Transcript: The High Riders

AIRED : 24 September 1968
Directed by: Sam Wanamaker
Teleplay by Dean Riesner
Story by: Samuel Peeples

Guest stars:
Joe Don Baker as Day Pardee
Paul Fierro as Cipriano
Sean McClory as Coley McHugh

THANK YOU TO LEO FOR THE TRANSLATIONS!!

SCENE 1

Scene opens, with long shot of the ranch at night, as the credits run.
Then we see two men on horseback riding away from Lancer leading another horse. A man we will come to know as Murdoch Lancer is seen standing and firing after them.

ML yells: “Paul!”

Paul and Teresa come running out of the house.
ML shouts, “Horse thieves, they’ve got the stallion, come on!” Murdoch runs past them.

Paul goes after ML while telling his daughter: “Teresa, get back in the house.”

Shot of the horse thieves as they ride through the Lancer arch with the stallion, then Paul and ML on horseback are seen following after them. Paul has dark hair and Murdoch is grey. Both men are wearing plaid shirts. (in black and white, the shirts seem to be identical, making it appear they are dressed in twin fashion.)

Dawn is breaking, and ML and Paul are tracking the thieves. Close up of tracks on the ground. They ride into Morro Coyo. The streets are deserted.

ML calls out: “Don Valdemerro? Anybody!?”

A man looks out of one window through parted curtains. Another man peeks out from a different window. ML and Paul slowly ride their horses through town. There is a nice shot of them through an archway.

Shot of the bell tower —a man with a shot gun is up there, watching ML and Paul. They are just outside of a set of stable doors when they hear the sound of a horse. ML dismounts. There is another shot of the man in the bell tower. Murdoch opens stable door–the stallion is there.

ML: “Easy boy, we’ve come to take you home.” Murdoch goes inside the stable, we can see through the doorway that Paul is still on his horse.

Gunshot! Paul falls to the ground. Murdoch runs out and shoots at the man in the tower—-he hits the bell. The man fires back, hitting ML’s hand, causing him to drop his gun. Murdoch clings to the support post, then he is shot again and falls to the ground. The stallion runs out. We see the shooter leaving the bell tower. Later we will learn that the gunman is Day Pardee.

ML is lying beside Paul. ML looks up in pain. Paul is motionless and there is a bullet hole in the back of his plaid shirt. (closer up, we can see that the plaids of their shirts are not identical.) ML starts trying to crawl forward.

SCENE 2

Bells sound we see an evening city skyline, a glimpse of a sailing ship and the word “BOSTON” appears.

Outside of a very nice house, soft music is playing. Inside, a young man reclines in a chair, facing a very attentive young blonde woman who smiles and drops an earring into a champagne glass, then leans forward and kisses her companion. There is a knock on the door.

A man’s voice: “Barbara!”

The young woman reacts: “My father!”

Barbara’s father: “Open this door!”

Barbara pulls the blond man to his feet: “Please, my father!”

He is very elegantly dressed, wearing a white ruffled shirt, black jacket with boutonnière and black dress pants. She frantically tries to pull him across room and he tugs back. We will soon learn that the well-dressed young man is Scott Lancer.

SL: “My cape.” SL reaches back and grabs his cape.

Barbara’s father voice is heard: “There’s somebody in there with you, Barbara, and I know who it is!”

Barbara goes to door; she is very elegantly dressed in a very tight,sleeveless gown. She urges Scott to: “Hurry! Hurry!” The knocking continues, but Scott takes his time, gathering up not only his cape, but a hat, walking stick and an apple from a bowl of fruit on the table.

Barbara’s father: “Barbara!”

Barbara runs over to Scott, who kisses her, and then takes a bite from the apple: “Much as I hate to eat and run . . . ” He heads for the balcony.

Barbara’s father: “Open this door! All right men, break down the door.”

Barbara watches SL. Exiting, Scott tosses the apple away and hops over the balcony just as three men burst in Barbara’s room.

Barbara’s father: “The window! The window!”

One man yells:”Stop!”

Barbara’s father is heard: “The other way! The other way.”

SL is seen down below, dusting himself off.

Barbara’s father: “Well, Barbara, why don’t you explain it to me then?”

Barbara: “I can’t!”

Barbara’s father: “Why not?”

Barbara crying says, “Because you’d think it’s something…”

Barbara’s father interrupts: “Because you’re lying!”

Barbara’s father: “All right, Barbara you can dispense with the crying.”

Barbara is heard crying and the balcony doors are shut. SL picks up his top hat, and walking stick, puts the hat on and starts walking, whistling as he walks.

A man steps out of the shadows, wearing a regular suit and hat, not the evening clothes that Scott has on.

Stranger: “You’re Scott Lancer?”

SL points his walking stick at the man: “And if I am?”

Stranger: “The son of Murdoch Lancer?”

SL: “So I’m told. Never met the gentleman myself.”

Stranger: “Lawby’s the name, Pinkerton office. We find people.” Agent Lawby hands SL a card.

SL, dismissively: “Well, I haven’t lost any. So . . . . much as I’ve enjoyed our little conversation…” Scott starts to walk away.

Lawby: “Your father wants to see you and he’s willing to pay for it.”
Scott stops and listens as Lawby continues speaking behind him.

Lawby: “All expenses to California and a thousand dollars for one hour of your time.”

Scott has no immediate reaction, then the scene shifts very abruptly——

SCENE 3

A blindfolded man yells in Spanish, “Viva la Revo—!” then gunshots are heard and he falls to the ground dead. The word “MEXICO” appears on the screen.

A Mexican officer, wearing a suit, a large hat and holding a cigar approaches two more men who are kneeling on the ground. One is bareheaded and he looks at the prisoner on his left, who is wearing a large sombrero-type hat. Apparently the officer is yelling in Spanish at the prisoner in the hat; telling him: “Get up, you’re next, I’m telling you to get up!”

He responds in Spanish, it sounds as if he is saying “lucion,” completing the words of his fallen comrade. He slowly gets to his feet. As he leans forward, the hat falls to the ground. He is a young man with dark hair, dressed in white with a necklace of some sort around his neck. His hands are tied and it appears to be his turn to face the firing squad.

Suddenly, a man in a horse drawn wagon comes riding fast down the road, yelling: “Hold up there!…Wait up there!” He reins the horse up yelling several times, “Whoa….Whoa…!”

The stranger addresses the man in charge: “I’m looking for a man named Madrid. Johnny Madrid. Your captain back in the village said he might be one of your prisoners.”

The prisoner steps forward: “I’m Madrid.”

Stranger, relieved: “Well, finally found ya.” He gets off wagon; he is wearing a business suit, vest and tie, with a roundish hat. He has a mustache and a round face.

The stranger addresses the officer again: “Senor, it’s, ah, muy importante that you not kill el Senor Madrid. Savvy?” (He takes out a billfold) “La vida of El Senor Madrid is worth muy dinero.”

He shows the money, asking once more: “Savvy?”

The man in charge smiles and nods. He says “mucho gusto”, indicating that he is pleased to accept the money, then holsters his gun. Several of his men can be seen standing behind him.

The man hands him some cash: “That oughta do it.”
He puts the billfold away and heads for Johnny Madrid.

In the background, the Mexican officer shows his other men the money. The stranger unties Johnny.

JM: “Why are you doing this?”

Stranger: “I’m a Pinkerton Agent. Your father wants to see you.”

JM: “Lancer?”

Pinkerton Agent: “Willing to give ya a thousand dollars for an hour of your time.”

The Mexican soldiers are talking loudly in Spanish. They are talking about having dinero for the cantina, then the word ‘fire’. Johnny realizes that they are going for their guns and he grabs the agent’s weapon, pushing him down and firing back. He quickly shoots two of them while helping the agent to his wagon.

Pinkerton Agent: “Shall I tell your father you’re coming?”

Johnny shoves one of the other prisoners into the back of the wagon and runs towards a saddled horse, jumping on to it.

JM: “For a thousand dollars I’d even go to hell!”

One of the Mexicans shoots at the wagon, and Johnny drops him, then rides off in the opposite direction.

SCENE 4

Opens with a road and an approaching stagecoach.

Johnny Madrid Lancer is climbing up a hill towards the road. He’s wearing dark pants with silver buttons up the sides and as well as a cowboy hat and boots with spurs on them. He is carrying his saddle and a jacket. Johnny stands in the road and the driver stops the stage.

Johnny strolls over and puts down the saddle: “You goin to Morro Coyo?”

Stagecoach driver: “Unless I’m lost.”

JML: “You mind if I get a lift?”

Stagecoach driver: “Sure thing. We’ll take care of that gun of yours.”

JML thinks a moment, takes out his guns and then tosses it up to the driver: “Sure.”

Scott Lancer peers out of the stagecoach window: “Seems like we’re picking up another passenger.” He puts on his hat. There are other passengers on board—-opposite Scott, there is an old man, with two older women seated on either side.

Johnny opens the door and looks inside, gets in and shuts the door. The driver yells at horses and they take off before Johnny sits down. He falls over onto Scott, then finally sits down in between Scott and a monk. Scott is holding a book in one hand and reaches up to adjust his hat with the other.

Johnny touches Scott’s jacket.
JML: I didn’t mean ta…… mess up your outfit.”
Scott is wearing a suit, ruffled dress shirt and a round dress hat and gloves.
SL responds, rather tiredly: “Can’t be helped.”

The stagecoach passes a sign that reads: “MORRO COYO 10 MI”.

SCENE 5

The stage arrives in town. A young, dark haired girl is sitting in a wagon and waiting with two men who look like cowboys/ranch hands. She smiles as if she has been watching for the stage.

The stagecoach passes by and one of the men helps the young lady down. She is wearing a bonnet with a bow tied under her chin, a dress and a jacket over it.

The coach stops and the door opens. Johnny exits first, and retrieves his gun from the driver. Scott gets out next, holding his hat in his hand. He looks around briefly, then busies himself getting his luggage from the top of the stage.

The young girl, who we will learn is Teresa O’Brien, Murdoch Lancer’s young ward, approaches the stage, looking a bit puzzled. She glances at her two companions, they just shrug.

Teresa: “Ah, Mr. Lancer?”

SL: “That’s me.”

JML: “Yeah.” They speak almost simultaneously. They look at each other.

TO: “Ah, I’m sorry. Which one of you said. . . .?”

JML and SL: “I did.”
They both look at Teresa. Then SL looks back at JML, who is slightly behind him.

Teresa seems to understand, even though the two young men are confused. She points: “You’re Johnny.”

JML: That’s right.”

TO: “Then you’re Scott Lancer.”

Walking towards them JL shuts stagecoach door: “No, m’am. He’s no Lancer. My mother only had one kid and that was me.”

SL says “Likewise” in a rather harsh tone. He looks at JML and JML looks at him.

TO: “Oh, well we didn’t expect you both at the same time, but…but actually you’re right. It’s Mr. Lancer that had two.”

SL: “Two . . what?”

The two ranch hands behind Teresa look at each other.

TO: “Wives …. and sons. You two.”

Scott turns very slowly to look at Johnny. He seems a bit stunned. JML grins, looking up and down at Scott, clearly amused by his attire.

SCENE 6

JML, SL and Teresa are riding along in a horse-drawn wagon, the two Lancer ranch hands ride on horseback following them. Teresa has the reins, SL is seated beside her and JML is riding in the wagon bed with their belongings,

SL: “Tell me, Teresa. (he pronounces it ‘Teh-RAY-sa’)You work for my father?” He glances back at Johnny, then amends his statement: “Our father.”

TO: “I was born on Lancer. My father was the foreman here for fifteen years.”

SL: “Was?”

TO: “Well, he was murdered last November. At the same time Mr. Lancer was shot.”

JML looks at her over his shoulder: “Murdered by who?”

TO: “Mr. Lancer will tell you that. What he won’t tell you is…. how much it means to him that…. well that you’ve both come here.” The brothers look at each other.

They ride a little further and then Teresa stops the horses. There is a panoramic view of Lancer, with majestic mountains off in the distance and the hacienda down below. JML and SL both slowly stand up, staring.

TO: “There it is. As far as the eye can see. The most beautiful place in the whole wide world. Lancer.”

JML closes his eyes briefly, then looks again. SL gives slight nod. They are clearly impressed. They both slowly sit down and the wagon continues on with the two ranch hands following them. The Lancer theme music plays and we see more of the scenery.

As they get closer to the main house, we see a man standing up on the roof, he seems to be a look-out. He’s shouting in Spanish and waving his arms. One word that he repeats is “Muchachos!”, “boys” or “guys” and he telling his friends that “they’re coming!” He is signaling the arrival of Teresa and the Lancer sons, as we see shots of the Lancer employees reacting, hurrying about. The lookout continues calling out, we hear the name “Cipriano”, followed by a shot of a large Mexican man holding a calf in his arms. We also have a shot of Murdoch Lancer as he watches the arrival through a window.

Some of the Mexican workers are hurry to move a cart out of the way of the approaching wagon, then stand on either side as Teresa drives past. Some of them remove their hats, wave, even bow.

When the wagon stops, there are hands ready to tend to the horses. We see SL jump down from the front seat and Johnny is just starting to climb out of the wagon bed when the scene suddenly cuts to—

SCENE 7

Shot of a hand holding two photographs. One is a square framed photo of a woman in a white dress, a formal pose. The smaller photo is round with an open cover, a portrait of a woman wearing a dark colored dress. Both of the women have dark hair.

The camera pulls away and we can see that it is Murdoch holding the photographs. There is a knock on the door as he sets the pictures down on his desk.

ML: “It’s open.”

Now we are looking across the room at a set of double doors, arched at the top, with a few steps leading up to them. Other furnishings are visible in the large room, including bookshelves lining one wall.

The doors open into the room. Scott is first, Johnny close behind.

They come down the steps. The camera shifts to Murdoch, seated at his desk in front of a large window. Murdoch gets up, using a cane. He is wearing a jacket that seems to be made of a corduroy material, over a white checked shirt, no tie. The pov moves so that we are now behind ML as he looks at the two young men.

Scott on the left, has a tan suit, ruffled shirt and cuffs, and is wearing a tie. Johnny has a trimmed bolero jacket over an embroidered shirt.

Scott is holding his hat in one hand, using the other to unbutton his suit jacket. Johnny is still wearing his hat. Both of them remove their gloves, Scott places his inside his hat.

Close up of Murdoch.

Close up of Scott.

Close up of Murdoch.

Close up of Johnny.

Silence. Murdoch studies his sons and they each look back at him. Their solemn expressions do not give much away.

Finally, Murdoch asks a question.
ML: Drink?

Scott steps forward. “No thank you,” he says firmly.

Murdoch turns his attention to Johnny, pointing at him with his cane. “You drink, don’t you?”

JML: “When I know the man I’m drinkin’ with, yeah.”

Close up of Murdoch, he has a very slight smile this time.
ML, to Johnny: “You got your mother’s temper.”

Johnny stares at him, slowly removing his hat.

ML to Scott: “You’ve got your mother’s eyes.”

There is a subtle reaction from SL at this, he tilts his head back a bit, but doesn’t speak.

ML: “I want a drink.” He turns away.

Johnny steps forward, holding his hat. “You got something to say Old Man—say it.”
His voice is deceptively soft, with an edge.

Murdoch whips around at that. Close up of Johnny, followed by one of Scott. ML considers this, then abruptly turns and walks back towards his desk, leaning heavily upon his cane. His sons stand side by side, watching him.
Still with his backed turned to the brothers, Murdoch opens the cover of a leather binder on his desk and removes two envelopes, placing them side by side near the edge of the desk top.

ML: “A thousand dollars a piece.”

He circles around to his chair and sits. Johnny swiftly crosses the room. Scott only takes a step or two. When Johnny approaches the desk and picks up his envelope, Murdoch tells him, “Maybe you better count it.”

JML: “I plan to.”

In a slightly softer tone, Murdoch addresses Scott, “Come and get your money.”

Scott replies, “I’ll settle for this drink,” then starts towards the table, halting at ML’s next words.

ML, louder and more gruffly: “You’ll do as you’re told.”

Scott looks back at him, stopping short, and says, “Will I?” in almost the same tone.
Close up of Murdoch, then shot of Johnny as he looks up for ML’s reaction.

ML: “I want no favors from either one of you.”

Scott regards him with a serious expression, then slowly smiles, glancing down. “Far be it for me to spoil a family reunion,” he says in an ironic tone.

Johnny is still standing in front of the desk, counting his money.

Scott approaches, puts his hat and gloves down, then reaches for the remaining envelope. He picks it up with his left hand, transfers it to his right and then slaps the envelope against his empty hand. Gesturing with the envelope, he looks across at Murdoch and says “Thanks.”

Close up on Scott as a thought occurs to him. “What do I call you. .. under the circumstances, “Father” hardly seems. . . .”

ML’s voice cuts him off, while the camera stays on Scott: “Call me anything you like.”

Close up of Murdoch. “We’re strangers to each other.” (he looks away) “Maybe that’s my fault, maybe it isn’t.”

Scott shakes his head. “Oh . . . no apology necessary.” He says this in a polite, perfunctory manner, but Murdoch replies angrily.

ML: “You’ll get no apology from me!”

Both young men are standing in front of the desk. Johnny is still holding his envelope but Scott’s seems to have disappeared. Murdoch gets up slowly and comes around the desk again.

ML: “If the air needs clearing, let’s clear it.”

He stands in front of Scott. We see the back and side of SL’s head while ML speaks.

ML: “Your mother’s family thought she was daft to marry me, not a year off the boat from Inverness. And maybe they were right. You were born, she died, I left you in their hands. Period.”

Close up of Scott, who drops his eyes from Murdoch’s gaze but gives no other reaction to his father’s words.

Next Murdoch turns to Johnny, we see him in profile, then he slowly turns to look at ML once his father starts to speak.

ML: “A couple of years later, I met your mother down at Matamoros. (he pauses) She . . . we got married. Two years after that, I awoke one morning, found her gone, you along with her.”

Close up of Johnny: “That ain’t the way I heard it!”

Back to ML: “I don’t care what you heard! It’s past. Bad or good, right or wrong, it’s passed and gone.”

Shot of Johnny, then camera pulls back to show the three of them.

ML: “We’re talking about now.”

He walks away from them to gaze out the huge window behind his desk, gesturing at the view of the ranch. “What’s happening out there, to this ranch.”

Johnny has been holding the lapels of his bolero jacket; now he slips them into the waistband of his pants. Scott sits sideways on one leg on the front edge of Murdoch’s desk.

SL: “The girl Teresa said you were having some trouble.”

Murdoch turns back to face them. “Last fall, somebody made off with one of our horses. My Segundo and I trailed him to a place called Morro Coyo—we walked right into it. O’Brien was killed and I ended up with this leg that’s gone sour on me.”

Behind him, through the window, we can see workers moving about outside. Then there is a shot of the two young men listening as he continues.

“Since then, my fences have been cut, beef stolen, workers frightened off, burned out. Three months ago, I had one hundred and fifty vaqueros, now I’ve got eighteen.”

Close up on Johnny, who lowers his eyes with a smile playing about his lips.
JML: “Well then that’s the, ah, ranch you’re worried about, huh?”

Murdoch gives him a look, then turns back to face the window.

ML: “I love this ground more than anything God ever created. I’ve got a grey hair for every good blade of grass you see out there. They’re trying to run me off this place.”

JML: “Who?”

Murdoch turns, resting his arm along the back of his leather desk chair.
“You’ll hear ’em called ‘land pirates’—-that’s close enough.”

Johnny is still standing with his hands in his waistband, flat against his stomach, Scott is still seated sideways on the front of the desk.

SL, reacting to Murdoch’s statement, gesturing with his right hand: “You mean to tell me that men can just come along and drive you off of your land?”

ML: “They’re doing it. Since I was hit, they’ve taken three other estancias.”

SL: “What about the Law?’

ML: “There isn’t any.” He starts to walk around his desk, towards the liquor table. “They killed two good men, Joe Carbajal from Modesto, Peterson from San Jose.”

Scott turns as Murdoch moves past him, so that he is now sitting on the desk edge facing Murdoch, supporting himself with his hands on either side. Johnny moves one hand to rub at his face, then slips it back into his waistband.

ML: “The others quit, found business elsewhere.” He pours himself a drink, then sits on the edge of the table. “The only Law we got here is Pack Law . . . the Big Dog gets the meat. By summer, they’ll own half of this state.” He takes a drink for the glass in his hand.

Johnny steps towards Murdoch. “Big Dog got a name?”

ML: “Pardee.”

JML, with recognition: “Day, Day Pardee?”

ML: “You know him?”

Johnny replies as he steps closer, “Oh yes, I know ’em. He’s a gunfighter and he’s pretty good.” JML moves closer, smiling at Murdoch, “Yeah, I’d say you have some kind of trouble.”

In the background, Scott is still seated on ML’s desk, listening. There is a close up of Murdoch, but before he can respond to Johnny’s statement, we hear Scott’s voice.

SL: “Just how many men does he have, this Pardee?”

ML: “Twenty or twenty five.”

SL: “That doesn’t exactly put him in a class with Attila the Hun.”

Johnny glances over his shoulder at Scott, while Murdoch tells Scott: “You’ve got the floor.”

Scott gets up to walk across the room, towards a wall with a map next to a large model of a ship sitting on a cabinet.

SL, talking as he crosses the room: “Well, it seems to me you have a very simple military problem here.” (he gestures at the large map on the wall) “One, find the enemy.” (Scott glances at Murdoch) “Two, engage him. Three, destroy him.”
He turns towards Murdoch and Johnny as he concludes his assessment.

Murdoch glances at Johnny, who looks back at ML, then laughs.
Scott is not pleased. SL: “Something funny?”

Murdoch takes another drink, he’s still perched on the edge of the table behind the sofa. Johnny sits down on the arm of an easy chair, as Scott walks towards them. Murdoch sets his glass down, then rests one hand on his knee.

ML, to Scott: “Um, he’s saying it’s not that kind of a fight.” (to Johnny) “But you could be wrong. I’ve got eighteen good men, only the best stayed. You two make twenty.”

Johnny snorts out a half laugh, “Now wait a minute. This is listenin’ money. Now all of a sudden you’re talkin ’bout gun money. Well, let me tell you somethin’, that’s extra. That don’t come on no lunch.”

ML: “I want more than your guns.”

JML: “What more?”

The camera moves back and forth between them as they talk Scott can be seen standing right behind Murdoch, listening intently, although he doesn’t speak.

Murdoch responds to Johnny’s question, looking at him and speaking very slowly and deliberately: “I want your arms, and your legs, and your guts, if you got any.”
After he says “guts”, ML turns to look at Scott, then back at Johnny.

Johnny gives Scott a sideways glance, then replies: “All right, say I come up with all these arms, legs and guts you’re talkin’ about.” ( a small smile plays aobut his lips as he recites the list) “What do you come up with?”

ML: “One third.”

JML: “Of what?”

ML: “Everything you see out there.” He points out the large window behind his desk.

Scott turns his head to look out the window as Murdoch points, while Johnny gets up and walks towards the window to look out at the ‘everything’ that Murdoch is talking about.

ML: “One hundred thousand acres, twenty thousand head of beef, the finest campagneros y palominos in the San Joaquin.”

Johnny stands with his thumbs hooked in the front of his belt, “One third huh?” Turning back to Murdoch he adds, “You wouldn’t mind putting that down on a piece of paper, would yah? No offense.”

Murdoch steps over to him, pulling out a long billfold from his jacket and offers up the piece of paper to Johnny, asking, “Will this do?”

Johnny accepts the paper, as Scott approaches. Murdoch explains what the document is: “Agreement of partnership, equal shares to each of us, but I call the tune. Agreed?”

Scott smiles and nods his head in the affirmative. Johnny glances at Scott, then smiles at Murdoch, shaking his head and tries to hand the paper back to him, saying: “You didn’t sign it.”

ML: “Nothing for nothing. ” He takes the agreement back from Johnny. “You’ll get your share of this ranch when you prove to me you’re man enough to hold it.”

JML: “When’s that?”

ML: “When you get the man that put the bullet in my back.”

Johnny asks skeptically, “Pardee?”

ML: “That’s the one.”

JML: “Well let me tell you old man, you want a lot.”

Murdoch simply says, “Take it or leave it.”

A bell rings and we never get to hear Johnny’s answer. Murdoch says: “Fire, come on!” The three men rush out of the room.

SCENE 8

Outside, a man is seen pulling the rope to ring the fire bell.

Dramatic music plays and we see scenes of burning fields, men and horses hurrying past. Men are working with shovels, others are using pieces of cloth to try to beat back the flames. There are some women, with buckets of water, and more than just eighteen men. People are shouting and the music continues.

Murdoch is glimpses chopping at the stalks of the plants, corn perhaps. Teresa is beside him with a bucket of water. Both brothers are hard at work.

Murdoch shouts to be head above the activity: “Let it go!” He says that the fire got too much of a head start. “Let it burn up to the ridge!”

He walks past, with Teresa following him. Scott and Johnny stand side by side. All of them are sooty and grimy. The brothers no longer wear their jackets; Johnny’s shirt is untucked, Scott has his sleeves rolled up and we can see his suspenders against his formerly white shirt.

TO, to ML: “Isn’t there something we can do?”

ML: “No the field’s gone, darling. It’ll burn itself out by nightfall.”

Murdoch addresses his sons, “Take a good look at it! It’s the third field that Pardee has destroyed. I told you you’d have to fight to hold on to this place. What do you say?”

There is a pause, then Scott finally speaks, “I’ve already given you my answer.” Johnny half turns at his words.
Murdoch looks to Johnny: “What about you, Boy?”

JML: “I hate to see my property go up in flames.”

SL corrects him: “Our property.”

Murdoch starts to smile, but doesn’t quite manage it.

SCENE 9

Cheerful music plays. We see Scott standing in front of a dresser with a mirror, shaving. He is wearing a “long john” type long sleeved shirt, with the sleeves pulled up, and has a towel over his shoulder. He is looking in the mirror as he uses a straight razor to scrape shaving soap off of his face. In the mirror behind him, we see a carved wooden door open and Johnny appears.

Johnny is wearing his same pants, but has a white shirt draped over his left shoulder. One stocking foot and he’s holding a boot.

Scott looks back over his shoulder.
SL, drily: “Come right in.”

He wipes the razor on the towel. In the mirror we can see Johnny lean back against the doorframe to pull on his boot. Scott folds the razor, picks up something from the top of the dresser. It looks like either a small oval box or an oval brush of some sort.

Scott turns and walks towards the other side of his large bedroom. Johnny is still near the door, starting to put one arm into his shirt.

SL: “Sleep well?”

JML: “I always sleep well.”

Set up of Scott’s room: against one wall, the dresser with the mirror where he was shaving. That dresser had a washbowl sitting on the top. To the right of that dresser there is another carved wood-paneled door, and further to the right there is a bureau, with a candelabra on the top and a painting hanging on the wall above it. This bureau is near the head of the bed, which has a carved headboard and another painting above it.

At the foot of the bed is a large chest with a striped cloth over it. Two of Scott’s traveling cases are resting on it, one suitcase is open. His fashionable hat from the day before is sitting on the bedpost.

On the other side of the bed is a sitting area of the room, with a comfortable looking chair and a round table in the center of the space. The table has a cloth over it and several items sitting on it. We can see that this area is carpeted. Behind the chair is a large casement window with a metal grill over it. To the right of the window is another piece of furniture-it looks sort of like a desk, and has a number of small drawers in the top section. Scott walks past Johnny to open one of the drawers and deposits the item he was holding inside. He is in stocking feet and wearing his famous, form-fitting, plaid pants.

JML: “Well now, will you look at this. . .”
Johnny steps over to the small round table. It has a patterned cloth and in the close up we can see a vase, papers and a book. He takes something small off of the table and holds it up to examine it. We get a nice glimpse of his bare chest. He has what looks like a small circular medal on a chain around his neck.

Scott looks back at him over his shoulder.
JML: “They’re all over the place.”

SL, wiping his face with the towel: “What?”

JML: “This . .this is a twenty dollar gold piece. Found one in my room too.”
He examines it. Scott comes back towards him, stops on the other side of the table.

JML: “It’s like guest money, ya know. . . save’s ya askin’ for a loan.”

Scott wipes the last traces of shaving soap from his face with the towel. Johnny is holding the coin out to him.

SL: “Nice custom.” His tone is dry, disinterested.
He turns away, leaving Johnny standing there holding out the coin.

JML: grins: “Teachers ya something. . . .” He flips the coin into the air and catches it, then again as he continues speaking. “Teaches you to never pass up a twenty dollar gold piece.”

Scott is over near the foot of the bed, folding his towel. He turns and gestures.
SL: “Help yourself, it’s yours.”

“Well, thank you,” Johnny says very quickly and puts the coin in his shirt pocket.

SL: “A third of it, anyway.” He looks at Johnny, not quite smiling, as if he is watching for a reaction.

Johnny pauses in mid motion. In close up, we can see that his white shirt with black buttons has white embroidery on it.

JML: “You talkin’ about that piece of paper he showed us?” Johnny picks up another hat from the foot of the bed. It has a fur hatband and a feather on it. He blows on the feather and brushes at it with his hand as he walks towards the mirrored dresser where Scott was shaving earlier. Scott has already taken the traveling case from the chest at the foot of the bed and carried it over to the bureau.

JML: “Let me tell you somethin’ about paper.” He puts on the hat, sideways, and looks at himself in the mirror. “You touch a match to it, ‘n (he walks away form the mirror towards Scott) it burns right up.”

Scott is unpacking items from the traveling case and placing them in a drawer.
SL: “You don’t give the old man too much credit, do you?”

Johnny, still wearing Scott’s hat, with his shirt still unbuttoned, leans his butt against the wall, resting one hand on the edge of the bureau. Then he removes the hat and tosses it into the air. “Well, I’ll tell ya. . . I don’t give anybody too much credit. . (camera on Scott as JML’s voice continues) saves a lot of disappointment.”

Johnny tosses the hat onto the large cloth covered chest at the foot of the bed, and steps towards the bed as Scott watches over his left shoulder. Johnny picks something up off of the bed, then sits down on the edge of the bed.

JML: “Well, would ya look at that.” He smiles. Close up of the framed photograph he is holding, of two men in military uniforms. Johnny points to the shorter, mustached man on the left. “Hey, who’s this other officer all smarted up?’

Scott, who has been watching Johnny over his shoulder, turns back towards the bureau and continues putting things away. “It’s General Phil Sheridan. I was in his unit during the War.”

Close up on Johnny, he raises his eyebrows at this information. “Very pretty.”

Scott turns to face Johnny, with a serious expression: “I photograph well.”

Scott starts to walk around the foot of the bed. “Yeah, you are kind of a (as he is speaking, Johnny lays back on the bed and rolls so that he can drop his legs on the other side of the bed) snappy dresser at that.” Johnny is now sitting on the other side of the bed, facing Scott who is headed towards the chair in front of the window. There appear to be some clothes draped over the chair.

Scott sits down, picks up a boot and flips it in the air, catches it and gets ready to put it on. Johnny asks a question: “What kind of a unit didja say that was?” just as the door on the other side of the room bursts open and Teresa offers a cheery good morning.

Scott rolls his eyes, flips the boot back the other way, dropping it to the floor as he gets to his feet. He stands with hands on hips. Johnny is leaning on his hands, still sitting on the edge of the bed and just looks at her over his shoulder.

SL, sounding testy: “Does anyone around here evah knock when they enter a room?”

Camera on Teresa, one hand on her hip. She is wearing a blouse and slacks with a belt. Her hair is gathered back in a low ponytail.
TO, dismissively: “Oh, think of me like a sister.”

She steps further into the room. The bed post with Scott’s round hat on it is directly in front of her; behind her, we can see that there is a painted design on the wall around the door frame.

TO: “Hey, Cipriano’s cut out two horses for you.”
Camera shifts to the brothers. Scott is lowering himself back into his chair, Johnny is still seated in the same position.

TO: “He’s waiting in the corral.”

JML: “Yeah, you tell him I’ll be right down.”

Shot of Teresa looking at Scott’s hat. She picks it up with an unhappy expression, then places it back on the post and taps the hat with one hand. “We’re going to have to buy you some new clothes for living around here,” she says as she exits the room. The door shuts behind her.

Scott is annoyed by the comment, he stands and gestures at the chair with the clothes on it, then places his hands on his hips again.

SL: “What’s wrong with my clothes?”

Johnny stands up. “Well, I mean, you’re planning on stayin’ in these parts (points at the plaid pants) well, that just ain’t the style.”

Scott seems angry. He picks up his things from the back of the chair. “Of course I’m planning to stay.”

Music plays as Johnny walks towards the door through which he entered.
Scott is over near that door apparently putting things away in a closet or wardrobe not previously seen.

Johnny reaches the doorway and pauses. He is kind of holding the bottom edge of his still unbuttoned shirt in each hand, swinging his hands a bit as he speaks without looking at Scott. “look, I tell ya. . . um . . .”

Scott had glanced over his shoulder when Johnny paused in the doorway, but turns to face him completely once he starts speaking.

SL: “Get it said, Brother.”

Johnny looks up at the harsh tone, responds in kind. “Just this. What I got in mind is pretty much of a one man deal.”

Camera on Scott, as his face slowly opens up into a full smile. He becomes serious, squinting his eyes as he replies. “Now, you’re gonna make me feel left out of things if you’re not careful.”

JL: “Better left out, than in a ditch. . . with ants crawlin’ across your eyeballs. . . that don’t photograph too well.” A slight hint of a smile plays about his lips as he delivers this line, but he never really smiles and it never reaches his eyes.
Music plays as Johnny exits. Scott smiles and the scene changes.

SCENE 10

Suddenly we are on the back of a bucking horse, we hear people shouting words of encouragement. Johnny is in a corral riding a palomino, there are other men on horseback inside the corral as well.

The camera shows Teresa sitting on top of the corral fence cheering him on, a handsome young Mexican man is sitting beside her, equally enthusiastic. Next there is a shot of an older man who is waving his sombrero type hat. Everyone is calling out to Johnny by name. There are other hands sitting or standing along the fence and a few seated on horseback outside the corral as well, all watching Johnny.

Next we glimpse Murdoch Lancer who is driving a wagon pulled by a team of horses. The camera moves back and forth from shots of Johnny to images of people who are watching him, including Murdoch. ML is wearing a light colored cowboy hat, a white shirt with a criss-crossing line pattern and a vest over it. He has a serious, unreadable, expression as he watches the proceedings inside the corral.

Scott is seen approaching on foot, walking past some milling cows. More shots of Johnny riding, the vaqueros cheering. Scott gets closer, we can see Murdoch in his wagon in the background of the shot. The young man seated beside Teresa jumps down inside the corral, then climbs back out to stand along the fence with one of the older Mexican men.

Teresa seated astride the fence, addresses Scott: “He’s really something, isn’t he?”
She’s clapping her hands and her pony tail whips back and forth as she looks from one brother to the other.

Scott leans on the top rail of the corral fence: “The horse?”

TO, emphatically, as if her meaning should have been evident: “No, Johnny!”

Scott’s reaction is to nod his head and say “Oooh.” He’s not very impressed, or at least is determined not to show it. Scott is wearing the hat that Johnny tried on, the one with the animal print band and the feather, also a jacket with leather lapels over what looks like a turtleneck shirt.

Teresa sits with her hands on her knees for a moment. Then she gestures behind her towards a very sedate looking horse standing beside a distant fence.
TO: “Your horse is over there!” She sticks her nose up in the air.

Scott steps up on a lower rail, turns to look. There is a shot of “Scott’s horse”. Two women standing next to it are watching the activity in the corral, the animal appears oblivious to its surroundings.

Scott turns back, he seems to be trying to hide his dismay, but Teresa isn’t looking at him any more, instead she is calling out to Johnny.

TO: “Hey! Good, Johnny, you broke ‘im!”

Johnny rides over. Scott is now seated facing Teresa, also astride the fence.

TO: “That was wonderful!”

JML: “Well, that’s a good animal.” Johnny lifts his left leg over the palomino’s neck, then drops to the ground on the side of the horse closest to the fence. He’s breathing hard from the exertion of riding.

JML, to SL: “See that one over there— that one’s yours, Boston.”

Teresa looks back over her shoulder towards where we know the horse is standing. Johnny is holding his hat, he slips the cord over his head and lets it hang down his back.

SL, to JML: “Yah, I saw it. I saw this one as well.”
He jumps down inside the corral. Scott takes the palomino’s reins and walks around to the far side of the horse.

JML: “Now what d’you think you’re doin’?”

Scott doesn’t answer him, he just mounts the horse.

JML: “Hey, I wouldn’t do that if I were you.”

Scott turns the animal around, then urges it into a canter. He rides away, picking up speed. There is a quick shot of three vaqueros who all “bail out” from their seats on the top rail of the corral fence, then a side view of Scott on horseback jumping out of the enclosure.

Murdoch is seen in his wagon, rising to his feet. Scott circles around as dramatic music continues to play. Johnny and Teresa are watching intently. Johnny says “Well . . .”. He’s standing with his hands on his hips, smiling, and seems openly impressed, turning back to look at Teresa for her reaction. She is smiling also.

Scott jumps the horse over an unattended cart. Shot of two older vaqueros who are standing by the corral. They turn and look at each other, one says something, the other starts clapping his hands. (we can see “Scott’s horse” in the background here, it still hasn’t moved)

Scott rides back, jumps back inside the corral, as a cowboy stands looking on. There is another shot of Johnny and Teresa watching him, then the camera is on Murdoch again. He seems to be wearing something of a smile now. Teresa’s young friend is seen standing next to an older Mexican man, who nods and says “Muy bien.”

Scott rides over to Johnny and Teresa, the horse snorts a couple of times.

SL, to JML: “You’re right, he is a fine animal. And in answer to your question earlier, it was a cavalry unit I was in.” He dismounts in the normal fashion.

JML, not looking at him at first: “Well, I’ll say one thing, Boston, (now he looks up and smiles) you sure do know how to ride.”

Johnny reaches for his gun belt. “You scared the pants off those cowhands. Didn’t he?” He addresses this question to Teresa, who is shown biting her lower lip, smiling and nodding her head in agreement. She is impressed.

As Johnny buckles his gun belt, his smile fades. “But that don’t make you ready for Day Pardee. You gonna end up with a bullet in your back.”

SL: “There’s an awful lot of back shooting going on around here. ” He tosses a rope up over the horse’s neck. “What ever happened to the Code of the West?”
Scott rests his arm along the top rail of the corral.

JML: “Well, you see, that’s it. You gotta do it to them before they do it to you.” He looks rather pleased to be relaying this information.

Johnny has his jacket in his hand. He mounts the horse.
JML: “I’m gonna.. . see ya.” He starts to ride out of the corral.

Teresa rises up: “Where should I tell Mr. Lancer you’re going?”

JML: “Tell him I’ve gone to town to break up one a them gold pieces.” He smiles and rides away.

Scene ends with a shot of Teresa looking not very happy astride the fence. Scott is inside the corral, resting both arms on the top rail. Two vaqueros are outside the corral, leaning on the fence sideways, all watching as Johnny rides away.

SCENE 11

In town. An old man with a white beard is walking along with a yoke over his shoulders. Ropes attached to each end enable him to carry two buckets of water. He’s singing in Spanish.

“Camaron, camaron te yeva la corriente” which in English is: “Scorpion, scorpion the current takes you.”

Suddenly, a bullet creases the ground alongside him. He stops, bends over. We hear loud laughter off screen. Following his gaze, we see a group of seven men sitting and standing around a stoop. It seems to be the entrance of the saloon; several of them are drinking.

A big burly man with a graying beard, Coley, is seated in a chair with his foot up against the support post. Another man, wearing a black hat, dark suit and string tie, sits on a barrel to the left of Coley, smoking a cigar. An Indian wearing a hat with a feather on it sits on the steps. There is a man standing on the right, wearing a light colored hat and vest, he’s doing the shooting. There are three other men standing or sitting behind these four.

Coley, to the shooter: “See, I told ya, you couldn’t even hit the side of a barn.”

Man in the vest: “I’ll bet ya two more silver dollars!”

Coley: “You’re on!”

The man in the vest fires, hits one of the old man’s buckets, causing it to spring a leak. The old man says something in Spanish, the translation of which is “Oh my God! I’m going to lose my water.” He then turns and starts to walk in the opposite direction.

The camera is on the group of men again, and Coley raises his weapon to shoot. Sound of gunfire and a hole appears in the other bucket, water flows out. The old man turns around, still speaking in Spanish, sounding more distraught.

There is a shot of the street behind the old man, and Johnny is seen approaching on his palomino. He rides closer, ducking under n archway. We hear the sound of his horse’s hooves as well as the old gentleman still speaking. . . “Por favor, Senor. . .” he says, then continues in Spanish with “Oh my God what am I going to do?”

The other men keep shooting and laughing, the old man keeps talking.

Johnny pulls up beside him and dismounts. The old man asks Johnny in Spanish, to tell the men not please not to shoo this water. Johnny replies, but his answer seems inaudible. The old man lets the yoke drop from his shoulders. Johnny is holding one bucket and he reaches for the reins of his horse with the other hand. The old man thanks him, “Gracias.” Johnny turns and walks down the street towards the group of men who are still laughing loudly. We hear Coley exclaim something about a “lucky shot!”

The man wearing the white vest fires and puts another hole in the bucket in Johnny’s hand. The palomino horse isn’t happy and shies away. JML pulls it along. Behind him the old man can be seen and heard telling his story to a couple of cowboys on horseback, we hear something about those “hombres.” In Spanish, he tells the other bystanders: “They are mean.”

Johnny wraps the palomino’s lead around a nearby post and keeps walking slowly towards the “hombres,” still carrying a bucket in his left hand. He is wearing his hat and his bolero jacket.

The Indian seated on the step picks up a shotgun. Coley has his arms folded, and is still seated in the chair. “Vest” stands with his thumbs in his pants pockets. The other men watch intently as well. Johnny stops a few paces away. He has not spoken to them.

The men silently regard him. The camera pans over them. First the man in the dark suit seated on the barrel. He clenches his cigar in his mouth, has dark eyebrows, though his hair seems lighter. The bearded man next to him leans on the post, also smoking a cigar, dressed in typical cowboy attire. Next is Coley, still seated with his arms folded across his ample girth. There is a lot of grey in his beard. The camera slides down to the Indian, still pointing the shotgun at Johnny. He has blunt-cut, chin- length straight hair and wears a neckerchief knotted around his neck. Finally, the camera settles upon the man with the white vest and light colored hat. He breaks the silence, addressing Johnny in an unfriendly tone.

“Vest”: “Just what do you want?”

JML: “You got bad manners.”

Vest laughs. The camera shifts to the man in the dark suit, who removes the cigar from his mouth to ask: “You gonna teach us some good ones?”

Johnny’s eyes shift to him. He waits a beat. JML: “Maybe.”

The camera returns to the man in the suit, but it is Coley’s voice that we hear.
Coley: “Well, well, well, . . .” “Suit” looks at him, and the camera shifts to Coley.
Coley: “I do believe we got us a hard one here, uh?”

Vest: “Lt’s see how long it takes to make a good dog outta you.”

JML, agreeably: “Okay.”

Vest: “That’s my water. . . bring it here.”

Johnny just looks at him. Camera shifts to Vest, then Johnny, then Coley. Vest chuckles, turns to Coley, who laughs. Camera pulls back so that we are behind Johnny and can see all of the men.
Vest: “Dog won’t fetch, he’s gotta be taught.”
He steps down and walks forward until he’s just a few paces away from Johnny.

Vest: “Now hand me that water, Mister, I mean to have that for my tub.”

JML: “I doubt it.”

Vest: “Oh, do you now?”

JML: “If they got bath tubs in Hell. . .”

Vest, angrily: “What’s that?”

Dramatic music as Johnny suddenly flings the bucket of water at Vest, who catches it as he staggers back. Johnny points his gun at him, saying: “You’re dead.”

Coley: “So are you, Sonny.” He has a gun leveled at Johnny.

More dramatic music. Johnny glances down, then up at the sky. “Well . . I picked a good day for it.”

Coley: “You’d better believe me, Sonny Boy.”

JML: “I do, I do. Only question now bein’ how many a you goin’ with me.”

Vest: “Take him down, Coley!”

Coley seems ready to do just that, when a voice off camera says: “I wouldn’t.”

Coley turns. There is a mustached man in a dark hat and fringed leather jacket standing in the doorway behind the group of men. Coley looks at Johnny, then back at the newcomer, who is studying Johnny.

JML, smiling and nodding: “Day.”

Day Pardee: “Long time, Johnny Madrid.” He does not seem unhappy to see Johnny.

JML, smiles, looks own and laughs a little: “Yeah, long time.”

DP: “Care for a drink?”

JML: “Yeah, sure.” He walks towards Pardee. Vest backs out of his way. Pardee is still in the doorway, gazing down the street. “Madrid.” Johnny pauses in the entrance and they are face to face. “Were you lookin’ for me?”

JML: “No, but I had a feelin’ I’d find ya.”

Camera pulls back to show the group of men watching. The Indian is standing, still holding the shotgun. “Suit” gets up off of the barrel, throws his cigar to the ground. The Indian follows Pardee and Johnny inside.

SCENE 12

Inside the saloon. Johnny removes his hat. Day Pardee walks behind him.

DP: “I heard you got yourself killed down in Mexico.” He walks over to the bar, picks a glass up off of the counter. The Indian, still carrying his shotgun, comes in behind them.

JML: “Yeah, almost.”

There are other men at tables in the back, but no one else in this section of the saloon. Johnny moves to a round table, with a bottle and bowls on it. He puts his hat on the back of a chair.

DP: “Why, some kind of a revolution?”

JML: “Yeah, something like that.” He sits, picks up the bottle. The Indian takes up a position near the bar, watching them.

DP, placing the glass on the table, looks down at Johnny: “Do any good?”

Johnny glances back over his left shoulder, camera gives us a close up of the Indian’s face. No expression. Johnny turns back to face Day. The camera is behind Johnny now, as he takes the top off of the bottle and pours Day a drink. Day still has his hat on, there is a colorful braided leather band around it. The camera moves back and forth between the two as they talk.

JML: “I met some nice people.”

DP, raising an eyebrow: “No money?”

Johnny pours himself a glass. “No . . . turned out they didn’t have any.” He laughs. “That’s why the revolution.”

Johnny places the bottle on the table. Day nods in response to Johnny’s explanation and they each pick up a lemon wedge.

DP: “Plenty a money here, Johnny.”

JML: “Yeah. . .” (close up as he takes a bite from the lemon and talks through it) “That’s what I hear.”

DP: “Well, what is your business here?”

JML: “Day, I’m just lookin’.”

DP: “For your best shot.”

JML: “Something like that, yeah.” He reaches for something on the table that we can’t see.

DP, smiling: “Well, you’ve found it.”

Johnny looks at him with intent interest.

DP: “Now, I can use you, Johnny.”

JML, with a slow smile: “Uh . . you let me think about it.”

DP, leans forward, speaks more softly: “Hey . . you ain’t already tied up with somebody else, are ya?”

JML, has lemon in his mouth again, but shakes his head. “No . . and I said I’d think about it and I will.”

Long close up of Pardee, who lowers his eyelids. “Well, take your time , John.” He licks his fingers and gets up to walk towards the rear of the room. “Tequila!” He claps his hands. “Bueno!”

A man gets up from a chair in the back, he has a towel over his shoulder. Johnny is still sitting, watching Day over his right shoulder.

DP: “says something else in Spanish, ending with Amigo.”

(Our Translator says it sounds like “Pour me the black one.” He also commented that this actor’s Spanish is lousy. He thinks the Black One is a kind of Tequila)

DP: “Pronto!”

Close up of Johnny, who smiles. Camera pulls back to show Day leaning on the support post, looking back at Johnny. The Indian is still standing on guard, Johnny looks at him over his other shoulder.

Suddenly, we are outside, watching an approaching buckboard pulled by two horses. Scott is driving with Teresa beside him.

The same six men are gathered in front of the saloon; Coley and Vest are seated in chairs, while Suit is again perched on the barrel. Coley is laughing, then stops suddenly. Vest stands up. Coley touches Suit’s arm and Suit takes his cigar out of his mouth and turns to look at Teresa and Scott.

Scott has reined up, and he and Teresa are looking at something, but it’s not the men. She has her head tilted.

SL: “That horse. . . (shot of an unattended palomino) “Isn’t that the one Johnny was riding?”

Teresa, uncertainly: “Yeah, I think so . . . Before she can say anything more, a voice calls out to her: “Senorita Teresa!”

Both Scott and Teresa look to our left. She waves. Teresa is wearing a blouse and a skirt. Scott has on his same clothes, knit shirt, trimmed jacket and the fancy hat with the brim turned up on the side and the feather. The voice says “Por favor!” and Scott slaps the reins to move the horses forward.

SL, to horses: “Get up!” The buckboard continues down the street towards a man standing on the sidewalk a distance away.

Shot of the front of the saloon, and Coley rising form his chair. He adjusts his hat, then goes inside, while the other men continue to watch Scott and Teresa.

The buckboard pulls up beside a smiling man in a apron. Behind him, the writing on the building says “General Store.”

Don Valmo says: “Come here” in Spanish

He greets them, and Teresa leans forward: “Don Valmo, this is Scott Lancer, he’s come to buy some things.” Scott nods.

Reaction shot from the storekeeper. He’s wearing a shirt with a checked pattern, pushed up over dark sleeves. He has a mustache and grey hair combed back from his face, with some white in it.

Senor Baldemerro: “Oh, welcome Senor, please—-this way.” He gestures for them to disembark and come inside. He keeps speaking in Spanish.

SL: “Thank you.” He gets down, then turns to assist Teresa, grasping her about the waist with both hands to lift her down. She places her hands on his shoulders.

Meanwhile, back inside the saloon, Day Pardee is accepting another bottle of tequila, when Coley comes up behind him and taps him on the shoulder.

Coley, whispers: “Hey, that girl from Lancer just rode in . . .” Camera pulls back to show Johnny at the table listening. Coley continues: “Got a fancy dan with her too.”

DP: “Go lean on him a little, find out who he is.”

Coley, liking the idea: “Yeah.” He draws out the word, then he leaves.

It’s clear that Johnny has heard what was said. He sits rocking his chair a bit, as Day returns to the table. Pardee sets the new bottle down, expels a breath, standing with his hands on his hips.

DP: “Don’t take too long, John.”

Johnny reaches for the bottle, with his head lowered, then looks up at Day.

DP: “You might miss all the fun. .. . see ya around?”

JML: “Yah, yah.” He looks at the bottle again, while Day moves away. The Indian is seen following Day out. Johnny picks up the bottle, then holds it with both hands and looks at it, as the scene changes. . .

SCENE 13

Cut to Scott’s face in a mirror, shaking his head in disapproval. He is wearing a cowboy hat that is clearly too big. The storekeeper comes up behind him as he removes it.

Senor Baldemerro: “Aah. . . perhaps this one, Senor.”

Scott accepts the new hat. “Thank you, I’ll try it.”

SB: “Si, Senor.”

Scott looks at the hat, then places it on his head while studying himself in the mirror as he delivers his next line: “Meanwhile, you might ask Miss Teresa what else she thinks I need to be properly dressed out here.”

The mirror is hanging on a support post; Teresa stands with hands on hips near the post on the other side of Scott. In this shot we can see that the Genreal Store is filled with merchandise on shelves and hanging form the rafters. Gesturing with both hands, she speaks across him to Senor Baldemerro.

TO: “Well, he needs everything—he needs some trousers, and a jacket and some workshirts—“

Senor listens enthusiastically. Teresa touches Scott’s arm and continues speaking. “And don’t worry, I’ll pick out some very, very nice things for you.” She gestures at the storekeeper. “Come on, Mr. Baldemerro.”

SB: “Si, Senorita.” He walks past Scott and around the post to follow her. He says a few words in Spanish: “Si, Senorita, whatever you want.” As he walks, but Teresa is still talking as well.

TO: “Oh, and listen, I’m not quite sure of his size,” (here she turns back to face Senor Baldemerro) “But I’m sure we can figure it out.”

Meanwhile, as they walk away, Scott is still adjusting the hat he’s trying on. As Teresa finishes speaking, the camera cuts to the doorway and Coley enters, closely followed by “Suit”.

The camera stays on them as we hear the voice of Senor Baldemerro: “Oh, but of course, for the son of Mr. Lancer, we shall find the best. . .” Reaction shot of Coley and Suit, as they look at each other, registering this information. Then cut to Teresa and the storekeeper as Senor Baldemerro urges her to “Please come this way”. They disappear, apparently into some back room.

The next angle shows Scott removing the hat, and the two men near the door, but he hasn’t’ seen them yet. As Scott turns to pick up another hat from the table behind him, Coley moves forward and snatches it.

Coley: “I was lookin’ at that hat, Mister.” Meanwhile, Suit comes around the table and circles until he is standing behind Scott.

Scott exhales, smiles a bit: “If you say so.” He sounds skeptical.

Scott places the hat he is holding down on the table and starts to move to our right. Then Coley elbows him hard en route to the mirror. Scott spins around, then stands and looks at him. Coley ignores Scott, busy removing his own hat and trying on the new one in front of the mirror. Suit is standing back to us, watching.

SL: “Am I bothering you?”

Coley licks his hand and smoothes his hair behind his ear before retrying the new hat. “Not yet.”

Scott reaches for a hat on the far side of the table. Coley whips around: “Oh, I was gonna look at that one too!”

Scott is too fast for him, he already has the hat in his right hand. He raises his left hand and says : “Not this time, Friend.”

Scott glances at Suit, then moves towards the mirror. “One side plea-“
But Coley doesn’t budge. Suit moves in though, on the other side of Scott. Coley is leaning against the post, laughing. For a moment, Scott is frozen with his arm against Coley’s ample stomach, then lowers it as Coley speaks.

Coley: “Are…Are you talkin’ to me, Friend, huh?”

Scott smiles, looks down at the hat he’s holding, gestures with it. “Well. . where I come from, uh. .there’s two ways to settle this kind of a situation. . . (he holds up two fingers when he says ‘two’).

Coley nods: “Um.’

Scott has the hat in two hands, he looks down and studies it.
SL: “Yup. One is—-“

Suddenly Scott elbows Suit in the back, then immediately takes a couple of swings at Coley, hitting him first with a backhand and then with a punch. Dramatic music plays. Suit goes crashing against a wood stove near the door, while Coley ends up knocking some things over on the counter.

Suit gets up and comes after Scott, who turns to punch him. He goes over the hat table, knocking it to the floor.
Teresa and Senor Baldemerro appear in time to see Coley grab Scott and throw him; he goes rolling over the counter. We can hear Teresa yelling at them to : “Stop it, stop it!”

As Scott rolls off on the far side of the counter, we see a back door and a man entering. It’s Vest, who moves towards Scott.

Shot of Teresa and Senor B. He’s exclaiming something in Spanish and she is still yelling at them to “Stop it!” Then she picks up something and throws it, yelling “No!”

Vest is glimpsed lifting Scott up by his shoulders, then back to show Senor B standing behind Teresa and holding back by her shoulders while she yells “Stop it!” once more.

Vest lands a solid punch on Scott’s face, and he ends up landing against Coley.

Senor Baldemerro lets go of Teresa to gesture with open arms: “Look what they’re doing to me!”
Quick shot of Suit on the floor, starting to get up, shaking his head. He’s lost his hat.

Then we see Teresa runs off to the right, while Senor B says “No, please!”

Coley has a grip on Scott from behind, but backs up and slams Coley against the post, then turns and punches him in the face.

Senor Baldemerro is seen throwing his hands in the air. He says something in Spanish, which is difficult to understand over the background music. It sounds like he’s going to go get someone.

Then Vest comes after Scott with a shovel. He takes a big swing, Scott ducks, and the shovel hits the post. Scott punches him in the midsection, then a couple times to the face.

OUTSIDE: Johnny is sitting in Coley’s chair, alone in front of the saloon. We hear Teresa’s voice crying out: “Johnny! Johnny!”

Johnny takes his foot off of the barrel as she runs over to him, gesturing behind her: “Johnny, it’s Scott!”

He has his hands on the arms of the chair, lifts his shoulders a bit, but doesn’t actually get up.

JML: “Well, that figured.”

TO: “Well, aren’t you gonna help him?!”

JML, still frozen in mid rise: “Nope.”

Reaction close up of Teresa-she can’t believe this. She doesn’t speak, just turns and leaves. Johnny eases back in his chair as Teresa heads back to the store.

The door opens and Scott comes spinning out, overturning a barrel and finally landing face down in the street. Again, Johnny takes his foot off of the barrel, pushes up with his hands and finally gets out of the chair.

Scott is still in the street. Teresa says his name and runs over to try to help him up.

TO: “Scott, are you all right?”

Shot of the door. Coley comes out, carrying his hat, puts it on the handle of a wheelbarrow so he can tuck in his shirt. Next, Vest exits, also looking disheveled, and finally Suit.

Teresa is helping Scott get up. The three men move past without comment, Suit appears to be limping. Once past, Coley and Vest put on their hats and continue walking away.

TO, to Scott: “let me help you to the buckboard.”

Scott gets to his feet rather shakily. He has blood on his mouth and he’s breathing hard. He looks to our left, Teresa and then the camera follow his gaze.

Shot of Johnny leaning against the post in front of the saloon, just watching them.

Back to Scott, who visibly draws his shoulders back. Teresa is holding onto his arm. Scott gestures towards the store. “I came to buy some clothes. . . and some clothes I’ll buy.”

He starts walking, still shakily. Teresa looks concerned, then follows him.




SCENE 14

Shot is of the Indian walking up a slope from a pool of water. He’s wearing a patterned shirts and vest which are probably quite colorful, along with his black hat with the large feather attached. Day Pardee is leaning against a rock, eating something. There is the sound of horses approaching. As the camera moves to show the new arrivals, we can see that there are other men standing around and there is a small cabin.

Shot of Day, still chewing, watching. Coley strides down the slope towards him.

DP, smiling: “Who stepped in your face, Coley?”

Coley rubs at his mouth. He is standing in the middle of the trio, with Suit on our left and Vest on the right. Suit’s string tie is undone and Vest looks rather rumpled.

Coley, glances at Vest, then: “Well, we…we leaned on him a little, just like you said.”

DP, somewhat sympathetically: “But he leaned back?”

Vest: “Yeah. He’s Lancer’s kid.”

Pardee is not pleased to hear this news. He lowers his eyes to think about it, takes another bite of whatever it is he is eating, then stands up and walks over to a nearby fire. There is a cross pole supported by two forked sticks, some meat is hanging there and the Indian can be seen in the foreground, tending the fire.

DP, exhales: “The old man, he’s gettin’ some help, huh?” He crouches beside the fire.

Coley: “Yeah. . . you know, that must mean that he’s hurtin’.” Coley has followed Pardee up the slope and crouches beside him. Vest and Suit follow and can be seen standing behind Day.

DP: “Could also mean that he can get more help.” This observation is followed by a brief silence. Then he comes to a decision: “Well, I think we set just about enough fires for now-“

Pardee rises to his feet. Vest can be seen behind him retying his string tie.

DP calls out to the men: “Saddle up! We’re movin’ out!”

Vest: “Well, we’re finally gonna hit Lancer.”

DP: “Well, that was the plan, we’re just gonna move it up a little, huh?” He taps Vest on the stomach.

Coley is standing with his arm resting along the cross piece over the fire. Vest is standing between Coley and Day.

Coley: “Now wait a minute, Day, wait a minute. Now look, the walls of that house are pretty thick. And some of those Mexicans, they’re . . they’re more than fair with a rifle.”

DP: “Well, we’ll just get’em out from behind those walls.”

Suit: “How you gonna do that?’

DP: “Will you mount up, huh? I’ll show you, c’mon!”

All of the men head towards their horses.


SCENE 15

Shot of the seat of the buckboard, with a hat resting on it. There is a river in the background, it’s breezy. Teresa picks up the hat from the seat, swings her hair out of her eyes, biting her lip. She walks pas the horses.

TO, calling out: “I like your new hat!”

She is speaking to Scott, who is down by the water’s edge. He straightens up, shaking water off of his hand, and starts walking up the rather steep slope towards her.

SL: “Thanks.”

The camera cuts to a shot of Johnny riding on his palomino. He heads towards the buckboard. The camera swings around behind him and we can see that the wagon is still a good distance away.

But Scott and Teresa have noticed him. Scott lowers the cloth he is holding to his bruised face. Teresa is holding Scott’s jacket in one hand, and uses the other to brush the hair off of her face. They both take a few steps forward as we see Johnny riding up.

Next shot shows Teresa in the foreground, wearing a resentful expression. Scott’s is more neutral. Teresa hands Scot this jacket and then goes back towards the buckboard. Scott focuses his attention on shaking out his jacket. He doesn’t speak.

Johnny reins up.
JML: “I told you to stay out of it, didn’t I?”

Scott drapes the jacket over his left arm. “Well, you did, anyway.”

Johnny dismounts. “Well, if you wanna get yourself killed, that’s your business.” He steps over to face Scott, and gestures towards his face. “That’s, ah, quite a bruise you got.”

Scott glances down at the jacket that he is holding in two hands. Suddenly, he drops it and takes a big swing with his right, landing a solid punch to Johnny’s face that sends him rolling down the banking.

Shot of Teresa on the buckboard seat– she stands up, open-mouthed. Then we see Johnny, still rolling downhill.

Scott takes a few steps after him, speaks in a voice loud enough to carry the distance between them. “I just couldn’t resist thanking you for your help . . . Brother.”

Johnny gets to his feet and comes running up the slope. “Don’t you call me Brother because we share that old man’s blood!”

Scott catches him with his right arm, but then Johnny lands his own right with a punch to Scott’s midsection, sending him back against a tree. Teresa’s voice is hard off-camera: “Stop it!”

Cut to Teresa jumping down form the buckboard and starting to run past the horses.

Voice of JML: “You mean nothin’ to me!”

Then we see that the brothers are facing off, Scott is starting to go into a classic fighting pose with his fists raised. Teresa runs between them.

TO: “Stop it, stop it, you hear me!”

Shot of Teresa standing beside Scott, the tree is behind them. She is holding her arm against his, but his hands are still fists.

TO: “You ought to be ashamed—brothers fighting!”

Camera shifts to Johnny, who betrays no expression. Very noticeable behind him on the other side of the river, we see a herd of cattle and cowboys on horseback. Through out this scene there have been background noises of mooing sounds.

The camera returns to Teresa and Scott. Scott lowers his hands and takes a step forward. He’s breathing hard. He looks at Teresa, then addresses Johnny: “Look, I’m sorry.”

Johnny stares at him without speaking for a moment, then turns away. He walks over to pick his hat up off of the ground, and then heads towards his horse.

Scott starts after him. “Wait a minute.”

Johnny is taking the reins, patting the horse’s neck. Scott stands facing him, back to the camera.

SL: “We ought to be able to get along. . . .after all, we both came here for the same reason.”

Johnny quickly pulls a coin out of his pocket and holds it up. “That’s why I came.”

SL: “The money?”

Johnny puts the coin back into his pocket. “What else?” He gets on the horse.

SL, waits a beat: “My mistake.” He turns away.

JML: “Why do you think I came?” Scott turns back, camera close up on Johnny as he continues speaking. “For loyalty or love for Murdoch Lancer? You wanna know what he did to my mother? He gave her the keys to the road one day and said ‘What’s your hurry?’ and ‘Just a minute, don’t forget Buster here.'”.

Cut to Teresa: “That’s not true!”

Johnny rides past Scott. Teresa runs after him.
TO: “That’s not true about Mr. Lancer and your mother! Well, he never made her leave. She left of her own free will.”

JML, to Teresa: “Now look, you don’t know what you’re-“

TO: “She ran off with somebody!”

Johnny just gives her a look, says nothing, and then keeps on riding. Scott, in the background, has picked up his jacket and is putting it on as he watches and listens. Teresa stands watching him, hands on her hips.

TO: “He was some kind of a gambler or something. She just packed up and left with him.”

Johnny halts and looks back at her over his shoulder.
JML, angrily: “Now did he tell you that?”

TO: “No, my father told me! And it’s true!” She comes after him, talking as she covers the distance between them. “If anybody was done a wrong, Johnny, well it was Murdoch Lancer!”

She stands at his horse’s head, puts her hand on his leg.
TO: “And there’s something else you ought to know-“

JML: “All right!” he urges his horse forward, but she stops him.

TO: “No, no, listen!” Long close up on her. “When your father wasn’t sure whether he’d live or die, I sat with him. And he kept saying your mother’s name, Johnny, asking for her! . . . So if you wanna hate him because he’s, he’s stubborn, or wrong-headed lots of the times, or (camera shift to Johnny listening) proud, well, they’re…they’re faults . .” (camera back to her) “But don’t hate him for your mother, Johnny, because he loved her!”

Camera returns to Johnny, but before he can react to what she has said, we hear a distant shout. Johnny reacts to that. Shot of Scott by the buckboard, he also hears the man shouting. Then we see a rider in the distance. Scott climbs up into the wagon, while Johnny rides off. Teresa runs towards the buckboard.

The man is shouting about something “Horrible!” and then we hear him calling for “Senor Murdoch! Senor Murdoch!” and see him riding across a field.

A group of ranch hands are branding a calf, and in response to the shouts, Murdoch moves away from the men. The man on horseback is still yelling “Senor Murdoch!” as he rides down a road alongside a fence. Johnny follows on his horse, while Scott and Teresa are behind him in the buckboard.

The rider yells for Cipriano, and calls out another name as well. He stops and dismounts.

ML: “What is it man? What’s the matter with you?”

Cipriano and another Mexican in a sombrero stand behind Murdoch. Johnny is on his horse in the background. The man speaking is one of the spectators from this morning. He’s having difficulty, he’s out of breath. “I ride. . . . I see smoke. . . . at Caspar’s place.” (he points) ” I ride over here. . . . what I see, Senor!” He throws himself against Murdoch.


SCENE 16

Opens with a shot of the charred remains of a building. There is a wagon on fire. Then riders approach. Johnny and some of the Lancer men are on horseback, Murdoch is seated beside Scott in the buckboard. Sad music plays.

They stop.

The camera moves to show a man hanging by his feet from a rope attached to the beam that extends from the front of the barn. He’s dead, swinging slightly.

Close up on the man who brought Murdoch the news. He looks stricken, makes the Sign of the Cross.

Close up on two other men, who do the same.

Then camera on Johnny, bareheaded. Slightly behind him another vaqueros makes the same movements. Johnny bows his head. The camera slides to Scott, wearing his hat, who looks stunned.

The messenger slowly rides forward, as do Johnny and a few others. Tow men ride off in the opposite direction. Scott gets down from the buckboard and goes to help in lowering the body to the ground. Two men dismount to untie the rope where it is fastened to the side of the barn. Johnny and one other man on horseback steady the body.

Close up on Murdoch’s grim face. Then he turns his head and calls a name: “Maria!”
Camera on the men again, as Scott and another man catch the body and ease it to the ground. Johnny has dismounted and is standing beside them.

Back to Murdoch who is now limping up onto the porch of the cabin, leaning heavily upon his cane. He calls “Maria!” again on his way. He opens the door, looks inside, then closes his eyes against what he sees. “Oh my God. . . . ” He looks away. “My God. . . .” We never see what he’s looking at.

Murdoch moves to the edge of the porch and the two men who rode away earlier are returning.

Cipriano: “The trail was clear—they rode to the San Benitos.”

The rest of the men gather around and face Murdoch.

ML: “Desidro?”

D: “Si, Patrón.”

ML: “You keep a man here. . . take care of them.”

D: “Muy bien, Patrón.”

ML: “I’ll send the others back-armed.”

Shot of Scott in profile as Murdoch walks past him. Scott and the others turn and follow Murdoch. Johnny stands with his horse, looking at the cabin, then he turns to watch Murdoch. Johnny lowers his eyes and then his head and then—

SCENE 17

Scott slams a bureau drawer closed. He’s in his room at the hacienda, his photo of himself with General Sheridan is visible on the top of the bureau. Scott has changed his clothes and as he walks across the room to his wardrobe he works on tucking in his shirt.

Johnny appears in the same door that he used earlier. He’s holding his hat in both hands, by the cord.

JML: “Don’t you think we oughta talk about this?”

SL, glances over one shoulder at him, then turns back to face the wardrobe, still working on tucking in his shirt: “We can talk on the way, while we’re after them.”

JML steps further into the room: “Did you ever think that’s exactly what they want us to do?”

Scott is buckling his belt. He looks at Johnny: “The thought did cross my mind.”
He removes something from the wardrobe, possibly a gun. “But that trail could also lead us to their camp.” His motions and speech indicate that he is in a hurry and not eager fro conversation. He moves off screen.

Johnny takes a few steps after him. “Unless they doubled back through Morro Coyo. . .and hit the ranch house while we’re miles away somewhere chasin’ tracks.”

Before Scott can respond to this, Murdoch enters through the opposite door, followed by Cipriano.

ML: “The men are all mounted and waiting.” (he turns) “Cipriano!” (to Scott) “You said you wanted to talk to him.”

Scott removes his jacket from the bedpost. It’s a lighter shirt-type jacket, not the one he was wearing earlier. He starts talking as he approaches Cipriano. Cipriano is a big man, with dark hair and a mustache. He wears a patterned shirt and a bandanna tied around his neck.

SL: “Cipriano-you said their tracks led to the San Benitos mountains.” (he is fastening the buttons on the cuffs of his shirt.) “Do you know them well?”

Cip: “Like my hand, Senor.”

Scott starts to put one arm into his jacket: “Is there a pass up there?”

Cip: “A steep one, and narrow.”

Camera shifts to Johnny, listening.
SL’s voice: “Can you find it?”
Cip’s voice: “With my eyes shut, Senor.”

Shot back to Cipriano, Scott and Murdoch.

SL: “Good.” He turns back across the room to the small round table on the other side of Johnny, putting his other arm into the jacket as he moves. He picks his hat up off of the table, then asks Johnny: “Ready?”

Johnny just looks at him. Then he turns away from Scott to address Murdoch.

JML, still holding his hat, walking towards Murdoch as he speaks: “Do you know what’s gonna happen up there with a couple cowhands and a tin soldier?”

ML stands and looks at him. No reaction.

Johnny keeps talking. “That sun’ll be comin’ down in about half an hour.” He turns back to face Scott. “And you’re gonna be stumblin’ around up there in the dark, blowin’ each other’s heads off.”

Scott does not react to the insult, not does he seem inclined to enter into an argument. He looks around Johnny to Murdoch, gesturing with the hat in his hand. “You call the tune, what d’you say?”

Close up of Murdoch. “I say you go.”

Shot of Johnny with Scott’s profile in the foreground. He can’t believe this. Johnny throws his hat onto the table in disgust.

Scott heads towards Cipriano and Murdoch. “Cipriano, tell the men we’ll be right there.”

Cipriano: “Si, Senor.”

Scott reaches the doorway and turns.
SL, to Johnny: “Coming?”

Close up on Johnny, who does not reply. He just looks at the floor.
Close up on Scott, who looks at Johnny for a moment. Subtle reaction as he presses his lips together, gives a very slight nod, and then exits, putting his hat on as he leaves.

Murdoch is still standing in the same spot, grimly regarding Johnny.

ML, evenly: “Are you going or not?”

Johnny looks up, waits a beat before responding. Then his eyes narrow, he exhales. “That an order?”

During the following sequence, the camera is in close up on each man as he speaks in turn.

ML, calmly: ‘There’s only one man that’s going to run this ranch . . .

JML, cutting him off: “Pardee is sucking you out into the open! He’ll either cut your cowboys to shreds up in that pass or go for you in this house while nobody’s here.” Now you got one chance, ford up here and wait.”

ML: “For what?”

JML: “Til I find Pardee.”

ML, flatly: “Maybe you found him already.”

JML, waits a beat: “Well, go on.”

ML: “What were you doing in Morro Coyo?”

Johnny reacts. He blinks, raises his eyebrows and ducks his head as looks away. Then he turns back. “Is that what you think of me?”

ML, shakes his head: “I don’t know what to think of you.”

Camera pulls back to mid range.
JML: “Think what ya like.”

Johnny starts to leave the room. When he reaches Murdoch, ML speaks: “Where’re you going?”

Johnny is partly past him, answers without looking at his father. “I never was much good at takin’ orders.”

Johnny exits and ominous music plays as the camera closes in on Murdoch.


SCENE 18

Significant music change—-much more lively and brisk as we see a group of men on horseback. Scott is in the front; he reins up.

SL: “Stay together about a hundred yards behind me. Cipriano. . you’re with me.”
Then he gestures ahead. “This way.” They follow him. (it seems as if there are more than a dozen riders in this group!)

Next there is a shot of the riders from above. They are moving through the trees. As the camera moves left, we see a man in a dark hat lying on the rocks watching the men down below.

In the next shot, the horsemen cross a stream.

Back up on the rocks, the man is moving and we recognize Coley. He awkwardly heaves himself up over the rocks on his stomach to where Day Pardee is comfortably reclining.

Coley: “Well, there’s thirteen of ’em.”

DP: “That doesn’t leave too much at Lancer, now does it?”

“Nope”

The riders can be glimpsed below, emerging on the other side of the outcropping. Pardee and Coley move off camera.

Shot of Scott on horseback, waiting for the men to catch up. They all seem to be looking up.

Shot of Pardee and Coley on foot, walking down a slope to where the rest of their men wait on horseback.

DP: “Let’s go back to town, meet the rest of the guys.” He puts on a pair of gloves as he moves to his horse and mounts.

Back to Scott-he’s up on the rocks now, clutching a rifle and crouching (in nicely snug pants). He keeps moving to where he has a good view of Pardee and company departing. Then he stands up and walks to the other side of the outcropping and shouts to the Lancer men gathered below.

SL: “All right—-we can go back now!”


SCENE 19

Back at the Hacienda. Shot opens with a view of a fire burning in a fireplace.
Murdoch is sitting in an otherwise darkened Great Room, holding a silver tankard and staring at the flames. Behind him we can see the wall of book shelves and the double doors through which his sons entered the room.

The doors open.

ML, turning: “Who’s there?”

TO: “It’s me.” She comes across the room.

ML: “I suppose it would do no good if I told you to go to bed?”

TO: “I’ll fix the fire.” She takes up a poker and crouches in front of the fireplace, prodding the logs. “You’re thinking about your sons out there, aren’t you?”

ML: “They’re strangers to me.”

TO, getting up from the fire: “It’ll take a little time.” She picks up a blanket.
“But once they get to know you—“

ML interrupts her as she is placing the blanket over him: “They’ll stop hating me?”

Teresa protests. “Oh, they don’t hate you. They want to love you.”

Murdoch leans his head back against the chair.”I ought to get myself a dog.” He looks up at her, she smiles back at him. “They don’t answer back.”

Teresa rests her head on her folded arms on Murdoch’s legs. She is looking at the fire, a smile on her face. Murdoch strokes her hair.

ML: “You miss your daddy, don’t you?”

TO: “Yes. . . but I’ve got you.”

ML: “Yes, you have. You surely have.”


SCENE 20

At night in Morro Coyo. Johnny exits the saloon, beer mug in hand. Other men come out after him. There is the sound of approaching riders, then they are seen coming down the street. The camera is behind Johnny and some other men who are lined up across the porch.

Day Pardee dismounts and walks directly to Johnny. He places one foot up on the porch and rests his hand on the support post.

DP: “Johnny, you make up your mind yet?”

The camera moves so that it is now behind Pardee, shows Johnny. He waits a beat, then answers: “Yeah, I made up my mind.”

Switch to show Pardee again. “We’ll be movin’ out soon. We’ll get breakfast at the Lancer ranch.”

Camera returns to Johnny, who does not answer. He ducks his head so that his hat hides his face, then turns away.

Pardee steps up onto the porch. Coley comes over to stand beside him.
Coley, indicates Johnny with his chin: “He wants in?”

DP, nods: “That’s right.”

Coley scratches at his beard: “I’m not so sure I trust him.”

They exchange a look. Day seems a bit surprised at Coley’s comment, but he does not say anything.


SCENE 21

At Lancer. It’s daylight and we see a group of hard riding horsemen. Scott is in the front.

SL, shouting as he reins up and turns his horse to face the other men: “All right! I want men on the roof! (he points) There! There! The front portico, some in the back of the house, and the patio! Let’s go!”

Scott is not wearing his hat in this scene. His horse rears a bit as he finishes giving his orders. Most of the men dismount and a few take charge of the horses.


SCENE 22

Inside the Great Room, Teresa is lighting some candles on the dining table. Murdoch is standing in the foreground, he looks off screen to the left.

ML: “What happened?”

Camera shifts to Scott who is entering the double doors. He comes down the few steps into the room carrying a rifle. “Nothing. . . .” He keeps walking towards the table, adding, with emphasis, “Yet.”

When Scott reaches the table, he sets his weapon down. From his movements, he appears to be picking up something form the table, then turns to sit on the edge of it. None of this is visible as we only see Scott’s head and shoulders in this shot.

SL: “We rode just far enough to make them think we’d taken the bait, then we cut back through Cipriano’s pass.” His expression seems pleased, as he looks down to pour something that we can hear but not see. Then he looks up with a slight nod. “He should be along soon.”

Shot of Teresa listening intently, while Scott’s voice continues: “It’ll be daylight in a few minutes.” Teresa looks up at Murdoch and the camera pulls back to show all three of them. Scott is seated on the edge of the table with a glass in his hand.

ML: “Teresa, get my rifle.”

She moves off screen to our right. Behind Murdoch, Scott takes a drink, looks towards Teresa, then up at Murdoch.

SL: “Where’s Johnny?”

ML: “Gone.” Close up on Murdoch, who doesn’t turn as he replies to Scott.

Scott reacts to this, holding the glass in the air, lips parted. He lowers the glass a bit. “Gone where?”

ML: “What difference?” Music plays and the camera is close up on Murdoch. He turns abruptly and walks back towards the fireplace. We see Scott in profile as he considers this. The camera tightens up on him as he lowers the glass and looks at it pensively. There is the sound of a door closing as Murdoch exits.

SCENE 23

Outside again, we see riders through the trees. Close ups show Pardee, Johnny, Coley and Vest on horseback. Then there are more long distance shots of men on horseback. They stop on top of a rise overlooking the ranch.

DP, directing his men: “Carl, when we get down there, you go through this path and take ’em from the front. I’ll take the rest of ’em and go in from the rear. Johnson, you get ’em ready, and spread ’em out. We’ll take a look.”

Many of the men dismount. Another voice is heard off screen: “All right! Jose, Don, Harry, Joe, let’s go!”

Cut to shot of Pardee on foot, checking his gun as he heads down the slope to a gnarled tree trunk. Johnny is in the background, dismounting. Pardee holsters his gun, removes his gloves and puts his hands on the tree as he looks down at Lancer. The camera is behind him, then it shifts to show Johnny.

JML: “Day.”

Pardee turns towards him, but the camera shifts to show Coley who is mounted and listening. Pardee’s voice: “What you want, Madid?”

Close up on Johnny as he shakes his head. “It’s not Madrid.”

Pardee looks back over his shoulder: “What?”

Close up on Johnny again: “This is my land. . . . and I want you to get off.”

Pardee looks over his shoulder, mouth open. “Your land?”

Camera returns to JML, who simply nods. Back to Pardee, who looks away, then back at Johnny.

DP: “You’re not a Lancer.”

Shot of Coley beside a tree with his gun drawn. He is moving towards Johnny, who quickly turns and shoots Coley, then whirls and fires at Pardee as well. Day falls back against the tree. Camera shifts to Coley who is slowly toppling, but hasn’t hit the ground yet. Johnny is seen hastily mounting his horse, then switch to Day who is yelling, and back to Coley who is still rolling. Day tries to move up the slope past Coley, shouting for someone to “Get ‘im!”.

As Johnny is riding down the hill away from Pardee and Coley, we can see the Indian on foot moving after him, then veer off to get to a horse. Lots of gunfire and scenes of men on horseback as more of then start to chase Johnny.

Johnny makes it to the rode, riding hard. He can be seen turning back to shoot and then there is a shot of a pursuer being thrown off of his horse and landing with a dramatic splash in the ditch alongside the road. The men chasing JML do not seem far behind him in the next shot. Camera moves in on Johnny crouched low over his horse’s neck, riding hard. He reaches behind and shoots again, with only a quick glance back, firing twice and in the next image one horse and rider go down and another man is shot off of his animal.

INSIDE: Murdoch, Scott and Teresa are seated in front of the fire in the Great Room when they hear the sounds of gunfire Scott leaps up, rifle in hand, and runs towards the large window behind Murdoch’s desk. Murdoch and Teresa follow him. He pulls the drape aside form one half of the glass.

SL: “Here they come.” He pulls aside the other half of the curtain.

OUTSIDE:
Men are hurrying into position. One man in chaps runs past the glass French doors to the great Room as Scott emerges and heads up the outside wooden staircase. ML is not too far behind Scott.

Quick shot of riders approaching in the distance. There are a wooden fence visible in the foreground.

Back to the Lancer men positioned on the landing g of the stairs. Scott is on one landing with Murdoch positioned on the one below. Another man is beside Scott and one more is seen on the roof up above.

SL: “Hold your fire! They’re still out of range!”

Shot of the approaching riders, now one is far out in front.

Back to the four men on the staircase and roof.

SL: “Here comes the first one!”

He cocks his rifle and raises it to his shoulder; Murdoch and the two other men on screen do the same.

Camera shows Johnny on horseback sailing over a fence.

Return to the four men. ML: “Wait!”
He lowers his rifle and then we see the rider on screen again, a distance shot of Johnny jumping over another fence.

Close up on ML as he announces: “It’s Johnny!”

Next shot is of Scott who lowers his weapon. Then cut to shot of Johnny on horseback still riding towards them. Another quick shot of the four gunmen watching, then cut to Day Pardee on horseback.

We get another glimpse of Johnny riding, then a closer shot of Pardee, grim faced as he fires.

Johnny’s arms go up in the air as he flies off of his horse. Teresa’s voice screams his name as we see him in close up lying on the ground.

Close up of ML with his eyes closed. Quick shot of Scott up on the landing as he reacts and starts to go down the stairs. Very dramatic music is playing throughout this sequence.

Shot of Johnny lying on the ground, his gun still clutched in his hand. He moves very slightly, then stills.

Shot of ML on the stairs, descending using his cane and with his gun lowered. Teresa stands watching, also holding a gun, on the ground at the bottom of the stairs. Scott is hurrying to pass ML.

Murdoch says his name as he gets past him, Scott stops and turns to look up at his father.

Close up on ML “It’s no use.”

Close up of Scott as he reacts to this, looking first at ML, then out to where the fighting is taking place, a grim expression on his face. ML’s voice starts while Scott is still on screen, then shifts to Murdoch’s face: “I don’t understand what that boy was trying to do.”
Shot of Teresa, with camera looking down at her “He was coming back to us!” she says passionately.

Back to Murdoch who does not speak, just lowers his eyes. Camera moves to Scott who is still looking up at ML, then turns away. We see a determined profile and then he continues to move down the stairs.

Shot of the hacienda and men on the roof. Then back to see the approaching riders, one horse in the foreground is shot and tumbles to the ground and the attackers behind continue to move forward.

Through an archway, we see Scott running towards the opening, gun in hand. ML is coming behind him. Quick glimpse of Johnny, lying motionless on the ground, then we see the men on the Lancer roof, then back to show the approaching riders once more. Pardee’s men and/or their horses are constantly hitting the dirt.

Back at the archway, Scott is to one side, gun at shoulder level, shooting. We see the riders again and one man and horse go down.

Two riders approach, one looks like Suit, who dismounts.

Shot of men on the hacienda roof again, one throws his hands in the air, he’s hit!

Cut to Pardee’s head and shoulders visible between two tree trunks. He raises his gun and fires

Middle distance shot of the outside of the hacienda and men on the stairs, one up high on the roof throws his hand in the air and then drops down to the landing. Meanwhile, another man on the landing is also hit and starts to tumble down the stairs.

Shot from behind of Pardee; we see him beside a fence and a large tree looking at the hacienda. He moves to the left, limping.

Archway again, Scott is still there. He lowers his weapon and turns to look behind him, then disappears for a moment as he moves behind the wall and re-emerges up above it to get a better vantage point. Scott fires and a man near the fence spins around.

Next we see Pardee waving his arm and leading his men forward on foot. He’s running and seems to be moving both arms, so it’s difficult to tell where he was hit by Johnny’s bullet.

Shot of two men on top of the hacienda roof, with a view of a wooden landing and railings. Murdoch is crouched below, shooting his rifle in the foreground, while behind him one of the Lancer men who was straddling the railing , tumbles to the ground.

Back outside the compound, Pardee and others, including the Indian, are seen from behind. Pardee seems to be limping in this shot.

Close up of Johnny, who is still lying on the ground, his gun clutched in one hand. His eye opens!

The camera pulls away to show a man running and stepping over him, as the man goes past, Johnny lifts his gun and shoots him.

Cut to Murdoch crouched and still firing his weapon–he sees this!! Teresa can be viewed behind him, she appears to be loading a rifle.

Back to Johnny, who raises up a bit more and shoots at least one other man.

Murdoch has moved to the archway where Scott was stationed previously.

ML: “Look at that! Look at your brother!”

Scott appears joins him side by side in the archway.

Quick cut to show that Johnny is still shooting, then back to ML and Scott. SL turns to look behind him.

SL: “Cover me. I’m going out after him!”

He makes his move, and we see Scott from behind as he runs towards Johnny, then turns and fires-the next image is of a man who is hit, falling dramatically towards the camera.

Back to Scott, who is now moving rapidly backwards towards Johnny, still shooting, but now holding the rifle at waist level, cocking and firing. When he reaches Johnny, Scott transfers his gun to the left hand so he can use the right to lean down to grab at Johnny. Johnny seems to be trying to hold his left arm close to his body.

Another man hurries out to help Scott. Quick cut to ML, who is watching his two sons. Next we see that Scott is dragging Johnny and the other man reaches to help. Quick shot of the attackers, then another close up of ML shooting, Teresa still visible behind him. ML hits one man, then back to ML who is lowering his weapon.

Scott and the other man are dragging JL to safety, each one has an arm. Then we see Suit. Scott kneels beside Johnny, who is still on the ground, leaning against a tree-Scott raises his gun to his shoulder to fire, next shot shows that Suit has been hit and goes down.
Shot of Pardee in the distance. Scott has lowered his weapon, but he and Johnny are looking towards Pardee. Johnny says “Look out.” Another glimpse of Pardee, and then we see that Scott is standing and raising his weapon to fire.

Pardee has been hit. He staggers a bit, clutches at a tree and then falls to the ground.

Shot of Scott from behind, still shooting, while a voice yells, “They got Pardee!”
Cut to an arm signaling as the voice continues-“C’mon, let’s get out of here! C’mon!” It may be Vest.

Pardee’s men begin a retreat, running towards their horses. Shot of Murdoch shooting, then men running. Cut to Johnny lying on the ground He is still clutching his gun in his right hand which rests along his leg.

Shots of men running away, some escape through a gap in a fence. Shots of Lancer men including Desidro, still shooting at them. Then Scott with his rifle raised to his shoulder is seen shooting as he steps over two bodies. Throughout this sequence, after each shot by any of the Lancer men, we see someone on the other side go down, and Scott gets two more here.

Close up of one of Parde’s men getting on a horse, then reaching down to assist one of his comrades to get up and ride double behind him. Pardee’s men are riding away.

Shot of Muroch and Teresa near the archway, then cut to Scott from behind as he walks back towards Johnny. He turns to watch the fleeing land pirates then comes to stand facing Johnny, looking down at his brother who is still leaning against the tree.

Music changes from dramatic fighting music to softer and slower. Camera is on Johnny, looking up at Scott, but he does not speak or smile. He has raised himself up a bit, but is still leaning against the tree. Shot of Scott looking down at Johnny with a smile.

JML: “That was good shootin'”.

Close up on Scott whose breathing is still a bit labored. “Thanks, Brother.” There is a short pause. “We’d just about given up on you, Boy.”

Cut to Johnny who smiles. “Well, you had your plan, and I had mine.”

Close up on Scott, who exhales audibly, but doesn’t respond. Then Johnny starts to get up. Scott reaches out to him, urging him to “Take your time, take your time.” There is a groan from JL as he stands and Scott clutches him by the shoulder. Johnny reaches out to grasp Scott’s arm, then turns to see ML and Teresa hurrying through the archway towards them. Teresa still has a gun, so does Murdoch and he’s using his walking stick. Desidro is behind them.

Shot of the brothers holding onto each other, then Johnny lets go.
JML: “I can make it.”

Scott gives him a questioning look, he’s doubtful, but let’s go. He stays very close to Johnny. Camera is behind the two of them as they take two or three steps forward. Scott transfers his rifle to his left hand. Johnny moves forward a few more paces, getting wobblier with each step. Scott moves around to face him, just as JL collapses forward, SL bends down to catch him over his shoulder, grasping his legs with his right hand. Shot of ML, Teresa and Desidro watching, then Desidro hustles forward to go to help Scott, who is seen turning and heading towards the hacienda with Johnny over his shoulder.

Music plays and screen fades to black.



SCENE 24


Opens on a pair of hands unfolding a paper on a tabletop. They belong to a man wearing a suit, with white cuff and cufflinks. The hands reach to then reaching to dip a pen in an inkwell.

Camera pulls back and the man holding the pen is seen. He has glasses with combed back whitish hair. He hands the pen to Scott and says “Sign. . . there.”

Scott leans forward over the desk to do so. We can see the Lancers are gathered around in an office. Murdoch is in front of the desk off to the right, Scott is at one end to our left and Teresa and Johnny are standing together in the background. Johnny has his left arm across his chest with the right resting on it so his hand is against his chin.

Shot of ML watching Scott-he does not quite smile.

Close up of Teresa and Johnny standing together she is smiling. Teresa is dressed in a skirt, high-necked, white lacy blouse with a black ribbon at the throat and a hat. Johnny is wearing his same white shirt and black bolero jacket.

Scott finishes signing and looks up at Murdoch with raised eyebrows and a smile.
Murdoch is looking down at the document. The attorney then turns the paper towards him, saying, “Just above your name” and points. Murdoch tucks his walking stick up under his left arm and leans over to sign, while the others watch him.

Close up of Scott watching, still smiling slightly. His eyes shift to Johnny and Teresa. Teresa looks more serious now, as she watches with her hands clasped at her waist. Johnny has both arms crossed, and the end of his hat cord in his mouth.

The attorney turns to Johnny: “And you sir?”

Johnny steps forward and the end of the hat cord drops from his mouth. Then Murdoch’s voice is heard: “Oh, Mr. Randolph, I uh (camera shifts to ML) I should have told you that last name should read John Madrid.” Murdoch’s eyes shift to Johnny. “Not Lancer.”

Shot of Johnny looking at him, Teresa has moved to the other side so she is looking over Johnny’s left shoulder.

Randolph acknowledges this, then lowers his head to look at the document-“Take me a minute.”

Close up on Johnny looking at Murdoch, then the camera is on Murdoch who lowers his eyes. Back to Johnny.

JML: “No . . . .. (pause) let it stand.” He seems to look across to where Scott is standing when he says this.

Camera pulls back to show Johnny accepting the pen from Randolph. He bends down to sign as the music starts. Murdoch looks at Scott and the camera slowly moves in on ML to show that he is actually smiling!!!! Scott watches ML with a half smile, then looks at Johnny. Close up on Teresa watching Johnny with a delighted expression. Close up of Johnny’s hands he is just finishing signing his name. Then sets the pen down.


CONCLUSION

Fade from shot of the document to a buckboard pulled by two horses with Murdoch and Teresa riding in it. ML smiles at her. He is wearing his corduroy jacket, with a white checked shirt and a string tie.

Camera on the two brothers riding side by side behind the buckboard. Johnny is on his palomino, Scott on a darker horse. Scott is wearing the same clothes he wore during the gun battle. Both of them are wearing hats. Close up on first Scott, then Johnny as they ride along. We watch then all from a distance as the Lancer theme music plays and the credits role. . .

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