Transcript: Julie

Airdate : 29 October 1968
Director: William Hale
Teleplay by: Paul Playdon
Story by : Don Brinkley & Paul Playdon

Guest Stars:
Lucas: Bruce Dern
Julie: Susan Strasberg
Wade: Val Avery
Jonas: Lincoln Tate
Sheriff Cutler: John Kellogg




SCENE 1:

Opens with the shot of the main street of a town. We see the stage coming down the street, it stops and several passengers exit.

Inside the depot. One of the stage drivers walks in, announcing: The stage is in, we’ll be leaving in three minutes. Three minutes.

The three Lancer men are inside. Murdoch is on the left, wearing his hat and looking at slip of paper he’s holding in his two hands. Johnny is in the center, bareheaded and leaning on a counter. Johnny has on his usual pink shirt with the embroidery. Scott is on the right, standing up straight with his hands clasped in front of him. Scott is wearing his hat and his nice blue-grey jacket with the leather trim. Scott turns towards Murdoch.

SL: How long will you be gone?

ML: A day. Two days at the outside.

JL: Now look, Murdoch, if you want Scott and I to go with you, I mean, we’ll help ya out.

ML chuckles, and both boys grin. ML: I’ve been haggling prices at cattle auctions since before you two were born. We still have a four-day ride back to the ranch though, so you boys better relax, enjoy yourselves while you can.

JL: What, here, in this town?

Johnny straightens up from the counter as Murdoch starts to exit. JL begins to follow him, still talking: The only thing’s gonna liven up this place’s a funeral.

Both boys laugh as the Lancers exit the depot. Murdoch turns back to speak to them.

ML: You’ll find something to do, I’ll take bets on it.

Murdoch quickly gets into the stage, Johnny shuts the door behind him. The brothers are bending down to see him off.

JL: Have a good trip.

Scott just waves one hand. The stage takes off immediately.

Scott turns away, hands on hips looking around.

JL: For the next two days we’re gonna do nothing but watch the dust settle.

SL: I don’t know . . . that might have some possibilities.

He has his right hand on a post, gestures off camera with his left.

Camera moves in on a sign: CHURCH DANCE tonight All Welcome 8 o’clock

JL: What, a church dance?

He reaches up to put his arm around Scott’s shoulders, turning him to face down the street. We can see a pretty dark haired young woman in a dark colored dress.

JL: Hey, now look at that.

Camera returns to the girl, who probably knows she is being watched and discussed.

JL’s voice: Nothing wrong with that, is there?

SL’s voice: That’s very nice, if you can convince her to go with you.

The young woman walks away, gathering her skirts as she mounts a set of steps near a barber pole.

SL”s voice: Care for a few pointers? (he says “pointahs”)

Shot of the boys again.

JL: No thank you—he starts to walk after the young lady, but Scott grabs his arm.

SL: Wait. Now don’t be too hasty. I’ve found in my experience that there’s a real art to asking a young lady out. (holding onto JL with his right hand, SL gestures with his left as he speaks)

JL: Scott, I’ll be back in five minutes, okay. . . (he breaks free and moves off screen)

The camera stays on Scott, who keeps talking: Wait a minute, there’s a . . . . . . art to handling a woman.. . . (He stands there, hands on hips, watching his brother)

The camera shifts to Johnny. His young lady is holding something in her hand that she is looking at when he comes up to stand near her.

JL: Do you like it? (she hands it to him) It’s kinda pretty.

The camera shifts to another dark-haired woman in a light colored dress wearing a lacy knit shawl over her shoulders. This is the title character, “Julie”, but we don’t know that yet. She is standing in a doorway and seems to be scanning the street.

Back to Johnny. His young lady is walking away from him.

JL: Uh, ma’am? (she stops, turns to face him) Excuse me, um, my name’s Johnny. . I work on a ranch about a hundred miles south of here. Well, I saw this sign, it said there was a dance tonight—

The dark haired woman steps abruptly off screen; Johnny stares after her, with an unhappy expression, then a faint hint of a rueful smile. . .

Back to Scott, who has seen it all, glances downward with a little smile, then looks over to his left and spies Julie still standing in the doorway of the stage depot. She steps back inside a bit, and the camera continues on down the street, glides over a team of horses and stops on two men sitting together on a wagon seat. Ominous music plays.

Julie is still looking around, then one of the men starts to climb down from the wagon seat. He has a stubbled face and is wearing a jacket. Julie goes inside the building.

Scott has been watching her. He turns and looks at the Church Dance sign behind him, then checks his reflection in a window and adjusts his hat. He heads towards the depot with a determined air.

He enters the room, which appears to be empty except for Julie. There is a counter and part of the space is divided by a low railing. Scott looks around, Julie barely glances at him, she is staring out the window. Scott walks slowly around her, gets to the far side and then peers out the window himself. Turning, he looks directly at her, feigns recognition and removes his hat.

SL: Miss Colefax!

Julie turns to face him.

SL, smiling: What are you doing in California?

Julie: What?

SL: Two years ago, in Baltimore, don’t you remembah? It’s me, Scott Lancer.

He holds his hat in both hands, sometimes gesturing with his right.

Julie: I’m sorry, but you must be mistaken, excuse me. (she heads for the door)

Scott gets there at the same time.

SL: Why, I don’t think that’s possible. . . . I don’t see how I could forget meeting . . . a beautiful young lady like Miss Colefax.

Julie: Look, I don’t mean to be blunt, but I really don’t know you and I don’t know this Miss. . . . (she walks back towards the interior of the room, putting her hand to her head.)

SL: Well, please accept my apologies . . .

The camera shifts so that we are now looking out the window. The two men from the wagon are outside. Scott’s voice is heard as they approach the window and peer in.

SL’s voice: Well, the resemblance, it’s absolutely. . . it’s amazing.

Close up of Julie, she sees the two men outside, then looks up at Scott. Shot of him looking back at her, then close up of Julie again.

Julie: Resemblance?

SL: I beg your pardon?

Julie (her eyes shift to the window, then back to Scott) Oh, ah, no, I should be the one to apologize. (she starts to smile and looks very pretty when she does so) You must have thought that I was terribly rude. I’m Julie Barrett. . .Mister. . .??

SL: Uh, Lancer. Scott Lancer.

Camera shifts to Julie, then to her view through the window as Scott continues speaking.

SL: Ah . . there’s a dance tonight at the Church and I was wondering, well, if you’re not busy . . .

JB, smiling: Oh, Mr. Lancer, I would be delighted to go with you.

SL, correcting her: Scott. (he seems both surprised and pleased by her acceptance, though trying not to show it.)

JB: Scott. As a matter of fact, if you’re not busy this afternoon, perhaps we could spend it together. I just have one errand to do.

SL shakes his head a bit, he clearly cannot believe his good fortune here.

SL: That’s a great idea, I don’t have anything to do this afternoon.

Julie hands him something.

JB: Also, would you hold this for me for safekeeping?

SL, accepting the envelope: You can depend upon it, Miss Barrett.

JB: Thank you.

She pulls at his shoulder, then gives him a kiss on the cheek. We can’t exactly see this, but the side of SL’s face that is visible is very expressive, especially the movements of his eyebrows. He looks momentarily surprised, then somewhat pleased with himself.

Julie looks up at Scott and sighs a little. Through the window, we can see the two men, talking, but the words are no audible. The stubble faced man in the jacket is gesturing for his stocky friend in the vest to move off in the opposite direction.

SL, holding the envelope: Miss Barrett, I will, uh, treasure this until your return.

He smiles down at her.

JB: I’ll just be a few minutes. (she moves towards the door)

Scott starts to tuck the envelop into his jacket, when the stubble-faced man enters and knocks him over the head. Scott drops to the floor. His billfold and Julie’s envelope are on the floor beside him. The intruder pulls a gun on Julie, who is standing near the door, then mutters something to her that we can’t hear over the dramatic music. When he goes towards the back of the room where his partner is entering, Julie bends down near Scott. When she gets up, the billfold and envelope are no longer visible.

The stubble-faced man sits down on a bench, very slowly and deliberately crosses his legs and points the gun in Julie’s direction: Now, Miss Barrett. . . that was quite a little chase you led us on, now, wasn’t it?

Julie looks apprehensive, then bolts for the door. The heavier set man in the vest follows her, but his partner jumps up off the bench: Let her go, let her. . . .

He shuts the door and then continues speaking: We don’t need her any more.

The two men turns and stare down at the floor.

The man in the vest agrees: Yeah, I guess you’re right. Shall I do it now, Lucas?

Lucas (the stubble-faced man): Well, I’ll tell ya, it’s a long way back there. We’d be a lot better off with him dead.

His friend nods in agreement.

Lucas, softly: Yeah, go ahead ‘n do it right now.

We see Scott lying unconscious on the floor. Just as the gun starts to lower towards his head, we hear a new voice: You hold it right there.

The Sheriff has just entered. He wears a vest with a star-shaped badge, over a shirt. He is wearing a dark colored hat and his gun is drawn.

Sheriff: Put the gun away. (the man complies) What’s goin’ on here?

Lucas leans on the counter, one hand on his hip: Sheriff, we were just comin’ to pay you a visit, as a matter of fact, weren’t we, Wade?

Wade, nodding: Truth.

Lucas moves towards the Sheriff. Although we can’t see Scott, Lucas is clearly stepping over him.

Lucas: You see, we’re bounty hunters, Wade and I. My name’s Lucas Thatcher— He extends his hand, but the Sheriff makes no move to shake with him. After a pause, Lucas continues speaking: This here’s Wade Hackett.

The Sheriff’s expression resembles that of a man with a bad taste in his mouth.

LT: This man down here on the floor is worth 2500 dollars. (big smile) Ten percent of that goes to you, Sheriff.

Shot of the Sheriff’s face—his expression has not changed.

LT, looks down at Scott: So if you’ll just let us proceed here with our business, we’ll send you the money just as soon as we get it.

The two bounty hunters lift Scott into an upright position.

Sheriff: Now hold it. You’re not going anywhere ‘cept to my office. I want to hear the whole story. (Lucas starts to protest) Right now!!

Wade Hackett is now the only one holding Scott, who seems to be standing on his feet, but bent over.

Sheriff, gesturing with gun towards Lucas: Come on, let’s go—

The Sheriff marches them out the door at gunpoint, the two bounty hunters holding Scott between them.


SCENE 2

At the livery, the stable man is snoozing in a chair with his feet up on a wooden block. Julie enters.

JB: Sir, excuse me, do you rent rigs?

Stableman: Two dollars a day and ten dollars deposit.

She starts to fish around in her purse for some money, at which point he quickly puts his feet down and stands. He is back to us, but we can tell that he takes the money she offers and tucks it into a pants pocket.

Stableman: Take me about fifteen minutes to hitch it up, might as well come back then.

She considers this, then looks in her purse again.

JB: Also, would you do me a great favor?

Stableman, nodding: Uh huh

JB: There is a young man who is in the Sheriff’s jail now. If about an hour after I’ve left, you would give this to him, I would appreciate it.

She hands him a billfold.

Close up of Stableman, he is wearing a vest and has a receding hairline: You’re a might fancy lookin’ lady ta have friends in jail.

JB, sighing: Also, if when you see him, you would tell him . . . that I’m very sorry, and that I hope that he’ll forgive me.

Stableman nods and smiles. Julie exits, and he studies the billfold in his hands. Apparently, it belongs to Scott.

He opens up the billfold, reacts at the amount of cash inside, closes it and then looks around the empty stable. Giving in to temptation, he removes the bills, folding them and stuffing them into his shirt pocket.



SCENE 3

Sudden shift to a chair being turned and a close up of an unconscious Scott, his head resting on the chairback.

Voice of Lucas Thatcher: Now the man’s name is Jonas Barrett. And when he wakes up, I’m sure he’s gonna tell ya that it’s something else than that. But one year ago, him and two other men robbed a bank in Denver.

Sheriff: You got any proof?

LT: Yes sir, I do. A wanted poster.

He hands the paper to the Sheriff and we see a close up of it on screen.

WANTED

For Murder and Bank Robbery

JONAS BARRETT

Description

Age 25 Fair Hair Blue Eyes Tall

$2500 REWARD



The Sheriff examines the Wanted poster, reading it aloud.

He folds up the poster, slaps it against one hand.

Sheriff: Don’t exactly prove that he is, don’t exactly prove that he isn’t.

Meanwhile, Scott starts to stir. He’s coming around, we hear a moan, he leans forward, then puts a hand to his head.

Sheriff: What’s your name, Boy?

SL, after a pause: What?

Sheriff: What’s your name? (Scott looks pained and confused) I asked you a question, what’s your name?

SL: Scott Lancer. Now do you mind telling me what’s going on—-

LT: C’mon Sheriff. I just told ya that the man would say a different name from what I told ya.

SL: Wait a minute, I have a . . . (he starts to search inside his jacket) . . . I had a billfold.

LT: He had a billfold.

He looks over at his partner Wade as he says this. Wade has made himself at home, with a cup of coffee and his feet up on a table.

Sheriff, harshly, to Scott: Where were you a year ago?

SL, pauses, then answers in a challenging tone: Why?

Sheriff: Just tell me.

SL: I was back East. Now why?

LT, addresses the Sheriff, loudly and angrily: He wasn’t back East! I just told you he was in Denver, Colorado and he killed a bank guard!!

The Sheriff gets up and walks away from where Scott is seated.

SL: Now, I don’t know who you’ve mistaken me for Mister, but I’ve never been in Denver!

LT adjust his hat. The Sheriff turns and stares at Scott.

LT, to Sheriff, while gesturing towards Scott: Everyone of ‘em is exactly like that, don’t you know that?!

The Sheriff removes his hat, runs his hand through his hair. Wade crosses in the background, getting himself a refill on the coffee.

LT, to Sheriff: They’d lie until the sun froze over if they thought’d do ‘em any good.

The Sheriff rubs the back of his neck while Lucas is speaking, then puts his hat back on.

LT: Now come on, we have a lot of proof.

SL: Now wait a minute—

LT to Sheriff: You gonna shut the man up?!

SL to Sheriff: Now will you just listen to me?!

Sheriff, to Scott: In a minute—- (then he speaks to Lucas) You said you got some other proof.

LT, pointing at Scott: Now, one month ago, this man sent word to his sister, a Miss Julie Barrett, back East, that she should come out here and meet with him. (camera shifts to Scott, who is listening intently) and bring him some money. So my partner there—(camera shifts to Wade, who has returned to his previous position with his feet up on the table) and I, we followed her.

Wade: Yeah.

LT: And she brought us right here—(points at Scott) to him. (Scott looks stunned)

LT, continues: And just before you came in there, she gave him an envelope.

Thatcher sits with his hands in front of his face, fingers interlaced. Both he and the Sheriff stare at Scott.

Close up of Scott, disbelief on his face. He lowers his eyes slightly as realization hits. The Sheriff walks over to him—Scott is still seated in a wooden chair—and he takes the envelope out of the inside pocket of Scott’s jacket. Scott shakes his head and smiles ruefully. As the Sheriff stands next to him and opens the envelope, Scott points at it.

SL: Now Sheriff, I can explain that—

LT: Now if you’ll just let us carry on with our business, Sheriff. . ..

Sheriff: I said I’d. . I’d hear him out. Go ahead. (Camera shifts to Lucas’ unhappy face while the Sheriff is still speaking)

Close up on Scott: Now my name is Scott Lancer. My brother and I are on a cattle- buying trip and we’re just passing through this town.

Sheriff: Where’s your brother now?

SL: Over at the stage depot.

The Sheriff glances at Lucas.

SL, gesturing angrily: Well, go on—look!!!!

The Sheriff sends a (previously unseen) deputy to go check this out.

Sheriff: See if there’s anyone there.

Once the deputy gets to the door, Lucas has a comment: Better be careful there, lad, there was more’n one man in on that robbery.

There is a pause while the deputy and the sheriff consider this, then the man exits and Scott continues.

SL, speaking quickly and emphatically: This girl that they’re talking about, it’s true, I did meet her at the stage depot and she did give me that envelope. She must have taken my billfold before she took off—before that, I never saw her!! (camera shifts to poker-faced Sheriff) We were total strangers!

LT, softly: Total strangers. Total strangers. (Then he points accusingly at Scott.) Sheriff, why don’t you look at the little red there just below his lip, what would you say that is, lip rouge? Huh?

Scott rather guiltily rubs at his face with one hand.

SL: Now Sheriff, she must have done that to make them believe that I was this Jonas person, whoever he is.

Camera shifts to LT’s disbelieving face, while Scott’s voice continues: I swear to you, I never saw her before that.

The Sheriff has listened carefully, his expression doesn’t give anything away.

Sheriff sighs: Inside.

Scott reacts with some frustration.

LT: That’s right.

He sits on the Sheriff’s desk while the Sheriff escorts Scott to his cell.



SCENE 4

Johnny is seen walking down the sidewalk alongside the deputy. As JL passes out of the shot, we see Julie driving a one-horse rig down the main street.

Inside the jail, the camera is on the Sheriff, seated in a chair, looking as a few pieces of paper. We seem to be joining the conversation in progress.

Sheriff: Well, what you’re sayin’ is he ain’t Jonas Barrett (he gestures with the papers towards the cell behind him) but you got no way of provin’ it.

The camera pulls away and we can see Lucas Thatcher standing behind the Sheriff with his arms outstretched against the two sides of a doorframe. Scott is behind Thatcher, seated in the cell. Johnny is in the foreground, back to us, standing listening to the Sheriff with his hands behind his back.

Sheriff (folds up the papers while he speaks): All these prove is that you’re. . you’re supposed to be some fellow named Johnny Lancer and that’s got nothin’ to do with this.

Close up on Johnny, who collects his papers.

JL: He’s my brother, Sheriff, that’s all I can tell you, he is my brother.

Camera shows us that the Sheriff and Thatcher are not convinced.

JL: Look, now why don’t you wire Denver, get ‘em to wire a description of this man Jonas?

Sheriff: Well, the telegraph lines don’t go through here til August.

LT: Sheriff, I’m really gettin’ impatient now! I can’t tell you who that man is, but I can tell ya that he’s definitely involved.

Thatcher puts his arms down and walks to the right, around the stove. The Sheriff removes his hat.

LT: Now I don’t happen to have a wanted poster on ‘im, so that means that for right now he happens to be clear. (he points to Scott in the cell, and raises his voice) But not him!! He is not clear! I have presented you with plenty of evidence for us to take him with us right now!

JL: Will you just hold on a minute?

LT stops, puts his hands on his hips.

JL, to Sheriff: you know Murdoch Lancer, owns a spread about a hundred miles south of here?

The Sheriff repeats the name, with no obvious recognition in his voice.

JL: Well, he’s my old man, and his too, and he’ll be back in a couple days and I think he’s gonna be able to take care of everything. He’ll prove who we are.

LT: You’re gonna believe that, right , Sheriff?? The man stands there and lies to ya!

Sheriff, loudly: Maybe!

LT shakes his head in disgust.

Sheriff: Well, I don’t wanna make any mistakes about this. (to Johnny) All right.

(he gets up out of his chair) Two days. (he stands face to face with JL and points a points a finger at his chest) But if I don’t get some proof in two days, I’m gonna turn him over to them.

JL: All right, all right.

LT, clearly unhappy, exits with Wade.

JL: You mind if I talk to my brother? (he hands the Sheriff his gun)

Sheriff, accepting the gun: Nope.

The Sheriff sits down at his desk and Johnny goes back to the cell.

Johnny hands his gun to the Sheriff and goes back to sit outside Scott’s cell. Scott is seated close to the bars, one arm is through them.

SL: I don’t believe it.

JL: I know. (pause) Now, it could get worse. . . . I’m gonna hafta find Jonas.

Scott looks at him without speaking.

JL: Well, it’s the only way I’m gonna get ya clear.

SL: Julie. The girl.

JL: That her name?

Scott nods.

JL: She used you, huh, to throw them off, them bounty hunters? (we hear him laughing while the camera close up is on Scott’s very serious expression, his face framed by the bars)

JL’s voice, an amused tone: You know, I didn’t do too good either. (camera shifts to Johnny)

JL: You know, I bet Jonas is close by. I mean, maybe she’ll lead me to ‘im.

SL, very intense: That’s a small chance, but maybe you can find her, bring her back here, make her tell the truth.

JL: What’d she look like?

SL: Twenty four, short, dark brown hair. (he raises his eyebrows) Pretty.

Scott glances down, Johnny smiles.

SL continues: But getting her to trust you, it’s not going to be easy. Before she decided to use me, it was like talking to a starched collar. . . So you don’t have much time and you better get going.

JL: You take care of yourself. (long pause, then he grins) I won’t see ya at the dance tonight, I guess.

Scott laughs and smiles as Johnny gets up and leaves.



SCENE 5

Johnny is seen exiting the building. The bounty hunters are watching him as he walks by, he smiles at them.

LT: I don’t like the cut of that boy.

Thatcher is sitting on the edge of the board walk, while Wade Hackett is standing and leaning against a support post.

WH: Well, I don’t like hangin’ around here for two days.

LT: Well, I’m workin’ on that too.

He removes his hat and lies back on the boardwalk, his hands behind his head.



SCENE 6

Inside the stable, the stableman is hammering a horse shoe. Johnny walks in.

JL: Hello.

Stableman starts working a bellows: Somethin’ I can do fer ya?

JL: Well, I dunno, maybe. I’m lookin’ for a girl.

Stableman: No girl’s been in here today.

JL: You rent rigs, dontcha?

Stableman: That’s what the sign says.

JL: You got one I can use?

Stableman, looks around: You see on, you can rent it.

JL: Hmm, all out, huh?

He walks over closer to the liveryman.

Stableman: Only got one.

JL: Be back later today?

Stableman: No.

JL: How ‘bout tomorrow?

Stableman: No.

JL: She didn’t tell ya when she’d be back?

Stableman: No she didn’t—

He stops, realizing right off that he’s given himself away.

Stableman, faces Johnny: Look, Mister, I don’t want no trouble—

JL: You gonna be in a lot of trouble now if you don’t stop playing dumb.

Stableman sighs.

JL: Where’d she go?

Stableman: South road.

JL: How long ago?

Stableman, reluctantly: “Bout thirty minutes.

Johnny slaps him on the arm and leaves. The liveryman immediately goes back to vigorously hammering that horseshoe.

In the next shot, we see Johnny riding fast out of town on his palomino horse, hatless as he has been through out this episode.

The two bounty hunters see him leaving.

WH: Think he’s goin’ for help?

LT: Could be. (pause) Just gonna make our job that much easier.

Thatcher sits down, then continues speaking.

LT: Because by the time he gets back, Jonas ain’t gonna need any help. Because Mr. Jonas—(he laughs)—is gonna be a dead man.

Ominous music and commercial break.



SCENE 7

Johnny is riding after Julie, who is still driving the buggy. He loses sight of her, stops and looks around, then he reacts—following his pov, we see she has stopped and has a gun pointed at him.

JB: Who are you? What do you want?

JL: Oh, nothin’, Lady. (he rides closer) Just ridin’ along admirin’ the beautiful countryside.

JB: Get off the horse.

Johnny turns his back on her to dismount (nice butt shot!) and while he’s not looking, Julie reaches for the buggy whip, then swats his horse on the rump. Barranca whinnies and takes off.

Johnny stands with his hands on his hips.

JL: Now, what’d you do that for?

JB: Cause I don’t like being followed.

She turns around in her seat to face forward and seems ready to drive away.

JL: Hey, what’re you gonna do, just leave me here?

JB, starts horse and does not look back: Yes.

JL: It’s gonna take me a day ta find that horse!

JB: driving away: Give you time to admire the scenery.

Johnny starts to walk after her, then breaks into a run as she disappears from view. He holds his gun to the side of his leg with one hand. We are watching him from behind.

JL: Hey, wait up, Lady!

Our perspective shifts, so we see him from in front. Johnny reaches for his right thigh, then drops to the ground in a sitting position. He whistles loudly.

Julie turns. Johnny is gesturing, pointing at his upraised right leg, indicating that he’s been hurt. Julie stops, and is considering. . .

JL yells: I’m hurt!

Julie gets out of the rig. She removes her shawl, picks up a canteen. She starts towards him, holding the canteen in one hand and the pistol in the other.

JB: I just came back to give you this—(she drops the canteen to the ground beside him)

Johnny is rubbing his “injured” leg.

JL: I don’t need water, I need ma horse.

JB: You hurt your leg bad?

JL: My knee— (he rises, painfully) It’s killin’ me. Look, do me a favor, now, will ya? There’s a veterinarian about three miles up the road. . . . You give me a lift that far?

JB: I can’t.

She turns away.

JL: Hey, Lady!

She turns back.

JL: It’s only three miles. . .is it outta your way?

JB: No, it’s not out of my way.

JL: C’mon then.

Julie shakes her head “no”, but then relents.

JB: Okay, you can come with me, but just three miles.

Johnny picks up the canteen and limps after her to the rig.



SCENE 8

It’s now very dark outside, and we see the rig, enter a fenced in yard. Julie is driving and Johnny is seated beside her. She stops the horse.

JB: Is this the place?

JL: No, this is a deserted way station.

JB: Well, it doesn’t matter, because this is where you get out.

JL: Ma’am, I hate to tell you this, but from the looks of your horse, this is as far as he’s goin’. You’re gonna hafta rest the night here.

Johnny gets down out of the rig.

JB: I can’t, I’ve gotta keep going.

JL: Ma’am, you push that horse any further and he’s gonna be dead.

Julie studies him.

JB: From the, ah, looks of your leg, it seems to have recovered pretty quickly.

Johnny is standing near the horse’s head.

JL, glances down at the ground: Well, just chalk it up to good company.

Close up of Johnny’s hand doing something with the bit in the horse’s mouth.

JL: Well, the knee feels pretty good now. (he smiles)

JB: Good bye, Mr. Madrid.

She slaps the reins on the horse’s back and the animal rears up. She keeps trying to get the animal to go forward. Johnny reaches for the horse, saying “whoa”.

JB: I don’t understand, he was fine just a minute ago!

JL, to horse: Whoa.

Then to Julie: He’s tired ma’am, I’m tellin’ ya, you push him any further and you’re gonna end up walkin’.

She just sits there, without speaking.

JL: You wanna risk it, that’s fine with me, go right ahead.

She slumps in her seat.



SCENE 9

Johnny is walking through the way station yard alone. It’s still dark. He enters the building and shuts the door behind him. Inside, Julie is filling two cups from a coffee pot.

JL: I’ve got that horse bedded down.

JB: I found some coffee, but I don’t know what its gonna taste like.

JL: I don’t want none.

JB walks around, carrying the cup in her hand: When do you think the horse’ll be ready to travel?

JL: In about two hours.

He sits in a wooden straight-backed chair, crosses one leg over the other knee and starts to do something with his spur.

JL: We’ll get an early starts in the mornin’—if that’s all right with you.

JB sips her coffee: This is as far as you go.

JL: Lady, I have no way of gettin’ outta here.

JB: Well, you’ll. . you’ll have to go back and look for your horse in the morning.

JL rises from his seat, but grasps the chair with his hands and moves it closer to her, sits down again.

JL: Do you have any idea how far that is? That’s five miles back.

JB: Look, I’d like to help you, but I can’t. I’ve got something that I’ve gotta do alone. (she gets up and moves to the other side of the room) I’ve gotta meet someone in the morning.

JL: Well, he must be important to you.

JB: He is—(she turns to face Johnny) How’d you know it was a he?

Close up on Johnny, who is still seated.

JL: Took a guess. (he looks down, then back up at her) I bet it’s your husband.

JB: I’m not married.

Johnny smiles, glances down again.

JB: It’s my brother.

JL: It been a long time?

JB stands with head bowed: Yeah. . . . he got in. . .(she looks up) some kinda trouble, and he asked me to help him out, so—-

JL: What kinda trouble he get into?

JB: Just. . . some kind of trouble. (pause) It wasn’t his fault, not really.

She comes over to rest her hands on the back of Johnny’s chair, he watches her, looking over his left shoulder.

JB: When we were kids, we never had anything. . . we were brought up with an uncle on an old dirt farm with a bunch of the scrawniest lookin’ chickens you ever saw runnin’ around.

She laughs when she mentions the chickens and Johnny smiles back at her.

JB: All we had was each other, and Jonas always used to say that one day things would be different.

Julie moves away from Johnny’s chair and laughs to herself again.

JB: He was gonna make so much money we would never hafta look at another chicken unless it was cooked in wine.

Johnny stands up and comes over to stand behind her.

JL: Where’d he plan on makin’ his money?

JB looks up at him: What do you mean?

JL: Well, I mean, if there’s easy money around, I’d like to get in on it. . . my life hasn’t been too soft either.

JB, shaking her head: You’re really different from my brother, I mean, things never seem to work out for him. He’s like a child, putting blocks on top of one another and never seems to make it. . ..

Johnny reaches his arm out to the wall behind her, they are talking face to face.

JL: That why you came out here, to help him make it?

JB: I came because he’s my brother and because he needs me. If you’d ever had a brother, you’d understand how it is.

Close up on a pensive Johnny. Music plays.

JL: Oh, I got a brother, all right. I know exactly how it is.



SCENE 10

Back at the jail, the Sheriff is sitting with his feet on his desk, eating. Gunshots are heard from outside, he grabs his rifle and moves off screen. Scott is in the background, moving to the front of his cell.

Outside, the Sheriff is in the street. There are a few other people about, and he goes off to investigate.

Next, we see Lucas Thatcher coming around the corner of the building and then easing into the front door of the jail. He heads directly back to the cell. Scott is sitting on the bunk, elbows on knees and hands clasped at face level. Neither man speaks.



Thatcher stands looking through the bars at Scott, hands on hips. Scott raises his index finger in greeting.

Thatcher moves left, to lift the key ring off of the nail on the post. First he unlocks the back door, and lets in Wade Hackett. Then, holding his gun in his right hand, Thatcher unlocks the cell door.

LT, to Scott: C’mon.

Scott just sits there, motionless.

Lucas enters the cell, grabs Scott’s right arm and says “c’mon” again. Scott reaches for the jacket on the bunk beside him with his left hand, stands and yanks his right arm out of Thatcher’s grasp. He walks slowly out of the cell, holding his jacket. Once outside the bars, he looks back at the gun in Thatcher’s hand. Hackett opens the back door, then says “c’mon”, and Thatcher pushes Scott towards the door. They exit.

Shift of pov to outside, where it is very dark —-and then Scott makes his move! He throws his jacket at Wade and then makes a run for it, kind of hot foots the bullets at one point, then hustles around a corner and keeps running right into the Sheriff, who catches Scott’s arm on the way by. Lucas and Wade are right behind.

Sheriff: Hold it!

They all look at each other, but no one speaks.



SCENE 11

Back at the jail, the Sheriff is seated with a white mug of coffee. Scott is outside of the cell, walking around as he speaks. Then he comes to stand with his back to the door facing the Sheriff. Thatcher is standing on Scott’s right.

SL: Now, they set the whole thing up to make it look as if I were trying to escape. . . so they could shoot me down and get it over with.

LT: That’s a lie and you know it!

Shot of the Sheriff sipping his coffee. Throughout this sequence, the camera cuts to him for his “reaction”. As usual, it’s clear he is listening carefully, but his face gives very little away.

SL: I suppose the shooting down the street had nothing to do with you either.

LT: Sheriff, c’mon—

SL, emphatically: It was to get you out of the way, Sheriff—very convenient.

LT: We walked past the door and the man was high tailin’ it down the alley so we opened up fire on ‘im.

SL, hands on hips: That’s a pretty tough story to swallow, Sheriff, if you consider that they just happened to be taking a stroll as I just happened to be escaping. (Scott points and becomes even more emphatic) Now, how did I get the keys to unlock the door when I’m inside the cell and the cell is locked?

Sheriff, to LT: Somebody must’ve given him help.

Scott stands with right hand holding his left wrist. We can also see Wade seated in the background.

LT: That’s right, he must have had some help, that’s a brilliant conclusion . . . (gestures towards Scott with one thumb) It must have been the guy who says that he’s his brother.

SL reacts to this: Now, that’s pretty impossible, because my brother is out looking for that girl right now. (he gestures over his shoulder towards the door with his own thumb.)

LT, sarcastically: You’ve got his word on that, right?

SL, firmly: You’ve got my word.

LT: Beautiful.

He walks towards the Sheriff.

LT: Sheriff, it has to be that other boy. . .he’s gotta still be in town.

Thatcher stands behind the Sheriff, his hands on his hips. The Sheriff is giving this some thought.

LT bends down closer: You know, I don’t know how much more proof you think it is that you need, but the fact that the man high tails it outta the cell, with or without help, that’s enough proof for me!!! And I think that you had better release this man with us, right now! (he starts to move towards Scott)

The Sheriff never looks at Thatcher during this speech.

Sheriff: No! I said he’d get two days and that’s what he’s gonna get. You two’d be wise to just sit it out. Now get outta here.

LT says nothing. He stalks out, past Scott, who stands with his arms folded over his chest, eyes lowered.

The Sheriff has gotten to his feet and approaches Scott, who meets his eyes, nods and says “Thanks” as he starts back towards the cell.

Sheriff: You’d better get back inside.

He puts his hat back on his head, follows Scott and locks him in the cell.



SCENE 12

Back at the way station, it’s still night time. Julie is lying in a bed, she wakes and looks around, gets up out of the bed, adjusts her shawl and sneaks out the door. Johnny is sleeping on top of a table, she pauses to look at him before she goes out.

Next, we see Julie leading the horse.

JL: Well, where do you think you’re goin’?

JB: I’m leavin’.

JL: You ain’t goin’ no where. You’ll never find your way out there at night, you’ll be lost by dawn, can you afford that?

JB: No, I can’t afford that. I’m to meet my brother at a certain time tomorrow. He told me if I wasn’t there on time, he’d figure that something was wrong and he won’t wait for me.

JL: Well, where were you gonna meet ‘im?

JB: Look, I gotta do this alone. Please, there are some things that I can’t tell you, really I can’t, I’ve trusted you too much tonight, I don’t know, I just—

JL, with intensity: Look, Julie, there’s something I gotta tell you, now you listen to me. I got a bank robbery on my head. You understand that? There’s a posse no more’n two days behind me.

They are standing face to face in the dark.

JB: I don’t understand.

JL: It means I’m a dead man unless you take me with you. Now there’s a place in Mexico I know of, if you can help me get there, I’ll be safe.

JB, hesitatingly: You think. . . you could take someone else to this place?

JL: Maybe.

JB: There are some things about my brother that I didn’t tell you. I’ve been holding it in so long, it feels like a nightmare. I haven’t been able to trust anybody or talk to anybody—I really feel like things are gonna work out now though, I feel like, well, like I can trust you. (pause) I can trust you, can’t I?

JL: Yes. Yes, you can trust me.



SCENE 13

Scene opens with daylight shot of water rapidly flowing over rocks.

Julie is seated in the rig, she looks content.

JB: It’s almost sundown, he should be coming anytime now. This is the place he described. (she gets down from the rig, looks around) There’s the river, bridge, everything.

There is a pretty long, high footbridge visible in the background. Johnny is sitting on the ground, arms resting on raised knees, head slightly bowed. He clasps her hand as she walks past him. He looks very pensive.

JB, sighs: Johnny, this, ah, this place (she crouches in front of him) in Mexico. You think there’s some kind of job I could get down there?

Johnny is picking at the fabric of his pants leg.

JL: What d’you want with a job? (he smiles)

JB: I gotta get some money if I’m gonna get a lawyer and clear Jonas.

JL: You really think you could, huh?

JB: He’s never been in Denver, he told me. And if a man’s innocent, it’s only a question of time til they clear him. (she gives Johnny a look) You believe he’s innocent, don’t you?

JL: Oh, sure, sure he’s innocent. We’re all innocent, Julie.

JB: Why can’t you believe in him?!

Johnny looks down, he doesn’t answer her.

JB: I believe in you.

Johnny gets up and walks around to the other side of the tree.

JL: Suppose he don’t come? Julie, a lot coulda happened to him since he wrote that letter.

JB: He’ll come.

She gets up and follows him around the tree.

JB: Everything’s gonna be all right, you’ll see.

Julie stands with her back to the tree, facing Johnny.

JL: Julie, what if he doesn’t come? What’re you gonna do?

JB: I, . . .well, I guess I’d go back East. Or I’d. . .(she lowers her eyes)

JL: Or you’d do what?

JB, looking up at him: Go with you.

JL: You’d go with me?

Slight nod from Julie.

JL: Any where?

JB: Well, it’s not anywhere, we’re going to Mexico, aren’t we?

JL: Maybe. Maybe not. Maybe we’d go back.

JB: We can’t do that, it’s too dangerous.

JL: I know a place. Place where we’d be safe. (he puts his left hand on the tree trunk behind her) It’s a ranch. A big, beautiful ranch, like something out of a dream. It’s got rolling hills, and clear lakes, why every time you go over a hill, it’s a whole new world.

While he’s talking, the camera lingers on Julie’s face, she’s breathing deeply, eyes fixed on him, smiles at the last part.

JL continues: The people there, they’d take care of ya—

JB, shakes her head. I don’t need anyone to take care of me. We’re going to Mexico, the three of us. I got you and I got Jonas.

JL: Julie—

He puts his hands on her shoulders and bows his head. (the bracelet on his right hand is very noticeable in this shot)

JL: I got something to tell ya.

She protests, he repeats the line.

JB, raising her hand: No, don’t tell me, please, let’s not spoil it.

She presses herself against his chest, he embraces her.

Suddenly, we hear a clicking sound (as well as a change in the music) and both of them react to the noise.

There is a man on the hill with a gun. He has blondish hair, dark clothing. The left shoulder of his shirt is torn. He’s carrying a set of saddle bags. He does not look friendly.

JB: Jonas!

She goes to him, puts an arm around him and leans her head on his chest.

JB: Oh, Jonas.

He keeps his attention on Johnny, hasn’t even acknowledged her yet.

Jonas: All right, what is this?

Johnny looks at him, but says nothing.

JB: He’s a friend, a good friend of mine.

Jonas, to Johnny: Drop it.

Johnny takes his gun and tosses it to the ground.

JB: You can trust him.

Jonas: I told you not to trust anybody.

JB: Yeah, but . . . but he’s different, Jonas. (she bends down and picks up Johnny’s gun and hands it to him) He’s gonna take us to this place in Mexico where you’ll be safe.

Julie is talking to Jonas with her back to Johnny.

JB: We can lead the kind of life we always talked about.

Jonas wipes his mouth on his sleeve, then holsters his gun. He sets his saddlebags down on the ground and turns towards them. Julie is still standing with her back to the camera and to Johnny.

JB: Jonas, I’ve been so worried about you.

Jonas: Did you bring the money?

JB, touching his arm: No, I had to use it to get rid of these bounty hunters—

Jonas is angry, grabs her arm: You did what?

JB, loudly: I had to use it! (the camera shifts to Johnny, while Julie continues speaking) It doesn’t matter, we don’t need it anyway.

Jonas glares at Johnny: What’s your friend’s name?

JB: Johnny.

There is another clicking sound and Johnny raises his gun.

JL: I’m sorry, Julie. I’m takin’ your brother in. (to Jonas) Throw your gun down.

Jonas complies. Julie is frozen in stunned disbelief, then starts slowly moving towards Johnny.

JB: No, no, I trusted you. Why?? You want the reward, you want the money?

JL: For my brother. (The camera stays on her, as she backs up, shaking her head, while Johnny’s voice continues) He’s the one back there in jail, for something Jonas did. It’s the only way I can free ‘im.

Suddenly, Jonas shoves Julie at Johnny, then he turns and runs up the hill towards the bridge. Dramatic music plays. When Jonas reaches the center of the bridge, the floorboards collapse beneath him. Quick shot of white water flowing down below. Jonas is hanging from his hands, dangling below the level of the bridge.

Johnny runs out towards him to help. He pulls Jonas back up. Jonas immediately punches Johnny. He falls back, grabbing the railings and kicks out at Jonas, but falls through the hole himself and now he is dangling there below the level of the bridge. Another quick shot of the raging river far below. Johnny pulls himself up, he’s on the outside of the bridge. Jonas runs over to try to shove him off. He’s not successful and Johnny manages to clamber back onto the bridge. They trade punches

Julie runs out onto the bridge, pausing to look down at the water, and we have another shot of the current. Jonas pushes Johnny towards the hole, then suddenly it is Jonas who has fallen through again and is dangling. Quick shot of Julie, looking distressed. Johnny is clinging to the bridge and holding onto Jonas with one hand.

Jonas drops.

Both Johnny and Julie watch from opposite sides of the hole in the bridge. Jonas is swept away.

JB, begins almost calmly, then gets progressively more hysterical: You killed him. I trusted you. I brought you to him. And you killed him!!!

Johnny crosses the space and grabs her shoulders, then pulls her to him while she continues saying that he killed Jonas.

JB: You lied to me! You lied to me!

Transition to shot of the water again. Some time has elapsed and Johnny and Julie have moved off of the bridge and are back on the riverbank by the trees and the rig.

JL: I tried to tell ya, Julie, a hundred times I tried to tell ya. But I couldn’t. I had to think of my brother.

He hands her Jonas’ saddlebags. She holds them to her chest and moves off camera without looking at him or saying a word. They both get into the rig and we see them driving away.



SCENE 14

Back at the jail. The Sheriff is holding his ever-present coffee mug. He moves over towards the cell, the deputy is there, holding a plate.

Sheriff: Want some beans, son?

Scott reaches through the bars and lifts the cover, he barely takes a glance.

SL: No thank you.

Sheriff: It ain’t much, I know.

He gestures for the deputy to leave, then starts to walk away.

SL, still leaning on the bars: Sheriff . . .

Sheriff turns back to face him: Yeah?

SL, looks directly at him: You’ve got about three hours left.

Sheriff turns away again: Yeah, I know. (he moves around the post towards his desk) Let’s hope your brother’s got the proof.

SL: What if he hasn’t, Sheriff? What if he can’t find that girl? Or what if he finds her and he can’t get back in time? You know as well as I do that if you turn me over to them, I’m nevah gonna get to Denver alive.

The Sheriff has been sipping at his coffee throughout.

Sheriff: You askin’ for more time?

Close up of Scott.

SL: Time isn’t going to do me any good, because it’s only gonna force them into trying to kill me again.

Close up of Sheriff, as Scott’s voice continues: Next time, I might not be so lucky.

Scott is on camera again.

He glances down before he continues: No, what I’m asking is—-

Sheriff: You want me to let you go.

Scott’s voice doesn’t register surprise or relief when the Sheriff says this. He just continues on in an even tone of voice.

SL: And I know it’s not an easy decision to make.

Camera shifts to the Sheriff, while Scott continues speaking: All I’ve got to give you is my word that I’m who I say I am and that I’ll be back later and prove it.

Sheriff: I don’t know, you’re askin’ a lot.. . . . give your brother another hour. . . if he ain’t come back by then—(he sets the coffee mug down on the stove, Scott shifts his arms, his movements in anticipation of what the sheriff is about to say) You can go.

Sheriff turns to face Scott now, his right arm resting on the post and pointing with his left hand.

Sheriff: You’d better be telling the truth—you’ll have me trackin’ ya along with them two.

Scott, serious expression through the bars, nods in comprehension: Thanks, Sheriff.



SCENE 15

Julie and Johnny arrive. The pull up in the rig, and Johnny gets out. He tries to offer her a hand down and she manages to climb out without allowing him to touch her. She is still clutching Jonas’ saddlebag to her chest, along with her purse. They step up onto the sidewalk and Johnny puts his hand on her shoulder to guide her to the jail.

Inside the jail, the Sheriff is seated. He rises as they enter.

JL: This is Jonas’ sister.

He steers Julie over towards the cell and gestures at Scott who is standing inside, smiling in greeting.

JL: She’ll clear ‘im.

Scott nods at Johnny, who turns and faces Julie expectantly. The Sheriff is also watching her intently.

Sheriff: That man Jonas Barrett?

Camera closes in on Julie, she doesn’t answer. Shift view to Scott and Johnny. Scott stands near the bars of the cell with his arms at his sides. He looks at Johnny, who is standing a bit in front of him, staring at Julie. Another close up of her.

Sheriff: Well, Miss Barrett?

Camera tight on her once more. Music plays. Silence lengthens—shot of the brothers again, Scott starting to look a bit apprehensive, close up on Johnny. Shot of Julie, as she starts to open her mouth to speak, then shift to Johnny who says her name.

Back to her, she shakes her head “yes”, then says the word.

JL: Julie, don’t do this.

Behind him, Scott has raised his hands to grasp the bars.

JB, turning away: Yes, it is Jonas.

JL: Julie! (he comes to stand immediately behind her) Tell him the truth.

JB: Can I go now?

JL, emphatically: She’s lyin’, Sheriff, she’s lyin’.

The Sheriff removes his hat and runs one hand through his hair.

JL: You wanna know why she’s lyin’—because Jonas is dead. (he grabs her arms and turns her to face him) Isn’t that right Julie?! It’s because of me he’s dead! (shouting) Isn’t that right!? (he shakes her)

Sheriff, calmly: Where’s the body?

JL, keeps his eyes on Julie as he answers: He got washed away, Twin Rapids.

Julie breaks free and runs out the door.

Sheriff, to deputy: Get the bounty hunters.

The deputy walks out the door, the Sheriff follows after him.

Commercial break.



SCENE 16

Johnny grabs the keys off of the post to unlock the cell door.

SL: Why would she lie now, Johnny, what happened out there?

JL, with bowed head as he works the lock: I killed him, Scott, we got in a fight and I killed him.

SL: You’ve gotta to back there and make her realize killing me isn’t going to do any good. Her brother’s dead, there’s no sense in lying about that now.

JL, through the bars: I can’t, Scott, don’t you understand, that I can’t! I killed her brother. Now, c’mon.

SL: What are you doing?

Johnny opens the cell door, Scott strides over and grabs the door with both hands and pulls it closed again.

SL: Nooo. Besides the sheriff and his deputy, there are two hungry bounty hunters out there, the odds aren’t very good. (he points out through the bars)

Shot of Johnny with the shadow of the bars on his face: Scott, I’ve had worse!

Close up of Scott: Well, I haven’t, so you go out there and you convince her.

JL, shouts: I can’t! Don’t you understand that I can’t!

He turns away from the cell with a distraught expression on his face. Then Johnny sees the saddlebag on the floor, and bends down to pick it up. Behind him, Scott looks on with one arm resting on the bars, a concerned expression on his face.

Johnny lifts the flap of the saddlebag and then the scene fades out.



SCENE 17

Julie is outside on the sidewalk sitting in a wooden chair., holding her purse in her lap. She gets up and goes inside the depot. There is actually a man behind the counter this time and she buys a ticket.

Johnny walks in, carrying Jonas’ saddlebag.

JL: You left this, Julie.

JB: Give it to me and leave me alone.

JL: No, not until you listen to me.

She stands there in front of him, holding her ticket and puts her hand to her face.

Close up on JL: Julie, you can have your revenge, but not with him. He’s innocent.

Julie looks at him: So was Jonas.

JL: Was he? He had changed. You knew that the minute you saw him.

JB: Just give it to me and leave me alone.

She snatches the saddlebag and moves away, towards the bench beneath the windows.

JL, shouts: Open it up! Go on, open it up!

She sits down, hugging the saddlebag to her chest.

JB: He’s innocent!

Johnny walks over and crouches down in front of her.

JL: Jonas said he’s never been to Denver, right?

Julie nods.

Johnny yells, slaps his hand against the bench: Is that right?!

She nods again.

JL: All right, go ahead, look!

She looks up at him, tears running down her face.

JB: You’ve opened it, you’ve looked in it.

JL: After what I’ve done, do you think I’d stop at that, Julie, do you think I’d stop at that?

JB: Can’t you leave me anything? You’ve killed him, isn’t that enough?

JL: They’re gonna kill my brother, Julie, do you understand that, they’re gonna kill Scott!

JB: Please, go away, leave me alone. (louder) Leave me alone!

Sad music plays. Johnny looks at her for a moment, then gets up and leaves.

She puts her hand to her forehead, crying. Finally, she opens up the saddlebag on her lap, takes out some papers. She stares at one for a long time, then brings it to her face, crumpling it up as she cries into it.



SCENE 18

At the jail, we see the two bounty hunters. Lucas takes a hat off of the rack and carries it over to Scott and the Sheriff. Scott is out of the cell, wearing his nice jacket.

Sheriff: Take him, Lucas, he’s all yours.

Scott glances at the Sheriff, who doesn’t make eye contact with him.

LT: C’mon. Then he says it again, and takes Scott’s shoulder. Scott is holding his hat in front of him with both hands, looks down at it with a little smile playing about his lips. He takes a few steps, then stops and with a serious expression, very deliberately places his hat on his head. Thatcher gives him a push from behind.

They exit, leaving a shot of the Sheriff standing watching them, his hand holding a bar of the cell.

Outside, Scott is obviously looking around.

Wade tells him to “get in the wagon”, and Scott complies, steps up and in, still looking around as he crosses his wrists. He really does this ahead of time as he isn’t even seated yet. Wade Hackett ties Scott’s wrists.

Shot of Johnny crouched on the boardwalk, he steps down into the street. He stands there, then camera shifts to Scott in the wagon, and we know Scott has spied his brother.

Lucas is driving, he starts the team.

JL: Go Scott! He starts firing, fanning his weapon with his left hand.

Scott goes into action, shoving Wade out of the wagon bed, then standing up and taking a swing at Lucas with his bound hands. Then Scott leaps from the wagon, lands on his back with his feet against a water trough. Johnny is still shooting. Scott scrambles to his feet and takes off running down an alley, while Johnny is shooting it out with the two bounty hunters.

We see that Julie has run out of the depot, still clutching the saddlebag. There is the sound of more shooting. The Sheriff comes out of the jail. Johnny runs after Scott, while Lucas and Wade keep firing.

Sheriff: Lucas! (the deputy is right behind him with a rifle, the Sheriff has his gun drawn.)

LT: It’s the prisoner, he escaped and the other man’s shooting at us.

The Sheriff moves off, followed by the deputy. Quick shot of Julie, then cut to Scott, who is behind a building. His hands are still tied. We hear a dog barking. Scott picks up a stick lying on the ground, it looks like the handle to some tool. He’s looking over his left shoulder, waiting for someone to come around the corner.

Johnny comes running down the alley, he has his gun drawn, turning to face the direction he’s coming from as he slips behind the building.

Great timing here! Scott is ready to swing the stick just as Johnny turns and sees him. JL says “Whoa!” and ducks, puts his hand up. Scott reacts, he’s relieved, lowers the stick, they stand shoulder to shoulder with their backs against the wall. Johnny reaches across his body with his left hand to touch Scott.

SL: Good to see you. (he smiles)

JL: You all right?

Scott nods.

Cut to a shot of the Sheriff standing with his deputy and the two bounty hunters. He directs the deputy to go one way, and Lucas and Wade head up a set of stairs. Quick shot of Julie, looking around.

Back to the Lancer brothers, we can see the Sheriff starting down the alley towards them, but they can’t see him yet. Johnny looks around the corner.

JL: Sheriff.

Sheriff: Drop your gun.

JL: What d’ya mean, ‘drop my gun’, they woulda killed him.

Sheriff: I said drop it!

Scott lets go of his own “weapon’ with a sigh. Then suddenly, the deputy strikes Johnny from behind with the stock of a rifle. Scott goes after him, they struggle.

Up above, Lucas looks out of a window.

Back on the ground, the Sheriff has Scott under control, while the deputy is helping Johnny stand.

Wade joins Thatcher at the window, both have guns ready.

We hear Julie’s voice: He isn’t Jonas! He isn’t Jonas!

Lucas is about to shoot, but Wade taps his arm to stop him in response to Julie’s cries. She is seen running towards the lancers and the two lawmen, still clutching the saddlebag.

JB: I lied, I’m sorry, I lied! I lied. Please don’t shoot him. I’m sorry.

She gestures, her mouth moves but no more words come out. Johnny gives her a long look, then she turns and runs away.



SCENE 19

Johnny is leaning over a water trough, putting some water on the back of his neck. Across the main street, Julie is seen coming out of a building.

Johnny straightens, sees her. He shakes the water from his hand. She disappears inside, and he walks across the street.

Inside the stage depot, Julie sits down. Johnny enters and leans on the counter, looking sideways at her. She does not look at him.

JL: Where you goin’ Julie?

JB: Back home.

Johnny walks over to her, kneels beside her chair.

JL: Some how I never got around to askin’ where that was.

JB, finally looks at him: No, you never did.

Johnny looks down: You know that ranch? It’s there, just like I said it was. It’s waitin’ for you.

JB: It’s no good, Johnny. Thank you for asking me, but I gotta go home . . and I gotta. . I gotta start making a new life for myself now. (pauses and smiles) Least I know if I ever need a place with green rolling hills, I got one to come to.

He looks and her and she meets his eyes. His head moves towards her a little bit, then finishes. They kiss.

Julie smiles again, then gets up and walks out. Close up on a pensive Johnny.

Outside, Julie stands on the boardwalk, waiting for the stage. Scott moves into view, standing not too far from her. She seems to see him, then looks away towards the direction that the stage will be coming from. He stands with his arms crossed, looking straight ahead as the stagecoach arrives.

When the vehicle pulls up, Scott bends to look inside. Murdoch exits, helping Julie in.

SL: Well, how’d it go?

Murdoch: It went fine, real fine, bought a thousand head. They look real good.

The stage departs, Johnny comes out to join them.

ML: Should be getting ‘em in about a week. (he greets his younger son) Johnny! Feel like going back?

They start walking down the sidewalk.

ML: You boys look rested, you find something to do while I was gone?

SL: No, nothing.

ML, chuckling: You must have found something.

JL, rubbing the back of his neck: No, Murdoch . . . we just watched the dust settle.

Johnny walks on, then Scott, followed by a smiling Murdoch. Shot of the street with tracks left by the stagecoach. We see the three Lancers mount their waiting horses to head for home.


THE END

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