Transcript: Foley

Airdate : 15 October 1968
Director: Alex Spinner
Teleplay by: Anthony Spinner
Story by Anthony Spinner and Brian McKay

Guest Stars:
Gant Foley: R.G. Armstrong
Polly Foley: Lynn Loring
Corey Foley: Don Quine

(notations in parentheses are in reference to changes from the script labeled “FINAL, May 29, 1968”, with revisions dated 6/7/68)

ACT ONE

SCENE 1

As the opening credits appear, we see a man driving a wagon pulled by two horses down a dusty street in town, then other shots of activity, people moving about on foot and on horseback. Two men crossing the street, pause, then turn to stare at three men on horseback. Ominous music plays as the camera closes in on the three, who look hot, tired and unhappy.

They dismount in front of a building. As one of the three ties his horse to the hitching rail, another hurries across the wooden sidewalk to enter the building, almost bowling over a well-dressed male passerby in the process. The other two men stand leaning against a couple of wooden posts, waiting for their friend.

Camera shifts, unusual angle as we are looking up from the ground, past the neck of a horse tied to a rail. Scott walking towards the camera, using both hands to adjust his hat on his head, as a man behind him is saying, “Well, thank you very much, Mr. Lancer, it’s always a pleasure doing business.” He hands Scott what looks like a folded piece of paper, which SL accepts and tucks into his billfold. Behind them we can see the windows of what is identified as the Green River Bank. The man is dressed in a suit, with a vest under his jacket and a string tie; he’s the assistant bank manager.

“You’re welcome, Sir, and I guess I’ll be seeing you, in about, ah, oh another month.” As he speaks, Scott is tucking the billfold inside of his nice leather trimmed cropped jacket. He extends his hand towards and the two men shake hands.

Manager: “Fine. And give my regards to your father, he’s a very fine—-” Suddenly, three gunshots and a woman’s scream are heard and both men react to the sound.

Camera cuts to the two men who are standing and waiting for their friend. They look up. Quick shot of Scott running across the street, then back to the two men. The door opens and a woman with long hair and a bright colored blouse comes out, looks startled to see the two men waiting. One runs inside, then the larger man, wearing a vest over a plaid shirt, grabs the woman and says “Well, hello, Polly.”

Camera cuts back and forth between Polly struggling with the man holding her and Scott working his way towards them-he has to push past a few other people who get in his way. Scott reaches them and pulls the big man around to face him, draws back to give him a good punch, then we see a shot of the balcony of the building. We hear, but do not see Scott’s punch connect, as up above a man steps through the window out onto the balcony, calling “Marsh! Marsh!” Then back to Scott, who is hitting Marsh in the stomach and the voice continues from up above: “Frank’s dead, she killed him!”

(Note: the script identifies the man as “Ed Marsh”, but on the tape it sounds as if Vince is shouting “Mark!” Or even “Mike!”!)

As Scott finishes off Marsh, we see his friend up above draw his gun and shoots at Scott. SL draws his own weapon. Throughout, we see Polly standing in the background watching anxiously. (Knowing that she is pregnant, it is noticeable that she is holding her arms protectively around an ample stomach, but this likely wouldn’t be discerned in an initial viewing.)

Scott, hatless now, whirls and crouches, returning fire and hitting the man up on the balcony, who spins back towards the building. Scott turns to look at Polly-close up of her face, with her hair covering half of it. Then up on the balcony, the wounded man has staggered back to the railing and fires once more at Scott, hitting his hand and causing him to drop his weapon. He drops to the ground. Up above the wounded man collapses against the railing, breaks it and falls all the way to the ground.

Polly now springs into action-close up of her hand as she picks up Scott’s discarded gun. The camera follows her eyes as she looks at Scott and we see him holding his injured hand and turning away, clearly in pain. Polly steps purposefully to a buckboard wagon parked in front of the building. She is wearing silver hoop earring that show clearly in this shot. Next, we see her from behind as she climbs up into the seat. She’s not at all agile, nor does she seem to be hurrying. (Again, a viewer who didn’t realize she was pregnant probably wouldn’t pick up on this.)

Shot of Scott as he turns and looks around, then we see from his perspective, the wagon departing with Polly at the reins.

SL shouts “Hey!” but she’s gone. Already the wagon is practically out of sight and people are starting to go about their business on the busy street. Scene ends with close up of Scott looking unhappy, shaking his injured hand and wrapping a handkerchief around it.

(One significant change here is that in the script, Scott is hit in the shoulder, which would have been a more serious wound, likely to have hampered him a great deal)

SCENE 2

Shot of Polly from above, driving two horses. She’s sitting on a wagon seat, but the back of the ‘wagon’ is little more than eight or nine parallel boards.

(in the script it’s nighttime here and Scott is seen “framed in the moonlight” as he rides after Polly)

Shift to a rise up above, and we see Scott on horseback coming down towards the road. He has his hat on again, the one with the brim folded up on one side. Camera cuts back and forth between shots of Polly’s determined profile as she urges the horses forward and shots of Scott riding hard after her. Polly turns and sees him, she knows he’s gaining on her. Scott pulls up alongside the left hand horse and reaches out for the animal’s harness, eventually stopping the wagon.

Scott turns his own mount to face her, and Polly pulls a Scott’s gun out from under the seat cushion and points it at him.

Polly (as SL leans as if to dismount): “You put one foot on the ground and I’ll blow your head off.”

SL, gesturing with his bandaged right hand: “I’d appreciate my gun back.”

(in the script, Polly gets down from the wagon and despite her warning, Scott slips off of his horse, so they are standing on the ground facing each other.)

Close up on Polly again: “And I’m warning you-” The gun goes off!

Scott ducks, grabbing his hat off of his head with his right hand, “Now look-“

Polly: “The next time I won’t miss. Now you just get outta here and leave me alone.” Close up on her as she’s speaking. She has abundant auburn hair, large eyes, full lips and a very determined expression.

Scott sets his hat on the pommel of his saddle, then gestures again with his right hand. He seems to be holding in his anger despite having his hair almost parted. “Just as soon as you tell me why I had to kill a man.”

She looks angry and cocks the gun, but doesn’t fire. Camera shifts behind her again so that we can see Scott. “Who are you? And who is the man you killed?”

Close up on her face, with the gun muzzle visible, while Scott’s voice continues. “Look, I don’t want to hurt you, I just want some answers.” Back to show Scott from her pov as he continues speaking. “I got shot because of you.”

Close on Polly again: “Now for the last time, just ride out.” Back to Scott, then cut to Polly again. Neither one speaks. Then camera shifts to behind Polly again and we watch as Scott begins to slowly dismount. He does not take his eyes off of Polly and his gun. Close ups of Polly show her watching and gripping the gun. Once on the ground, Scott faces her, swallows hard, then raises his injured hand towards her.

Extreme close up of Polly, then back to Scott, stepping closer with his injured hand raised. He has a blue print bandanna tied around it. He’s still wearing his leather-trimmed jacket, with the usual beige checked shirt underneath it. He also has a burgundy colored cloth tied around his neck inside the collar of the shirt. Back to tight shot of Polly’s face, and she blinks several times apparently woozy. Tinkly music plays and then the image of Scott’s serious expression and upraised hand blurs. He reaches out and snags the gun just as she passes out with a little gasp and collapses against him. Fade out with shot of Scott’s relieved face over Polly’s hair.

(here’s how the script describes the action: Polly, rigid, tense, gun up, watches him slowly cross the few steps between them. Scott moves carefully, walking on egg shells; approaching as one would a coiled rattler. A step or two from her, he hesitates for a split second, his gaze on her. Eternity hands in that split second as Polly tries to summon the will to cut him down in cold blood. Then abruptly Scott lunges for the gun, grabs her wrist. As Polly is jerked forward, and the gun falls from her hand, she suddenly sways, collapse against him, passing out from both exhaustion and the sudden break in the tension. . . then slowly, in spite of the pain in his arm, he lifts her and starts to carry her back to the buckboard.)

SCENE 3

In a field, three men in cowboy hats around a fire, two eating. One is semi reclining, looks up at an approaching rider and asks: “What’s this all about?”

Shot of an older, heavy set man, crouched down while a voice says: “Foley. . . here’s, here’s yer boy.” Then we see that the Marsh is leading another horse with a man slung face down across the animal’s back.

Gant Foley puts down his plate and slowly rises. Camera shows us the younger man, who we will learn is Gant’s nephew Corey, lounging on the ground. He’s quite good looking, wearing a white shirt, vest and string tie.

(in the script, Corey gets up and follows his uncle)

Foley presses his lips together, goes over and takes the reins of his son’s horse. The lounger doesn’t move, but the third man stands. Marsh wipes at his face and his horse shakes its head and snorts.

Close up on the dead man’s face, as his father lifts his head to make sure it is really his son.

GF: “How? (pause) How did it happen?”

Marsh, clearly not eager to tell this story: “He went in first. Next thing, there was . . shots. Polly come runnin’ out of the boardin’ house. (Shot of Foley listening). She done it, Mr. Foley, it was Polly! There was nothin’ Vince and me-

Gant interrupts him. “You kill ‘er?” When Marsh doesn’t answer right away, Foley repeats the question more loudly, grabbing at the man. Shot of Corey watching. He is still lying on the ground.

Marsh, rapidly: “She got away, I don’t know how or where. She had help. I checked with the man at the bank. His name’s Lancer, from Morro Coyo. (pause) and . . . he took me out . . . killed Vince.”

GF, demanding: “One man? Just one man?”

Marsh: “Well, he was on me before I knew it. (pause) What could I do?”

GF, bitterly: “You could have died. Now get out of here! Get outta my sight, get!” Camera pulls back to show the group, with Gant Foley gesturing angrily and Corey still lying on the ground. (During Marsh’s speech about Polly getting away and checking with the man at the bank, the camera cuts to show Corey picking up his plate to continue eating. Clearly, he’s not distraught over his cousin’s death.)

Marsh taps his horse with his heels and rides off. Shot of Corey, holding his plate of food. He sets it down, still chewing. Gant looks back at his son’s corpse. Then he steps towards Corey, holding the reins of his son’s horse. He is a large unshaven man, barrel chested, wearing a dark shirt under a longish jacket.

GF, to Corey: “I want every member of this family old enough to ride to meet me at Cross Creek in an hour.”

Corey bows his head, but doesn’t say anything.

GF: “Somethin’ wrong, Corey?”

Sighing, Corey finally gets up. “I just don’t know why you just don’t let me take care of her for ya, Uncle.”

GF: “One hour, Corey. Be there with the rest.”

Corey dips his head, then says, “Come on, Lew.” The two younger men walk off, Corey with his hand on Luke’s shoulder. Scene closes with Foley resting his hand on the neck of his son’s horse.

(in the script, the previous two scenes are reversed, first we see Gant Foley learn of his son’s death, and then Scott catches up with Polly)

SCENE 4

Scott is now driving the wagon, with his horse tied behind and Polly slumped against him. on the seat beside him. They ride under a crooked sign that reads: “Monterey Stage Line Oak Flat Station.”

They pass fences, a well, several buildings, it all looks to be deserted. Scott reins up near the barn doors. He carefully lays Polly down on the wagon seat, then jumps down and lifts the bar from the double doors. He opens up one side, peers in, then goes back to Polly, and lifts her off of the seat. She drapes one arm around his shoulder and he carries her inside. She seems quite tiny. Polly is wearing a solid color skirt and boots or shoes with heels. Inside, Scott looks around for a bit before deciding to put her down on what looks like part of an old wagon. Polly is conscious, she looks around a bit. Scott seems to carry her quite easily and is in no hurry to set her down. Once he does, he takes a sack partly filled with hay and puts it behind her. She relaxes gratefully against it. We can clearly see now that she is very pregnant.

(script has Polly lying in the back of the wagon and Scott driving it right into the barn. Polly climbs down from the buckboard, they do part of the following dialogue, then Polly starts to sway again and Scott helps her to the pile of hay.)

Scott sits down near her feet and removes his hat.
SL: “You all right?” He tosses the hat aside, runs his bandaged hand over his sweaty hair. Something is hanging near his head, perhaps an old lantern.

Polly: “I’ll live.”

Scott puts his right foot up on the wagon bed, rests his arm on his knee.
Polly: “Where are we?”

SL (glancing around): “It’s an abandoned way station.”

PF (with a slight wry grin as she closes her eyes for a second): “I suppose it’s the last place in the world a girl could get a drink.”

SL: “Well, there’s a pump right outside (he gestures) I’ll get you some water.” He starts to get up.

Polly starts to say “Water—” (clearly, that’s not what she wants to drink) then gasps in pain and clutches her abdomen.

Scott reaches for her, asks “Are you all right?” She eases back, while he takes her hand. She looks up at him angrily. “I’m not dying! Look, I thank you for what you done, now why don’t you just get smart -“

Scott interrupts, looking away from her as he speaks.
SL: “I know, I know-ride out.” He looks back.

Close up on Polly: “Suit yourself. (pause) You hang around long enough, and if curiosity doesn’t kill ya, the Foleys will.”

Camera shifts to Scott, who is holding a piece of straw in his mouth. He removes it and his brow furrows as he asks: “Foleys?”

She gives him an incredulous look.

SL, smiles: “That’s right. . . I don’t know them.”

Polly starts off with a crooked grin that breaks out into a big smile. “You’re really something, you really are.”

SL asks: “Who are they?” then puts the straw back in his teeth. (note New England accent when he asks this question. Also, there is no mention of this piece of straw in the script)

Polly, in a warning tone: “You’re gonna find out, if you don’t get outta here.”

SL, with straw in his mouth, points at her: “Oh, that doesn’t answer my question.”

PF, her expression hardening: “Look, Mister, in case you missed the point, I ain’t about to tell you anything.” Camera shifts to Scott who removes the piece of straw again, as he listens and Polly’s voice continues. “Not now, not ever, not in this life.”
Close up on PF again: “Now I’m sorry you got involved, but I gotta watch out for me. Now you understand . . . the only thing that I care about is me! Me and this child that I’m carryin’.” (shot of Scott, very serious) “Now why don’t you just go away, please!”

Camera pulls away to show both of them.
SL (gestures): “There’s a doctor a few miles south. I’ll see if I can find him; be back as soon as I can.” He reaches back for his hat and then starts to stand up, then pauses when she speaks.

PF: “I really think you’re crazy.”

SL: “Hmm, you’re probably right. (he gestures with his hat) Just hard to shake a lifetime of training.”

PF: “The man I killed is my husband.” Close up on Scott as he tries not to react to this announcement. Camera moves back and forth between them, Polly lowers her eyes, then Scott does the same, until Polly finally continues: “He’s been huntin’ me down ever since I left him six months ago.”

PF, speaking slowly, deliberately: “He was a vicious, lyin’ animal, and if I hadn’t a shot him, he’d a killed me and my baby.” While she is speaking, we glimpse Scott’s intent expression, lips pressed together as he listens. When she’s finished, SL, glances down, then back up at her, speaking in a low voice: “Sounds like, uh, you married into a . . . very nice family.”

(note: some lines from the script were cut here. After Polly, in a “clipped, staccato” voice, “feeling grudgingly that she owes this much to him”, tells Scott about her husband, ending with the part about how he would have killed her and the baby, she continues with:

PF: “Whether you believe it or not—that’s the truth.”

Scott, after a silent beat, uncompromisingly: “It still doesn’t explain why you ran away-why you pulled a gun on me. . . .”

PF: “It would if you’d ever heard of the Foleys. . .”

PF continues: For fifteen years they’ve run this part of the country. . . killing, robbing, lynching. . . and when you’re on the run from them, there’s only one way to go-alone . . I know. . . Frank. . . he’d never have found me if people hadn’t been scared—hadn’t sold me out to him to save their own necks.”

Scott replies with his comment about marrying into a very nice family and they continue on as follows)

Polly lowers her eyes. “When. . . when you’re seventeen ‘n . . . fresh from the East, a minister’s daughter . . .(she seems to put extra emphasis on the last two words, and Scott reacts to this, then Polly sighs and looks up) Men like Frank, they . . (she brushes a strand of hair back behind one ear.) He, he never wore a starched shirt, he never said ‘thank you,’ or ‘yes ma’am,’ (half smile, she shakes her head) I really thought it was exciting.”

Camera shifts to Scott, still listening carefully. He reacts by lowering his eyelids, then bowing his head, looking down. Back to Polly, who isn’t looking at Scott but seems to be gazing at something only she can see.

PF smiles, and rolls her eyes. She has very large eyes and a wide, generous mouth. “I guess in a way, it still is, huh?”

Scott looks up at that, but doesn’t smile, glances down, then away, before finally looking at her. “I’ll uh, hide that buckboard in the ravine. And get back as soon as I can.”

Scott exits the barn. Outside, he slides the bar back into place across the doors to close them up. Shot of Polly inside, she hasn’t moved. Scott’s voice tells the horses to “get up”. Back outside, Scott is driving the buckboard.

SCENE 5

Abrupt shift, as Scott drives past, suddenly his image is replaced by that of a serious looking woman with light colored hair wearing a dress with a white collar. Camera pulls back to show she is holding a white cloth in one hand and seems to be placing objects on it. There is a window behind her and two men, one seated and one standing on either side of the window. Gant Foley moves into the shot and stands behind the woman.

GF: “You’d do good to tell us right now where the doctor is.”

Woman: “I don’t know where my husband is. He left early this morning, to make several calls.”

GF, still behind her: “Nobody’s been here? (softer) Like maybe . .. a girl in her twenties, gettin’ ready for her time?”

The doctor’s wife half-turns towards him at that, shakes her head ‘no’, then starts to move away from him. Foley reaches out and grabs her arm. She refuses to look at him.

GF: “You know a fella named Lancer?”
Now the doctor’s wife turns and looks directly up at Gant, and shakes her head ‘no’ again.

GF: “Now if he had been here. . (he clutches her neck with his left hand, forcing her to continue looking up at him) you’d tell us now, wouldn’t ya?”

She nods ‘yes’, barely moving her head. Gant says “Good girl,” pats her cheek and releases her. She moves away, Gant follows her across the room. Shoot widens to show the other two men standing at the window and we hear the sound of approaching hoof beats. The doctor’s wife is placing things inside a tall cabinet.

Foley hurries over to the window. Camera shot of Scott riding up to the doctor’s house.

Inside, Gant grabs the doctor’s wife and roughly pulls her over to the window.
GF: “Who is that man?”

The woman looks up at him, makes a sound and shakes her head. She seems too frightened to speak.

GF, considers this: “All right, maybe he’ll tell us.” Then he tells the other two men to “Get in there”, pushing them off camera. Gant looks down at the woman: “And no coachin’, do ya understand?”

She presses her lips together, says “um” and nods her head ‘yes’.

Foley moves off to join his men in the next room that is separated from this one by a curtain. A coat rack and cabinet are visible to the left.

There is a knock on the door, the doctor’s wife opens it and Scott enters. He removes his hat as he steps inside.

SL: “Is the doctor here?”

Wife: “He went out earlier.”

SL: “Would he be in town now?”

Wife, glances away, then looks back at Scott: “No.”

Scott picks up on something being wrong. He glances around. Scott starts to move further into the room, holding his hat in two hands and still looking around as he continues speaking. “Well, uh, if the doctor’s not around, I guess,. . …um. . … there’s no point in me waiting.” Scott backs up, moving towards the curtain that serves as a ‘door’ to the next room.

The camera is on Scott, so if the woman is giving him any sort of sign, we can’t see it. Dramatic music signals the movement as Scott reaches out to move the tall coat rack, tipping it so that it falls against the wall.

One of Foley’s men steps through the curtain, gun drawn, and moves the coat rack aside.

SL, to doctor’s wife: “Excuse me, I didn’t realize you already had a patient.” We see the second man follows the first, also with his gun drawn and then Gant Foley emerges, while Scott’s continues speaking off-camera. “I hope it’s not an emergency.”

Foley stands in front of Scott: “Very funny, Friend. Who are you?”

SL, gestures with his hat in one hand: “Just a man lookin’ for a doctor. Who are you?”

Close up on GF: “We’re Foleys. (he glances at his men, the camera stays on him) All of us here, are Foleys.”

Camera pulls back to show all four men, Scott and the three Foleys. Scott smiles: “Good for you.” He is clearly feigning enthusiasm. He also seems pretty relaxed. SL is holding his hat in his right hand and hooks the thumb of his left hand over his belt.



GF: “You heard of us?”

SL, glances at the man nearest him-both of Foley’s men still have their guns drawn and aimed at Scott. “I can’t say as I have, but welcome to the little community. (close up on Scott) You wouldn’t be farmers by any chance (reaction shot from Gant) we could always use a good farmer around here.”

Camera stays on Gant as Scott finishes speaking; GF seems at a loss for words.
GF, gestures at SL’s hand: “How’d you get that?”

SL, looks down at his hand, then raises it toward GF in a defensive movement: “Now wait a minute, Friend, I’ve got no argument with you. (close up on Scott) If I thought this was any of your business, I’d explain. Now if you don’t mind explaining, I will.”

Close up on Gant: “If I thought you was involved in this, I’d— ” Foley pauses, and the camera shifts to Scott.

SL: “You’d what?”

Close up of Gant, who doesn’t answer, then camera pulls back to show the group.
GF: “C’mon, let’s get out of here.” Foley moves to open the door and his two men exit. Foley turns to look at Scott. “If I had a little more time, Friend, I’d tend to you myself.”

SL smiles at him. He glances down, then back up with a serious expression. “I’m sure you would, Friend, but if you’re lucky, maybe you won’t have that time.”

Foley glares at both of them, then exits, leaving Scott alone with the doctor’s wife.
Scott moves to the door and listens to make sure they are really leaving.
SL, to the doctor’s wife: “Doctor really gone?”

Wife: “He’ll be back by nightfall, if it’s not too late.”

SL: “Too late. . it may be too late already. Thanks.” He nods at her, opens the door and exits.

As the door closes, the doctor’s wife sags in relief, placing a hand on a nearby cabinet to support herself.

(Note: this entire scene at the doctor’s home is a new addition which does not appear in the script dated 6/7/68)



SCENE 6

Music plays as we see Gant Foley ride past on horseback, he’s riding a horse with a very wide white blaze and muzzle. It’s difficult to count them, as they ride past, but he has at least nine other men following him.

Riding down a slope from another direction, we see Corey Foley with at least two additional men. The Foley clan is quite large, it appears. The two groups link up and continue riding. It appears that they have reached Cross Creek at the allotted one hour deadline. Nice shot of them from a distance as seen through the rails of a fence, then the camera cuts to the inside of the abandoned way station barn and Polly reclining on the broken wagon with her eyes closed. She opens her eyes, eases herself up and goes to look outside. We can hear the hoof beats of the approaching horses and from her pov, see the riders again through the fence. Her facial expression and the music lets us know that she recognizes the men.

Shot of them riding in beneath the crooked sign.
Corey stops his horse next to Gant’s and says : “You can see halfway to Morro Coyo from up there but there’s no sign of her.”

As they ride around the area, Gant shouts out orders to his men: “Clem, check that way station! Lew, check inside that barn!” Some of the men ride off, Gant remains on horseback. A couple men dismount and head into the barn, one of them drawing his gun as they enter. They look around the interior, one climbs a ladder to check the floor above while the other checks underneath the assorted items inside the barn. Centered in the shot is the broken wagon on which Polly had been seated.

Outside, Foley yells: “Anything?” and someone replies, “Not a thing, Gant.”
Next he shouts towards the barn: “What the Devil’s going on in there, huh?”
Some one shouts another negative response and Foley is ready to move on.

GF: “All right, let’s go, if we can’t find her, we’ll find her new boyfriend.”

As they ride away, the camera looks around the outside edge of the barn and Polly gets up from a hiding spot and begins to walk awkwardly away from the building, stumbling a little.


SCENE 7

(in the script, this scene was to open with a shot of the blacksmith’s hammer and Murdoch Lancer waiting impatiently as his horse is reshod by the bare-chested blacksmith.)

Quick cut to town, the Foleys riding in en masse, walking their horses. There are eight men on horseback following Foley down the street. His nephew Corey is riding alongside him. They ride silently, no conversation, and the townsfolk, who appear Mexican, including a pretty young woman, watch the newcomers with curiosity and perhaps some apprehension. She plainly catches Corey’s eye. GF has to call his nephew’s name to get his attention. GF gestures.

Further along the way, an older Anglo man is crossing the street. Gant raises one hand to halt the men behind him. Corey, looking bored, swings his right leg forward and over his horse’s neck. Gant addresses the passerby.

GF: “I’m lookin’ for a man named Lancer. He in town?” He adds, “I’m in a hurry,” when the response doesn’t come quickly enough.

The passerby indicates a direction with a brief movement of his head. “Blacksmith shop.”

GF: “Much obliged.” Foley and a few of his men ride past. As the passerby hurries across the street, we see some of the group dismounting.

Abrupt camera shift to show Murdoch Lancer being slammed against a wall! Dramatic music accompanies this. ML looks confused. Camera pulls back to show Gant and Corey standing facing him. Murdoch takes them in as well as another man standing almost off screen, on our right.

ML is wearing a white checked shirt and a leather vest over it. In this shot, Gant appears to be as tall as ML, if not taller! A couple men outside can be seen looking in, but they make no move to interfere. Corey stands in a relaxed position with his hands behind him.

GF looks him over: “You’re a lot older than I thought you’d be. Your name is Lancer, ain’t it?”

ML (carefully): “That’s right.”

Close up on Gant: “All right, Mr. Lancer, where is she?”

Close up on ML, who shakes his head slightly: “Mister, I’m afraid there’s been some sort of mistake.”

With his eyes and the barest movement of his head, Gant signals the man standing on our right, who steps up and points the business end of a six gun at Murdoch’s face.

Shot of Murdoch reacting to the sight of the weapon and the sound of it being cocked. He refuses to be intimidated. “All right, I’m impressed. But I still don’t know who you’re looking for or why you picked on me.”

Close up of Gant: “I’m gonna say this just once. The girl you helped killed him, and I want her. I want her now!”

(omitted portion “My son is dead” appears in the script in between “just once” and “the girl”. After “now”, Gant adds “You understand? . . . My son is dead!”)

Camera shifts to Murdoch, who doesn’t respond, then back to Gant, who now turns at the sound of another voice, familiar and welcome: “If you don’t tell ‘im to take that gun outta my old man’s neck (shot of Johnny leaning against a post inside the shop, outwardly cool, not moving) he might join ‘im.”

(script line: “You don’t put that gun down, mister, you’ll join him.”)

Camera pulls back to show the group. Corey and Gant are turned to look behind them at Johnny, while the third man lowers his weapon.

ML: “I told you before, Mister, I don’t know any girl.”

Shot of Johnny in a continued relaxed pose, his gun hand ready.

Corey: “You want me to kill him for ya, Uncle?”

GF: “Nah.” He pushes Corey out of the way and moves towards Johnny. “Who are you?”

JL: “I’m Johnny Lancer.”

GF: “Lancer, huh?”

JL: “That’s right.”

GF: “Why’d you stick your neck out for that girl, she ain’t worth it.”

JL: “I don’t know what you’re talkin’ about.”

Camera has alternated between them, now rests on Gant as he considers this. He looks back over his shoulder at Murdoch. Apparently he believes that these men are telling the truth, since he directs his men: “All right, let’s go! Clear out!”

(in the script, JL harshly asks “You hear what I said?” when Foley doesn’t put his gun away quickly enough. Murdoch asserts that he’s telling the truth about not knowing any girl . . “

Corey: “I can take him, Uncle . . Just give me—“

GF: “Shut up!”

Corey: “But. . “

GF: “I said shut up.” Then he asks Johnny if his name is Lancer. . .)


Corey and the other men walk past Murdoch, then Corey stops and turns to wait for his uncle. Gant stops in front of Murdoch. “I’m Gant Foley. If you know that name, then you know I’d never forget. (close up of Murdoch, listening) If I find out you are involved in this, (turns to look at Johnny, camera follows) either one of ya! (Close on Foley) Well-he was my son, just remember that. Frank was my sole surviving son.”

Foley leaves. Murdoch looks grim faced, looks across at Johnny, who smiles. Murdoch watches the Foleys leave for a moment, then speaks to Johnny. “What time was Scott due to meet us here?”

Camera on Johnny, who pulls at the cord of his hat and looks down at his hand. He slips the hat onto his head as he walks over to Murdoch. “I dunno. Oh, about an hour ago, I guess. Want me to ride over towards Green River, see if I can run ‘im down?”

ML: “Yeah, tell him to stay away from town. They’re looking for a Lancer. Scott’s the only that’s not accounted for.”

We see the Foley horses moving in the street, then Corey speaks up, swinging his hat in his hand: “Wait a minute. The boys are tired and the horses need waterin’. I think we oughta take a little break.”

Tight close up on Gant, who clearly doesn’t think well of this idea. Shift to Corey who continues speaking. “Sides, we’ll have plenty of time to catch that little girl for ya, Uncle.”

Back to Gant: “The girl? I don’t want the girl. I want that baby.”

Dramatic music plays as he mounts his horse. Fade out to commercial.



ACT TWO

SCENE 8

Shot of Scott riding along on horseback. Then we hear a whistle, and up on the hill there is a second rider-Johnny on his palomino. Cut back to Scott, who reins up and waits as Johnny rides down the slope towards him. Scott leans forward, crossing his arms over the saddlehorn. Johnny pulls up beside him. JL is wearing his pink shirt and usual button-leg pants.

(in the script, Scott is described as looking very weary, with a sweat-stained shirt, half opened and part of a red-stained bandage visible. Johnny fires his pistol into the air as a signal. Scott draws his own gun, waiting until Johnny rides close enough to be identified before holstering it. Johnny rides up and halts, mops his brow and the brothers study each other.

JL: “Well-it looks like you really did buy yourself some trouble. . . called the Foleys? They came to town looking for you.”)

JL: “Somebody came into town lookin’ for ya. . . called the Foleys?”

SL: “Morro Coyo? How’d they know where to look?”

JL: “How’m I supposed to know that? Thought maybe you’d tell me.” (JL sounds a bit winded here, and while Scott’s horse sits perfectly still, Barranca keeps shifting and moving about in this scene.)

(the script has JL’s line as: “Buddy— I don’t know anything. Maybe you’d like to explain. . .”)

SL: “Follow me, I’ll fill you in.” They ride off, Scott leading the way.

Cut to some trees in shadow and a person-apparently Polly– moving away, trying to run and then falling to the ground.

Then back to the Boys, riding beneath the abandoned way station sign. Scott gallops over to the open barn door. “It was closed,” he says, then dismounts. Great rear view shot of him as he does this. Johnny joins him at the door, SL hands his horses reins to his brother and goes inside. Johnny loops the reins over the door handle.

Quick cut back to another shot of Polly, who struggles to her feet and continues moving away from the camera.

Scott comes out of the barn, takes his reins from the door handle. “She can’t have gotten far on foot.” He moves around to remount his horse; Johnny follows him, holds SL’s horse’s bit.

JL: “You know there’s still a lot of country out there. I think you oughta lose yourself in it.” Scott gets into his saddle, but Johnny is still holding his horse’s reins and looking up at him. “You know, it’s too bad you didn’t find that doctor. I have a funny feelin’ you’re gonna need ‘im more than she is.”

Scott just rides away without answering. Johnny bows his head, then heads towards his own horse. As he unties his own reins, he turns and shouts after Scott: “It’s your funeral, Brother!” then mounts Barranca.

Scene shifts to some rather barren rocky outcropping, then view slides down to lower ground and we see the two Lancers on horseback. Shot of Scott, then Johnny, both gazing intently at the ground, looking for tracks. There is a bit of this, and then Scott rides away from Johnny across a very shallow stream and spies Polly, semi-reclining on the ground. He calls his brother’s name as grabs his canteen and dismounts.

Johnny, splashing through a shallow stream, rides over and gets off of his own horse. Scott kneels beside Polly and begins to remove the cover from the canteen.

SL: “I thought I’d seen the last of you.”

(Scott’s line here is not in the script. According to the script, Polly has been trying to reach the buckboard that Scott had hidden in a ravine. He finds her twenty yards from the wagon, half kneeling, face down, her head resting on a large rock with her eyes closed. He gently turns her to a sitting position.)

Close up of Polly as she grabs the canteen and takes a drink. We can clearly see that she still wears a wedding band on her left hand.

Polly: “It’s a lot better than waitin’ for the Foleys to come back.”

Close up on Scott, as he turns in profile to indicate JL: “This is my brother, Johnny.”

(Script: Scott identifies JL as “my brother,” without giving his name. “Johnny reaches the scene, halts, stares down at her. Something flicks in his eyes. Is it recognition? Polly holds his glance for a split second, a faint trace of bitterness instantly entering her expression.” Scott delivers his next line without noticing the quick interplay.)

Polly looks up at him, then close up of JL looking down at her. Back to Polly, who squints at Johnny, then Johnny again, who now has the barest hint of a smile, but doesn’t say anything. Polly lowers her eyes as we hear Scott’s voice: “We’ll have to go get the buckboard; she’s in no shape to ride.” While he’s speaking, the camera moves back to Johnny, who reacts by bowing his head with more of a smile.

Close on Scott, who speaks to Polly: “I’m sorry, but I couldn’t locate that doctor. Will you be able to ride, with a little rest?”

Polly, not looking at him: “I’m all right.”

Scott nods with a bit of a smile: “Good.”

Shot pulls back to show the three of them and the horses, as Scott, still kneeling beside Polly, turns to Johnny. Johnny looks down and wipes his mouth with his hand. Scott glances at Polly, then back at his brother.

SL to JL: “Something wrong?”

JL: “I’ll get the buckboard.”

Close on Scott, concerned: “Johnny, I asked you a question.”

JL smiles and says “Ask her” as he mounts up.

Scott looks at Polly, who gives a soft snort and smiles, with her eyes closed. “What he means is is that I’m not worth it. I’m someone who used to– (long pause here, she doesn’t want to say this next part, but she finally opens her eyes to look up at him) — used to share a bottle with him a couple of hundred years ago. (camera shifts to Scott as he listens, starts to look away and then back at her as she continues) That’s right, I was a dance-hall girl. I’m not from the East and my father isn’t a minister. (Camera moved to Polly and she was sounding defiant, but now she lowers her eyes) I married Frank Foley because with him it was champagne instead of beer.” She slides a glance up at him at this last.

Close up on Scott as he looks back at her and listens intently, but his expression doesn’t betray any emotion.

Close on Polly, who closes her eyes and exhales and forces another smile. “You’ve been had, Mister, and the only one you got to blame is yourself.” She says this deliberately, wearily.

Camera to Scott. It takes a second, then he makes a derisive sound and looks down and away from her. He looks at her again: “Well, I (pause, little nod) . . . guess I’m just a born loser.” (this is such a Scott delivery: the low and deliberate “Well, I” and the rising inflection and slight accent on the word “loser.”) He manages the tiniest smile, then turns to Johnny: “When you get back with that buckboard, we’ll head for the ranch. (shot of Johnny, with his head bowed, no longer smiling) Scott continues: “She needs rest and a clean bed. (softer) And I’m not leaving her.”

Camera pulls back to show Johnny turning his horse and Scott getting to his feet. No more words are spoken as Johnny rides off and Scott glances one last time at Polly then hooks his canteen over the pommel of his saddle.

(the script calls for Johnny to give his brother an “is he crazy” look before Scott announces that he isn’t leaving her. “A beat more as Johnny continues to stare at him. Then shrugging, a faint cynical smile on his lips, he turns his horse, rides off into the heavy grass.

Camera direction: Polly and Scott, to feature Polly–
“to catch her staring at Scott, her expression unguarded for the first time; her face younger somehow as she searches his still turned-away face trying to understand him— trying to understand why anyone would stick his neck out for her or any other human being. Then as he turns his gaze from the disappearing Johnny and back to her, she looks away, the hard mask dropping over her face once more.”)


SCENE 9

Opens with a shot of the Lancer hacienda from a distance. Murdoch is riding towards the house, past cattle and vaqueros. He waves to a few and we see one young man waving back. He looks Mexican, wears a light colored hat and gets a couple of close ups before he rides off. As ML reaches the front of the hacienda, a cowboy comes out to take his horse for him. He dismounts and walks under an archway towards the camera.

(this opening scene presents all as peaceful. The young man who waves back may hesitate a bit. The script calls for a close up of the vaquero who takes ML’s horse, and asks the question: “Is there a hint of worry in his impassive gaze, a touch of foreboding in his eyes?”)

Next, the big carved wooden door opens and ML enters. He stops, the music changes abruptly and a stranger moves into the picture, and Lew, holding a gun at Murdoch’s neck. Quick shot of the room, showing Gant Foley and Corey and a third man behind them, then back to a grim-faced Murdoch.

GF: “Welcome home, Mr. Lancer.” Shot of room again. Corey is sitting on the end of the big dining room table, with his feet on a chair, reading a book and smoking a cigar. “We sure do appreciate your hospitality,” Gant adds as he pours from the decanter he is holding in his hand. Now we can see that Teresa is seated in a chair in the far background. “Your people were real friendly-like, appreciate that, too.”

Reaction shot of Murdoch, then back to Gant who is taking a drink. “In case you get any ideas, come with me, I’m gonna show ya something.”

The man with the gun nudges Murdoch, who strides into the room, Gant leading the way. “I gotta compliment ya, Mr. Lancer, you got a mighty nice place here.” Gant sounds almost friendly. Corey is still in the background and they walk past the other man. When ML reaches the chair in which Teresa is seated, he pats her shoulder.

Gant stops near the large window behind Murdoch’s desk. Gant pulls the curtain aside. The camera shows us the view, as Gant speaks: “My men are behind that ah corral fence, and that stone wall, they’re up on that roof there.” We see each one as he is mentioned, the men by the fence and the wall are crouching and a horse and a cow respectively run through the shot.

Close up on ML: “Why?”

Gant gives him a look.

ML: “What the devil do you want?”

GF: “Your son. Scott.” He’s still holding the decanter and a goblet. GF moves away from the window and sits on the edge of a ML’s desk. “Before we pulled out, we did a little checkin’ around town. He was in Green River yesterday. He’s the Lancer we’re lookin’ for.”

ML: “Well, you came to the wrong place. (slight pause) After Green River, he was going to Sacramento-business for me.”

Gant considers this. “Funny, your foreman didn’t know nothin’ about that. But a couple of cuts from a pistol barrel and he said your boy was due back any time now.”

Camera shifts to Murdoch, then back to Gant. “I’m bettin’ when he shows, it’ll be with the girl.” (he gets to his feet) “You try to warn him, Mr. Lancer, and it’ll be the last thing you do in this life.” (quick shot of the still silent ML, then back to GF) “And I guarantee ya.”

He gives ML a significant look, then sets his glass down on the desk. Camera pulls back to show Gant turning to walk away from Murdoch, who still stands in front of the big window behind his desk.

ML: “Foley!” Gant turns to face ML. “If it’s only the girl you want, why don’t you leave her to the Law?”

Close up on GF: “What I want, the Law can’t give me. I want that child’s she’s carryin’; (cut to ML, who does not visibly react) I want my grandson. I’ll wipe out you, your family, and half this territory ta get ‘im.”

Foley turns and walks most of the length of the Great Room, past his two men, then stops beside Corey, who is still sitting on the table with a book, his feet still resting on one of the dining table chairs.

Gant turns back to look in ML’s direction, resting one arm on the back of the chair. “Corey, keep an eye on Mr. Lancer, I’m gonna check around outside.”

Foley exits out the front door as Corey, his attention still on the open pages of his book, slowly leaves his “seat” and starts walking towards Teresa and ML. He takes a puff off of the cigar in his right hand. He stops behind Teresa’s chair, closes the book and places it on the chair back, which he also leans against, still puffing on the cigar. Teresa looks around uncomfortably. Behind them, ML is still standing in front of the window, with one of Foley’s men at the end of the desk literally “keeping an eye on him.”

Quick cut to a shot of a team of horses approaching the camera, pulling a buckboard. Scott is driving the team. As the wagon moves past, we see Polly curled up motionless on the back. Johnny on his palomino is riding along beside them and Scott’s horse is tied to the other side of the wagon.

Cut to close up of an ornate clock face, showing the time as three o’clock. Camera travels down the clock to the swinging pendulum. Sounds of the clock ticking and distant lowing of cattle. We’re back in the Lancer Great Room, one of Foley’s men walks by, and then we see Teresa seated in the blue chair. She’s wearing a white or light colored blouse and a determined expression on her face. Her brows are furrowed and she has her arms on the armrests of the chair, gripping the ends.

The camera follows her gaze to her right and we see Murdoch sitting in a straight backed wooden chair in front of his desk. He has removed his hat. Beyond him we can see a gun rack with rifles and a portrait hanging on the wall. Back to Teresa, who turns around to look over her shoulder; the camera follows gaze as well, and we see the clock face once more. Back to Teresa again. She pushes herself out of the chair and crosses the few steps to stand in front of Murdoch. She apparently has a plan of some sort.

TO: “You want some coffee?”

He barely looks up at her, just shakes his head “no”.

TO: “Well, I do. I’ll bring you back some, in case you change your mind.” She seems to be making an effort to speak slowly and distinctly.

Teresa starts to walk away, but one of Foley’s men is standing in front of her; just behind him is Corey, seated on the edge of a table.

TO: “The kitchen’s out back.”

The man turns to look at Corey, who says “Where’s your manners, Lew?” Lew smiles and steps aside. Teresa glares at Corey as she walks past him and exits through an archway. She’s wearing a calf length rose colored skirt and has her hair pulled back.

Close up on Corey and Lew. Corey: “I don’t want ya drinkin’ all of his booze now, ya hear, Lew?”
Lew grins and moves off, probably to get himself a drink.

Outside: Teresa is moving quickly and quietly past the curved adobe wall. Dramatic music signals her face to face encounter with a grinning Corey.

CF: “Hi, Honey Pie.” She turns to try to get away from him, he grabs her and she cries out. Corey tries to cover her mouth.

Quick inside shot of Lew and Murdoch reacting to the sound. ML rises from his chair and barrels right over Lew.

Outside, Corey is roughly forcing kisses on Teresa, who is struggling and saying “NO!”

Murdoch bursts through the door and grabs Corey by the collar, pulling him off of Teresa and casting him aside. Teresa goes to him, and ML pulls her into an embrace, then faces Corey. Lew comes out the door, the other Foley man is behind him. Corey pulls his gun and aims it at Murdoch.

Off screen we hear Gant yell Corey’s name, then he comes into the shot to stand directly in front of his nephew, between Corey and Murdoch. “Put that gun away!” It takes a moment before Corey slowly complies.

Gant Foley turns to ML: “My apologies, it won’t happen again.” Then to every one: “All right, let’s go inside. And settle down!”

Murdoch and Teresa start back to the doorway, his arms around her shoulders. She then hurries inside ahead of him. Lew follows and finally Gant, after giving Corey a long look. Corey sighs, but doesn’t look at his uncle. He puts his hands on his belt buckle and then walks over to pick up his hat. He seems to have a little grin on his face; apparently he’s not sorry. . .

(script of this action: no mention of Corey saying anything to Teresa, let alone calling her “Honey Pie.” It does call for Murdoch to slam Corey to the floor, where he draws his gun, ready to fire point blank, when Gant throws open the front door, kicks out savagely at Corey’s gun arm and sends the gun skittering away. In the script, in between his assurance that it won’t happen again, and his instruction for everyone to go inside and settle down, the script calls for Gant to also say: “I’ll be just as glad as you, Mr. Lancer, when it’s over. When we all get what we want. . .”)

Cut to shot of the buckboard, as the brothers and their cargo of Polly continue to approach the ranch. Scott’s still driving, he glances back over his shoulder to check on Polly as the wagon rolls past. Johnny is still following.

Back to the ranch and shot of the clock pendulum, then a Foley man standing and looking out the French doors. Shot of the man up on the roof with a rifle, close ups of two other men crouched down behind the fences, then back inside, to Lew who is also looking out the big window. He glances over his shoulder and we can see that Murdoch and Teresa are back in their respective chairs. ML has his hat on now. Gant is seated in the foreground pouring another drink from the decanter. He sets down the sword shaped letter opener he is holding in his other hand, then picks up another item from ML’s desk. It looks like a carving of a stag, lying on a flat base. His eyebrow goes up as he hefts it.

(close ups of the Grandfather clock are mentioned in the script, but not as many shots of the people tensely waiting, both inside the hacienda and out.)

Close up of ML, watching Gant. Close up Teresa, her hair is still disheveled. Camera then moves to show Corey, moving restlessly. Close on Teresa again, she lowers her eyes as Corey turns in her direction. He’s tapping what looks like a pencil against one hand. He has a cigarette in his mouth now, and slowly removes it. He appears to then put the other object in his mouth and take a bite! So maybe it’s jerky or something? Close up on ML. He looks tense.

Lew, at the window: “Gant-somebody’s comin’.”

Close up on Murdoch’s reaction as he sits forward. Dramatic music and reaction shots of Gant, who gets up, and Corey, who turns. Gant pushes Lew aside so he can look out the window. Camera follows his pov and we see the buckboard with Johnny riding behind. The Lancer arch is visible behind them.

Close up of Scott, from the level of the wagon wheel, as he removes his hat and tosses it into the back of the wagon. Close up of Johnny as he rides along behind.

Then we go back inside for a series of quick, tension building shots: Gant, Lew and Corey at the window, Murdoch listening intently, Teresa turned towards the Foleys, the Foleys at the window again, outside shot of one of the men behind the fence and the man on the roof, who is alert and ready with his rifle.

The back to the buckboard. Johnny is now on the far side of the wagon, on Scott’s right. Scott is running his bandanna-bandaged hand over his hair. Behind them we see cattle and a few vaqueros.

Cut to close up of the other man behind the fence, readying his weapon. Back to the buckboard, Scott flicks the reins. Back to the man who now takes aim, sighting along the rifle barrel.


ACT THREE

SCENE 10

Opens with the same image that we left with, tight close up of one of Foley’s men sighting a rifle from between the rails of a fence. Camera pulls back for wider shot, then shifts to show, through an arch, the buckboard rolling past the stone posts of the hitching rail before the hacienda.

Inside, Teresa, her hair still out of place, turns to look at Murdoch. Clearly tense and concerned, ML rises to his feet. Corey turns from the window, and heads towards the front door, the man at the French doors falling in behind him, at a gruff word from Corey.

Outside, the Lancer brothers are both standing at the back of the wagon, about to try to move Polly. Suddenly, a vaquero rides past, yelling at them to “Get out! Get out!”

One of Foley’s men is seen firing and the Lancer vaquero goes down.

More gunshots.

(in the script, there is no interior view of Teresa and Murdoch, but shots of the Lancer hands at work, with a focus on one particular unnamed vaquero. There are close ups of this vaquero, Johnny and Scott’s approach is viewed from this man’s pov and he, after a moment of indecision, finally bolts forward yelling at them to “Go back. . . go back!” The vaquero runs towards Johnny and then is shot down. Johnny wheels his horse and yell to Scott: “Get out of here!” In the script, the brothers never really get into the yard, let alone dismount.)

Scott hurries back into the wagon seat, then quick camera action here: more of Foley’s men shooting, Johnny jumping onto his horse, gunshots and men on horses in the background. Johnny fires back, a Foley man falls. The buckboard rolls away, Johnny turns his horse, fires, another man dies, the buckboard speeds past.

Inside, Gant hurries away from the window, crosses the room, uses his pistol to knock a pane out of one of the French door and fires. Johnny is seen bent low over Barranca’s back riding hard. He passes a man seated on stonewall who aims a rifle. The man up on the roof of the guardhouse also takes aim. Cut to show Johnny, his hat moving behind him, attached to his neck by its cord, as he shoots. Then the man on the roof dramatically tumbles down the incline to the ground.

The buckboard rolls with a clatter of wheels through the wooden gate towards the Lancer arch, with Johnny close behind.

Cut to the scene inside the Great Room-as a Foley man moves in a blur past the camera, Murdoch gets up and hurries around his desk to open the top center drawer, trying to get to a gun. Over by the French doors, Gant is still firing through the knocked out pane; he and Lew turn and see Murdoch. Lew races over to him, with Gant close behind. When Lew tries to wrench the gun from his hand, ML shoves him into Gant, pushing both men to the floor. Murdoch runs to another of the French doors; we can see Teresa standing off to the side watching. Quick glimpse of Murdoch running out under the portico, then the camera moves back inside to show Gant running towards the same set of doors in pursuit of Murdoch-Teresa steps in to try to slow him down, but he pushes her away. Lew follows Gant.

(the script describes the essentials of this action, but doesn’t mention Teresa trying to block Gant)

Outside, Gant and Lew are running. Just as Murdoch clears the house, another Foley comes up behind him and knocks him to the ground using a rifle to strike the back of Murdoch’s head. Gant stops the man from hitting Murdoch again by pulling his man away, striking him across the face. GF is clearly not pleased with his action.

(this is not in the script, which has Murdoch struck once, and Gant hauling him up off the ground. There is no real confrontation between Corey and Gant; Gant asks “Well?” Corey says “They got away, and tells the men to mount up. Then Gant says “Hold it!” and “We’ll do this my way-“)

Corey enters the scene with another man behind him. Corey tosses his own rifle to the man following him. Gant grabs Corey’s arm, demanding to know “What happened, Corey?” He pushes his nephew and says “I asked you what happened?” when CF doesn’t immediately respond.

CF clearly frustrated): “They got away, Uncle!” He walks away a few steps, then turns back: “Now whatta we waitin’ for? Let’s go!” He gestures for the men to follow him, then turns his back and heads towards the horses.

Gant: “Hold it! Stay put! (the men freeze in place) We’re gonna do this my way.”



SCENE 11

Quick shift to the Lancer brothers. Scott is still driving the team of horses pulling the buckboard, Johnny follows on his palomino as they ride down a small hill. Scott reins the horses to a halt and Johnny comes up beside him. Scott’s hat is on the wagon seat beside him, Johnny’s head is also bare, his hat hangs by a cord on his back.

JL: “Whaddaya stoppin’ for?”

Camera angle from behind Johnny. Scott looks over his shoulder at Polly, who is struggling to sit up a bit in the back of the wagon. He shakes his head slightly as he speaks. “She’s had it. Couple more miles of this and she’ll never make it.” Scott looks around. “Maybe we’d be better off if we hid the buckboard and holed up right here.” (note his accent on ‘buckboard’ and ‘here’! dropping those “Rs”.)

(small detail, that in the script Polly was seated beside Scott rather than lying in the back of the wagon. Also, Johnny is directed to ride over and give her a sip of water from his canteen.)

Close up of Johnny as he looks around. “Better for us, but not for her.” Scott’s voice, off camera asks: “Got any better ideas?”

JL, to Polly: “C’n you hang on for another quarter mile?” Camera returns to angle behind JL. We can see Polly shake her head with a tired ‘yes’. Scott looks up at Johnny.

Camera returns to Johnny: “Head for Maria’s place.”

Scott puts on his hat, slaps the reins on the horses back and they take off again. Polly is lying down once more and Johnny follows behind. Lancer theme music plays confidently.


SCENE 12

Interior shot of an older Mexican woman seated at a cloth covered table, knitting. In the foreground is a kerosene lamp and also a condiments tray on the table. Interesting camera angle yet again, it seems as if the viewer is sitting across from her at the table, sharing her quiet company. She reacts to the sound of approaching horses, setting down her needlework and getting up to go to the door. She has her dark hair pulled back and is wearing a green embroidered blouse and a blue skirt. She opens the door and steps out onto the porch of her cabin and we see from her pov Johnny on Barranca and Scott driving the wagon into her yard. Scott halts the horses beside a water trough and ties the reins. The Lancer theme music is softer now.

Close up on Maria’s concerned face, then shift to show Scott jumping down from the wagon and going around to the rear of the buckboard. Scott picks up Polly and carries her past the horses, with JL following behind.

Scott: “Maria! We’re gonna need some help.” He starts up the cabin steps.

Maria (accepting): “Of course.” Scott carries Polly through the door, stepping sideways carefully, so as not to hit her feet on the door frame. He carries her very easily. Maria says “In the bedroom,” as he moves past her.

Outside, Johnny is keeping watch. The camera alternates between close ups of him and his pov looking at the road behind them. We can detect faint movement that may be approaching riders in the distance; the ominous music gives us another clue that Johnny sees something. JL doesn’t look especially concerned, he’s just waiting. But now he glances toward the cabin and back.

(in the script, Maria helps Polly into the cabin, and Johnny draws Scott’s attention to something off screen. Following Scott’s pov, “a lone rider can be seen slowly approaching from about 100 yards away.” Scott says the name “Foley.” Johnny instructs him: “You stay with the girl,” and SL goes inside while his brother waits for Foley.)

Back inside, Scott and Maria are facing each other. The top of her head might reach his shoulder, so she is looking up at him. Behind them we see items on a mantle piece and a set of antlers hanging on the wall.

SL: “Is she all right?”

Maria hesitates a bit. Then, emphatically: “You’d better go and talk to her.”
Scott looks towards the bedroom, then starts towards it. Camera shows his back as he approaches the closed door while Maria is heard to say: “Maybe in a few hours. Maybe more.” Scott drops his hat on a table beside the door and opens it.

Shift to inside the bedroom. Polly is standing, buttoning up her blouse as Scott enters. He pauses momentarily as he sees her. He has a serious expression and continues into the room, only half-closing the door behind him. Polly turns away and continues working the buttons of her blouse. Behind them we can see details of the furnishings of the bedroom. A window, a wood-framed mirror on the wall above a dresser, a chair and clothing hanging from pegs on the wall behind Scott.

SL, putting hands to hips with an audible sigh: “What do you think you’re doing?”

Polly, without turning: “Gettin’ outta here.”

SL: You gonna have that baby on horseback or on foot?”

PF, reacts to that, half glancing at him. “I’ll be all right.” She continues working on her buttons. “Look, I thank ya for what ya done, you and your brother, but I’m (she faces him) I’m getting’ outta here before something happens to that lady.”
Scott turns to push the door fully closed. Polly looks up at the sound, then brushes the hair out of her eyes.

SL, in a low voice: “She knows what she bought. Even if I didn’t stop you, she would, now you get back in that bed.” He gestures off camera towards the bed. Polly looks down.

PF: “Look, can’t you just leave me alone?”

SL: “No. Now unless you want me to do the honors, you’ll do as you’re told.”

Suddenly she cries out in pain and clutches at her abdomen. Scott moves in behind her, grasping her arms and guiding her to the unmade bed. She continues to make noises as he lifts her feet up onto the bed, then sits on the edge of it and picks up a bottle from the bedside table. He pours some of it into a class, as he keeps an eye over his shoulder at the now silent Polly. Scott recorks the bottle, says “Here.” And offers her the glass. Polly shakes her head ‘no.’ Scott reaches for her hand.

PF: “Maria already gave me some, I don’t want to be drunk when my baby comes.”

SL, forcefully: “Take it.” He puts the glass in her hand and then uses his still bandaged right hand to lift up her head a bit so that she can drink. She does. Just a sip, then he takes the glass and places it on the table as she sinks back against the pillows. Still glancing over his shoulder at her with concern, Scott reaches for a cloth which he dips in the basin of water also on the table, wrings it out and then dabs her face. Close up of Polly’s face as the cloth is applied to her cheek, across her forehead, to the other cheek and back around. Shot also features Scott’s bandaged hand. Polly stares up at him.

(there is much more here than what is written in the script, which has Polly crossing to the bed on her own. Scott pours her the drink and that exchange takes place, but the script doesn’t mention the action with the damp cloth.)

Close up of Scott, looking very serious and concerned, mouth tightly closed. He seems to react to her gaze. Camera pulls back to show Scott sitting on the bed and Polly looking up at him. He gestures with the cloth, then tosses it aside as he speaks.

SL: “There now. You lie there and you rest. If you need anything, (he gestures) I’ll be right in the next room.

(script: Scott delivers this line from a standing position, and then moves to the door. The rest of the conversation takes place across the room.)

He starts to rise and Polly reaches for his arm.

Polly: “Scott?” He stops.
Close up on Polly. PF: “There’s something I want to say to you, and yet. . . (long pause, she lowers her eyes and swallows, then looks up at him again) The reason I lied to you about . . . who I was and what I was is. . . .

Camera shifts to Scott, his face no longer tight – his lips and eyes have softened. “Is what?”

Back to Polly, gaze lowered once more. She looks up and him and the camera shifts back and forth between them. Polly: “Forget it. It’s too late.” She closes her eyes and turns her face away. Another close up of Scott, looking at her. Background music includes harps. He lowers his own eyes and then camera pulls back to show the two of them, Polly’s hand still clutching the sleeve of SL’s jacket. He gently removes her hand and places it on her stomach, giving it a squeeze with his own injured hands as he gets up to leave. Scott moves off camera and Polly lies there watching him go.

Shift back to the outside and Johnny watching as a lone rider enters the front yard. It is Gant Foley. He dismounts as Johnny approaches.

GF: “I’m alone.” (close up on Johnny and back to Gant) “Touch me and your father’s dead. Our business is with the girl. Where is she?”

Johnny gives him a steely look, then the camera pulls back to show JL reaching for Foley’s gun and removing it from the holster.

JL: “Inside.”

GF walks towards the steps and the front entrance of the cabin with JL following behind.

Cut to interior shot with Scott seated in the foreground and Maria in the background tending the fire in the fireplace. Scott reacts to the sound of footsteps and rises from his seat as Gant Foley comes through the door. Foley stares at Scott. Johnny enters behind GF.

JL: “He wants to talk to the girl.” Johnny tosses Gant’s gun to Scott. SL catches it and the camera closes in on his face as he looks at Gant. Shift to Foley as he recognizes the man facing him.

GF: “So you’re Scott Lancer. Well . . . I guess maybe you know now we ain’t farmers (close up on Scott, as Foley continues speaking, then back to Gant) don’t ya? Well, no matter. Right now all I wanna do is talk to the girl.” Another nice close up of Scott. SL doesn’t speak, just gives Foley a level look, then turns and leads the way to the bedroom door, carrying Foley’s gun in his hand.

(script has Scott emerge from the cabin when Foley rides up. Gant delivers his lines, Johnny takes his gun and they go inside. The above exchange, with references to their encounter at the doctor’s house, also not in the script, is missing.)

Shift inside to show Polly’s face as her head rests on the pillow. She turns at the sound of the door opening and we follow her pov to see Gant Foley entering. Scott is close behind.

Back to Polly, her eyes widening dramatically in fear and disbelief.
Shot of Gant in the doorway. Scott is still right behind him and Johnny is leaning on the doorframe. Foley reaches for the brim of his hat and says her name.

Back to Polly, still staring, then she turns her head away from him. Camera pulls back to show GF approaching the bed.

GF: “There’s, uh, no need to be afraid girl, I just come ta talk. (She looks up at him, he pauses) You feelin’ all right? The baby?”

PF, defiant: “You got somethin ta say, you just say it and you get outta here.”

She turns her head away so she doesn’t see him reaching into his jacket and removing an envelope. He checks inside and then talks to her profile as she lies in the bed.

GF, speaks haltingly as he holds the envelope towards her: “There’s three thousand dollars in that envelope, Polly. (She turns back, glances at it) It’s all yours. (close up on GF) All you gotta do . . . is deliver that baby, hand it over to me, and just go away. (close up on Polly) I’ll take care of ‘im.”

Polly doesn’t speak.
Camera shifts to Gant. “Count the money, Polly, then I want your answer.”

Quick shot of the Lancer brothers, in the doorway listening and watching this scene with serious expressions. Then back to Polly.

PF, turning her face away from him: “You must be crazy.”

GF’s face hardens. He’s been reasonable to this point. “I’m givin’ you your life, Polly, yours and the Lancers. (this gets Polly’s attention, close on her as she turns to look at him) Understand? It’s a whole lot more than you deserve. (back to Gant) But that baby’s mine, it’s all I got left.

Tight shot of Polly: “You are crazy.” She turns her face away again.

Close on Gant, the camera continues to shift back and forth between them during the following exchange: “Three thousand dollars, Polly. It’ll, it’ll buy you all them things you always wanted.”

Polly turns to face him. She’s angry and her voice rises with emotion. “I got what I want. And I’m not gonna turn it over to you!”

GF: “Three thousand dollars Polly, listen, it—“

PF: “I heard you, and I gave you my answer. (Speaks rapidly now) Now, you can bribe me, you can threaten me, you can do what you want, but I’m not givin’ you my baby. I’d rather be dead than see it raised by you!”

GF: “Raised by me? Who are you to judge me?”
She doesn’t respond, just turns her face away.

GF: “Don’t you think I know how Frank met you, where he met you?”

PF, without looking at him: “You know why Frank died? (she turns the full force of those large and angry eyes on him) You know who really killed him? You did! (close up on Gant as he furrows his brow and her voice continues) From the day he was born you led him step by step right into the barrel of a shotgun.”

(script has her address him here as “Mr. Foley.”)

Close up on Polly. “He didn’t come after me because he loved me, he came because he was your son (slight pause) and because he only knew one thing, to hurt, to kill!”

GF: “That’s not so!”
(script: “Shut up!”)

PF, vehemently: “You killed him! But you’re not gonna do it to my baby. They’re not gonna find him riddled with bullets in some ditch, (sounding more tired now) not twenty years from now, not ever. (she turns aside) And just take your money and get outta here.”

GF: “Is that your final word to me?”

PF: “No! (her lip trembles, she tosses her head on the pillow, gathering some strength before looking directly at him once more) No, it’s not my final word. (dramatic pause) My final word’ll come if you try to take me by force. Because I’ll put a gun to my head . . at the first sight of you or your men. And my baby’ll never get born. (shot of Foley, then cut to the Lancers, still listening. Johnny bows his head. Then we see Polly lying in the bed and Foley standing, looking down at her.) Now get out!”

She turns her face away and he stuffs the money back into his envelope. Gant walks slowly to the door. He stops, glances back at Polly. Scott has been perched on a dresser near the door. He stands up.

GF, to Scott: “You’d better change her mind. Either that or clear out!” Johnny in the background starts to turn away with his head bowed.

SL (coolly): “And if we don’t?”

Before Gant can answer, there is a sound of approaching horses. GF moves to the window to look out, SL, still holding Foley’s gun, goes to the other side of the window and does the same. Johnny moves in behind, resting one hand on a trunk at the foot of the bed to take a look out. From their pov, we see several men on horseback, with Murdoch Lancer in the middle. His hands appear to be tied behind his back. Zoom in on ML’s face as he sits grimly, and we hear GF talking to the brothers.

(script has Johnny answer Scott’s question: “Just look out the window.” Then Gant and Scott cross over to look.)

GF: “Looks like my boys got a little eager. But that don’t matter. (back inside, we see the three men) He’s got til midnight. Otherwise I’ll have him shot down where he stands.” Gant brushes past Johnny and makes for the door. Then he stops and turns. “If he was my father, I know what I’d do. I surely do.”

(script direction calls for Gant to exit and then a fade out here)

Foley exits to dramatic music. Close up on the Lancer brothers standing facing, but not looking at each other with serious expressions. JL’s left hand can be seen twitching in this shot. Scott cocks a glance towards Polly and the camera follows to her face. She looks unhappy, turns away from the boys. Camera goes back to them, and they give each other a look. Johnny moves off screen, probably following Foley. Scott shifts Gant’s gun from one hand to another, then turns back towards the window and peers out again.

Shot of Murdoch and his escorts and we fade to commercial.



ACT FOUR


SCENE 13


Opens with Johnny in profile looking out of the window. It’s dark. We follow his pov to see the trees and moonlight outside from behind the cover of the cabin porch with its hanging plants in the foreground. Then back inside and Scott is in the background, moving an item aside and bending to look out of another window. JL turns to look at Scott, then back to the outside.

Interior shot. Scott reaches into his right front pants pocket and withdraws an item. He is holding this object in his hands as he moves to the foreground. It appears to be a watch that he holds up to the moonlight coming in through Johnny’s window. He shifts it to his left hand to check the time then snaps it shut.

(script has Johnny checking the time on his watch, then Scott enters after JL snaps the watch closed.)

SL: “Anything?”
He’s bareheaded, has his lips pressed together and gaze lowered. He’s not looking at Johnny. JL’s attention is focused on the window; he’s still wearing his hat. His right arm is raised and resting on the window frame.

JL, lowers his arm and stands still looking out. (At first it seems that he is rolling his shoulders as if to relieve tension, but apparently he is removing his gunbelt, since later on he sets something down on the table. But this all seems to happen below camera level.

JL: “Yeah, they’re still out there, somewhere. I figure there’s two things we can do.” We see Scott’s profile as he listens to Johnny continue. “Turn the girl over to ‘em so we can get outta here. (he turns away from the window towards Scott) Or make a stand and our old man will probably be killed.”

Scott’s head is bowed. “And you, uh. . . vote that we sell the girl out.”

JL, smiles in the darkness: “No Brother, that ain’t the way I vote at all.”
Scott doesn’t speak, but looks over his shoulder as Johnny goes out the front door.

Alone inside, SL moves to JL’s window, resting both arms on the window ledge and staring out. He gives a little smile before the scene shifts.

(script: has Johnny deliver his line and then start for the door, followed by a quick cut to the next scene. In other words, no shot of Scott alone, it wouldn’t even be certain whether or not SL followed JL out.
Some other differences in wording and direction here:
Johnny: “Two things we can do—we can turn her over and clear out—or we can make our stand and let the old man be killed.”
Scott (coldly, stopping him): “And you vote to sell the girl out—”
A long beat as their gaze locks, then:
Johnny (with a faint smile): “No, Brother. . . that ain’t the way I vote at all . . . ”)


SCENE 14

It’s still dark outside, and we see the Foley’s gathered in a campsite. There is a fire in the foreground. Corey, still in his vest, string tie and bright white shirt, is standing taking a swig frorm a bottle. He’s hatless. He looks down, and the camera shifts to show his pov: Murdoch, wearing his hat, seated with his arms behind him. Then we see Corey again, he says Lew’s name and tosses the bottle to him.

Next we are looking up a hill and see a shadowy figure. Most of us will immediately recognize Johnny moving amongst the rocks up above.

Back to Corey: “What’re we waitin’ for? (he puts his hands on his hips) Hmm?”
He crouches down near his uncle, who is sitting and staring into the fire.
(Note in the script here points out that Gant has replaced the gun that Johnny took from him)

Gant: “You’re waitin’ on me, Corey.”

CF: “Stallin’s what yer talkin’ about, Uncle.”

Close up of Gant’s grim face, with Corey slightly behind him. Gant looks grim. He’s still wearing his hat.

CF: “Those boys ain’t gonna move outta that spot and you know it. Four and a half hours, now, four and a half hours.”

GF, over his shoulder: “You’re getting’ a little too big in the mouth ta suit me, now why don’t you shut it!”

Corey gets up and turns away, Gant rises as well, and checks the time on his watch. The camera shifts to the hillside, and we again see Johnny moving through some brush. Back below, Gant walks away from the camera, towards Murdoch.

(script calls for a close up of the watch face, with the time at 11:30)


Close up of Gant leaning down face to face with ML.
GF: “Do you value your life, Lancer? Do ya?” There is no response from Murdoch, he doesn’t even make eye contact with Gant. Foley reaches out and grabs Murdoch.
GF, roughly: “I asked you a question.”

Finally Murdoch looks at him: “What do you want me to do, Foley, go out and plead with my boys? Even if I did, it wouldn’t do any good.”

GF lets go of ML, giving him a push as he does so. Camera pulls back to show Corey standing center screen, and Gant moves towards him, rubbing at his face with one hand as he does so. Another quick shot to remind us that Johnny is still maneuvering into position.

(script also points out that during the following, Gant’s men watch carefully. “It is their lives which are being argued about as well.”)

Murdoch speaks, causing Gant to turn back towards him: “Foley—give it up.”
The camera moves back and forth between them in close-ups during the following exchange.

GF, incredulously: “Give it up!?”

ML: “You storm that shack and the only thing that’s gonna happen—”

GF cuts him off: “ Men’ll bleed. (quick cut to ML, then back to GF) Foleys have bled before, this time at least it’ll be for one a their own.”

ML, louder: “One of their own, Foley, or one of your own? Your grandson—if it’s a boy.” Murdoch gestures with his head towards some of the men. “Look at ‘em. . .
Murdoch starts to rise and the camera pulls back to show Corey and Gant standing facing each other. ML walks to position himself between them.

ML: “You think they’re gonna risk their lives for that?”
Again the camera shifts back and forth between the faces of the two men.

GF: “They’ll do what I tell ’em.”

ML: “Oh, they will. . . (ML nods, he’s skeptical) And what if in the killing and the shooting Polly and the baby— ”

GF interrupts: “I’m doing. . .what I have to –(rapidly) Don’t you understand?”

ML: “Look, I know what it’s like to lose a son—I lost both of mine for the last twenty years. They were taken away from me when they were babies—”

GF: “Yeah—but you got’em back, didn’t ya? You got the whole world, ain’t ya? (pause) Me, all I’ve got is the hope of that kid and nobody’s gonna take that away from me, nobody!”

Johnny, shouting from the top of the hill: “Foley!” Murdoch, Corey and Gant all turn to look up the slope behind them. Back to Johnny, holding his gun with both hands, on the group. “Nobody moves. Untie ‘im.”

(the script reads as if Johnny is at closer range. His line is “Anybody moves—you’re dead!” and he is targeting Gant. Johnny tells Lew to cut Murdoch loose and when Lew hesitates, JL fires a shot at Lew’s feet. Johnny tells Lew to “Hurry up.”)

Gant nods at Lew, who gets up and moves to untie ML. Meanwhile, Corey cuts between Gant and Lew and moves to the right and off screen. Once Lew has untied him, ML turns and backhands Lew across the face, the man goes down, then ML takes off running.

Johnny fires a shot, the Foleys duck and Murdoch keeps running.

Close up of Gant, shouting: “It’s all for nothin’ Boy, you know that! The girl’s still trapped in the shack, you got no time to get help!”

Shot of Murdoch nearing the top of the slope and Johnny extending a hand to help him up the last few steps. JL fires and Gant ducks, Johnny fires again and then he and Murdoch disappear over the hill.

(script has Murdoch take Lew’s gun when he hits him and Gant’s line above is delivered with “eyes locked on Johnny’s, coldly” rather than being shouted up the hill. Johnny’s reply to Gant is “I don’t need help. . I’ve got you. Up here. . . Foley. . . join the–” He never finishes as he spots one of Foley’s men going for his gun. Johnny whirls and fires. Before the man has hit the ground, the Foleys go into action, diving for cover. Johnny “rips off another shot” and then another covering burst as Murdoch rushes past him. Close up on Gant as he fires directly into the camera and there is the sound of other gunshots. Then shift to Polly, lying in bed in labor, hearing the sounds and reacting, shots of Johnny and ML running, Scott answers Polly and it’s only after ML and JL burst into the cabin that the camera goes back to Gant to deliver his order to “Move out!”)

Close up of GF: “All right, mount up!”

Shift to the cabin and we see Scott still sitting and looking out the window, keeping watch. The we see the riders, their horses pass by en route to the cabin. Next Murdoch and Johnny are seen on foot, heading towards the front of the building, Johnny stops to shoot a few more times. Quick shot of Scott reacting to the noise, then back to show Johnny.

Next cut to Polly, lying in the bed as she also reacts to the sound. Maria is standing in the foreground, but all we see of her is an arm. Polly is upset, she asks what is wrong and then calls Scott’s name, partially lifting herself up off of the bed.

Shift to Scott, who yells back: “It’s all right—it’s Johnny and my father!” He moves to the door, gun in hand, opens it and then returns to his window position.

Cut back to Polly, now apparently reacting to a contraction.

Back to Scott at the window, with the door partially open. Murdoch hurries inside, turns directly to Scott and asks if he has an extra gun. Scott nods, hands him a weapon and ML moves to take up a position at the window on the other side of the door.

(the script has Scott respond audibly “Foley’s,” as well as nodding. But this is still forgetting that Murdoch was directed to take Lew’s gun)

Johnny was directly behind Murdoch and closes the door behind them. Scott hands Johnny his gunbelt, while keeping his gaze on what is happening outside. JL holsters his gun, kneels and reaches for a rifle that is leaning against the wall by the door. JL eases the door open a bit so he can point the barrel of the rifle through.

Outside, we see Foley and seven of his men on horseback in the front yard.

GF: “Lancer! It’s midnight! D’ya hear me? All of ya, clear out!”

While he’s shouting, we get glimpses of Murdoch at his window and then Scott in profile with Johnny in his background. “Leave the girl and there won’t be any more trouble.”

Scott turns to look towards ML. Close up of Murdoch, who takes off his hat.

Outside, close up of Corey, then shift to Gant who is still shouting and is starting to have a bit of desperation in his voice. “We’re all around you!”
The camera shows us this is true. A couple of the men are holding torches.

GF: “It’s eight against three! You’ll be killed, and for what?”

Inside, we see Johnny in profile. He glances at Scott, who looks back at him.

GF: “All right, for the last time. . . (quick shot of Corey) Come on out!”

CF: “I say we oughta burn ‘em out—(quick reaction shot of the Lancer brothers as Corey’s voice continues) They got it comin’!”

Full shot of the mounted group.
GF: “You move and I’ll blow your head off!” Corey turns his horse so he’s facing towards his uncle. “I want the girl alive, I’m takin’ no chances!”

CF: “You’re takin’ nothin’. Without old man Lancer, you got nothin’!”
Quick shot of a grim-faced Gant. Corey moves his horse aside and gestures to one of the men holding a torch. “Now go ahead and do it, Lew!”

Lew rides forward, Gant draws his gun and fires, Lew goes down!

Quick reaction from Johnny and then we are back outside where Corey rides up past Gant and forces his gun out of his hand; it falls to the ground. CF wheels his horse about, pointing his own weapon at his now unarmed uncle. He gestures with the gun as he’s speaking. “All right, now we’re gonna do it my way, or we’re not gonna do it at all. You understand? Me, I don’t care about that kid, cause the boys and I got other things to do.”

Shot of Murdoch listening intently. Outside, Corey continues speaking. The camera shifts to Gant midway and then back to Corey when he gets to his question.

CF: “Besides, this is your fight. . and we’re not gonna sit around forever just waitin’ for you to finish it! Now, (pause) what’s your answer?”

GF: “There’ll be no blood bath. No killin’ for the sake of it.

CF: “All right—you just go get that kid by yourself” He holsters his weapon and starts to ride away, addressing the other men. “Let’s go.”

As Corey rides away, Gant dismounts and picks up his gun. Corey turns and shoots, hitting Gant in the midsection!

Gant clutches his stomach, grimacing in pain. Reaction shot from ML.

Corey, to the other man with a torch: “Give me that.” He starts his horse in the direction of the cabin, riding right past his wounded uncle. Inside, we have reactions from Murdoch and Scott. Johnny stands, moves through the open door with his rifle and calmly shoots Corey off of his horse.

ML exits the cabin and hurries past Johnny, who follows.

The camera shows us the confused faces of the remaining Foleys. After some hesitation, they ride away.

Murdoch gets to Gant: “You plan to bleed to death, man?”

GF: “Get away from me. I don’t need no help.”

(in the script, Murdoch only says his line after Foley has heard the baby crying and tried to struggle towards the cabin on his own. Also in the script, Johnny remainsin the doorway of the cabin while Scott assists Johnny with Gant Foley.))

Murdoch says Scott’s name and asks him to give him a hand. SL seems to be stamping out some flames on the ground. It’s Johnny who comes up on the other side of Gant and he and Murdoch begin helping the man to the cabin.

Shift inside to show Polly with her eyes closed in bed. Her eyelids flutter and we hear a baby crying.

Back outside, Foley is still being assisted by Johnny and Murdoch and Scott is behind them.

GF: “I wanna see that baby, get me inside, please. . . ”

They get him inside and sit him in a chair. Johnny, still holding the rifle, goes into the bedroom.

Close up of Gant as he speaks to ML: “If I don’t make it, Lancer—there’s . . three thousand still in my pocket. Give it to Polly.”

Close up of ML: “You’ll make it, Foley. You may have a lot to answer for, but you’ll make it.” Camera shifts to Gant, who doesn’t respond, but can be seen breathing hard, he’s in pain.

(script has these lines as written, but also refers to Gant as “the dying man” and describes him as collapsing, kneeling across a table, once he gets inside. Maria comes out of the bedroom to help and Murdoch tells her to go back and “Bring the baby.”)

Camera pulls back to a position behind the seated Gant as Maria comes out of the bedroom carrying the baby. She approaches GF.

Close up of him as he removes his hat. “What is it? . . . . a boy—- or a girl?”

Another view of Maria holding the child, with Johnny behind her leaning on the doorframe. Maria looks at Murdoch, close on him, then back to the larger view as she answers in a heavily accented voice: “A girl.”

Reaction shot of Gant. He looks down before speaking softly. “A girl. Well, . . .(he looks up at Murdoch) maybe it’s better.”

Close up of Murdoch, whose face softens but doesn’t quite smile. Then we see Polly lying in bed with her eyes closed. She does smile.

Back to GF, then Maria bends to lower the child so that he can see her. Close up of him and then the image of the child fills the screen. Back to Gant again. “Maybe. . . it’s better.”

(no script direction for a shot of Polly here, but this was originally the last line of the show and then “Fade Out.”)

SCENE 15

First we have a transition scene of the hacienda with cows in front. The we are inside.

Teresa is carrying the baby. Behind her we see a doorway and also the Lancer liquor table with the map of the ranch hanging on the wall above it. Murdoch and Johnny are on the right, leaning over something on ML’s desk.

Teresa: “Polly’s upstairs resting, but. . she wanted me to formally introduce to you all: Miss Martha Anne Foley.”

Scott comes around behind her to stand near Teresa’s right shoulder, (our left). He has a white bandage on his right hand. Murdoch moves around the far side of the desk to the middle of the screen. Johnny stays behind the desk, then edges off the screen as the shot centers on the trio of Scott, Teresa and Murdoch all looking at the child in T’s arms. Murdoch says “Martha Anne” and chuckling, reaches out to pull the edge of the blanket aside to look at the baby.

TO: “And, she wanted me to explain, it was the best girl’s name she could come up with.” The baby starts to make some noise. Johnny moves into the foreground, coming around the desk to perch on the edge of it and leaning in to look at the baby. We only see the back of his head, not his face.

TO: “No matter how she tried, she. . she couldn’t do anything with Johnny, Scott or Murdoch.” They all smile and chuckle at this.

ML, to T: “Did you tell her she’s free to stay on as long as she wants?”

TO: “Um-hm. But she still wants to move on. Put all this as far behind her as she can.”

ML: “Well, you can’t blame her for that, I suppose.”

Close up of Johnny, as he speaks to Murdoch, then the camera moves back and forth between them during the following exchange. “You know, it doesn’t add up, Polly passin’ up three thousand dollars. . .”

ML, small smile: “Is it so hard to figure, Johnny?”

JL: “For that girl I used to know back in that dance hall (pause, small nod) Yes.”

ML: “Well, that only leaves one answer.”

Jl, half smile: Yeah . . . it’s not the same girl.”

Camera pulls back to show that Scott is now holding the baby. The concluding music begins. Murdoch reaches to pull the blanket again, talking to the infant asking “Is that a baby?”

Scott and Teresa smile down at little Martha and Johnny cranes his neck around to look at her again as well.

Fade out




END

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