The Wicker Man (1973) Wikia
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PAGE UNDER RENOVATION

See Steve P's site for more info about scenes, dialogue and some pics. This page is more complete. Also see this chart that shows what scenes were shot and what were not. Scenes that we have pics for will be found below. There are many more scenes that we don't have pics for. Some scenes had parts cut in all versions. For those, I included the whole text of the scene and put the parts that were cut in bold.

Scenes not in any script[]

Ian Thomas interviewed Amanda Sunderland, antlerman Ian Sunderland's daughter. In that interview, Amanda mentions two scenes that were cut from the film.

Antlerman Ian Sunderland had to hold Britt's hand and skip down a country lane with her.[]

This took place at Castle Kennedy. I suspect it was close to the point where we see Britt, Ingrid and Diane Cilento chasing Punch with the tongs. Ian thinks it wasn't used for two reasons: 1) he wasn't the right type for it, 2) his skipping wasn't "up to scratch". His memory of it: "The hobby horse was just starting, I just happened to be standing nearby. They said, you, go down this lane and grab her hand and go down this lane skipping."

A scene in which the doctor opens his bag and it is full of serpents.[]

Elizabeth McAdam-Laughland told Amanda about that. There is a picture of him holding some snakes in Brown's book so that means it was shot. (It would have tied in the inscription on Beech Buchannan's gravestone and the opening credits as well.)

Man jumping off bridge[]

There was an extra on the film who also describes himself as Robin Hardy's assistant/gopher. "I actually dived off the bridge in NS [Newton Stewart] wearing a tuxedo as part of my screen test for another movie. This happened to be the last job I did on this production, entirely self-interest motivated, nothing to do with the film, but it was nearly my last ever act. I hesitated, as it was lit on a cold night, with little me standing on the bridge parapet, my back against a lamp standard. Luckily I hesitated, despite 'get on with it's coming at me, and presently I observed a railway sleeper with track spikes in it drift by. When it was out of sight I made my plunge." Another man, Jimmy Kirkpatrick, was interviewed about this right in front of the bridge in Kirkcudbright in the the Ex:S Wicker Man, BBC Scotland documentary. (See that here, 9:40 into it, cued up.)

Pictures.

Dream sequence[]

See its page for more background on this.

Scenes in the Pitt or Shaffer scripts[]

page D opening credits[]

These opening credits were never created. "The credits are shown over a nest of serpents which at the start are dormant. Gradually, as the credits proceed they wake up and start to writhe together. Their excitement mounts, until they are in a considerable frenzy. By the time the credits are completed, the snakes have generated a great quantity of yellowish froth which lies all over their bodies, entangling them." (See my imagined version)

1-5 (1-5, A, B, C) opening scene[]

Scene 1-5 was only one scene in the original scripts.

DISSOLVE TO: EXT: HARBOUR OF SCOTTISH SEASIDE PORT OF ULLWATER - NIGHT The squirming snakes have dissolved into the scum and effluent that floats on the disturbed surface of water in the harbour. The town lights are reflected, refracted and gently squirming among the discarded beer cans. Camera tilts up slowly to see the town fronting onto the fishing quay. The central building is a pub and the dominant sound is that of a piano which has had the felts removed from the hammers and pennies put in their place. We can hear no singing but the tune is, "Four and twenty virgins came down from Inverness, " (of which there must be a hundred barrack room versions the world over)

It then got revised into 1-5, A, B , C and D in a script amendment. The new 1-5 and 1-5 A are as we see in the Director's Cut. B, C and D intro us to 1-4. 1-5A was completed on Nov 25. 1-5B, C and D were completed on Nov 22.

1-4 mainland pub #1[]

Completed on Nov 24 in Kirkcudbright. One of the pubs was the Steam Packet.

We don't know for sure which pub these pics were for but it seems to match scene 1-4. See pics here.

INT: PUB PUBLIC BAR - NIGHT

We are right next to the piano player. Beyond him we can see the people at the bar. They are all men dressed in working clothes , many in cloth caps. Nearly all have pints of beer or Guinness in their hands.

The piano player is an old man, rather tubercular looking, with wispy, carroty hair. He is hammering at the piano as if his life depended on it. The attention of the men in the background is suddenly taken by some-one who has come through the door and they go silent, start draining their glasses and preparing to leave.

The piano player doesn't notice them or the person, who, as yet unseen by us, has clearly entered the pub. He changes the tune and suddenly takes a huge gulp at one of the many pints of beer sitting on the piano top, drains it with a prodigious effort in one long gulp, as Sergeant Howie of the West Highland Police comes into view at the bar. He is a well-built,. shortish Scot, neat and deceptively jolly. It is the fixed jollity that often hides grim determination and uncompromising dogmatism. He wears uniform. The men at the bar are redoubling their efforts to drink up, settle up and leave. The piano player, smacking his still frothing lips, starts to play again at once but this time in an amazingly cracked, beery voice, reminiscent of the late Houston senior, he sings:

PIANO PLAYER "The hole in the elephant's bottom ... " (Hear a version here. Another on a piano...)

He gets no further than the lines — "in with it, out with it ... " when Howie in two long steps is upon him and has closed the piano, narrowly missing his fingers

1-3 mainland pub #2[]

Completed on Nov 24 in Kirkcudbright. One of the pubs was the Steam Packet.

...sergeant at the door. From somewhere in the moving crowd of men comes an ironical, rather bitter voice, half singing a verse ...

MAN'S VOICE IN CROWD

" ...for every drop of drink accursed makes Christ within you die of thirst.

And every dirty word you say is one more stone upon His way ... "

It sounds like the piano player. Howie laughs good-naturedly as he closes the door behind him on the now empty pub,

1-2 McTaggart, Howie, the old fisherman and the whore[]

Completed on Nov 24 in by a wall of a building on Old Gas Lane, Kirkcudbright

1-1 B mainland church exterior[]

MRS. MACPHERSON: Good morning, Mary. Good morning, Sergeant. I trust you're both well?

FIANCÉE: Thank you, Mrs. MacPherson. Indeed we are.

    (Mr. MacPherson seizes his wife by the arm and pulls her away through the crowd.)

MR. MACPHERSON: Come along woman. I don't want you talking to him.

MRS. MACPHERSON (struggling): What's the matter? What do you mean?

MR. MACPHERSON: That bugger gave me a summons for keeping my meat in insanitary conditions. Me! Come on.

    (They disappear into the crowd. Howie's fiancée colours at the snub. He turns smiling to comfort her.)

HOWIE: My dear – a policeman's lot is not a happy one.

    (She smiles at him and they move off together.)

Also have 1-1A and 1-1C. 1A has part of what we see in the film... That was completed on Nov 24. 1-1C was completed on Nov 23.

1 postman delivers letters[]

Scene 1    EXT: MAIN SEASIDE STREET OF ULLWATER - DAY

We follow the progress of a postman as he walks down the main street distributing his letters to people who wait for him outside their houses. In two or three cases we notice in close up that one of the letters in a bundle are official police letters .

a) A householder opens a parking fine.

b) A butcher opens a summons for keeping meat in an insanitary manner.

c) A lady publican opens a summons for late closing .

All are signed Neil Howie, Sergeant West Highland Police.

Camera cranes up as the postman walks on down the street and turns in to the police station. This angle allows us to see the lead grey rooves and white walls of the town, crowding down to the har­bour.

Completed on Nov 1.

2,3,4 police station[]

Scene 2 was completed on Nov 23 in the old police station on the High St of Kirkcudbright and is in the Director's Cut. Scenes 3 and 4 were cut before shooting. They were just scenes that included another room and were combined into the one room of the office that we see in the Director's Cut.

7 two fishermen watch Howie fly off[]

EXT: HARBOUR OF ULLWATER - DAY

Two fishermen lean on the harbour wall watching Howie being row^id out to a moored seaplane. He climbs out on to the float and unmoors it. The rowboat pulls away towards us, the rower waving. Howie gives a short wave and enters the cockpit.

1st FISHERMAN

Do you think he might be going for good?

2nd FISHERMAN

It always does to look on the bright side.

The engines of the plane swings to life and the sea- plane taxis away from us towards the mouth of the harbour.

Completed on Oct 16 in Stranraer harbour.

18 (A, B, C, D) Howie walks on causeway[]

A) Howie walks past two women

HOWIE walks past two women, one with a bike and asks the way. They point towards cam. Howie makes his way through a passing herd of cow*s patiently, moves out of shot l/r. (Juliet Cadzow remembers this.)

*We also see cows at the Harbour Master's as Howie tries to fly off... B) two locals outside outhouse

The shot begins on two locals chatting outside an outhouse. HOWIE walks past them and the camera pans him l/r onto a narrow concrete path which cuts across the harbour.

C) Howie steps out of the way of bicycle rider

HOWIE stands aside for a bicycle to pass and almost gets pushed off the path. He continues on past a small chubby boy who is concentrating on playing the Jew's harp.

A more condensed version of this ended up in the film. We do see someone riding a bicycle in all versions but not the boy playing the Jew's harp. Alisdair Mackay played the Jews harp and Iain Mackenzie was riding his bike. (Mary Gollan, 3/12/22)

D) garden shots... (shot by 2nd unit.)

Additional info: All scenes were to be shot in Plockton. 18 D, the garden shots did end up in all versions.

22 inside May Morrison's shop[]

(From next door we hear the tinkle of the shop bell. Howie holds the door closed, keeping her in the parlour.)

HOWIE: Mrs. Morrison, from information that has come into my possession, I have reason to believe you have another daughter.

MRS. MORRISON: Do you now? Well I should know best about that, shouldn't I?

HOWIE: And that she is missing.

MRS. MORRISON: Do I look like a mother with a missing daughter? Come now, you're the policeman.

HOWIE: Well no, but...

MRS. MORRISON: But what...? HOWIE: I have to investigate.

MRS. MORRISON: Having come so far you mean? HOWIE: Please Mrs. Morrison ... It's only that  we have to follow up on information received.

MRS. MORRISON: From who?

HOWIE: I'm afraid I can't tell you that. It's probably some crank. After all if you tell me Myrtle is an only child...

MRS. MORRISON: Of course she is.

HOWIE: Well there you are ... Would you have any objection if I talked to her for a moment?

MRS. MORRISON: Why should I? You're not going to eat her are you?

    (Howie smiles thinly and opens the door for her to pass through into the shop. Mrs. Morrison smiles encouragingly at her daughter and goes through the door.)

Howie talks with Myrtle as we see in the movie. After, this was in the script:

HOWIE: Mrs. Morrison, perhaps if you wouldn't mind - I mean, just so I can complete my report - may I take a look round the house? MRS. MORRISON: Of course you can. Only I don't suppose it's very tidy. My husband, like most of you men, leaves everything to be cleared up after him.

Completed on Nov 21 in Kirkcudbright

23, 24, 25, 26 Howie looks around upstairs at May's[]

23    INT : LANDING  ABOVE  SWEET  SHOP  - DAY

Howie reaches the top of the stairs and is confronted with two doors one on each side of the landing. He opens the one on his left hand side first and enters.

24    INT : MR. AND MRS . MORRISON 'S BEDROOM - DAY

Howie inspects the room which contains a wardrobe, a double be and a chest of drawers. He glances briefly round it, noting the clutter of personal adult possessions which are strewn about but which tell him nothing. He leaves the room.

25    INT: LANDING   -  DAY

Howie closes the bedroom door and crosses the landing. Carefully he opens the door of Myrtle's bedroom.

26    INT:    MYRTLE 'S BEDROOM   -   DAY

Howie enters the room.  It is very tidy and neat, and quite obviously the room of a little girl. Myrtle 's own paintings adorn the walls, and some toys lie stacked in a corner. There is one bed in the centre of the room, and in the far corner a double-doored clothes cupboard.   He crosses to it and opens one of the doors. Clothes for a six year old girl hang on the rack, and similarly shoes on the floor. He half turns away , closing the door, then something catches his eye. It is a shoe belonging to a girl of thirteen poking out of the door on the other side of the cup­ board. HE wrestles it open with a sudden galvanic energy and we see it belongs to a pair of such shoes lying on the floor of the cupboard next to half a dozen similarly sized boots and shoes. The camera pans up violently to see a rack of thirteen year old girl's clothes.

Scenes 23, 24 and 25 were not shot and were deleted on the to do list on Nov 22. Scene 26 was shot on Nov 12. Could be at #2 George St. See pics.

27 Howie confronting May and Myrtle with Holly's clothes[]

HOWIE (grimly): You haven't been straight with me, Mrs. Morrison.

MRS. MORRISON: Why, you've found one of Holly's dresses, and you thought it was... Why it's just like a detective story!

(She giggles.)

HOWIE: Holly?

MRS. MORRISON: Yes, Mrs. Grimmond's daughter. She came to stay with us last week when her mum was ill. She's a widow you see and can't really cope, poor soul. Here's your tea. Now drink it up while it's hot.

(Howie takes the cup and automatically starts drinking.)

HOWIE: But why should she leave her clothes here?

MRS. MORRISON: Oh you know how girls are - scatterbrained. Holly's always forgetting things.

(Howie regards Mrs. Morrison's plump figure with irritation.)

HOWIE: You mean she forgot all her clothes? Where does she live?

MRS. MORRISON: Holly? Oh I'm afraid it's quite a long way.

HOWIE: Then perhaps I could telephone. Do you have her number?

MRS. MORRISON: Oh I've got her number alright but it'll do you no good. The telephone hasn't worked here for years.

HOWIE: What?

MRS. MORRISON: The whole thing's up the spout and I suppose we've been too lazy to mend it.

(Howie goes over to the decrepit switchboard and examines the wiring.)

MRS. MORRISON: Of course, if you could make it work I'm sure we'd all be very grateful.

HOWIE: There's no chance of that I'm afraid. It needs to be completely rewired... How far did you say Mrs. Grimmond's house was?

MRS. MORRISON: Too far to walk. Mind you I could lend you my bicycle if you like. You go up the hill and turn left by Serpent's Egg Hill.

Shot in the back room at May's. Pictures. 27 and 27 A were both completed on Nov 21 in Kirkcudbright. 27 A was part of a script amendment of Oct 14 which divided up the scenes to add Howie going over to a telephone switchboard where is says that above. Some production info about Howie's bag are not included here.

28 Howie riding May's bicycle to Mrs Grimmond's[]

EXT : HILL  ROAD  ON  SUMMER  ISLE  - LATE AFTERNOON

A panning shot of Howie toiling up a hill on an ancient ladies  bicycle with  a  basket. His  thick grey woollen socks do  the service of  bicycle clips. The road itself is lined with apple orchards in bloom .

Mix through to the next scene .

Shot on Nov 25 on the Cally Hotel farm grounds.

29 Howie riding May's bicycle to Mrs Grimmond's[]

EXT : A  FLAT  ROAD  ON  SUMMER  ISLE  - LATE AFTERNOON

Howie is seen cycling -through a higher landscape with orchards  exhibiting  blossoms  of  a  colour  different to the previous scene -- per haps pear or apricot or plum   --  falling away from him on either side. As he passes  by ,  the camera  pans  off  him to discover the malevolent features of  the Druid God Cernunnos staring out  at us from  a  Bas Relief half  buried in the spring flowers of  the  road side  bank .

Mix through  to the next scene .

Shot on Nov 25 at the Cally Hotel farm grounds. Pictures of Cernunnos

30 at Holly Grimmond's[]

MRS. GRIMMOND: ... So it's as I say. Sergeant Howie, I can't tell you who would write a wicked letter like that. All I know is that May Morrison's got just the one daughter - Myrtle.

(Howie stands in the sunlight looking baffled.)

HOWIE: Thank you, Mrs. Grimmond. (He turns to Holly.)

HOWIE: But one thing I still don't understand is why you left your clothes behind when you'd finished your stay with Mrs. Morrison.

(Holly smiles, looks slyly at her mother, smiles again and gives a shrug.)

HOLLY: I just forgot 'em that's all. I'll pick them up when I'm by next.

HOWIE: But surely ... to forget so many clothes...

HOLLY: I know. It was silly of me, wasn't it? Downright careless, mum said - didn't you, mum?

MRS. GRIMMOND (laughing): And so it was. She's a pretty girl, my Holly, but she doesn't always use her brains.

(Mrs. Grimmond puts her arm round Holly and squeezes her affectionately. Looking at the

smiling faces of mother and daughter, Howie loses heart and abandons his remonstrances.)

HOWIE: I see. Well thank you again, and good evening to you.

(Abruptly Howie turns away, face taut, aware of the subtle mockery of the two females. He mounts

his bicycle. As he pedals away, he faintly hears Mrs. Grimmond and Holly laughing after him.)

Shot on Oct 13 at Culzean, at what is now a second-hand bookshop. Pictures.

31 Howie rides back to May's[]

31 EXT :    ROAD   ON   SUMMER  ISLE   -  EVENING Howie swings out onto the road on his bicycle and is confronted with gigantic shadow of a strangely mal­formed water bird (or boobrie in Druid myth), with webbed feet, tremendous claws and monstrous beak, lying across his path in the road. He brakes sharply and looks fearfully up. Above his head he sees that the huge bird has been cut in topiary and is free.-­ standing amongst the apple trees. Pulling himself together, he pedals on uncertainly into the gloaming.

This scene was not shot. Pictures of Boobrie birds.

32 Howie returns May's bicycle[]

EXT :    MAYMORRISON 'S  SWEET  SHOP   -  NIGHT Howie is carefully placing Mrs. Morrison 's bicycle in a small shed in the garden of her house. Quietly he leaves the garden and stands looking across the street at the Green Man Inn. He starts to walk towards it.

Cut from the script on Oct 14 so not shot.

34 Howie enters the Green Man for the first time.[]

The script had a Nine Men’s Morris table in it. Also a different song; see The Landlord's Daughter page.

35 inside the Green Man[]

35 INT : DINING   ROOM  OF  THE   GREEN MAN  INN   - NIGHT

A close up of a dinner plate on which repose a lamb chop, four or five small, round, white, obviously tinned potatoes, and a soggy mass of artificially coloured equally obviously tinned broad beans. We pull back to see a  disgusted Howie sitting alone in a  small pub dining room. Standing beside him is an untidy maid , not as crucially concerned for her client's gastro­nomic happiness as she might be. Howie looks up to confront her shifty eyes.

HOWIE

Miss, the Farmhouse Soup was canned, and so are these potatoes and beans. Why?

MAID

Well I don't think they are, sir.

HOWIE

Don't lie, miss. You know they are. Broad beans in their natural state are not turquoise . I simply want to know why .

MAID

Why what?

HOWIE

(patiently)

Why in late April on an island famous for its fruit and vegetable produce, I'm served canned vegetables. It's simply not good enough. Surely you must have some fresh?

MAID

(defiantly)

Well there aren't any, are there?

HOWIE

Don't be ridiculous.  There must be.

MAID

Look, I just serve what I'm given.

MAID

If you don't like it, you'll have to talk to cook…Will you be wanting any afters?

HOWIE

Well I suppose I can't go wrong with a Summer Isle apple!

MAID

No apples.

HOWIE

(astounded) No apples?

MAID

(brightly)

I expect they're all exported. You can have prunes and custard.

Howie nods wearily and the Maid walks away towards the door leading to the kitchen. Howie expels a long breath compounded of irritation and wonder. A deeply thoughtful expression steals onto his face as we mix through to the next scene.

Completed on Nov 16 at the Ellangowan in Creetown.

36 Howie observes wrestling match[]

(Howie enters the bar and notices a crowd gathered. There is a great deal of noise. People are shouting the odds and making bets. The camera reveals that there is a wrestling match going on, between a huge muscled man and a diminutive man of not more than 112 lbs. Both are fairly drunk. The onlookers shout encouragement. The small man is sitting on the floor, arms round thighs, locked under knees, knees drawn up. The big man is coming at him on hands and knees. Howie joins the group.)

HOWIE (to neighbour): What's going on?

ONLOOKER: Oh, it's all perfectly legal, don't you worry, Sergeant. They've had a falling out, d'ye see. But they can't fight because Alastair's so big and Duggald's so wee. So they've agreed to settle it this way.

(The big man makes a sudden rush and forces his head forward between the smaller man's knees and into his locked hands. He starts to try to rise to a standing position. Howie looks on with great distaste.)

HOWIE: What's he doing?

ONLOOKER: He's trying to lift him up from the floor on his neck. If he succeeds, he wins the argument - that's if he doesn't break his neck in the process, mind.

HOWIE: What?

ONLOOKER: Oh, it can happen. Quite easily as a matter of fact. Both Tom and Jock McLeod snuffed it that way, and they was both big buggers. Duggald's at least a hundredweight to lift d'ye see – and dead weight at that.

(The contest continues with the big man nearly half way to his feet with the little man on his neck, but being forced down again, by the latter pressing his knees and his locked hands round the big man's neck. Howie seems at once attracted and repelled by the exhibition. He turns away abruptly and his eye falls on the barroom clock which shows 11:15. Immediately he makes his way over to Alder MacGregor who is standing behind the bar.)

HOWIE: What time do you close this place?

ALDER MacGREGOR: When I feel like it. The licensing laws don't apply here, Sergeant. This is Lord Summerisle's private island. He's his own Justice of the Peace, and he makes his own rules. He doesn't care when we close; as long as everyone turns up for work on time the next day, that is.

(Howie is outraged. He debates his course of action but there is nothing he can do. He walks rather stiffly out of the bar. Alder MacGregor pointedly draws himself a dram of whisky (clear malt), so described on the bottle, and tosses it down.)

Completed on Nov 15 at the Ellangowan in Creetown. Picture.

40 Howie collects himself after seeing the orgy.[]

40 INT : THE PASSAGE OUTSIDE BAR OF THE GREEN MAN - NIGHT Howie hurries in from the street and pauses to collect himself. He is sweating slightly and is a little disheveled. The noise from the bar reaches a sudden crescendo, and as if in answer to it, he automatically opens the door and looks in.

Progress reports say this scene was completed by Nov 20.

41 wrestling match turns into dance[]

41 INT: BAR OF  GREEN  MAN   - NIGHT

HOWIE’S P.O.V.

The huge Scot, Alistair, is slowly rising to his full height literally wearing the little man on his neck. The circle of drinkers cheer and applaud wildly.    The giant begins a circuit of the bar executing as he does so some intricate Scottish dance steps.

Completed Nov 15 at the Ellangowan in Creetown.

42 Howie hastily closes door of bar and makes his way to his room[]

42    INT: THE PASSAGE OUTSIDE  THE BAR OF THE GREEN MAN - NIGHT

Howie hastily closes the door of the bar, and makes his way up the stairs to his bedroom.

Mix through to the next scene.

Completed Nov 15 at the Ellangowan in Creetown.

44 Lord Summerisle presents Ash to Willow[]

 44    EXT : THE   BACK  GARDEN  OP  THE  GREEN  MAN - NIGHT The backgarden of the inn from Howie's point of view. We see a very tall, dark man of about forty-five standing in the moonlight looking up at the bedroom window next to Howie's. He wears a kilt and a ruffled dress shirt open at the neck. This is Lord Summerisle. In his hands he holds a willow sapling and a dress dagger. With the  former he taps on the window he is looking at, and it is this sound that Howie has heard. Next. to Lord Summerisle stands a youth of about four­-teen, who also looks up at the window, though somewhat apprehensively.  Howie cranes forward as the window next to his creaks open.

45 Lord Summerisle passes dagger to Ash[]

45    EXT :THE   REAR   ELEVATION   OF   THE   GREEN   MAN   INN   - NIGHT Looking towards the back of the pub we can clearly see the occupants of the two windows standing next to each other in their respective rooms. In the left hand window looking to his left is Sergeant Howie. In the right hand window stands Willow MacGregor, leaning languidly outwards to let her opulent breasts rest on the window sill.   The camera cuts in close on Willow, then pans along to a close up of Howie's scandalised face.

46 Lord Summerisle, Ash and Willow[]

46    EXT : THE BACK   GARDEN   OF   THE GREEN MAN -  NIGHT

Lord Sumrnerisle passes his willow sapling and dagger to the youth who starts rhythmically to chop off all the branches, until the sapling is stripped. The youth then moves forward and plants it firmly , questioningly under Willow’s window.

LORD SUMMERISLE

Willow MacGregor, I have the honour to present to - you Ash Buchannan.

WILLOW

Come up, Ash Buchannan.

Ash Buchannan walks to the back door of the Inn and disappears inside, leaving Willow and Lord Sunmerisle facing each other.

LORD SUMMERISLE

Another sacrifice for Aphrodite, Willow.

WILLOW

You flatter me, your Lordship. Surely you mean to Aphrodite.

LORD SUMMERISLE

I make no such distinction. You are the Goddess of Love in human form, and I (am) merely your humble acolyte.

He bows. She blows him a kiss.

LORD SUMMERISLE

Enjoy yourself, and him. Only make sure you're ready for tomorrow's tomorrow.

WILLOW

(breathless)

The day of death and resurrection…?

LORD SUMMERISLE

Yes.    And of a somewhat more serious offering than tonight's.

He turns and sweeps away into the moonlight.    We hear the noise of footsteps and then Willow's door opening and  closing. Willow, seen from Howie's POV, disappears from the window.

47 Howie, WIllow and Ash[]

47    INT : HOWIE IS . BEDROOM - THE GREEH MAN - NIGHT

Howie goes thoughtfully back to  his  bed. We watch his face as  he listens to Willow greet Ash Buchannan. The walls are very thin, and the windows are open , so that is the every sound of the encounter clearly audible.

As it increases in intensity and the noises become more animal, the sergeant starts to squirm and sweat with embarrassment. Finally he raises his hands and hangs on to the brass bedrail as if his life depended on it. A long cry of ecstasy during which. Howie covers his ears brings the scene to a fade out close.

49 Howie talks to Willow outside the Green Man the next morning[]

49    EXT:     MAIN STREET LEADING TO GREEN - MORNING

We see the beginning of  the Green from Howie's POV .It appears to be deserted.

WILLOW (VOICE OVER)

It's the white building. You can't miss it.

There is a 49 and 49 B. 49 B was completed on Oct 15. I don't know what it involved since 49 is a very short scene with only one line.

50 Howie talks to Willow outside the Green Man the next morning[]

Ext Green Man, Main St, Morning

HOWIE: Er... what's happening here on "tomorrow's tomorrow"?

WILLOW (innocently): That's a funny way to put it. Do you mean the day after tomorrow?

HOWIE: Yes, I suppose so. I thought the other was a local expression.

WILLOW: How quaint.

(Willow starts to head into the pub.) HOWIE: Well?

WILLOW: Now let me see. The day after tomorrow will be May the second... Nothing as far as I know.

(She smiles demurely at him. Howie turns away and it dawns on him that a day has past since he

heard the phrase used.)

HOWIE: I mean tomorrow. What's happening here tomorrow?

(But Willow has already disappeared back inside the pub. Howie half makes a move to follow her, then shrugs and starts off towards the school again.)

We don't know when this scene was shot. Ernie Shepherd's schedule says this was deleted on Nov 20.

51 villagers say hi as Howie walks to school[]

51    EXT : THE  MAIN  STREET -  MORNING The camera pans Howie up to the fringe of the green as it did the night before. But this time all is openess and light. Some of the passing villagers even offer him friendly a Good mornings" and "Nice days" as he walks, and he is induced to respond with a cautious nod or half gesture of hand. But at the top of the hill, where the land levels out to make the Green, he halts suddenly, as the sound of cheering comes to him.

Marked as completed on Nov 20 in the progress report of this day.

57 Miss Rose and Howie in the schoolroom[]

57    INT : GIRLS' SCHOOLROOM - MORNING

This time we have cut inside the classroom to see the schoolmistress call for the girls' attention.

MISS ROSE

Now that's enough, girls ! It's time to pay attention to me.

Daisy, vill you tell us please what the maypole represents?

Daisy sits there not embarrassed but just looking blank. Around her grows a chorus of "Please Miss Rose… ", "I know, etc." as some of the other girls hold. their hands up and otherwise jump up and down in order to attract attention to themselves.

MISS ROSE

Really Daisy, I've told you often enough.  Anyone?

CHORUS OF CHILDREN

Phallic Symbol! Phallic Symbol!

MISS ROSE

Quite right.  It is the image of the penis which is venerated in religious systems such as ours, as symbolizing generative power in nature.

The door of the classroom is thrown violently open and Sergeant Howie stands in the doorway, glaring with disgust at Miss Rose.

HOWIE

(shouting)

Filth! Absolute filth.

He strides into the room and up onto the dais where the frightened teacher is standing.

MISS ROSE

How dare you come in here, shouting, and frightening my children. Who are you?

HOWIE

I'm a Police Officer from the mainland , Miss, and you can be very sure I shall report this to the proper authorities .

MISS ROSE

Report what may I ask?

HOWIE

This abomination I've heard today. Everywhere I go on this island, I find degeneracy -- brawling in the bars, indecency in public places, corruption of the young, and now I know where it all stems from -- the filth taught here in this schoolroom.

MISS ROSE

I was unaware that the police had any authority on matters of education.

HOWIE

Mavbe not.    But we work closely with those who do. And as I say, this will not go unreported.

I:USS  ROSE

Is that why you came here today? To snoop?

HOWIE

No it was not, Miss .    And let me make it plain. I do not snoop. I investigate.

l1ISS ROSE

May one know, without too much self-important mystery making, what it is you have come here to investigate?

HOWIE

I've come to find a missing girl

-- a girl whom everyone says never existed.

MISS  ROSE

How quixotic of you.

HOWIE

Quixotic?

MISS  ROSE

From Don Quixote -- an enthusiastic visionary, a pursuer of lofty but impracticable ideals .

HOWIE

Also a man of honour, I believe.

MISS  ROSE

Which did not prevent him from continually making a fool of himself.

HOWIE

We shall see about that.

He turns to the class of girls.

HOWIE

Girls; I want your attention please.

HOWIE

As you heard me tell your school­ mistress, I am a police officer from the mainland who has come over here to investigate the dis­ appearance of a young girl.    This is her photograph which I will ask you to pass round the class­ room while I am writing her name on the blackboard.

He produces the photograph of Rowan Morrison which he hands to the nearest girl. After a two or three seconds she shakes her head and passes it to the next girl. Whilst it is going from desk to desk round the room, Howie turns to the blackboard and prepares to write, when he sees what is already written there.

"The Cock-Knee Stone preserves the pith of the milk.

The Snail Stone preserves the eyes from the darkness.

The Toad Stone preserves the newly born from the weird woman.

The Hag Stone preserves people from nightmare."

Impatiently, he rubs it off, and writes in bold letter­ing the name: ROWAN MORRISON.    AGE 12-13.

HOWIE

That's her name. Rowan Morrison. Do any of you recognise the name or the photograph?

There is complete silence. The photograph is passed back to the first girl who hands it up to Howie. Still staring at the class, he puts it away.

MISS ROSE

You have your answer. If she existed would know of her. Now please go away.

Howie continues to stare at the class. His eye is attracted to the one empty desk in the room. He crosses to it.

HOWIE

Who’s desk is this?

MISS ROSE

No one's.

He opens the desk. Inside it is quite empty except that in the middle there is a nail driven into the wood. Attached to the nail by a thread is a black beetle. The thread, about four inches long is already wound several times around the nail. Daisy sitting next to the empty desk leans over and explains to Howie .

DAISY

The little old beetles goes round and round -- always the same way, you see, until at the end he's tied right up tight to the nail -­ poor old thing.

HOWIE

Poor old thingl  Then in God's name why do you do it?

He slams the desk shut and walks back up to the dais.

HOWIE

I'd like to see the school register please.

MISS ROSE

Do you have Lord Summerisle's authority?

HOWIE

You seem to forget, this is a police matter.

MISS ROSE

I'm afraid you will still need a search warrant, or permission from…

Howie ignores her, and suddenly throws open the top of the teacher's desk. Inside is the school register which he lifts out.

MISS ROSE

(outraged)

Well!... Just you put that back… Right now, if you please.

HOWIE

I'm sorry, Miss. You'll have to bear with me.

Howie looks down the list and we see an insert of the page headed "Spring Term 1”. He runs his finger down a list of girls, the Christian names in each case being those of a tree or flower, but there is no Rowan Morrison. He turns back to the previous page and finds it headed “Belthane Term”. Again he traces his finger down the list, but this time it stops half way down. We cut into an extreme close up of the page to read, crossed out but still legible, the name of ROWAN MORRISON.    Howie looks up at the silent class in a fury.

HOWIE

You despicable little liars ! Rowan Morrison is a school mate of yours. Isn't she? She attends this class. That 's her desk. Isn't it?

The class remains silent avoiding his raking gaze.

MISS ROSE

I think you ought to know…

HOWIE

And you're the biggest liar of them all. I warn you, if you tell me one more lie, I'll have you inside for obstruction. And that's a promise, Miss. Now, for the last time, where is this girl?

MISS ROSE

I will have to speak to you outside.

HOWIE

Alright.

MISS ROSE

Children, get on with your reading for the next few minutes -- The Rites and Rituals of May­ day, Chapter Five. I won't  be long.

She leads him firmly out of the classroom.

62 Howie slams door and leaves church through gate[]

62 EXT:    THE NAIN ENTRANCE   OF THE CHURCH - PAY

Howie comes out of the church and slams the door behind him. He disappears round the side of the church towards the Lychgate.

63 Howie hears grave digger[]

63 EXT:    GRAVEYARD OF CHURCH LOOKING TOWADS LYCHGATE  - DAY Howie comes into shot walking towards the Lychgate. The sound of a spade digging in the earth behind the Sun  God yew tree captures his attention. He walks towards it and passes out of sight behind it.

This is replaced with the Old Gardener cutting the grass.

64 Howie talks with grave digger about hand of glory[]

64    EXT:  DEEP OPEN GRAVE BEHIND YEW TREE - DAY

Howie discovers the old gardener digging a grave. It is already at least nine foot deep.

HOWIE

So you're the grave - digger as well as the gardener?

The old man stops digging and looks up surprised.

OLD GARDENER

I keep it tidy and dig when it's wanted.

HOWIE

That's a bit more than the tradi­tional six feet isn't it?

OLD GARDENER

Got to dig 'em deep otherwise they'd be at 'em.

HOWIE

Who would?

OLD GARDENER

Those who need the Hand of Glory, for a start.

HOWIE

What?

OLD GARDENER

You know, to make people sleep. Grave earth for a li9ht sleep Hand of Glory for a deep 'un.

I don't mind 'em taking a  bit of

earth -- that don't make no extra work -- but the other's something else.

HOWIE

What exactly is the Hand of Glory?

OLD GARDENER

Don't you ever stop asking questions?

The old man turns back to his digging.

HOWIE

(annoyed)

It's my job to ask questions.

The gardener continues to dig, unperturbed.

HOWIE

took, I'm a police officer, and when I ask them I expect answers.

The gardener pauses briefly in his work.

OLD GARDENER

There are some answers you wouldn't understand. Go home. You've found what you came looking for.

He goes back to work, completely ignoring the fuming Howie who continues to stare down at him.

H0WIE

I'm not so sure of that.    And seeing you like digging so much, old man, I think I can get you some extra employment, pretty soon,

Howie storms away towards the Lychqate hidden by the yew tree. The old man turns, spits and goes back to work.

66 Howie talks to May about Rowan[]

66 INT : MRS . MORRISON 'S SWEET SHOP - DAY

Sergeant Howie enters as Mrs. Morrison bustles in from the parlour.    She starts to unscrew a large jar of "gobstoppers.”

MRS. MORRISON

Come in for some sweeties, sergeant?

HOWIE

Don't try me, Mrs Morrison. I've  just cone from the graveyard.

MRS. MORRISON

Oh dear, and we've been so remiss about the headstone. I hope poor Rowan will forgive us, wherever she is.

HOWIE

Mrs. Morrison , why did you tell me that Myrtle is an only child?

HRS . MORRISON

She is. Rowan isn't my child any more .

HOWIE

(angrily)

I suppose you 're going to tell me her soul lives on in a bush or an animal .

MRS . MORRISON

Of course it does. But as I say she's not my daughter any longer. She's something else. Excuse me I've got to take this sweet to Myrtle.

Mrs. Morrison screws up the gobstopper jar and carrying a huge one, she makes her way behind the counter to the door leading to the parlour . Howie follows.

Partially shot on Nov 21 in Kirkcudbright.

67 Howie talks to May about Rowan and watches as Myrtle gets frog in throat[]

67    INT : MRS . MORRISON’S  PALOUR - DAY

Myrtle is crouching near the transparent biscuit box containing the frog as Mrs. Morrison enters followed by Howie.

MYRTLE

I didn't like that frog in my mouth, mummy.    It tasted horrid.

MRS . MORRISON

I know, dear, but it's all over now. Here's your sweetie for being a brave girl.

Mrs. Morrison gives Myrtle the gobstopper which the latter takes greedily. Howie once again can scarcely believe his ears, as his eyes fall on the frog to which Mrs. Morrison is pointing.

MRS. MORRISON

He's got your horrid old sore throat now, hasn't he, poor creature?Can't you hear him croaking?

The frog croaks mournfully as Myrtle goes to work on the enormous sweet in her mouth.    Mrs. Morrison notices Howie standing in the doorway.

MRS.  MORRISON

Anything I can do for you, sergeant?

HOWIE

I doubt it, seeing you're all raving mad but there is just one thing I'd like to know. Where is Rowan Morrison's death certificate?

MRS  MORRISON

Doctor Ewan would have it most likely. Why don't you talk to him. He only lives over the street, next to the chemist.

Howie closes the door behind him without a word. The frog croaks again.

Shot completed on Nov 21 in Kirkcudbright.

68 Howie talks with Mr Lennox outside of his shop[]

68    EXT : CHEMIST SHOP AND DOCTOR'S RESIDENCE - DAY

The scene starts with the distorted face of Howie seen reflected in the brass plate of Doctor Ewan. He has obviously been standing there some time, and as the shot widens he rings the bell above the plate again. The door of the chemist's shop opens, and its dessicated proprietor emerges.

LENNOX

He's out on his rounds till lunch time I'm afraid. Perhaps I could take a message or assist in some way?

Howie looks at the chemist, then up at the name above his shop which in a close shot insert we read- as T. H. Lennox.

HOWIE

You are Mr. Lennox, the photographer?

LENNOX

I am firstly a chemist; secondly a photographer, and thirdly a pur­veyor of thermos flasks and hotties.

HOWIE

Hotties?

LENNOX

Hot water bottles. More efficacious than most of Doctor Ewan's specifics, believe me. Do you want your photo­graph taken?

HOWIE

No thank you, but I would like a word.

LENNOX

Come inside then.

Lennox leads the way into the shop.    Howie follows him but his attention is arrested by what he sees in the shop window.

Some of the dialogue is moved from this scene into the interior scene of the chemist's shop while we look at the items in it. vers 2

HOWIE: Are you Mr. Lennox, the photographer?

LENNOX: Oh, I'm firstly a chemist, secondly a photographer, and thirdly a purveyor of Thermos flasks and hotties.

HOWIE: Hotties?

LENNOX: Hot-water bottles. More efficacious than most of Doctor Ewan's specifics, believe me. Do you want your photograph taken?

HOWIE: No thank you, but I would like a word. LENNOX: Come inside then.

    (Lennox leads the way into the shop. Howie's attention is taken by a large bottle marked "foreskins".)

Completed on Nov 17 in Gatehouse of Fleet.

69 Mr Lennox's interior shop window[]

A panning shot of the window reveals it isfull of jars containing bizarre objects like leeches and fillets of snake, omen sticks, and strips of "witches mummy" — looking like exactly what it is, dessicated corpse- flesh. Nearest camera is a glass container of fore- skins, slightly bloodstained and packed tight together. Everything is clearly labelled

Progress reports say this was completed twice, on Nov 17 and 19.

70 ext of Mr Lennox's shop[]

70    EXT    CHEMIST'S SHOP - DAY

Howie's capacity for incredulity is again strained almost to its upmost, as he backs away from the window up the stairs into the shop.

HOWIE

Foreskins? How do you get foreskins?

LENNOX

Circumcision. How else? I pay Ewan a reasonable price for them.

HOWIE

But what for?

LENNOX

If ritually burnt they bring the rain.    But of course, up here, there’s very little call for them.

He goes into his shop, followed by the mystified Howie .

vers 2

Ext shop

HOWIE: Foreskins? How do you get foreskins?

LENNOX: Circumcision - how else? I pay Ewan a reasonable price for them.

HOWIE: But what for?

LENNOX: If ritually burnt they bring the rain. But, of course, up here there's very little call for them.

Completed Nov 17 in Gatehouse of Fleet.

71 int of Lennox's shop[]

71    INT:    CHEMIST'S . SHOP - DAY

The shop is an odd jumble of the modern and the medi­eval. It's as if a chain store like "Boots" has joined forces with a 16th century alchemist.

Lennox comes through the door and goes behind his counter . Howie follows.

LENNOX

Now, how can I help you?

Howie, dazed by what he has seen, and the chemist's bizarre explanation, struggles to put his thoughts in order.

HOWIE

You take the Harvest Festival photographs. every autumn, don 't you? The ones I saw in The Green Man?

LENNOX

Yes. It's rather humdrum work I'm afraid. Though mind you, I do think the one about ten years ago that's slightly fogged, is just about the most literal realisation of "the season of mists and mellow fruitfulness" that could be contrived. Don't you?

HOWIE

What happened to last year's picture?

LENNOX

Isn't it there with the others?

HOWIE

No . Apparently it got broken, or in some way - destroyed.

LENNOX

What a pity.

HOWIE

Yes. Would you have a copy of it?

LENNOX

Oh no. I don't keep copies. I've got the negative of course and I could have one printed up for you if you like.

HOWIE

Thank you. Yes, I should like that. I've never seen pictures quit like them before .

LENNOX

No?… Well perhaps they are rather special .

The chemist turns away, assuming the conversation is ended.

HOWIE

There's just one more thing.

LENNOX

Yes?

HOWIE

Can you remember who the girl was in the Harvest Festival last year?

Slowly Lennox turns back to the detective, shaking his head.

LENNOX

I've taken so many.

HOWIE

Could it have been Rowan Morrison?

The eyes of the two men lock.

LENNOX

I'm sorry. I get so confused with all the different names .

He shrugs apologetically and looks evasively away. Howie drags his photograph of Rowan Morrison out of his pocket and thrusts it under Lennox's nose.

HOWIE

This girl. Was it this girl?

LENNOX

It's difficult to say. Why don’t we consult the picture and avoid the tricks of memory.

HOWIE

It was only eight months ago. Surely you can remember whether or not...

LENNOX

There's Doctor Ewan now… If I were you I'd get him before he starts his lunch. He's very particular about the times of his meals .

Howie turns to look out of the window .

Now, how can I help you? (dialogue moved from end of 70)

72 Howie and Dr Ewan talk outside of Dr Ewan's house[]

72    EXT : CHEMIST SHOP/DOCTOR 'S HOUSE - DAY

Doctor Ewan gets off his ancient motor bicycle and makes his way towards his house. He is a very typical country doctor, middle aged and greying, with his plump figure more than adequately filling his creased tweed suit. He carries the usual black bag. Howie runs out of the chemist's shop to intercept him .

HOWIE

Doctor Ewan?

DR EWAN

Yes?

HOWIE

I'm a police officer, and I'd like a word with you.

DR EWAN

Before lunch?

HOWIE

Yes. Now, if you don't mind.

DR EWAN

But I do. Come back at two thirty.

HOWIE

I don't think you can have heard me. I said I was a police officer.

DR EWAN

(sniffing the air)

On second thoughts as it seems to be braised oxtail, you 'd better make it three o'clock. The old digestion takes a bit longer to work these days then it used to.

He passes on towards his front door. Howie yells after him.

HOWIE

Doctor Ewan, did you sign Rowan Morrison's death certificate?

The doctor stops in his tracks.

DR EWAN

Rowan Morrison?… Yes I did… Why?

HOWIE

Can I see it?

DR EWAN

Did you say you were a police officer?

HOWIE

Twice.

DR EWAN

Then you should know that death certificates are kept in the public  records office. Now if you'll excuse me.

The doctor opens his front door and half disappears inside it.

HOWIE

One more thing, Doctor. How did Rowan die?

DR EWAN

She was burnt to death -- as my lunch will be  if  I continue to stand here talking to you.

The doctor slams the door of his house. Lennox emerges from the chemist's shop.

LENNOX

I told you he was particular about meal times.

HOWIE

And I am particular about truth, Mr. Lennox. Not half truth or evaded truth, but, in so far as it can be achieved, unadulterated truth.

LENNOX

Did I hear you tell Doctor Ewan that you were a police officer?

HOWIE

You did.

LENNOX

I thought so… Truth is a very laudable objective.

HOWIE

I'm glad you think so.

LENNOX

Oh I do indeed…. Well I must go and have my lunch, too though it's nothing as rich as braised oxtail, I'm afraid. Just a little cold tongue and pickles .

HOWIE

Mr Lennox, did you come bustling out here, just to tell me about your lunch menu?

LENOX

Oh no, of course not. I just wanted to tell you that I'd managed to have a  quick look for the negative of that Harvest Festival picture you wanted, but I couldn't seem to find it… I'll keep looking, of course.

Lennox gives him a guileless stare and skipping into his shop, closes the door, and pulls down the blind. Howie turns stonily away, and starts to walk down the High Street.

Completed on Nov 22 in Gatehouse of Fleet.

73 Howie asking where the public records office is[]

73 EXT:    A   TURNING INTO THE MAIN  STREET - DAY

Howie comes to a corner and pauses, his eye is caught by a puppet doll which floats rapidly down the stream which runs alongside the high street. High treble children's voices accompany the puppet' s progress through the village .

CHILDREN    (VOICES   OFF)

(singing)

We carry death out of the village. We carry summer into the village.

Suddenly a group of half a dozen children march round the corner, bearing aloft a new tree cutting to which is fastened another puppet clothed in white.

CHILDREN

(Singing)

We carry death out of the village.

We carry summer into the village .

The children sweep past Howie and head down the high street in pursuit of the floating puppet.

CHILDREN

(singing)

‘’We carry death out of the village. We carry summer into the village.

Howie runs after them.

HOWIE

Just a moment please… just a moment.

The singing trails off.

HOWIE

I wonder if any of you kids could tell Me where the public records office is.

The children look at each other blankly.  Most shake their heads.

1st CHILD

Dunno.

2nd CHILD

Dunno mister.

3rd CHILD

Public what?

HOWIE

The public records office.

4th CHILD

It's in the library, isn't it?

5th CHILD

Yeah. That's right.

HOWIE

And where's the library?

4th CHILD

Over there.

The child points across the street, and then the group goes off singing as before.

CHILDREN

(singing)

We carry death out of the village. We carry summer into the village.

Their voices die away down the high street as Howie crosses the road and walks towards the library.

See these pictures.

For more details, see this page. We don't know when this was shot. Ernie Shepherd's schedule says the 2nd unit shot it Nov 10.

74 Howie goes to registrar’s office[]

74    INT:    HALLWAY   PUBLIC LIBRARY - DAY

Howie comes up the stairs into the hallway of the library. On each side of it is a door. One says Public Records Office. The  other says Public Library. In the middle between them, sits the librarian behind her desk, eating a frugal lunch of tinned cling peaches. Howie approaches her.

HOWIE

The Public Records Office, please.

LIBARIAN

Do you have authority to use it?

Howie shows his police card.

LIBRARIAN

I meant from his Lordship .

HOWIE

I don't need it.

LIBRARIAN

I'm afraid that you will have to get permission from…

HOWIE

(explosively)

If you don't let me in that office, you'll be in a cell on the mainland tonight. Is that clear?

The Librarian realises he means what he says. Frightened, she rises to her feet and taking a key from a nail behind her, comes out from behind the desk and leads the way over to the door marked Public Records Office.  She unlocks it, and stands aside as Howie strides into the room.

This dialogue got moved into the public records office. Ingrid, while listed as a librarian in the credits, plays the registrar there.

75 Howie in public records office[]

75    INT:    PUBLIC RECORDS OFFICE ·•  DAY

The Librarian stands in the doorway as Howie looks about him at the rows of filing cabinets which fill the bleak room.

HOWIE

Death Certificates?

Wordlessly the Librarian points to the relevant cabinets . Howie walks down them till he comes to the letter M. The camera cuts to a close u as he fingers through the Ms  until he comes to two marked Morrison. One is for Benjamin Morrison died aged ninety-eight. The other is for Rachel Morrison died aged ninety-six.

HOWIE

Did you know Benjamin and Rachel Morrison?

LIBRARIAN

Yes. They had the  cottage up by the windmill. They both died last year  within a few days of each other .

HOWIE

They had names from the Bible -­ Benjamin and Rachel.

LIBRARIAN

Yes. They were very old.

Howie looks at the Librarian thoughtfully. Then slips the cards back in the file.

HOWIE

(to himself)

But no death certificate for Rowan Morison.

(aloud)

Did you know Rowan Morrison when she was alive?

LIBRARIAN

Yes. Of course.

Howie slams the file cabinet and crosses to stand by the Librarian who cowers away from him. He shows her his photograph.

HOWIE

Is that her?

The Librarian studies it carefully.

LIBRARIAN

Yes, that's her.

HOWIE

How did she die?

LIBRARIAN

I don’t  know.

She flinches away from Howie's gaze.

LIBRARIAN

(shrilly)

I don’t know anything about her.

Howie walks slowly out of the Public Records Office.

Completed on Oct 27 in the Whithorn Public library which no longer has the same floorplan.

76 Howie goes in library[]

76 INT : HALLWAY OF LIBRARY - DAY The flustered Librarian locks the Public Records Office and ignoring Howie’s gaze, walks back to her desk, and  her cling peaches. Howie turns and pushes open the door marked Public Library and goes inside.

Pictures taken by the set photographer show the library from further back then what we see in the movie. Some bookshelves are labelled Sex, Religion, History. We don't know the date this was completed.

77 Howie in library[]

77 INT : PUBLIC LIBRARY -   DAY

The library is deserted, except for an old man reading at one of the tables. Howie goes over to one of the bookshelves on which stand the Encyclopedias, and selects the one containing the letter H. He then sits down and opens the book , flipping through it till he finds Harvest Festival. A  close up  insert shows us what he is reading. The camera  then studies Howie's increasingly horrified face as we listen to his thought voice telling us what he is reading.

HOWIE  (THOUGHT  VOICE)

In societies as disparate as ancient Egypt and pre-Colombian Incan, the Harvest Festival was strangely enough celebrated in much the  same way. A young virgin was chosen to personify the Goddess of Fertility. She was made much of by the whole  community and was dressed in the clothes and adorn­ments sacred to the deity.The whole community attended the feast in the temple where the fruit and vegetables and grain were piled high. On a platform, above the heaped produce, the child stood, worshipped by the multitude. At a predetermined point in the ceremony, the priests would seize her, fling her down, and cut her throat, allowing the blood to saturate the produce and mark the walls of the temple. The chief priest then skinned the child , and wearing the still warm skin like a mantle, led the rejoicing crowd through the streets. The priest thus represented the Goddess reborn and guaranteed another successful harvest next year…

HOWIE

(aloud)

Dear God! Even these people can't be that mad!

The old man looks up from his reading.

OLD MAN

Ssh!

Howie gives him n sour look and continues with his reading .

HOWIE (THOUGHT VOICE)

In Europe on the other hand , the young virgin was usually burnt, together with the abundant produce in a huge sacrificial bon­ fire…

HOWIE

(aloud)

Burnt!

The old man glares at Howie.

OLD MAN

Ssh!

Howie rises unsteadily and with some noise and to continued disapproval from the old man, replaces the encyclopedia on the shelf, and tiptoes from the library, an appalled man.

Completed on both Oct 29 and Nov 3.

78 Howie gets ride from gillie[]

 (A pony and trap are standing in the road outside the pub. A "gillie" stands beside it, wrestling a couple of casks of beer into place. Howie is standing talking to her.)

GILLIE: Aye. I'll take you up with me to the castle if you like. This beer is for his Lordship.

HOWIE: I'd appreciate that. Is it far?

GILLIE: It's up through the Mistletoe Woods. It won't take a half-hour.

    (Howie climbs aboard the trap followed by the gillie, and they set off.)

We don't know when this was shot.

79 Howie asks about girls touching blossoms[]

79    EXT : COUNTRY ROAD - DAY

The cart moves through the countryside. As before, orchards line the route. Howie looking notes a couple of girls walking amongst trees touching them ritualistically one after another.

HOWIE

What are those girls doing?

GILLIE

Praying.

HOWIE

Praying?

GILLIE

That they're in pod.

Howie looks baffled. The Gillie laughs and whips up the horse.

We don't know when this was shot.

80 fire dance and arrival at castle[]

80    EXT : A  PATH  LEADING UPWARDS  THROUGH  OAK  TRES  AND EXT : CASTLE  AND STONES  - DAY

The trap moves through a wood of oak trees, covered in mistletoe. It emerges into open ground so that we see that the wood rings a bare hill top on which stand two structures . The first is a huge circle of giant stones, some of them capped by other pedimental rocks. The second, standing further away, is a Gothic castle.

The trap makes for the front door of the castle, passing as it does so, fairly close to the circle of stones. This gives us a glimpse of a ceremony in progress there. In the centre of the circle a  fire is blazing. A tall naked female figure stands by the fire surrounded by apparently naked little girls. They are dancing clockwise in a circle round the fire, and singing a song which floats down to us on the win, Occasionally one of the little girls detaches herself from the circle and jumps through the fire.

GIRLS

(singing)

Give way, and be ye ravisht by the Sun,

And hang the head when as the Act is done

Spread as He spreads; wax less as He does wane;

And as He shuts, close up to Maids again.

The trap draws up to the front door and Howie scarcely able to tear his eyes away from the ceremony in the ring of stones, dismounts.

GILLIE

This is Castle Oak. I'll be going round to the back.

The trap moves on towards the back of the castle . Howie wrenches himself out of his fascination.

HOWIE

(calling)

Thank you for the lift.

GILLIE

I'll be going back in half an hour.

HOWIE

I'll be ready.

The Gillie waves his whip and is gone round the corner of the building. Howie walks to the great front door and bangs on it with a huge iron knocker. It is opened by Broome the Butler .

BROOME

Good afternoon, sir.

HOWIE

I wish to see Lord Summerisle. My name is Howie . I'm a police sergeant from the mainland.

BROOME

Ah yes sir, his Lordship is expecting you.

HOWIE

Expecting me?

BROOME

That's what his Lordship told me.

Won't you please come in.

Broome steps aside to let Howie pass inside .

Completed on Oct 22 at (progress report says Lochinch but meant Castle Kennedy Gardens).

81 Broome will let Lord Summerisle know Howie is here.[]

81 INT : THE GREAT HALL OF THE CASTLE  - DAY

The stone flagged floor has the pelts of deer and seals strewn on it. The high vaulted stone walls bear arrangements of ancient weapons and shields, mainly from the Norse era. The fireplace is huge.

BROOME

I will inform Lord Summerisle you 're here, sir.

As Broome withdraws Howie glances, a little awed, round the room. Finally he wanders over to the window and looks out.

83 Lord Summerisle and Howie talk[]

have 83 and 83 B

(preceding dialogue is the same as in all versions)

LORD SUMMERISLE: He's dead. He can't complain. He had his chance and, in modern parlance, blew it.

(Howie stands angrily.)

HOWIE: What!

LORD SUMMERISLE: Don't you mean "how"? The people were persuaded that he had become less powerful than the old gods who still lived on in the woods and the water and the fire and the stone.

HOWIE: It's not possible after so long. Who did this? I don't understand...

(Summerisle opens a folder of old photos and flicks through them.)

Dialogue proceedes as in all versions. 83 partially shot on Oct 13 and 22. 83 B completed on Nov 11. (What is 83 B?)

84 int laboratory (greenhouse)[]

LORD SUMMERISLE: You see, his experiments had led him to believe that it was possible to induce here the successful growth of certain new strains of fruit that he'd developed. So, with typical mid-Victorian zeal, he set to work.

(Lord S. opens a white gate and goes through. Howie stops behind the gate and stares at a shrine, which the camera holds.)

LORD SUMMERISLE: But of course, almost immediately, he met opposition from the fundamentalist clergy, who threw tons of his artificial fertiliser into the harbour, on the grounds that if God had meant us to use it, he'd have provided it.

(Howie follows. Summerisle, carrying his fruit knife, is five steps ahead of Howie.)

LORD SUMMERISLE: My grandfather took exactly the same view of the clergy, and realised he had to be rid of them. The best way of accomplishing this, so it seemed to him, was to rouse the people from their apathy by giving them back their joyous old gods.

HOWIE: How was this possible?

LORD SUMMERISLE: You underestimate the spiritual vision of the Celts. My grandfather simply told them about the the Stones - how they, in fact, formed an ancient temple – and that he, The Lord of the Manor, would make a sacrifice there every day to their old gods and goddesses, particularly those of fruitfulness and fertility. And as a result of this worship, the barren island would burgeon and bring forth fruit in great abundance. For an atheist, grandfather had a singularly biblical turn of phrase, don't you think?

HOWIE: And they believed him?

LORD SUMMERISLE: Well, of course, to begin with they worked for him because he fed them and clothed them but then later, when the trees started fruiting, it became a very different matter, and the ministers fled the island, never to return.

HOWIE: But how did the trees come to fruit, when so many other attempts to grow things on these islands have failed? Don't tell me your grandfather really worshipped the (choking on the phrase) gods of fertility?

LORD SUMMERISLE: Come, come, Sergeant. As I've already told you, he worshipped science. What he did, of course, was to develop new cultivars of hardy fruit suited to local conditions. Out here we have his original experimental orchard, much developed of course. Come and have a look.

All of this dialogue got cut from this scene and was imposed over the shots of them walking in the experimental garden from afar (so you can't see them speaking these words.) Completed on Oct 23 at Lochinch (Castle Kennedy Gardens) and Nov 11 at Threave Gardens.

85 ext experimental orchard[]

vers 1

85    EXT: EXPERIMENTAL LABORATORY   -   DAY

Howie emerges from the laboratory into the orchard followed by Lord Summerisle. They start to walk about amongst a number of trees in blossom, which have been elaborately tagged and bound.  Beside many of them stand small refrigerators. Lord Summerisle identifies them as he passes

LORD SUMMERISLE

You are looking at the parents of the Summerisle Apple. Ashmead's Kernel here on my left was originally raised by a Doctor Ashmead of Gloucester in the year seventeen ten. It is a grey brown russet which is not particularly attractive in appearance but was originally selected on account of its age, and excellent flavour, superior many have judged to the famous Cox's Orange Pippin. Here, see for yourself.

He opens a refrigerator and produces a slightly shrivelled brown apple which he cuts open with a knife. He offers it to Howie who takes and eats it.

HOWIE

Very sweet.

LORD SUMMERISLE

As I say it has a fine flavour, but its appearance is somewhat against it and it has a regrettable tendency to shrivel in refrigeration.

Lord Summerisle leads the way to the next tree .

LORD SUMMERISLE

In order to combat this latter dlisadvantage grandfather crossed it with  St. Athelstane' s Pippin, an orange flushed russet of great sturdiness and quite phenomenal shelf life discovered about 1830 by a Mr. Talmage of St. Ives in Cornwall . Receptivity to the bene­ficial effects of 'l'he Gulf Stream, combined with high resistance to salt water air currents, were bred in at this stage. Note the large, partly open eye with convergent to f (?) erect sepals set in a wide shallow, unusually even basin.

While he has been talking Lord Summerisle has taken an orange flushed russet out of another refrigerator and cut it open for Howie.  Howie goes to taste it but Lord Summerisle throws it away.

LORD  SUMMERISLE

Don't bother to taste it, it's quite unremarkable, unlike those splendid deep purple flushed Pauncefoot Pearmains which you can see in that refrigerated tray over there and which were brought in as the last crossing, in order to correct appearance.

He indicates the apple in question. While Howie's attention is distracted he produces suddenly, a huge red apple which he cuts open with his knife. Juice flows from the creamy flesh.

LORD   SUMMERISLE

But save your appetite for this feller -- the renowned Summerisle Famous .

He offers a piece to Howie who eats it and can hardly conceal his delight.

HOWIE

Extraordinary, my Lord. Naturally I have had them before.

LORD SUMMERISLE

Yes, yes, of course you have.

He caresses the apple lovingly.

LORD  SUMMERISLE

Creamy white flesh, firm, full flushed, blood red bloomed skin with a truly noble sweet vinous flavour. It took years of   my grandfather's and my father 's life, but it was worth it, for on this we base our prosperity.

HOWIE

(uncomfortable at the other's ecstasy)

I didn't know your father was as keen a horticulturist, my Lord.

LORD  SUMMERISLE

Oh yes.    He went on developing and improving the apples and produced other fruit here as well, notably Star of Summerisle, a remarkably heady  pear,  and Flame of Surnmeisle, an extremely juicy slightly sub-acid apricot of superb  color.

Lord Summerisle leads the way out of the experimental orchard by a gate in a wall, and they walk back towards the front of the castle.

vers 2

(They walk into the experimental orchard. All the trees are elaborately tagged and bound. A number of small refrigerators stand by the side of them.)

LORD SUMMERISLE: You are looking at the parents of the Summerisle apple. Ashmead's Russet, here, was originally raised by a Doctor Ashmead of Gloucester in the year 1710. It's not particularly attractive in appearance but was originally selected on account of its age and excellent flavour. Try it yourself.

(Summerisle opens a refrigerator and produces a slightly shrivelled brown apple which he cuts with his knife. He offers it to Howie who takes it and eats it.)

HOWIE: Very sweet.

LORD SUMMERISLE: Indeed, alas it has a regrettable tendency to shrivel in refrigeration. In order to combat this disadvantage, grandfather crossed it with St. Athelstane's Pippin, an orange-flushed russet of great sturdiness and quite phenomenal shelf life, discovered about 1830 by a Mr. Talmage of St. Ives in Cornwall. Note the large, convergent sepals set in an unusually even basin.

(Summerisle cuts open another apple for Howie and, just as Howie is about to take it, he throws it to the ground.)

LORD SUMMERISLE: Don't bother to taste it; it's quite unremarkable, unlike those splendid Pauncefoot Pearmains over there which were brought in as the last grafting in order to correct appearance.

(He points out the apple in question and then suddenly produces a huge red apple which he cuts open. Juice flows from the creamy flesh.)

LORD SUMMERISLE: Save your appetite for this feller - the renowned Summerisle Famous.

(Howie takes a piece and eats it. He can hardly conceal his delight.)

HOWIE: Extraordinary, my Lord. Naturally I have had them before.

LORD SUMMERISLE: Yes, yes, of course you have. (Summerisle caresses the apple lovingly.)

LORD SUMMERISLE: Creamy white flesh, blood-red bloom with a truly noble flavour. It took years of my grandfather's life, but it was worth it, for on this we base our prosperity. Of course my father went on developing and improving the apples and produced other fruit here as well, notably Star of Summerisle, a remarkably heady pear, and Flame of Summerisle, an extremely juicy slightly sub-acid apricot of superb colour.

86 Howie and Lord Summerisle talk[]

EXT: A PATH LEADING FROM THE ORCHARD TO THE CASTLE - DAY

HOWIE: And did he too keep up the godless charades of your grandfather, sir?

LORD SUMMERISLE: He became fascinated by the old ways, if that's what you mean. Indeed, he went further. What my grandfather started out of expediency, my father continued out of... love. He brought me up the same way - to reverence the music and the drama and the rituals of the old gods. To love nature and to fear it and to rely on it and to appease it where necessary. He brought me up...

HOWIE: He brought you up to be a pagan!

LORD SUMMERISLE: A heathen, conceivably, but not, I hope, an unenlightened one.

HOWIE: Lord Summerisle, I am interested in one thing – the law. But I must remind you, sir, that despite everything you've said, you are the subject of a Christian country. Now, sir, if I may have your permission to exhume the body of Rowan Morrison?

LORD SUMMERISLE: I was under the impression I'd already given it to you.

(The pony and trap appear.)

LORD SUMMERISLE: Ah, there's your transport. It's been a great pleasure meeting a Christian copper!

Completed on Oct 15 at Logan Botanic Gardens and 17 at Lochinch (Castle Kennedy Gardens).

87 Howie and Old Gardener walk in graveyard[]

graveyard, evening

EXT: THE COMMON. AND GRAVEYARD ~ EVENING Sergeant Howie and the old gardener walk across the common toward the churchyard. The former carries an oil lamp, and the latter a spade. We track with them across the common and through the lychgate into the churchyard. We see a number of people watering graves with watering cans. The old gardener/grave digger goes straight to Rowan's grave and starts to dig. Mix to next scene.

88 Howie and Old Gardener dig up Rowan

88 EXT : THE  GRAVEYARD - NIGHT

Night has fallen and Howie now holds aloft the lighted oil lamp to illuminate the grave digger 's work. Suddenly we hear the sound of spade on wood and see a child's plain pine coffin lying in the earth.

OLD GARDENER

'Ere give us a hand to lift this lot out.

He throws up a cord to Howie, who catches it and starts to pull. Together they slowly raise up the coffin until it can be placed by the pile of earth from the grave. The grave digger uses his spade as a lever and we hear the squeak of protesting nails as they are pulled out. Suddenly the lid gives and we see the faces of the two men surprised at what they see, changing in Howie's case to an expression of fury.

An insert shows us the inside of the coffin -- quite  empty except for a dead hare. Howie's hand reaches inside and picks it up. Fade to black as the gardener laughs.

89 Howie in Lord Summerisle's castle with hare[]

89 INT    GREAT HALL OF CASTLE - NIGHT

The body of the hare is thrown violently down on the flagstones. We pull back to see the whole room with Howie standing confronting Lord Summerisle . In front of the fire Miss Rose reclines on some skins, while in the huge fireplace a great fire roars.  

HOWIE

(furious)

I found this in Rowan Morrison’s grave.

LORD SUMMERISLE

Little Rowan loved the March Hares.

HOWIE

It's sacrilege.

MISS ROSE

Only if the ground were consecrated to Christian belief. Personally, I think it's a very lovely trans­ mutation. I 'm sure Rowan is most happy with it.

HOWIE

(to Miss Rose)

Look here, Miss. I hope you don't think that I can be made a fool of indefinitely.

(shouting)

Where is Rowan Morrison?

MISS ROSE

(pointing to the hare) Why  there she  is, what remains of  her physically. Her soul of course may even now be…

Howie turns impatiently to Lord Summerisle .

HOWIE

Lord Summerisle, for the last time where is Rowan Morrison?

LORD SUMMERISLE

(cooly)

I believe, Sergeant Howie, that

you are supposed to be the detective.

HOWIE

My Lord , a child is reported missing on your island. I come here and at first I'm told there is no such child. I find there is and that she has been killed -- burnt to death, according to Doctor Ewan. I subsequently discover there is no death certificate, and now I find that though there is a grave, there  is no body .

LORD   SUMMERISLE

How perplexing for you. What do you think could have happened?

HOWIE

Though I have no evidence for this, it is my belief that Rowan Morrison was murdered  under  circumstances of pagan barbarity which I can scarcely bring  myself to believe a s taking place in the twentieth century. It is my intention to return to the mainland tomorrow and report my suspicions to the Chief Constable of the West High­ land Constabulary, and demand a full investigation into all the affairs of this heathen island.

Goodnight sir.

LORD SUMMERISLE

You must of course do as you see fit , sergeant.  It is perhaps just as well that you won't be here to be offended by the sight of our May Day celebrations tomorrow.

Light dawns on Sergeant Howie.

HOWIE

Tomorrow's tomorrow… of course. My Lord , I may even return from the mainland in time to prevent their taking place.

Lord Summerisle rings the bell and Broome appears.

LORD SUMMERISLE

I think it will take stronger powers than yours to stop them, sergeant. Over the centuries they have proved very  durable.

Broome opens the door.

LORD SUMMERISLE

Ah Broome. Will you kindly show the sergeant out.

BROOME

This way, sir.

Howie hesitates and then strides from the room. Broome closes the door, leaving Lord Summerisle and Miss Rose smiling at each other enigmatically as the sergeant's footsteps retreat down the stone flagged corridor out­ side. The great door bangs closed behind him. Lord Summerisle seats himself at the piano.  He and Miss Rose sing the 'Ram of Derby' together - uproariously - (It is a very very old version of the song dating from when the RAM was a Man.

Completed on Oct 24 in Lochinch's "The Corridor".

90, 91, 92 Howie breaks into the chemist's shop[]

90 EXT : CHEMIST’S SHOP  -  NIGHT Howie crosses silently to the chemist shop.    Looking carefully about him to see that he is unobserved, he slips a piece of mica between the yale catch and door jamb of the shop's front door, and opens it. Noise­lessly he slips inside.

91 INT: CHEMIST'S SHOP - NIGHT Howie carefully closes the door of the shop behind him. He lights a match and takes his bearings, then blows it out, returning the screen to darkness. Suddenly a light goes on in what appears to be a dark room at the back of the shop.

92 INT : DARK ROOM - NIGHT

Howie stands in the dark room listening intently . He opens a door which discloses in an insert a flight of stairs leading upwards. We hear the racking snores of Mr. Lennox from the bedroom above. These continue throughout the scene. Howie starts to search through boxes of negatives filed away on shelves in yellow boxes. They are labelled weddings , sports days, portraits, etc., etc. Finally he comes to a box marked Harvest Festival. He opens it and finds inside a number of negatives, each marked with its date. The negative for the previous year which Mr. Lennox claimed he was unable to find lies at the bottom of the pile. Howie holds it up briefly to the light to make sure there has been an exposure, then quickly pours out some Hypo in a photographic dish and slips the negative into it.

While the photograph is developing he tiptoes to the foot of the stairs to check on the sleeping Mr. Lennox. Satisfied that all is well, he starts to examine other boxes of photographs. He selects one labelled Divina­tion and opens it. Inside are a number of photographs in folders. The first is labelled The Blade-Bone of the Black Pig (Slinneineachd) and contains a photograph of a crowd of islanders standing in a circle round Lord Summerisle  who is minutely scrutinising the bone of an animal. The second is labelled Omen Stones (Coel Coeth) and contains a photograph of half a dozen people throwing white round stones into the embers of a fire. The third is labelled The Seer in the Bull (Taghairm) and contains the photograph of a man wrapped in the hide of a bull being rocked by others on the bank of a river. The fourth is labelled The Elucidator (Peithyrnen) and contains a photograph which shows Lord Surnmerisle manipulating a machine consisting of several staves on which judicial maxims have been cut. (When turned the staves spell out messages of three or four lines.) The fifth is labelled The Living and The Dead Graves and contains a photograph which shows a woman wrapped in a blanket lying on the ground between two holes. One has a sign by it reading Living Grave; the other reads Dead Grave. A smaller circle of people looks on with concern. Sickened, Howie thrusts the photographs back into the yellow box, and moves over to the bath of Hypo. A  photograph of the familiar scene of the Harvest Festival emerges before our eyes. He takes it out and lays it on a table to dry. Searching round he finds a magnifying glass and holds it to the picture.    After a lot of distortion due to magnification, we see that the girl standing amongst the fruit and vegetables is not Rowan Morrison but Daisy* who we met in the schoolroom. Howie's face shows his perplexity. He applies him­self to examining the photograph in detail and we note the surprising fact that there is virtually no produce.

HOWIE (THOUGHT VOICE)

There's hardly any produce… A few old pears, and tomatoes and cauliflowers… and a dozen tiny little apples.

(out loud)

The crop failed last year, that's it! The crop failed… No wonder I got canned soup and vegetables last night… No wonder there were none of the famous Summerisle Apples…

(THOUGHT VOICE)

Now I wonder what the old religion does about crop failure.

A memory strikes him -- the voice of Lord Summerisle outside the castle.

LORD SUMMERISLE (VOICE OVER)

He brought me up the same way -- to love the music and drama and rituals of the old pantheism, and to love nature, and to fear it and rely on it and appease it where necessary…

HOWIE

(appalled , out loud)

Appease it where necessary!

He finds himself staring at a wall calendar with May Day ringed heavily in red. His eyes widen.

LORD   SUMMERISLE    (VOICE OVER)

Only make sure you're ready for tomorrow’s tomorrow.

WILLOW (VOICE  OVER )

The day of death and resurrection.

HOWIE

My God! I've got to find that girl!

His vehemence has interrupted the even flow of the snores. There is a   sudden silence from upstairs which Howie notices and registers by glancing towards the staircase. Hastily he replaces the negative in the box, grabs the wet photograph, and turns out the light.

He goes through to the shop. There is dead silence for an appreciable time; then the snores resume at first softly but growing to reach a crescendo. We hear the  front door of the shop open and close. Fade to black.

In scene 92 it is Daisy in the pic. Coincidentaly, the pictture we see of Rowan started out as Daisy but had Rowan's face photoshopped onto it. A nice bit of irony. The dialogue was changed abit in all versions.

93 Howie back at the Green Man bar[]

have 93 and 93 A

(Howie enters the bar, looking tired. The pub is   unusually quiet. Willow stands behind the counter drying some glasses.)

WILLOW: Hello. You look tired. Can I get you a drink?

HOWIE: I'll have a pint, please.

    (As Willow draws the beer, Howie studies the empty space on the wall where last year's harvest festival photograph should have been. He surreptitiously pulls out the copy of the missing photograph he made in the chemist's shop and compares it with the others. The difference between plenitude and famine is obvious. He puts the photograph back in his pocket and turns back to the bar.)

HOWIE: Willow, what did you mean by the phrase: "The day of death and rebirth"?

WILLOW: Oh, so you overheard that, did you, Sergeant Sleuth?

HOWIE: I'm right next door, you know.

WILLOW: I know where you are. I only hope Ash Buchanan didn't keep you awake. He's a lively boy and very anxious to learn.

HOWIE: I'm only interested in the phrase: "The day of death and rebirth."

WILLOW: It's just a saying. It's something to do with fertility, and May Day, and all that.

HOWIE: Willow, what happens on May Day? Does anyone... well, I mean, is anyone specially chosen for a...

WILLOW: You must think of it as a day of rebirth, Sergeant. That's the best way.

HOWIE (impatiently): Do you know where they are keeping Rowan Morrison?

WILLOW: Who cares? But why don't you come to my room later tonight? I'm sure I can tell you something to your advantage. The door won't be locked.

(Willow moves away from him, down the bar. Howie watches her go, evidently disturbed by her proposition. He swills down his beer.)

95, 96 Willow's dance[]

willow’s dance lyrics

97 Willow enters Howie's room the next morning[]

dialogue

98 Howie walks on the High St that morning[]

Ext High St

Howie meets Miss Rose and asks about May Day

105 Howie's plane won't start[]

dialogue

106 Howie on-shore trying to find a boat[]

dialogue

108 Howie sees hobby horse[]

detail

109 int of courtyard[]

detail

110 at May's, she's wearing a chicken mask[]

may in chicken mask, dialogue

111 int, Sitting room of house Howie barges into[]

Int, Sitting room of house

barges into a house, child with hare mask isn't Rowan

112[]

Howie angrily says he doesn't have a warrant.

113 landing of house he barged into[]

dialogue

114 (A - I) house search montage[]

The shots we see for that are: 1) ext of Sannachan, Plockton, 2) bedroom, curtains - interior of Isle Castle, Isle of Whithorn, , 3) spiral staircase -  Elizabeth McAdam Laughland told Declan that she thought it was at Culzean., 4) interior again, dolls on bed - interior of Isle Castle, 5) ext, Isle Castle, 6) red house steps - Sannachan, 7) inside room, doll in box - middle bedroom, Tigh-an-Rhudh, Plockton, 8) outside Ingrid’s room - Isle Castle?, 9) inside Ingrid’s room - Isle Castle, 10) ext door - Harbour Gallery, Kirkcudbright, 11) girl falls out of closet - middle bedroom,  Tigh-an-Rhudh, 12) ext, Harbour Gallery, Kirkcudbright, 13) hairdresser’s * - Elizabeth R Smith hairdressers, 23 George Street, Whithorn, 14) Howie goes up stairs, falls down stairs, surprises women dressing* - Salaan, Plockton , 15) Sandra Macdonald spinning wheel - 2nd floor living room, Tullocahrd, Plockton 16) Captain Scott, Plockton, 17) ext, Harbour Gallery, Kirkcudbright, 18) bakery int - Creetown, 19) fishmonger shop - call sheet of 11/3 says it could be in the Whithorn area (Doughty’s - Ian Sunderland), shop next to The Trust (https://www.facebook.com/groups/1394990547319969/posts/1709809915838029/) , 20) meatlocker - call sheet of 11/3 says it could be in the Whithorn area, 21) butcher shop (interior? exterior?) - call sheet of 11/3 says it could be in the Whithorn area, 22) ext, door knocker, Harbour Gallery, Kirkcudbright, 23) funeral parlour -  The back workshop of Alan Fauld's joiners/undertaker's shop in Isle of Whithorn was to the left of the Steam Packet Inn as you face it.)

They are divided up in the scripts as:

A) int bathroom, corridor, bedroom/EXT quay & causeway to village, INT Plockton houses[]

Partially completed on Oct 9 in Plockton.

B) int house, EXT quay & seaplane[]

Completed on Oct 12 in Plockton.

C)[]

Completed on Oct 11 in Plockton.

D) deleted before shooting[]

E) deleted before shooting[]

F) ext quay & causeway to village, INT Plockton houses[]

Partially shot on Oct 9 in Plockton

G)[]

Completed on Oct 11 in Plockton.

H) deleted before shooting[]

I) ext schooner, EXT/INT houses/schooner montage[]

partially shot on Oct 9, completed on Oct 11 in Plockton. (1A, 1B and C Completed on Oct 18.?)

115 house search Howie at the hairdresser's[]

Completed on Nov 12 at Elizabeth R Smith hairdressers, 23 George Street, Whithorn.

(Half a dozen women are sitting in chairs having their hair arranged to suit the bird masks they are wearing. They turn their heads as one, like part of a marauding flock of birds of prey, to look at Howie when he bursts in.)

HOWIE: I am a police officer. I must ask you to remove those masks.

(They stare at him in silence.)

HAIRDRESSER: I have spent the morning setting their hair around those masks.

(Howie moves swiftly down the row of women examining their hands. None of them are those of a thirteen year old child. He talks as he goes.)

HOWIE: Alright, keep the masks on, but I need your help. As you all must know by now, Rowan Morrison is missing, and I believe she is being held somewhere on this island for a hideous purpose. Whatever your beliefs may be, you must see you cannot, as decent women and mothers, allow yourselves to become accomplices to murder ... Tell me where can I find this child?

(The women remain silent, staring at him throughthe bird masks. After a moment he goes out slamming the door behind him.)

116 house search - The Baker's[]

Walker's Bakery, 29 St John St, Creetown. Completed on Nov 19.

(The baker's shop is piled high with newly baked flat loaves impressed with the face of the sun god. Howie is searching the shop, watched laconically by the baker. Howie stops besides a huge iron door set in the wall.)

HOWIE: What's in here?

BAKER: That's my oven. Would you be thinking I've toasted the little girl up in it?

HOWIE: Open it.

BAKER: I don't like opening my oven when she's cooling.

(Inside the oven is a long coffin-shaped baking tin about seven feet in length. The baker reveals the figure of John Barleycorn (a

symbolic corn figure usually made from plaited sheaves) baked in bread and filling the tin.)

HOWIE: What's that?

BAKER: The life of the fields – John Barleycorn.

HOWIE (furious): I've warned you, baker. If this girl is harmed, I'll have the lot of you.

(We stay on the baker's thoughtful face as Howie leaves the shop.)

117 house search - The Fishmonger's[]

(Howie is searching through the fishmonger's shop. Fish of all sorts lie in trays around him. Howie notices a tall, thin cupboard.)

FISHMONGER: What's in here?

(He opens the cupboard. Inside is an eight foot high fish costume.)

FISHMONGER: That's my costume. What do you think of it? ... Splendid, eh? It's the Salmon of Knowledge. It is said that it acquired mystical

lore, through eating the nuts of the divine hazel trees which fell into a well beneath them. These nuts conveyed to the salmon knowledge of everything that was in the world; and by extension those who can catch and eat of its flesh acquire supernatural sight.

(He looks around for Howie but the sergeant has gone. He smiles softly to himself and gently shakes his head.)

118 house search - The Butcher's[]

(The butcher stands behind his block, facing Howie across it.)

BUTCHER: Well, you've been through my freezers and looked all over the place for her, Sergeant, and as you can see she ain't here, so I'll be getting on if you don't mind. It's pretty late.

    (The butcher picks up a big cardboard box.)

HOWIE: What have you got in there?

    (The butcher takes off the top of the box to reveal its contents – the mask of the head of a white bull.)

HOWIE (sarcastically): What's that – the Bull of Ignorance?

BUTCHER: That's Old Brazenface, that is.

Couldn't do without him.

(He gives Howie a broad wink and tramps off leaving the policeman standing there.)

119 house search - refrigerated apple store[]

Int Refrigerated apple store

deleted

120 house search - refrigerated apple store[]

ext Refrigerated apple store

deleted

121 house search - funeral parlour[]

ext funeral parlour

deleted

122 house search - funeral parlour[]

int funeral parlour

deleted

123 house search - funeral parlour[]

ext funeral parlour

deleted

124 house search - funeral parlour[]

int funeral parlour

Completed Oct 29 in Isle of Whithorn.

126 Howie takes a rest[]

detail

128 Howie throws up after seeing Hand of Glory[]

Howie throws up after seeing Hand of Glory

129 Howie puts out H of G and creeps over to Alder’s room[]

Howie puts out H of G and creeps over to Alder’s room

130 inside Alder's room[]

details

Mainland[]

Interview with the man who was supposed to jump off the bridge in the mainland, on The Ex:S Wicker Man, a Scottish BBC documentary, 9:33 in (cued up).

Pictures include a swan in the river, the bridge the man was supposed to jump off of, the maninland pub and the prostitute.

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