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* Willa's burial at sea stands out especially in how she's enamored by Powell due to self-loathing right until he kills her and dumps her away in a lake.
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* Willa's burial at sea stands out especially in how she's enamored by Powell due to self-loathing right until he kills her and dumps her away in a lake.the river.
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* The look on Powell's face as he watches a burlesque dancer perform: a mixture of lust, disgust, and murderous, hateful rage. The switchblade popping out from his pocket (with the hand marked "HATE", no less) only underscores it, and who knows what he might have done with her if the police hadn't arrested him for car theft?
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* Powell with murderous intent chasing John and Pearl up the basement stairs, they barely escape.
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* Powell with murderous intent chasing John and Pearl up the basement stairs, stairs; they barely escape.manage to lock him in the cellar in time. As they flee the house to find help, we can hear the sound of Powell hammering on the door -- and finally the almighty ''crash'' as he breaks it down.
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Added line(s) 8 (click to see context) :
* Powell's introductory scene: Driving away from the scene of his latest murder, having a conversation with God alone in his car. Creepy. Even creepier, he says God approves of his murders because the Bible is full of killings. As he says this he passes a graveyard and joyfully gazes at it as it goes by.
Changed line(s) 8 (click to see context) from:
* Powell's introductory scene: Driving away from the scene of his latest murder, having a conversation with God alone in his car. Creepy. Even creepier, he says God approves of his murders because the Bible is full of killings. As he says this he passes a graveyard and joyfully gazes at it as it goes by.
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* Powell's introductory scene: Driving away from The climax of the scene of his latest murder, having film has the Spoons leading a conversation lynch mob to kill Powell, complete not only with God alone in his car. Creepy. Even creepier, he says God approves TorchesAndPitchforks but axes. Powell is hurried out of his murders because the Bible is full back of killings. As he says the police station by officers, but they jovially call out to the hangman that "we're saving this he passes a graveyard bird up for ''you!"'' and joyfully gazes at it as it goes by.he replies that it'll be a privilege.
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* The conflict is filled with this, considering it's about a charismatic serial killer wife murderer and thief hunting after money while threatening two children who know its whereabouts.
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* The conflict is filled with this, considering it's about a charismatic serial killer SerialKiller wife murderer and thief hunting after money while threatening two children who know its whereabouts.
Changed line(s) 8 (click to see context) from:
* Powell's introductory scene: Driving away from the scene of his latest murder, having a conversation with God alone in his car. Creepy. Even creepier, he says God approves of his murders because the Bible is full of killings. As he says this he passes a graveyard and joyfully gazes at it as it goes by.
to:
* Powell's introductory scene: Driving away from the scene of his latest murder, having a conversation with God alone in his car. Creepy. Even creepier, he says God approves of his murders because the Bible is full of killings. As he says this he passes a graveyard and joyfully gazes at it as it goes by.by.
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Changed line(s) 5 (click to see context) from:
* Powell's scream when he staggers into the river as John and Pearl escape in the boat.
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* Powell with murderous intent chasing John and Pearl up the basement stairs, they barely escape.
* Powell's bloodcurdling scream when he staggers into the river as John and Pearl escape in the boat.
* Powell's bloodcurdling scream when he staggers into the river as John and Pearl escape in the boat.
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Changed line(s) 2,4 (click to see context) from:
* The conflict is filled with this.
* The sheer speed with which Powell charms the adult townsfolk, especially Willa.
* Mom's burial at sea stands out.
* The sheer speed with which Powell charms the adult townsfolk, especially Willa.
* Mom's burial at sea stands out.
to:
* The conflict is filled with this.
this, considering it's about a charismatic serial killer wife murderer and thief hunting after money while threatening two children who know its whereabouts.
* The sheer speed with which Powell charms the adult townsfolk, especiallyWilla.
Willa, to a point of cultish admiration.
*Mom's Willa's burial at sea stands out.out especially in how she's enamored by Powell due to self-loathing right until he kills her and dumps her away in a lake.
* The sheer speed with which Powell charms the adult townsfolk, especially
*
Changed line(s) 7 (click to see context) from:
* Powell's introductory scene: Driving away from the scene of his latest murder, having a conversation with God alone in his car. Creepy. Even creepier, he says God approves of his murders because the Bible is full of killings. As he says this he passes a graveyard and gazes at it as it goes by.
to:
* Powell's introductory scene: Driving away from the scene of his latest murder, having a conversation with God alone in his car. Creepy. Even creepier, he says God approves of his murders because the Bible is full of killings. As he says this he passes a graveyard and joyfully gazes at it as it goes by.
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* The sheer speed with which Powell charms the adult townsfolk, especially Willa.
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Added DiffLines:
[[quoteright:350:http://static.tvtropes.org/pmwiki/pub/images/night_of_the_hunter_nightmare_fuel.jpg]]
* The conflict is filled with this.
* Mom's burial at sea stands out.
* Powell's scream when he staggers into the river as John and Pearl escape in the boat.
* Powell's utter relentlessness in pursuing John and Pearl, as seen when John wakes up in the hayloft and hears Powell singing in the distance, riding a horse along the horizon. John lampshades this as Powell rides past, unaware of their presence: "Don't he never sleep?"
* Powell's introductory scene: Driving away from the scene of his latest murder, having a conversation with God alone in his car. Creepy. Even creepier, he says God approves of his murders because the Bible is full of killings. As he says this he passes a graveyard and gazes at it as it goes by.
* The conflict is filled with this.
* Mom's burial at sea stands out.
* Powell's scream when he staggers into the river as John and Pearl escape in the boat.
* Powell's utter relentlessness in pursuing John and Pearl, as seen when John wakes up in the hayloft and hears Powell singing in the distance, riding a horse along the horizon. John lampshades this as Powell rides past, unaware of their presence: "Don't he never sleep?"
* Powell's introductory scene: Driving away from the scene of his latest murder, having a conversation with God alone in his car. Creepy. Even creepier, he says God approves of his murders because the Bible is full of killings. As he says this he passes a graveyard and gazes at it as it goes by.
