!
JASON
The police! My boy, where's your
sense of chivalry?! One doesn't
rat on a lady -- particularly when
she's so obviously able to pay for
our silence.
PETE
Pay us...?
JASON
Exactly. All we have to do is to
learn the secret of the widow Hawk's
gory little game -- whatever it is
-- then name our price.
Jason exposes his cracked teeth in a low avariciously
confidential grin. It is as infectious as cholera.
PETE
I don't want no part of it.
JASON
You'll change your mind when the
profits start to roll in.
Jason shoves the pen and paper in his hand.
JASON
Now, write this: "Dear Friend,
I saw your ad in the marriage
magazine and ---"
PETE
(cuts in)
Even if she answers, I ain't
gonna go back there.
JASON
We'll discuss that when the time
comes. Now where was I...?
DISSOLVE
12
thru OMIT
16
17 INT. FARM OFFICE - NIGHT - MRS. HAWK
at her desk writing in a smooth hand with an old-fashioned
quill pen.
MRS. HAWK
(as she writes)
Mr. Peter Gogan, General Delivery,
Wellsville. Dear Peter, I hope you
won't think it forward of me to
call you Peter, but your letter was
so warm and sympathetic that....
DISSOLVE
18 EXT. HOBO JUNGLE - DAY - JASON'S CAR
as it rolls to a stop. Pete drives as Jason reads a letter.
JASON
... that I feel we are already
close friends. I look forward
to your visit in the hope that
the loneliness we have both known
for so long will soon be ended.
Warmest wishes, Cissy Hawk."
CAMERA has now PULLED BACK to reveal Pete, glum and sullen,
at the wheel. Both are decked out in cheap new clothes.
JASON
(smacks his lips)
Cissy Hawk...Cissy! Notice she
uses the diminutive for Cecile.
Or maybe it's Lucille.
They get out of the car.
PETE
I ain't going to that place, Jason.
I'm gonna keep right on goin' West.
Maybe I can get me another manager.
JASON
Try not to crease your new suit,
Pete.
With a proprietary gesture he brushes a speck of lint
from Pete's lapel.
DISSOLVE
19 OMIT
20 EXT. COUNTRY FAIR - DAY - WIDE ANGLE SHOT - (STOCK)
21 EXT. STEAM CALLIOPE - DAY - (STOCK)
22 EXT. FAIR GROUND - DAY - (ON STAGE) - CLOSE SHOT
on Nannos, an enormous hog with an oddly distorted heart-
shaped marking on his shoulder, who is exchanging stares
with two farmers -- CLEMINS and LARKIN -- who are leaning
over his pen. As CAMERA WIDENS ANGLE we see a neat sign
on the top rail reading: "NANNOS, entered by Mrs. C. Hawk."
Flanking the sign are two large blue ribbons: "BEST
YEARLING BORE" and "GRAND CHAMPION SWINE."
CLEMINS
(glumly)
Beats me how she does it.
LARKIN
Every year.
CLEMINS
Best hog at the fair...best ham...
best pickled ham...best bacon.
LARKIN
Don't forget pork sausage.
CLEMINS
(incensed)
She won pork sausage, too?!
LARKIN
Who else?
Clemins wags his head with dejected resignation. Mrs.
Hawk comes on, bright and cheerful as April sunshine, in
her crisp white dress and her fetching bonnet.
MRS. HAWK
Good day, Mr. Clemins. Mr.
Larkin.
CLEMINS AND LARKIN
G'day, Mrs. Hawk.
MRS. HAWK
I hope the baby's better, Mr. Larkin.
LARKIN
Some better, thanks.
MRS. HAWK
Well, you tell Mrs. Larkin to
phone me if there's anything I
can do. Anything mind you.
LARKIN
I'll tell her, ma'am. And
congratulations.
CLEMINS
(grudgingly)
Yeah. Congratulations.
MRS. HAWK
Why, thank you. Isn't he the
handsomest thing, my Nannos?!
I'm so proud of him!
She beams down at the hog.
23 CLOSE SHOT - NANNOS
responds with a variety of APPEALING GRUNTS AND SQUEALS.
24 WIDER ANGLE
MRS. HAWK
So sweet -- the way he responds!
Pigs are very intelligent, you
know -- oh, I see Tom Willetts,
Excuse me.
(calls)
Tom! Tom!!
She rushes off.
25 ANGLE AT REFRESHMENT BOOTHS - MRS. HAWK
comes on, trying to catch the attention of a tall, slender
man who is moving away through the crowd.
MRS. HAWK
(calls)
Tom! Tom Willetts!
(distressed)
Oh, dear!
(calls again; quite
deliberately)
Ulysses!
Instantly the retreating Willetts stops in his tracks.
26 CLOSER SHOT - TOM WILLETTS
as he turns toward his tormentor and we see the Sheriff's
badge on his shirt and the gun at his belt. Normally, Tom
is shy and wary around women, as behooves a confirmed
bachelor of 40, but now his face is flushed with anger.
Mrs. Hawk comes on, beaming.
TOM
How many times do I have to ask
you -- please don't call me by
that name.
MRS. HAWK
But Ulysses is your name.
TOM
It's my middle name.
MRS. HAWK
It's a nice name. I've always
liked it.
TOM
(uncomfortably)
I... I gotta go. I'm on duty.
MRS. HAWK
Oh, pshaw! Sometimes I think you
were born with that badge pinned
to your skin -- the way you take
on about your job!
(appealingly)
Tom...I'll be simply devastated
if you don't buy me a lemonade.
She fixes his glance with a helpless, appealing expression
which bodes danger for his bachelorhood. Her flushes ner-
vously as:
TOM
I'd like to do that, Mrs. Hawk.
I really would, but I gotta get
back to the office. G'bye.
MRS. HAWK
So soon?! I thought you might
like to drive me home -- for a
nice hot supper....
He is gone. She sighs regretfully as we:
DISSOLVE
27 EXT. MRS. HAWK'S FARMHOUSE - DAY - PETE
is at the gate acting as lookout -- a very skittish look-
out. He reacts as he sees:
28 POV SHOT - PICKUP TRUCK
approaching in the middle distance.
29 BACK TO PETE
He puts his fingers in his mouth and whistles the alarm.
Then, when Jason doesn't respond, Pete rushes to the back
of the house.
30 EXT. FARM YARD - DAY - PETE
pauses in the middle of the deserted yard, whistles again.
31 INT. PICKUP TRUCK - DAY - MRS. HAWK
humming softly as she drives. From the pen on the truck
bed we hear the ANGRY, SULLEN GRUNTS of Nannos.
32 WILD SHOT - HOG
in truck pen.
33 BACK TO MRS. HAWK
She calls cheerily over her shoulder.
MRS. HAWK
We're almost home, pet. Stop
fretting now.
The HOG STOPS fretting.
34 BACK TO FARMYARD
Again Pete whistles -- frantically -- and this time Jason
emerges from one of the outbuildings. Pete waves him on
wildly, but Jason takes his own sweet time, dusting off his
clothes as he comes on.
PETE
Come on! Come on! She's comin'!
JASON
(maddeningly calm)
You're not flagging a freight,
my boy. Relax.
PETE
Any sign of Johnny?! What'd you
find?!
JASON
Nothing. Whatever the lady did
with our late friend, she was
very clever about it....
PETE
That settles it! Let's get out
of here!
Pete starts away but Jason fixes his arm, almost an auto-
matic reflex as his glance goes speculatively to the house.
JASON
Of course, the answer could be
in the house...perhaps the cellar....
PETE
I'm leavin', Jason!
JASON
Leaving?! When we're on the
threshold of our fortunes?!
PETE
Count me out!
Jason clutches Pete like a starved crocodile as:
JASON
(dangerously)
My young friend, you're in. I've
invested my entire bankroll in
this venture.
PETE
Let go of me, Jason. Let go,
or so help me, I'll slug you ---
As he cocks his fist, the truck pulls around the corner
of the house and into the yard, stopping beside them.
Trapped, Pete's arm sags and he emits a low, hopeless
moan as Mrs. Hawk leans out of the cab window.
35 CLOSER SHOT - MRS. HAWK
Her gaze fixing Pete, her slow smile frighteningly enig-
matic as:
MRS. HAWK
(at length)
Hello, there...
FADE OUT
END OF ACT I
FADE IN
36 INT. MRS. HAWK'S PARLOR - DAY - CLOSE ON
a large painting - the classic "CIRCE AND THE FRIENDS
OF ULYSSES" by Rivera. CAMERA PULLS BACK to discover
JASON studying the painting speculatively. Pete is
sitting on the edge of the sofa, stiff and apprehensive.
Mrs. Hawk enters with a big pitcher of iced tea and
cookies, etc., which she serves as:
MRS. HAWK
(buoyantly)
Well, I must say this is a
pleasant surprise! I never
dreamed you'd get here so
quickly, Peter. And how nice
of your uncle to come with
you.
Pete manages a sickly smile which he finds difficult to
maintain as she hovers over him, her eyes caressing his
muscular frame.
JASON
I considered it my duty, Mrs.
Hawk. The lad's my only kin,
and naturally, I'm concerned
for his future.
MRS. HAWK
(echoes preoccupiedly)
Naturally...
(warmly, softly)
Help yourself to the cookies,
Peter. They're home made.
PETE
(croaks)
Th...thanks.
MRS. HAWK
(teasingly)
Why I believe you're actually
blushing! Am I so frightening,
Peter?
PETE
Yes, ma'am...
JASON
Pete!
PETE
(quickly)
I...I mean, no ma'am.
(unconvincingly)
No...
JASON
You must forgive the lad, Mrs.
Hawk. He's always been shy
around the ladies.
MRS. HAWK
How sweet.
JASON
(continuing)
That is why I had such misgivings
about his answering a lonely
hearts advertisement.
MRS. HAWK
Oh, dear. What must you think
of me?
JASON
(gallantly)
I think you are a most
resourceful and charming woman.
And, having met you, I have
nothing but optimism for Pete's
future.
Now, for the first time, she tears her eyes away from
Pete, as:
MRS. HAWK
Why, thank you, Mr. Longfellow!
What did you say your line of
work was?
JASON
Investments.
MRS. HAWK
Stocks and bonds.
JASON
No. Strictly cash flow
speculations.
MRS. HAWK
It sounds very important - Peter,
you haven't tried my cookies.
Now you mustn't be bashful.
Reluctantly, Pete takes a cookie which he just clutches
as Jason rises. Jason tugs at the heavy gold chain
which spans his vest pockets, and from which dangles his
Phi Beta Kappa key. He pretends to check a watch on the
end of the chain, palming the non-existent timepiece
with practiced expertness that only we note the fakery.
JASON
And I mustn't intrude any longer.
MRS. HAWK
(unconvincingly)
You're leaving so soon?
JASON
Regretfully.
MRS. HAWK
Well, goodbye. And thank you
for bringing Peter. And you
have no idea how welcome he is.
JASON
(charmingly cryptic)
I think I have, Mrs. Hawk...
Jason starts out. Pete jumps to his feet and follows him.
PETE
I'll...I'll walk you to the
gate...Jas-- uh...Uncle Jason...
37 EXT. FARM HOUSE - DAY - TRAVELING SHOT - JASON
moves off the porch and toward the front gate, Pete
tags along as:
PETE
You ain't leavin' me here, Jason.
JASON
(ignoring his protests)
Keep your eyes and ears open.
When you get a chance, investigate
the cellar. And if you see or
hear anything...peculiar, slip
away and report to me at our
camp.
PETE
I said, I ain't stayin'!!!
Jason pauses, regards his protege with a regretful sigh.
Jason starts away. Pete grabs him.
PETE
(frustrated)
Ah, Jason...you can't expect me
to stay in that house with her!!
JASON
"Un averti en vaut deux."
PETE
Will ya stop that! You an' yer
education!
(suspiciously)
What's it mean?
JASON
It means: "A person warned is
equal to two."
PETE
So what?
JASON
So you have a priceless advantage
over Johnny, my friend. You have
been forewarned. You know the lady
is dangerous. Furthermore, you
can take advantage of the fact
that she doesn't know you know...
PETE
(swayed)
You really think so...?
JASON
Would I deceive you?
On Pete's uncertain reaction, we:
DISSOLVE
38 INT. SECOND FLOOR HALL - DAY - MRS. HAWK
is leading the way toward a room at the end, PETE
following, guarded and nervous, as:
MRS. HAWK
Now, if there's anything you
want -- an extra blanket -- or
anything, you just ask.
PETE
(manages)
Thanks. I'll be okay...
MRS. HAWK
Of course you will. When
you've had a nice nap, you'll
be as chipper as a boar shoat.
I know how exhausting travel
can be.
She opens his door with an almost ceremonial smile.
MRS. HAWK
Here's your room. I do hope
you'll be comfortable...and
happy...Peter...
Like a doomed ox, Pete steps past her and into the room.
Quietly and with secret satisfaction, she closes the
door behind him.
39 INT. GUEST BEDROOM - NIGHT - PETE
looks around, finds every comfort a man could ask for -
a big leather lounge chair and hassock, TV and radio
set, cigarettes, cigars, pipe tobacco, books and sports
magazines, cards, jig-saw puzzle etc., etc. The small
bathroom is fully equipped with shaving lotions, razors,
new tooth brushes, etc. In the closet Pete finds a
variety of men's clothing -- all clean and neatly
pressed and among them - Johnny's plaid shirt! Suddenly
he is seized by panic and he goes to the door to lock
it. He discovers the lockplate is blank, so he does the
next best thing - he props a chair under the door knob.
Then, exhausted, he flops down on the bed.
DISSOLVE
40 INT. FARM HOUSE - NIGHT - FULL SHOT
41 STOCK - FULL MOON DRIFTING THROUGH BANKS OF CLOUDS - NIGHT
42 INT. GUEST BEDROOM - NIGHT
We find Pete sprawled across the bed, exactly as we left
him, sleeping fitfully. The RESTLESS SOUND OF HOGS wakes
him slowly. He sits up, rubbing his heavy eyes as the
SOUND BECOMES MORE DISTURBED. Curious, he moves to the
window, peers out.
43 EXT. FARM YARD - NIGHT - PETE'S POV
Mrs. Hawk is gliding across the yard toward the pig
pens, the moonlight wrapping her in an eerie mantle, the
other-worldly effect being heightened by her long,
flowing white dressing gown, her flawless white skin and
her jet black hair which falls across one exposed shoulder
to her waist.
44 CLOSER SHOT - MRS. HAWK
Under her arm she carries a Grecian urn, and in her hand
she holds the long, ivory back scratcher.
45 BACK TO PETE
The transformation is so startling that, for a moment,
he can't believe his eyes. Then he quickly, quietly
crosses to the door, removes the chair and exits.
46 EXT. BACK PORCH AND FARM YARD - NIGHT - PETE
slips quietly out and follows her.
47 EXT. PEN AREA - NIGHT
As Pete sneaks toward the scene he HEARS the PIGS
BICKERING and BEGGING and when he finally gets up close:
48 PETE'S POV - MRS. HAWK
is standing in the middle of her pigs and like a
beneficent queen bestowing coppers on her serfs, she is
tossing them bon-bons.
MRS. HAWK
(sweetly)
Now, now, pets...mustn't crowd.
There's a bon-bon for each of you.
Here's yours, Albert. No, no,
Henry - you've had yours. Greedy
little pigs get sent away to
"you know where."
49 ANOTHER ANGLE - NANNOS
is sulking in a corner by himself. Mrs. Hawk goes over
to him.
MRS. HAWK
Why, Nannos, why are you pouting?
50 CLOSE SHOT - NANNOS
replies in piggish fashion.
51 TWO SHOT - MRS. HAWK
seems to understand every oink and grunt.
MRS. HAWK
(sympathetically)
Well, now, you mustn't fret,
dear. You'll get used to us
by and by. Here. I saved the
biggest one just for you.
After Mrs. Hawk tosses Nannos a large bon-bon which he de-
vours piggishly, she opens the gate. Nannos comes out and
follows her into the house.
52 BACK TO PETE
who is utterly appalled as we:
DISSOLVE
53 EXT. ROOSTER GREETING THE NEW DAY - (STOCK)
54 INT. KITCHEN - DAY - MRS. HAWK
humming as she works, in turning the last of a heaping
stack of flapjacks onto a plate. As she takes the
flapjacks and a pitcher of syrup to the table:
MRS. HAWK
(calls; cheerily)
Pee-ter! Breakfast's ready!
No answer. She crosses into the parlor to the foot of
the stairs.
55 INT. PARLOR - DAY
MRS. HAWK
(calls again)
Break-fast!
No answer. Puzzled, she ascends the stairs.
56 INT. HALLWAY - DAY - MRS. HAWK
goes to his room, knocks.
MRS. HAWK
Peter --
The door is just off the latch. It swings slowly open on
her knock.
57 INT. GUEST ROOM - DAY - MRS. HAWK
enters, discovers the room is deserted and that the bed
has not been slept in. Obviously disturbed, she is about
to leave when she hears a CAR pulling into the yard.
She goes to the window and sees:
58 EXT. FARM YARD - DAY - SHERIFF'S CAR - TOM WILLETTS
gets out, goes to the kitchen door, knocks.
59 CLOSER SHOT
After a moment, Mrs. Hawk appears, breathless and
effusive as usual - but beneath the smile of her welcome,
she is guarded and worried as she swings the screen door
open for him:
MRS. HAWK
Why, Tom! What a perfect
surprise! You're just in time
for breakfast! I'm trying out
a new flapjack recipe --
60 INT. KITCHEN - DAY - TOM
enters, his attitude grave and official. He unfastens
her grip from his arm as:
TOM
I didn't come for breakfast.
This is official.
MRS. HAWK
Oh, dear. The way you say
that is positively frightening.
TOM
I got a report last night which
was frightening, about a young
drifter named Johnny Norton.
MRS. HAWK
You're sure you...ah...wouldn't
like a cup of coffee, Tom...?
TOM
I understand you recently
hired a kid named Norton.
MRS. HAWK
Why...yes...
(carefully)
Has anything happened to him?
TOM
I was hoping you could tell me.
What happened to him?
MRS. HAWK
I...I told you. He just suddenly up and
left. He didn't say where he
was going.
TOM
(skeptically)
Did he give any reason for
quitting so suddenly?
MRS. HAWK
Not a hint. I was very hurt.
Imagine! He came to my door
and asked for work. He looked
like such a nice boy that I
didn't have the heart to ask
for references. I hired him
on faith --
TOM
(interjects)
What about his partner?
MRS. HAWK
Partner...?
TOM
An ex-fighter named Pete Gogan
To her reaction:
TOM
(suspiciously)
What's the matter...?
MRS. HAWK
Johnny never mentioned he had
a partner...
TOM
Well, he does. And they're both
wanted for half killing and
robbing a railroad guard. The
report said they may be traveling
with a motorized hobo named
Longfellow.
MRS. HAWK
And you made a special trip
just to tell me I was in danger...!
TOM
(flushes)
Well...it's possible one or all
of 'em may come back. Mind you
don't let 'em in. Just phone
me right away.
MRS. HAWK
Oh, I will. I will, Tom. Just
knowing you're close will be
a great comfort.
Her hand caresses his arm. He flushes, beats a hasty
retreat as:
TOM
Yeah...well...I've gotta get
back to town. G'bye.
MRS. HAWK
Goodbye...and thank you for
worrying about me, Tom.
He's gone. On her speculative reaction we:
DISSOLVE
61 EXT. HOBO JUNGLE - DAY - CLOSE ON PETE
He is huddled up near a cold campfire, dozing fitfully.
A foot comes into frame and nudges him. CAMERA ZOOMS
BACK as he jerks awake to discover Jason beaming down
at him.
JASON
Good morning, partner.
PETE
Get away from me.
JASON
What kind of progress report
is that?
PETE
There ain't gonna be no report.
An' the only progress will be
me leavin' on the first freight.
JASON
I gather you had a disturbed
night.
PETE
Disturbed! Listen. That dame
is nuts! Blooey! She's crazier'n
you.
JASON
You found something...!
PETE
I saw somethin'!
(shaking)
I still don't believe it...
JASON
What? What was it?!
PETE
Last night. I heard a lot of
racket - from the hogs. I
saw her goin' out to 'em -
lookin' like some kinda witch ...
with the moon shinin' in her
eyes...and her hair fallin'
down...
JASON
Her hair down, did you say...?
PETE
Clear down to her waist. An'
she was wearin' a funny kinda
white nightgown.
JASON
(speculatively)
Could it have been a robe --
long and full...and drawn in
at the waist...?
PETE
Yeah... how'd you know?
JASON
Never mind! What else?
PETE
I followed her and...you ain't
gonna believe this, Jason...
but she was talkin' to them
critters -- an' feedin' 'em
bon-bons like they was a bunch
of poodle dogs. Especially one
she called Nannos. Brother!
Did I cut outta there - an' fast!
JASON
Nannos...? You're certain she
called the pig Nannos...?
PETE
Would I forget a screwball name
like that?
62 MED. CLOSE SHOT - JASON
moves away, his mind whirling, as he adds some mysterious
and speculative sum with his bony fingers.
JASON
(at length)
Nannos...Mrs. Hawk...Cissy Hawk...
Cissy...hmmm.
At length, he turns back to Pete.
JASON
My boy, it's entirely possible
that we've stumbled onto the
most fantastic discovery since
the Fountain of Youth....
PETE
Who are you kiddin'?! There
ain't no sech thing!
JASON
Who can really say, with certainty,
whether legends are fiction...
or supernatural fact? Pete.
There was a very interesting
picture in Mrs. Hawk's parlor.
I want a closer look at it...
(cryptically)
among other things. Do you
think the lady would be
suspicious if I dropped by this
evening -- on the pretense of
saying goodbye to my nephew?
PETE
You can say goodbye to me here.
I ain't gonna be there.
63 EXT. FARM YARD - DAY - WIDE ANGLE SHOT
to catch Pete trudging toward the house from the direction
of the railroad tracks. Mrs. Hawk appears on the back
porch to meet him.
64 CLOSER SHOT
MRS. HAWK
Why Peter, where in the world
have you been?
Pete is jittery, self-conscious and he lies awkwardly as:
PETE
Uh...over by the railroad
tracks. One of the pigs got
out. I chased him...but he
got clean away.
MRS. HAWK
(skeptically)
One of my pigs...?
PETE
Yeah...
MRS. HAWK
Well, never you mind. He'll
come home when he's hungry.
But, my lands, you must be
famished.
PETE
No, ma'am.
MRS. HAWK
(ignoring his denial)
I tried to wake you for supper
last night, but you didn't
answer when I knocked.
PETE
Guess I'm a heavy sleeper, ma'am.
She has fastened on to his arm and leads him inside.
65 INT. KITCHEN - DAY - MRS. HAWK
guides Pete to the table where a place has already been
set and a heaping plate of flapjacks await him.
MRS. HAWK
I made a nice stack of flapjacks
just before you came. I'll be
very hurt if you don't eat
every morsel, Peter.
He regards the flapjacks distastefully as she steps up
to the cupboard where she finds a pitcher half full of
syrup. With her back to him she removes a small vial
from her bosom and shakes a few grains of white powder
into the syrup as:
PETE
I...I'm really not hungry, Mrs.
Hawk.
MRS. HAWK
Nonsense! A strapping young
man like you is always hungry.
Now you just sit right down.
PETE
(gloomily)
Yes, ma'am...
MRS. HAWK
You know, my late husband...
may he rest in peace...was a
sea-faring man, and he just
loved my home-made blackberry
syrup. I hope you like it, too,
Peter.
She has moved to the table with the pitcher and now
empties the thick, dark syrup over his flapjacks. Then
she sits down to watch him eat. Her syrupy smile is
almost as disconcerting as the syrupy mess on his plate.
Pete lifts his fork, hesitates.
MRS. HAWK
Now, don't be bashful. Enjoy
your breakfast. I've already
had mine.
Pete begins to eat, choking down the soggy flapjacks
and managing a sickly smile by way of a compliment for
her.
MRS. HAWK
(purrs)
I just know you love them.
Oh! Your coffee!
She rises, hurries to the stove, returns with the
coffeepot, pours a cup full as:
MRS. HAWK
(at length; suddenly
troubled)
Peter, I have a confession to
make.
Pete is instantly interested, but guarded as:
PETE
A confession...?
MRS. HAWK
I didn't sleep last night worrying
about it. Your uncle Jason, I
mean. I was very rude. I should
have invited him to supper. But
with all the excitement of
you coming and all...well, I
just forgot my manners. Peter...
do you think he could possibly
come to supper tonight?
Her distress has all the innocent appeal of a choir girl.
As for Pete, it's the first agreeable thing she's said
and his face lights up slyly as:
PETE
Yeah...yeah. I think that'd fit
into his plans just fine. Matter
of fact, before he left yesterday
he promised he'd drop by tonight...
ah...to say goodbye.
MRS. HAWK
(cryptically)
Then I can expect him...
His appetite restored with his spirits, Pete shovels a
great forkful of syrupy flapjack into his mouth as:
PETE
You sure can, ma'am. Yes,
sirree...!
He grins at her pointedly.
66 CLOSE SHOT - MRS. HAWK
smiles back cryptically. CAMERA MOVES UP VERY CLOSE as
she watches him with growing anticipation and a fright-
ening sense of satisfaction, as we hear him wolfing
down the flapjacks.
MRS. HAWK
(at length)
How do you like your flapjacks,
Peter...?
PETE (O.S.)
(his mouth full and chewing)
Great...! Don't know...when I've
been so...
(snorts)
hungry...
(grunts)
...hungry...!
Her smile broadens diabolically as the human eating sounds
become positively piggish.
FADE OUT
END OF ACT II
FADE IN
67 EXT. FARM HOUSE - NIGHT - SHOT FEATURING SIGN OVER
GATE "ISLE OF AIAE"
DISSOLVE THRU
68 INT. PARLOR - NIGHT - CLOSE ON PAINTING: "CIRCE AND
THE FRIENDS OF ULYSSES"
CAMERA PULLS BACK to discover Jason studying it with
keen interest. Adding a touch of elegance to the scholarship
evidenced by his Phi Beta Kappa key, he wears a dusty
feather carnation in his button hole. Mrs. Hawk enters
from the kitchen, pert and smiling, as wholesome as
home-made bread. She is wearing bright gingham with
a sparkling white apron with a crisp ruffle.
MRS. HAWK
Forgive me for leaving you to
entertain yourself, Mr.
Longfellow -- but my oven's been
acting up lately and I was afraid
the pork pie was baking too fast.
JASON
Pork-pie...!
(he inhales deeply)
It smells delicious.
MRS. HAWK
I just love men to have healthy
appetites.
JASON
In fact everything about your
little farm has a delicious
quality.
MRS. HAWK
How nice of you to say...
JASON
So sparkling and perfect. So
many pleasant surprises every-
where one looks. This painting,
for instance. Fascinating.
MRS. HAWK
Do you really think so? Most
people think I'm eccentric for
having it in my parlor. But I
always say, show me a painting
that's more appropriate for
a hog farm.
JASON
(probing carefully)
But surely it's more than just...
appropriate...
MRS. HAWK
(a nostalgic sigh)
Yes. You're right. It reminds
me of the place where I honeymooned
with my late husband.
JASON
The Isle of Aiae...?
She looks at him, a little startled.
MRS. HAWK
However did you guess...?
JASON
(smoothly)
The sign over your gate.
Obviously the Isle of Aiae has
some special meaning for you --
otherwise it wouldn’t grace
this little island of perfection.
His gesture sweeps the room. She studies him with new
and guarded interest as:
MRS. HAWK
You’re very observant, Mr.
Longfellow.
He crosses to the mantelpiece and takes down a small,
framed portrait ("MEDEA" by ______________________)
JASON
A lifetime of habit, Mrs. Hawk.
For instance, this portrait.
I see great courage in these
eyes...and tragedy.
69 INSERT - PORTRAIT OF MEDEA
70 BACK TO SCENE
MRS. HAWK
She had a very tragic marriage.
JASON
Children?
MRS. HAWK
Two. They died....tragically,
poor dears.
JASON
She was a close relative...?
MRS. HAWK
My sister. Middy.
JASON
(speculatively)
Middy...?
His eyes come off the portrait to hold hers as:
JASON
Would that be a pet name for...
Medea?
MRS. HAWK
(alarmed now; quietly)
Yes...
His gaunt face twists into a self-satisfied smile ---
his chuckle mocks her.
MRS. HAWK
I have the feeling that you're
not what you pretend to be,
Mr. Longfellow.
JASON
Is anyone? "False face must hide
what false heart doth show."
Shakespeare said that.
(facetiously)
And speaking of poets... where
is my lyrical young nephew?
MRS. HAWK
Changing.
JASON
Ahh... a woman's taming influence!
MRS. HAWK
Do sit, Mr. Longfellow. We'll
have a nice glass of wine
while we're waiting. I'm very
interested in your...remarkable
intuition.
She has taken a decanter of wine from a table and fills
two glasses. He watches silently, almost amused. When
she offers him a glass, he smiles, and:
JASON
No, thank you.
MRS. HAWK
But it's home made!
JASON
Forgive me, but I must decline.
Her face goes cold, her voice petulant, as:
MRS. HAWK
Mr. Longfellow. My husband was
a seafaring man. He knew wines.
He always said my blackberry
wine was unequaled anywhere!
JASON
(with maddening calm)
I don't doubt it, my dear Mrs.
Hawk. But your husband...Ulysses...
was protected from the effects of
your witchcraft by an herb.
I believe it was called "molu."
My research didn't tell me
where I could find the stuff.
MRS. HAWK
(at length; sotto)
You do know...!
JASON
(smiling)
Everything. Including the Greek
translation of your name, Hawk.
MRS. HAWK
(with righteous anger)
So it was you who put that nice
Johnny up to robbing me...!
JASON
I really didn't expect him to
succeed. I used him as a sort
of...guinea-pig....
The irony of the remark tickles Jason's perverse sense
of humor.
MRS. HAWK
You're an evil man, Mr.
Longfellow. You corrupted two
nice young boys -- and you'll
suffer for it.
JASON
I, Madam...?!
She mistakes his mocking look of innocence as a denial.
MRS. HAWK
It's no good denying it. I
know that Johnny and Peter were
partners -- and that somehow
they fell under your unwhole-
some influence.
JASON
Did Pete tell you that?
MRS. HAWK
No. Sheriff Willetts was here
this morning -- looking for the
boys. And you, too. That's
the only reason I let you into
my house tonight -- to find out
what exactly you are up to.
JASON
And now you know...?
MRS. HAWK
You'll kindly tell me what you
plan to do with you...
your information about me.
JASON
(smilingly)
Blackmailing you. Please! No
cries of outrage -- not from
you of all people. Besides, the
price of my silence will be only
as much as it's worth.
MRS. HAWK
How much?
JASON
Every nickel you have -- including
this farm.
To her startled reaction:
JASON (contd)
After all, this is not the first
time you've had to move, is it?
MRS. HAWK
No.
JASON
"Impermanence is the curse of
the eccentric" I always say.
Now, if you'll please find
pen and paper, I'll draw a
simple quit-claim deed for
your signature.
For a moment she stares at him petulantly, frustrated.
Then she exits into the kitchen. He follows.
71 INT. KITCHEN - NIGHT - MRS. HAWK
goes into her office, her back to him and CAMERA as she
finds the writing materials. Jason waits in the kitchen.
JASON
By the way, would it be terribly
inconvenient for you to stay on
until we have disposed of the
place? With the Sheriff looking
for Pete and me, we'll have to
keep out of sight. Perhaps you'd
even be good enough to show
prospective buyers around the
premises.
She returns now with an inkpot, paper and feather-quill
pen -- the pen point directed at him as she approaches.
Instantly, he puts a chair between himself and danger.
JASON
Just put them down over there
please.
She puts them down on the table and moves away, watching
silently as he sits, where he can keep an eye on her,
and begins to write with a flourishing hand. As the
pen moves across the paper, the tip of the feather
tickles his nose. He snorts. His nose wrinkles, twitches.
His face goes scarlet. He sucks in an enormous breath
and SNEEZES!
MRS. HAWK
(grudgingly)
Bless you.
JASON
Thank you. Now if you'll just
sign, please.
He puts down the pen and steps out of jabbing range as
she moves over and signs. Only when she has put the
pen down and moved away does he retrieve the deed, and
as he blows the ink dry:
JASON
There. Done quickly and painlessly.
And to prove there's no rancor
on either side, I hope -- when
the time comes -- you'll allow
Pete and me to help you pack --
Pete...! Shouldn't he be changed
by now?
MRS. HAWK
(significantly)
Not quite. Some are naturally
slower than others.
Jason's face lights in a slow smile of comprehension,
and grudging admiration, as:
JASON
(quietly)
Why, Mrs. Hawk...! You didn't...!
She can't suppress a mischievous little titter as:
MRS. HAWK
But I did.
JASON
Where is he?
MRS. HAWK
I always put the slow ones in
the barn -- until it's over.
(eagerly)
Would you like to see him?!
With a nervous little laugh, Jason shakes his head 'no.'
She is instantly cast down.
MRS. HAWK
Oh. You're afraid.
JASON
Cautious.
MRS. HAWK
But there's nothing I wish to
do to you, Mr. Longfellow. Not
now. You have my solemn word.
JASON
I really believe you mean that...
MRS. HAWK
Oh, I do. Because...well...
despite what's happened, I like
you.
(sighs)
Forceful men were always my
undoing...
JASON
(tempted; speculatively)
It would be something to see....
MRS. HAWK
Believe me, it is...
His face lights up with depraved anticipation as:
JASON
Lead the way, madam.
She fairly beams at him as she exits out the back door.
He follows.
72 EXT. BARN - NIGHT - MRS. HAWK
comes on, carrying a lantern, Jason following. She hands
him the lantern, carefully lifts the latch, but he stops
her.
JASON
I'll go in by myself if you
don't mind.
MRS. HAWK
(hurt)
If you wish.
He motions her back. She complies. He lifts the doorbar.
The door CREAKS OMINOUSLY OPEN and he cautiously edges
inside, closing the door behind him.
73 INT. BARN - NIGHT - CLOSE ANGLE AT DOOR - JASON
pauses just inside, peers eagerly, apprehensively into the
darkness. The SOUND OF LABORED BREATHING catches his
attention, then the RUSTLE OF STRAW. As he raises the
lantern higher and moves cautiously toward the source of
the sound:
MRS. HAWK'S VOICE
(calls sweetly)
Mr. Longfellow...!
JASON
(preoccupiedly)
Yes...?
INTERCUT
74 EXT. BARN - NIGHT - MRS. HAWK
at door.
MRS. HAWK
(calls to him)
Do you see him...?
75 CLOSE SHOT - JASON
stops as he discovers what he came to see. His face
mirrors the horror of it as:
JASON
(at length)
Yes...I see him....
MRS. HAWK
You're lucky. Most of my...
friends...don't have the
opportunity to see what's going
to happen to them.
JASON
What's that?!
MRS. HAWK
It was on the end of the feather,
Mr. Longfellow.
JASON
Wha...what was on the feather...?
MRS. HAWK
The stuff that made you sneeze.
Just a tiny pinch of powder.
That's all it takes.
JASON
(croaks)
You... you didn't....
76 CLOSE SHOT - MRS. HAWK
MRS. HAWK
But I did...
Her sweet laughter mocks him as she drops the bar in place,
locking the door. An instant later he hurls his body
against the door, but it is as solid as a rock.
JASON'S VOICE
No...! NOOO...!!!
MRS. HAWK
Please. No cries of outrage,
Mr. Longfellow. Not from you,
of all people.
CAMERA HOLDS ON MRS. HAWK as she happily crosses to farm
yard toward the house, paying absolutely no heed to Jason's
enraged protests, then horrified shrieks.
77 EXT. PIG PEN - NIGHT - PIGS
milling around excitedly, setting up a TERRIBLE CACOPHONY
OF SQUEALS AND HOWLS.
78 BACK TO MRS. HAWK
As she goes inside and shuts the door, we:
FADE OUT
END OF ACT III
FADE IN
79 EXT. HOBO JUNGLE - DAY - MED. FULL SHOT - JASON'S CAR
and the deserted camp. The SHERIFF'S CAR pulls into the
clearing and Sheriff Tom Willetts and a small, tow-headed
boy, BILLY, get out.
80 CLOSER SHOT - FEATURES BILLY
as he points to Jason's old ark.
BILLY
There it is, Sheriff, just like
I tol' you. There was a funny-
lookin' ole man livin' here the
first time I saw it.
TOM
When was that, Billy?
BILLY
Couple o' weeks ago. I was takin'
a short cut to the swimmin' hole.
But I ain't seen anybody here since
then.
As Tom pokes around the car:
TOM
What did this old man look like?
BILLY
Real funny, Sheriff. An' he was
making funny music on that thing.
Billy points out Jason's lyre. Tom examines it perfunctorily,
then opens the car door and checks the registration on the
steering column.
81 INSERT - REGISTRATION in name of "JASON LONGFELLOW, Paradise
Beach, Florida."
TOM
(reads)
"Jason Longfellow..."
82 BACK TO SCENE
TOM
Billy, did you see anyone else
here? Maybe two young fellows?
One with a cauliflower ear?
BILLY
No, sir. Just him. Wanna see
the library books he stole?
Tom allows Billy to lead him over to the rear of the car where
Jason had erected a canvas canopy over an old table and chair.
On the table are three thick library books and a lot of
notes scribbled on various bits and scraps of salvaged paper.
Some of the notes have been blown around the campsite.
Tom examines the books with only perfunctory interest as:
TOM
(scans titles)
"Encyclopedia of Mythology,"
"Legends of Ancient Greece,"
"Greek-English Dictionary."
BILLY
They're stolen, I know. Because
Miss Potter at the library wrote
them on the bulletin board.
TOM
(preoccupiedly)
You've got a sharp eye, Billy....
BILLY
Yeah, and I didn't touch a thing,
Sheriff -- 'cause it's all
evidence, ain't it?
TOM
That's right.
BILLY
An' all this writin', it's
handwritin' evidence, huh?
TOM
Uh-huh.
BILLY
Want me to collect the writin' that's
blowed away?
TOM
That would be very helpful...
As Tom continues to poke around the various items on the
table -- a battered tin box filled with Jason's personal
papers, etc., Billy begins to gather up the wind-
scattered notes.
BILLY
Stealin' library books -- that'll
get the FBI after him, won't it,
Sheriff?
TOM
No, it's a misdemeanor.
BILLY
(disappointedly)
Oh.
Billy picks up another scrap of paper, reacting to some-
thing written on it.
BILLY (contd)
Sheriff, lookit this one...!
It's got Mrs. Hawk's name on it!
He crosses to Tom and hands him the paper. Tom examines:
83 INSERT - NOTE PAPER
with the following cryptic notations, which TOM'S VOICE
OVER READS, with obvious puzzlement:
GREEK ENGLISH TRANSLATION
NANNOS JOHN OR JOHNNY
CIRCE HAWK
CIRCE MRS. HAWK!!!
84 BACK TO SCENE
BILLY
Circe...? What's a Circe...?
TOM
It's a who, Billy. Apparently,
the Greek translation for Mrs.
Hawk's name...let me see those
other notes.
Billy hands them over and as Tom puzzles over them, we
DISSOLVE
85 EXT. SMALL TOWN SHERIFF'S OFFICE - NIGHT (STOCK)
ESTABLISHING SHOT
86 INT. SHERIFF'S OFFICE - NIGHT - TOM
is at his desk. A single desk lamp picks out his haggard
incredulous expression as he pours over the stolen library
books and Jason's notes. At length he closes the books
and:
TOM
(sotto)
It's impossible...I must be
losing my mind.
He re-examines Jason's notes.
TOM (contd)
Yet it would explain...a lot of
things...
DISSOLVE
87 EXT. HOG PEN - DAY - CLOSE ON HOGS
eating hoggishly at their trough. CAMERA PULLS BACK to
discover Mrs. Hawk swilling her noisy pets. She is
wearing work clothes, which on her look crisp and feminine,
and under her arm is tucked the large ivory back-scratcher.
MRS. HAWK
(chirps)
Now...now...don't crowd, boys.
There's plenty for everyone.
The SOUND of CAR draws her attention to:
88 EXT. FARMYARD - DAY - THE SHERIFF'S CAR
is pulling into the yard. Tom Willetts gets out.
89 BACK TO MRS. HAWK
Her face lights up as:
MRS. HAWK
(calls)
Tom! Over here, Tom!
90 ANOTHER ANGLE - TOM
comes on, as troubled as a thunderhead.
MRS. HAWK
(brightly)
Good morning, Tom! Isn't it
a beautiful day?
TOM
(grimly)
'morning, Mrs. Hawk.
MRS. HAWK
(echoes him, teasingly)
'morning, Mrs. Hawk. Tsk-tsk-tsk.
Isn't it almost time you started
using my first name? Now let me
hear you say it. Cissy.
TOM
(embarrassed; croaks)
Cissy.
MRS. HAWK
There! You see it wasn't so
awful.
(suddenly frowning)
Why, Tom Willetts...you look
positively haggard. I'll bet
you didn't sleep a wink last night.
TOM
Matter of fact I didn't.
MRS. HAWK
You take that job of yours entirely
too seriously. And what's more a
bachelor's life doesn't suit a man
of your sensitivity.
He sighs, waiting for her to run down.
MRS. HAWK (contd)
What you need is some wholesome
home cooking. Now you just come
into the kitchen and I'll fix you
a nice hot breakfast ---
He unfastens the grip of his arm as:
TOM
I've had my breakfast, thanks.
I'm here on official business.
MRS. HAWK
(innocently)
Again, Tom?
TOM
I want to look around the place.
MRS. HAWK
What on earth for...?
TOM
(firmly)
If you insist, I can get a
search warrant.
MRS. HAWK
(properly shocked)
A search warrant...! Oh, dear
me, no! That's not necessary.
You just look anywhere you want
to. And I'll help --- if you'll
tell me what you're looking for....
TOM
Would you mind waiting in the
house, please.
MRS. HAWK
Why, not at all.
(titters)
I just love it when you get all
solemn and official.
(confidentially)
You know I've always had a weakness
for forceful men.
TOM
(barely controlling
his impatience)
Please, Mrs. Hawk.
MRS. HAWK
(agreeably)
I'm going. I'm going. But don't
you be too long now -- because
I'm going to fix a surprise for
you.
Instantly the HOGS respond with a PIERCING BARRAGE OF OINKS,
GRUNTS AND SQUEALS. Mrs. Hawk, frowning, promptly steps to
their pen and sharply raps on the top railing with her
back-scratcher.
MRS. HAWK
Boys!
Instant silence. To Tom's gasping reaction:
MRS. HAWK
Aren't they the cleverest pets!
Pigs can be trained to do all
sorts of things, you know.
With that she goes off, as happy and unconcerned as a
summertime grasshopper. Tom's perplexed gaze follows her.
DISSOLVE
91 SEARCH MONTAGE
INT. AND EXT. - FARMYARD AND FARM BUILDING LOCATIONS - DAY
SELECTED LAPPING SHOTS OF TOM searching high and low, in
every conceivable place where a body (or bodies) might be
concealed. He finds absolutely nothing suspicious.
92 INT. KITCHEN - DAY - MRS. HAWK
HUMMING, happily as she powders sugar over a batch of
freshly made doughnuts. Tom ENTERS, more haggard than
before, and more grim -- and trying not to show his
nervousness.
MRS. HAWK
Well, Tom...you're just in time
for some nice fresh doughnuts.
You sit right down. I'll pour you
a cup of coffee and you can tell
me what it's all about it.
She goes to the stove, gets the coffee pot, pours him a
steaming mug full which he deliberately does not drink, as:
TOM
You're sure you don't know
what it's all about....?
MRS. HAWK
Dear me, you do sound grim. I
can't imagine what the trouble is.
TOM
It's about that young drifter.
MRS. HAWK
Uh-hum. His name was Johnny.
Johnny Norton -- but you already
know that, don't you?
TOM
Yes.
MRS. HAWK
I was certainly disappointed in
his behavior.
(cryptically)
But he'll learn...you're not
drinking your coffee.
TOM
(evasively)
It's a little hot. This Johnny
Norton he...ah...left, you said?
MRS. HAWK
(innocently;
aggrieved)
Right through that door. And
never so much as a thank you.
Why, Tom! You're perspiring!
And your face is so flushed.
I believe you have a fever.
She crosses to him, intending to feel his brow. He almost
falls out of his chair avoiding her touch.
TOM
It's...nothing. It's just hot
in here, that's all.
MRS. HAWK
The stove does heat up the
kitchen something fierce. Why
don't you take your coffee into
the parlor. I'll bring in a
plate of doughnuts. They're so
good when they're fresh. Everyone
says so ---
She has turned away to get the doughnuts, giving Tom an
opportunity to deliberately upset his coffee.
TOM
Oh! I'm sorry.
Quickly she comes to aid with a towel, blotting and
wiping and fussing like a mother hen, as:
MRS. HAWK
Never mind. No harm's done.
My mother always said -- menfolk
and pets have their place, but
it's not in the kitchen. Now
go along into the parlor. I'll
bring you another cup of coffee.
TOM
Thanks...you needn't bother.
Her hand brushes his arm in a possessive caress which
sends shudders down his spine, as:
MRS. HAWK
For you, nothing is a bother...
Tom.
He retreats into the parlor.
93 INT. PARLOR - DAY - TOM
looks around, his attention captured by the painting
"Circe and the Friends of Ulysses." He crosses to it,
intrigued by the subject matter.
94 CLOSE SHOT - PAINTING
and the rather large china candy dish resting on the
mantel beneath it. The cover of the dish is molded
in the shape of a reclining pig.
95 ANOTHER ANGLE
Tom shakes his head, rejecting his own wild suspicions,
with:
TOM
No...! It's impossible...!
It's too crazy. There's no
proof ---
His glance fastens on the provocative face of the pig on
the candy dish.
96 CLOSE SHOT - CANDY DISH
97 ANGLE TO INCLUDE TOM
Instinctively, he knows he must look under the cover.
Reluctantly, slowly, his hand reaches out, lifts the
cover.
98 CLOSE SHOT - CANDY DISH
It is full of men's accessories -- wrist watches, rings,
fobs, tie clips, etc., etc.
99 CLOSE ON TOM
to record his reaction as he examines the tell-tale
articles particularly:
100 INSERT - GOLD CHAIN AND PHI BETA KAPPA KEY
Inscribed on the back of the key is "JASON LONGFELLOW."
101 BACK TO SCENE
Hearing her coming, Tom quickly replaces the cover, but
not quite. It is tilted noticeably when he turns to
greet her entrance, with a self-conscious expression.
102 WIDER ANGLE
to catch Mrs. Hawk ENTERING with two cups of coffee. She
sits down on the couch, placing his cup beside hers -- a
not so subtle invitation for him to sit beside her. Her
sweet, smiling aplomb throws him badly off his official
stance, as:
MRS. HAWK
There. Now, what were we
discussing?
TOM
Mrs. Hawk...I...I'm not here to
discuss anything. This is an
official investigation.
MRS. HAWK
Oh, yes. So you mentioned.
She sips her coffee, her gaze fixing him with the atten-
tive innocence of a school girl.
TOM
Now...this is very serious...
for both of us. So just listen.
MRS. HAWK
I'm listening, Tom.
TOM
How many farm hands have you
hired since you bought this
place?
MRS. HAWK
I...I don't remember.
TOM
And what really happened to them,
Mrs. Hawk?
MRS. HAWK
(quietly; cryptically)
Tom Willetts...! I thought you
were different. I really liked
you....
TOM
(pointedly)
Because my middle name is
Ulysses...?
103 CLOSE SHOT - MRS. HAWK
to record her covered reaction and the shift of her glance
from his face to:
104 P.O.V. SHOT - CANDY DISH
with its cover tilted at a tell tale angle.
105 WIDER ANGLE
MRS. HAWK
I think I'd better get the
doughnuts.
She EXITS into the kitchen. Tom quickly, but with trembling
hands, switches his coffee cup for hers. When she returns
with a plate of doughnuts, he is again standing by the
mantel. She offers him a doughnut. His confidence rising,
he takes it, bites into it.
TOM
Thanks.
MRS. HAWK
I hope you like them. Let me
warm your coffee?
He draws the coffee back from her reach as:
TOM
It's fine...just the way it is.
She smiles agreeably, returns to the couch, sips from the
switched cup. He watches, expectantly. She catches him
watching. He smiles, guilt-laced.
MRS. HAWK
(at length)
Now, Tom, I want you to speak
frankly. You know something
about me.
TOM
That's right.
MRS. HAWK
Exactly what?
TOM
Everything that Jason Longfellow
discovered. Who you really are,
And what happened to all those
men who disappeared here....
He reaches up and uncovers the candy dish, exposing the
damning evidence.
MRS. HAWK
Oh, dear. I had hoped the
unpleasantness would end with
Mr. Longfellow and Peter.
Couldn't you have just let the
whole thing drop, Tom?
TOM
Then you admit it?
MRS. HAWK
Of course.
TOM
And you'll make a full confession?
MRS. HAWK
(wearily)
I've had one prepared for a long
time, Tom. I guess I'm getting
tired of going on and on and on.
You know, Mr. Longfellow said a
very wise thing. He said,
"Impermanence is the curse of
the eccentric." I guess I am
rather eccentric.
She has crossed to a table, found a key, crossed to a
side board, and now unlocks a cupboard. Tom's hand
lingers near his gun, ready for any emergency, as:
TOM
I don't understand what makes
you do it...?
MRS. HAWK
Why does a spider eat her mate...?
TOM
(grimly)
All the while I was searching the
place I actually hoped I'd find
where you put the bodies. It's
gonna be hard for people to believe
what really happened to those men....
She is now searching through the stuff inside the cupboard.
MRS. HAWK
When you show them my confession --
they'll believe. Meanwhile, I
hope you haven't told anyone.
TOM
(an ironic laugh)
You think I'm bats? Without
proof they'd put me in a strait
jacket!
MRS. HAWK
(titters
nostalgically)
You know that happened once --
in Salem, Mass. -- when it was
still a colony. A very respectable
Deacon caught on. He got right up
in church one Sunday and denounced
me. Said I was Satan disguised.
Of course, I denied it. There
was a very unpleasant trial --
after which they took him away.
And burned him. Here it is!
She has found an aged, yellowed document from which she
blows the dust and:
MRS. HAWK (contd)
Actually it's written in fifth
Century Greek -- at the time I
was going to retire -- but you
can have it translated.
(reading)
"I, Cissy Hawk, do confess that
I am actually Circe, the Greek
sorceress who changed sailors
of Ulysses into hogs."
(to Tom)
Perhaps we should explain that
the English translation for
"Circe" is the word for "hawk"...then
add a list of my conquests. Addis
Martin, Johnny Norton, Peter Gogan,
Jason Longfellow ---
Despite himself, Tom is appalled by her sweet co-operation.
TOM
(cuts her)
That'll be plenty -- for a starter.
MRS. HAWK
(disappointed)
Oh, but there are many, many
more. I've been everywhere.
Simply everywhere -- why, Tom,
you're not drinking your coffee....
TOM
It's not my coffee -- it's yours.
MRS. HAWK
You mean you actually traded
cups...?!
TOM
Longfellow's notes warned against
drinking anything you offered.
MRS. HAWK
(highly amused)
So that's why he wouldn't try
any of my blackberry wine...!
She laughs, completely delighted. Tom is angry and per-
plexed, as:
TOM
What's so funny? That's how you
always get them, isn't it -- ?
Hey...! How did you fool him?
MRS. HAWK
With a tiny pinch of powder on
the end of a feather.
(pointedly)
White powder, Tom.
Tom's gaze goes slowly to the half-eaten doughnut in his
hand as the horrible realization dawns.
TOM
(at length; sotto)
No...you...you didn't...!
MRS. HAWK
Isn't it odd how they all say that?
(mocks him)
"No, you didn't!" when it's
perfectly obvious that I did.
106 CLOSE SHOT - MRS. HAWK
Her gaze fastens on him with a diabolical satisfaction now,
as we HEAR his strangled protests, his gasps which quickly
change into piggish snorts and grunts.
107 REVERSE ANGLE
Where Tom stood seconds ago, we now discover a handsome
big HOG, the half-eaten doughnut at his feet.
MRS. HAWK
My! It certainly didn't take
you long to change, Tom.
She takes the ivory back scratcher from the mantel and taps
Tom on the rump. Obediently, he starts out, as:
MRS. HAWK
(sweetly)
Off you go to join the others.
There's a good little piggy.
DISSOLVE
108 CLOSE ON PACKING HOUSE TRUCK - "AL'S PORK PRODUCTS CO."
PULL BACK to discover two men, AL and his HELPER, setting
up a loading ramp at the pig pen. Mrs. Hawk comes on, her
back scratcher under her arm, fresh and cool as spring mint.
AL & HELPER
'Morning, Mrs. Hawk.
MRS. HAWK
Good morning, boys.
AL
Did you hear the news?
MRS. HAWK
Why, no.
AL
They found Tom Willetts' car in
the river. They're still lookin'
for the body.
MRS. HAWK
Oh, dear. I am sorry to hear that.
The pigs react with a chorus of OUTRAGED SQUEALS. Mrs.
Hawk promptly silences them with an angry, sharp tap of
the back scratcher on the rail of the pen.
AL
Sure beats me how you can handle
pigs, Mrs. Hawk.
MRS. HAWK
It's just a knack I have, Al.
AL
Just these five goin'?
MRS. HAWK
Just these five. And my, how I'm
going to miss them.
(sighs)
Such dear pets! You know, it
always makes me sad sending them
away to the slaughterhouse.
(reluctantly)
You may load them, Al.
AL
Yes, ma'am.
Al and his helper hop into the pen and begin herding the
five pigs into the loading chute. Mrs. Hawk prods them
up the ramp as they pass her.
109 CLOSER SHOT - MRS. HAWK
and passing pigs. The first one has a decided limp.
MRS. HAWK
(sweetly compassionate)
Good-by, Addis. In a little while
that leg won't bother you any more.
The next pig is up is NANNOS - JOHNNY - the champion with the
heart-shaped marking on his shoulder.
MRS. HAWK (contd)
(somewhat grudgingly)
Good-by, Johnny. I forgive you.
The next pig has a cauliflower ear.
MRS. HAWK (contd)
(maternally)
Good-by, Peter. You were so sweet.
The next pig has a distinct black mole on his face.
MRS. HAWK (contd)
(icily)
As for you, Mr. Longfellow -- you
should be ashamed for leading the
others on.
The next pig has a distinct star-shaped marking on
his shoulder.
MRS. HAWK (contd)
(softly; regretfully)
Good-by, Tom Ulysses Willett. I'm
really sorry....
There is a moisture in her eyes as she watches Tom disappear
into the truck. Al and his helper climb back over the fence.
As they secure the loading ramp, Al nudges his helper, draw-
ing his attention to Mrs. Hawk who is dabbing away a tear
as she moves off toward the house.
110 TWO SHOT - AL AND HELPER
AL
(touched)
Did ya see that? All heart, that
Mrs. Hawk.
HELPER
Salt of the earth.
AL
Them kind are hard to find these
days.
111 EXT. BACK PORCH - DAY
A good looking young DRIFTER is waiting, his bed-roll slung
across his broad shoulders. As Mrs. Hawk COMES ON, he re-
moves his battered cap and smiles tentatively.
112 REVERSE ANGLE - MRS. HAWK
coming on. Seeing him, her heart is immediately lifted,
her slow smile practically devours him.
MRS. HAWK
Hello, there...!
As she walks straight into the CAMERA, we:
FADE OUT
- THE END -
This was a THRILLER!