Transcript: The Wedding

Air Date : 07 January 1969
Directed by: Sobey Martin  
Written by: Anthony Spinner

Guest Stars:
Josh: Bo Svenson   
Laurie: Brioni Farrell
Jenny: Brooke Bundy   
Dave Macall: Lawrence Dane

(Notations in italics indicate changes made from the Episode Script dated 10/31/68)

“THE WEDDING”

ACT ONE 

SCENE 1.

It is very, very dark and we can hear voices of men talking, one is singing.  Jelly is driving the buckboard. As they pull up, he is talking, saying things like “Come on, come on! All right, all right!”  

Scott is standing in front of the hacienda as the wagon pulls up and the men climb down.  

Jelly: Oh, I never seen such carryin’ on for one wedding in all my life.

Scott, to Jelly: Seems to me all this celebrating for Josh was your idea. . .

Jelly: Yeah, but I didn’t think he was gonna enjoy it so much!

Camera is on Jelly standing beside Josh who has a big grin.  Josh is wearing a white shirt.  He is very much taller than Jelly.

Josh: You shoulda been with us, Scott. . . I mean, we done painted that town, ain’t that right, Johnny?

Camera to Scott and Johnny standing together. Johnny looks down at the ground as he speaks, Scott smiles down at his brother. 

Johnny, with a smile: It was a pretty good party, Scott.

Josh, to Scott: Never understood why you didn’t come. . .I mean, anybody could’ve taken care of all this.

Scott, with a faint smile: I’ll do my celebrating tomorrow at the wedding, all right, Josh?
Josh nods, barely breathes out a “yeah” as he thinks about tomorrow.

Johnny: I’m going to bed. .  good night.    (to Scott) It’s gonna be all right, now, . .all right . .  (he starts to walk away) I’m gonna turn in. 

Jelly also says good night, Scott remains standing with his arms folded across his chest as they move away.  

Josh: I’m gonna go with ya-I want ta say good night to Laurie . . .  (he starts after Johnny and Jelly)

Scott: Josh! Come here! (he beckons with one finger, then refolds his arms across his chest.)  I think you’d better get some sleep if you don’t want to pass out at your own wedding.   Now Laurie’s already gone to bed.

Josh: Guess you’re right. .  Sure would’ve liked to’ve talked to her though . .  He brightens, then ends with a look of concern: But I got my whole life to talk to her now, right, Scott?

Scott: That’s right, Josh.  (big grin from Josh) Now, for the last time, .  .get to bed.
(during this piece of dialogue, Scott’s hat magically changes-it was square on his head, but suddenly it is back on the crown!!!)

Cut from the script: 
Josh: You know, it’s funny . . I mean until now I always thought doin’ your job and getting’  Saturday drunk is what it was all about— that a shot of whiskey and a dancehall girl who couldn’t even remember your name was all a guy had to look forward to . . And now . .  this whole crazy sudden thing . .  what I mean is-how could a girl like that— like that . . . 

Scott, with a grin: Because she likes big ugly guys!  Now get some sleep.


A beat as Josh stares at him—“friendship and gratitude in his expression”. ) 

Josh: See ya in the morning?

Scott: Right.

Josh: I just hope it ain’t too long in coming.

Scott slaps at his arm: Go get some sleep! Now come on!  (Scott gives Josh a little push as he moves away.)

Josh: Night.

Scott: Night.  
They each give a little wave.  Scott watches Josh for a moment, standing with his hands on his hips.  Then he turns to go into the house, and as he does so, he reaches up with his right hand to remove the hat that is perched on the crown of his head, then resettles it more squarely as he takes the few steps to the front door.

SCENE 2.  
Inside 

Scott removes his hat as he enters and hangs it on the hat stand just inside the door.  He steps into the great room, looks around a bit, and we can see that it has been decorated and the furniture moved around in preparation for the wedding the next day.  There are lights on, but we don’t see Murdoch until Scott speaks to him.

Scott: Up a little late, aren’t you?

Murdoch: Yeah, I have this  . .ah, work to clean up.  
He is seated at his desk looking at some papers.

Scott walks down the “aisle” which has been created from chairs and white ribbon, stops at the organ.  Two candlesticks on the organ top have also been decorated with large white bows.

ML: I can guess why you skipped the party .   . .

SL: Oh, there’s a lot to do around here with the wedding tomorrow.  

ML: Sure.  

Scott sits down on the bench: The wine to be unloaded, the furniture moved. . .

ML, without looking at Scott, his attention apparently still on his paperwork: Uh huh.  The hands couldn’t have done it half as well.

Scott looks at Murdoch, speaks with some emotion: What am I supposed to say? “It’s no good?”  (he stands up) “It won’t work, Josh”?  Who gave me the right? Who appointed me his keeper?

ML: Is she wrong for him, Scott? Do you know that?

SL:  I don’t know anything.  All I know is I brought her to Morro Coyo.

ML: From where?

SL: She worked for a man by the name of Macall as a dance hall girl.  She said she wanted to get out somehow. . .

Murdoch seems to recognize the name: Dave Macall?

SL, nods: I got her a job waiting on tables at the hotel and everything seemed to be fine.  Until she met Josh.

ML: And you didn’t tell him about her?

SL, softly: What could I say?  (he continues on in a stronger voice) There didn’t seem to be any need to tell him anything, then all of a sudden they were in love and it was too late. . .

ML: Want some advice?

SL: I could use some.

ML: Stop torturing yourself.  Just leave it alone.  If there’s something wrong, really wrong. . . he’s gonna have to find out for himself.

SL: I suppose you’re right.

ML: Sure I am. I think Josh is a very lucky man to have you for a friend.  Talk is cheap.  Sometimes it’s harder just to remain silent.

Scott smiles: Thanks.  
He exits and Murdoch watches him go, then picks up a cup to sip some coffee.

SCENE 3. 
Countryside

Five men on horses ride down a short rise in single file; one of them is leading an extra horse.  Camera closes in on the man we will later learn is Dave Macall.  He is wearing a brown jacket, dark shirt and string tie and a black hat, which he removes as the riders come to a stand still.  After a very brief pause, Macall addresses the man nearest him: “Get’em moving!”

Vance Davis, (we hear his voice but never see his face): Look, Macall . . let’s give ’em a break . . they’re beat. . . . We’re not gonna make the Lancers’ place by noon anyway . .   You know it as well as me.

Dave Macall, coldly, making a forward motion with one arm: I said get ’em moving!

They continue on.  

SCENE 4.
Lancer Great Room

We hear organ music and see clusters of people, dressed for the wedding.  The ribbon delineated “aisle” is visible, leading to a spot in front of the big picture window behind Murdoch’s desk.   Quick shot of Scott and Josh standing with Murdoch.  All three are dressed up in their “Sunday best”. Camera pulls back to show the room again, with a woman in the foreground crossing the “aisle” and ducking under the ribbon.

Back to SL, ML and Josh: Scott, on the left, is wearing a tan jacket with contrasting dark collar and pocket flaps, white shirt and black string tie.  Josh is also wearing a tie and has a medium grey-blue jacket.  Josh is standing in between the two Lancers. Murdoch wears a brown jacket, dark shirt and a tie. Scott stands with his hands clasped in front of him and Josh and Murdoch have their hands behind. 

[Cut/changed from the earlier script: It is supposed to be obvious at this point that there is some sort of delay.  According to the script, only Josh seems to be oblivious to that fact.  He looks to Scott and points to his tie, which Scott readjusts for the “hundredth time”.  
Josh: I bet nobody here ever figured you’d be my best man.  They never could believe that the two of us could be best friends . . I mean you got everything going for you and I’m . . . your tie doesn’t even scrunch all over the place like mine.  But Laurie picked me outta everyone and that’s the main thing, isn’t it?


Scott: Sure Josh.  That’s the main thing.  
He exchanges a quick concerned look with his father. In the script, Murdoch, takes this cue,,and moves back towards the entrance where the bride is to appear. In the episode as filmed, the camera is on Josh, Scott and Murdoch standing and waiting, then—-, ]

Camera shifts to Laurie, dressed in her wedding gown, white headdress and veil.  She is standing in front of a mirror, studying her reflection.  She is very beautiful, with perfect features, and a not very cheery expression.  As she stares in the glass, she brings one hand up to finger the high lace collar at her neck.  We can still hear the organ music in the background.  

She reaches down, picks up a decanter of sherry from a console table beneath the mirror, pours herself a full glass and downs it quickly.  

Shot of the great Room again, close up of Scott, Josh and Murdoch. Josh turns to Scott, says something we can’t hear, gestures to his tie.  Scott reaches up and adjusts it for him-there is just a hint of something in the movement that lets us know that this is probably not the only time he has done this for Josh.  

Back to Laurie, who take the decanter and starts to pour herself another glass.  We hear the sound of a door opening and then in the mirror, we see Teresa coming in behind Laurie.  Teresa is wearing a light purple sleeveless dress with a large white collar around the shoulders down to the bodice.  Teresa is carrying a bouquet of flowers and looks questioningly at the bride.  

Laurie (harshly): What are you looking at?

Close up of Teresa as she speaks (there is also some arm movement that suggests that, out of sight of the camera, she is handing the flowers to Laurie.  
Teresa: Do you really need it that badly, Laurie?

Laurie (close up of her): The men had their little night out, why shouldn’t I have mine?

Camera returns to the three men again.  The wedding march begins, Josh smiles.  Murdoch gestures with his arm-we can tell that he is going to escort the bride.  Shot of the Great Room and guests as we see ML walking back down the aisle.

Shift to Laurie and Teresa standing in front of the mirror, now we see ML’s reflection in the glass as he approaches.  
Murdoch : Well, from the sound of that music, it’s time to give the bride away.

Laurie drains the second glass of sherry, while Teresa and Murdoch exchange a look.  Laurie sets the glass down, then turns to ML and asks: “Shall we?” with a big smile.  She reaches for his arm and her smile quickly fades.  The camera holds on the mirror and we watch as the three of them exit the room.

Next shot: Murdoch and Laurie under the archway entrance to the great Room.  They pace slowly in time to the music, Teresa is behind them as the sole wedding attendant.  Laurie is carrying her bouquet, Teresa is empty handed. 

Quick shot of riders, pushing their horses hard, we assume it is Macall and his men.  Camera zeroes in on the pounding horses hooves.

Back to the Great Room: the minister stands in front of the large window that is usually seen behind ML’s desk.  Murdoch moves to the right, back to where he was standing previously, while Josh goes over to stand next to Laurie. There is a random close up of a very handsome Johnny, wearing a black jacket and white shirt and smiling, then cut back to show Scott and Murdoch standing together. 

Minister: Dearly beloved, we are gathered together here in the sight of God and in the face of this company, to join together this man and this woman in holy matrimony. . .

As the minister speaks, the camera focuses first on Laurie, looking none too happy, then on Josh, who has a solemn expression with his gaze elevated upward. As the minister concludes this introduction, the camera cuts to Jelly and Teresa standing side by side.  Jelly, in a string tie and jacket is also not looking very cheerful!!

Quick shift once more to the riders and the sound of pounding hooves!!! Then back to Laurie’s face as the minister continues.

Minister (to Josh): Wilt thou have this woman to be thy wedded wife
Shot of Josh, eyes still elevated, then he glances at Laurie.

Minister (continues): to live together after God’s ordinance in the state of holy matrimony?
Shot of Scott and Murdoch exchanging a glance.

Minister: Wilt thou love her, comfort her, honor and keep her in sickness and in health; and forsaking all others . .
Shot of Laurie, facing Josh with lowered eyes, then quick shot of Josh and back to Laurie.  

Suddenly, there are shots and the sound of a door opening! The camera shows us a man in a hat with a drawn weapon coming in a side doorway, quick cut back to the minister who has his head turned towards the newcomer.

The stranger uses his gun to smash some glassware on a table just inside the door as he enters the room.  Ominous music plays.  Two more men burst through the French doors on the other side of the room.  There is a shot of SL and ML as their heads turn in sync to look back behind them-where a man enters with a shotgun, and behind him is Dave Macall.    Quick shot of Laurie-she barely reacts. Macall enters, gun in hand, but lowered.  He glances around the room, slowly comes to stand near Murdoch.  

ML: What the devil do you want?
Close up of Josh, who appears bewildered.  Macall does not look at Murdoch, his reply is to cock his gun and say: Laurie. . .outside.

Reaction shot of Scott and Murdoch looking at Laurie, then the camera pulls back to show the room, with Laurie, Josh, Scott and Murdoch standing in a line with Macall at the end on the right.

Macall, to man nearest the bride: Take her!

Macall also moves towards the bridal couple. There is another close up of Johnny. Macall approaches Josh from the right and strikes him on the back of the head as his man moves towards Laurie. 
Laurie shouts out : Leave me alone!

Johnny jumps on Macall’s man and they drop to the floor.

Macall’s voice is heard: Hold it, everybody! Easy!  All right!

Josh is lying on the floor, Johnny is also down and is being punched as Scott and Murdoch watch.  

Macall: Take her out! 
His men move to do so. Macall looks down at the floor. We know he is looking at Josh, but we can’t see the erstwhile groom, because the assembled, silent guests are blocking our view. Macall holds his gun up and ready as he backs away.  When he reaches Murdoch, the Lancer patriarch speaks.

ML: You’ll hang for this, Macall.

Macall: You know my name-then you know they can only hang a man once.  (He signals his men to move out) 

Macall, loudly, with gun pointed at SL and ML: Anybody tries to follow . . I  kill the girl.  

Exterior shot shows Laurie being escorted by her captor, and the rest of Macall’s men moving quickly to their horses and mounting up. 

Inside, Johnny gets slowly to his feet, then goes to the door, while Scott and Murdoch hurry over to Josh.  Camera follows Johnny as he reaches the door to look out, then cuts back to show Scott, Murdoch and Teresa kneeling on the floor around Josh.  

SL: He’s all right, he’s just unconscious. You going after them?

ML: You heard what Macall said. . .
Murdoch gets up and moves out of the frame.  In the next shot, ML joins Johnny at the doorway, looking out, then the camera cuts to the bride and her abductors riding away. 

SCENE 5.

In front of the large picture window. Murdoch is perched on the edge of his desk in the left of the shot. Josh is in the center, back to us, standing and gazing out the window.  Scott is on the right, he’s looking at Josh.

Josh, sounding angry, almost desperate: All right, Mr. Lancer, so you’ve sent Johnny for the law, now what good do you think that’s gonna do?!

Scott: All right, now Josh, calm down.

Josh: You calm down!! (he starts to move forward) I’m gonna do something!

Murdoch:  Josh, listen to me. You go out and do something, you go out after Macall and the only thing you’ll succeed in doing is getting yourself and Laurie killed!

Murdoch, gets up and walks after Josh: Now listen to me, son . . (ML walks around so he is standing and speaking with Josh face to face. Scott, behind Josh to our left, sits down.) The Federal Marshall’s in Green River right now-he can be here in a day.  He’s got a lot more experience at this sort of thing than you have.

The following exchange between Josh and Murdoch takes place in loud angry voices.

Josh, bitterly: Sure, Mr. Lancer, that man has had so much experience he ain’t been able to run this Macall down since he broke out of jail three months ago!!!

ML: Now if a federal Marshall can’t find Macall, what chance do you think you’d have?

Josh: I just know that there’s gonna be a trail out there somewhere . . .now that’s a heap of a lot better than just sittin’ here! 

ML, emphatically: Josh, this is wrong!

Josh, in a softer voice: Look, Mr. Lancer, they may kill her anyway . .  or worse . . now you want to play it safe, you stay here . . that’s up to you two . . but she’s my gal and she’s my responsibility . . and I’m goin’ after her!!

Josh starts to walk away with a very determined expression on his face.  
Scott rises to his feet: Josh.

Josh keeps going.
Scott, louder, more harshly: Josh!

Josh stops but doesn’t turn to face him. Camera shifts to close up of Scott.
SL: Meet me at the stable . . I’m going with you.

Josh reacts slightly, then keeps going.

Scott and Murdoch are standing facing each other.  ML has his hand in his jacket pocket.  Scott is removing his string tie.

ML: You think you’re doing him a favor, well, you’re wrong.  We all feel the same way. . but-

Scott cuts him off: You’re right and he’s wrong. I know, do I have to spell it out for ya. . . I’m on your side.  (he looks down at the tie in his hand)

ML: Then?

SL, looking up to meet ML’s gaze: Try talking him out of it? (he gestures after Josh with the folded up string tie he is holding in his hand) You don’t know Josh like I know him . . I’ve no more chance of talking him out of going than he has of standing up against Macall by himself. (looking down at the tie he is slapping against the open palm of his other hand) As for going with him . .(he looks up again) that’s something I gotta do . . . I’m in this up to my neck.

ML: All, right . . We’ll follow as soon as Johnny gets back with the Marshall.

Scott says “right”, then starts to remove his jacket as he walks away.  ML watches him go.

[in the script, this scene ends with a close up of the bride and groom dolls on top of the wedding cake, moves in to fill the frame as they stare vacantly into the camera]

SCENE 6.

Thundering hooves of galloping horses.  Next shot is of a rather run down looking house.  There is a girl out front, working a pump.  She looks up at the riders.  Macall dismounts, tells one of his men to water the horses.  Another man assists Laurie off of her horse; she is still attired in her wedding gown. Macall stands for a moment, hands on hips, facing away from us towards the house. Laurie is rubbing her hands together as if to clean them as she steps towards Macall, and faces the house as well.  He steps towards the building as the horses are led out of the way; Laurie remains a little bit behind.

The girl, who we will later learn is named “Jenny”, is still vigorously working the pump handle. She has blond hair and is wearing a black hat.  Macall puts a hand on the handle to stop the pumping action. Then he uses one finger to move aside the hair that is covering one half of her face. 

Macall: Who else lives here?

No answer from Jenny, she just looks at him, then turns to go inside, giving Laurie a long look.  As she walks towards the door of the house, Jenny removes her hat.

Macall also removes his hat as he walks back towards Laurie.  Behind him, we see that the girl Jenny has stopped and is leaning in the doorway, watching them.

Laurie, to Macall: You’re going to die for this, Dave. (she smiles cruelly) And I’m going to be right there.

Macall ignores this.  He puts his hat back on his head, then reaches out to grasp the bridal veil on either side of her face.  
Macall: Get outta that.

Laurie: And just what would you like me to wear?

Macall looks around, then steps towards the girl, while gesturing back towards Laurie: You got anything at all that’ll fit her?

The girl must nod, because Macall uses an arm motion to urge Laurie forward, towards the house.  

Laurie: I’m not wearing any  . pants-

Macall, cuts her off: Shut up . . and get in there!

Laurie, bitterly: Nothing about you has improved, has it?

Macall: You’ve got exactly two minutes-otherwise, I’ll come in there and help you.

Inside the house, it’s fairly dark and sparsely furnished.  Jenny has her hat back on again, with her hair partially covering her face.   The camera follows her through the house to a bedroom where she stands back to us to contemplate the clothes hanging form pegs on the wall.  She slaps her arms to her sides as she stands there. Laurie enters the room behind her and looks around.  From Laurie’s pov we see two grimy opaque windows.

Jenny, turning and handing some clothes to Laurie: Here ya go.

Laurie takes them: Get out of here. Jenny shrugs and sticks her hands in her pockets, then leaves.  With a look of distaste, Laurie flings the clothing on the bed and goes immediately to the windows to try to open them.

Camera shifts to outside view of Jenny exiting the house.  Macall approaches the girl, reaches into his jacket pocket and then grabs her hand, slaps a coin into it.  She looks avidly at the coin resting in her open palm.

Macall: That’s five dollars gold for the clothes.  If you know what’s good for you, you never saw us . . .

Jenny seems to be trying not to smile. Macall looks at her hard, then puts his hand on the top of her hatted head and turns her away from him.  She heads back in the direction of the house.  Macall turns back to face the camera, slapping dust off of his jacket sleeve as he does so. 

Macall, turning and yelling towards the house: One minute, Laurie!

Laurie (shot of her inside the bedroom, still trying to open the window): I’m doing the best I can!!!

The camera is on Macall again as he hears a noise, reacts and turns to run towards the house.  The camera is inside as he bursts through the door, hurries through the house to the back bedroom and arrives just in time to grab Laurie as she is about to climb out the opened windows.  He pulls her inside, then pushes her towards the bed.  He closes the windows. Camera shot of first Laurie looking at Macall, then Macall staring at her.  When the camera returns to Laurie, she addresses him.

Laurie: What do you want from me? Didn’t you read my letter?

Macall: I read it.   (pause) The words weren’t important . . the only thing that is is that you wrote it. .  that after all this time, you had to write me-tell me you were getting married. . . 

Laurie, sharply: To pay you back for ditching me . . to prove to you how little I need you. . ever needed you . . . (she walks away)

Macall: A simple wedding invitation would’ve been enough. 

She is standing back to him.  He goes to her and turns her around to face him, taking her in his arms. 
Macall: You’re lying, Laurie.  To yourself and me. . . 
He kisses her.  Finally, she pulls her lips away forcefully, but he is still holding her in his arms.  

Laurie: Do yourself a favor. .  Read the letter again . .  Read it real carefully.  And when you finish maybe you’ll realize how stupid you sound!

He moves to try to kiss her again, but this time she spins out of his arms.  She faces away for a moment, then turns to face him with a smile.
Laurie: They’ll get you Dave.  Josh and the others won’t buy your threat . . they’ll be along. . .

Macall: For their sake Laurie, . . (he picks up the clothes from the bed) you better pray you’re wrong.  (he tosses the items at her.)

Macall exits, Laurie holds the clothes for a moment, then tosses them on the bed.  She stares after Macall while dramatic music plays.

COMMERCIAL

ACT TWO

Scene 7.

It’s dark and two riders approach Jenny’s house-Scott and Josh. 

Josh: What are we stoppin’ for?

Scott: The ground’s too hard. And it’s too dark.  The trail’s gone.

Josh removes his hat, slaps it against his leg: There’s gotta be a way.  . . .  there’s gotta be.

Jenny comes out of the house, closing the door behind her. There is a light on the outside of the house, beside the door.

SL: Have you seen any riders pass by here? (the camera shifts to Jenny as Scott continues to speak) They had a girl with them, in a wedding dress. (When Jenny says nothing, Scott adds more) Now, it’s very important . . . we’d be much obliged.

Jenny walks slowly towards them, up to the low fence in front of the house. Finally she speaks: Maybe I seen ’em—maybe I didn’t.

Scott dismounts and approaches her, stopping on his side of the fence.  He hands her something: Maybe this’ll help you remember.

Jenny takes the coin, looks at it:  Nope. Didn’t see nuthin’ .  Then she turns to go back into the house!!!

SL: But you just took my money!!

Jenny: Now I never said you were gonna get nuthin’ for it.

SL: Well, you can give it back, right now!  He opens the gate to go after her. Josh dismounts and follows Scott. Jenny goes inside with the two men in pursuit.

Inside, we see Jenny standing back against the wall, Scott on our left and Josh on the right with Jenny between them.  Josh is holding his hat in his hand, Scott is still wearing his.

[In the script, the first thing that Scott says to her is to ask Jenny “What are you doing dressed like that?”
Her response: People leave me alone! That’s what for I’m dressed like this!”]


SL to Jenny: Why don’t you just tell us what we want to know and we’ll be glad to leave you alone. 

Jenny: What makes you think I seen anything?

Josh: We’ll pay anything you want.  Just tell us which way they went!

Scott, warningly: Josh!!

Jenny smiles at that, looks from one man to the other: Anything?

Josh: Anything.

Close up on Jenny as she removes her hat and smiles.  She brushes her hair out of her face before looking at Josh and stating her price: Fifty dollars.  

Josh, with sad eyes and furrowed brow: I ain’t got fifty dollars.

Camera shifts to Scott who closes his eyes and bows his head with a weary expression. He reaches up and moves his hat back a bit on his head.  Close up on Jenny once more, she looks at Josh and makes a loud “tsk tsk” sound with a not sympathetic look on her face.

Jenny, not meaning it at all: Now that’s too bad. 

Josh, to SL: Scott, we gotta find out which way they went.  Now you can advance me the money, you can take it outta my pay.

Scott, looking frustrated, pulls a coin out of his pocket and holds it up. 
SL: That’s all I’ve got.  Would’ve been enough, if you’d kept quiet. 

Jenny sees her opportunity: Mister, you’re a rancher, now you can get credit anywhere.  Fifty dollars ain’t gonna mean nothin’ to you . . . 

Scott: Just tell us what you saw.

Jenny’s glance flicks from one to the other.  Finally, she gives up some information about what she knows.
Jenny: Dave Macall and his boys haulin’ off that little piece of weddin’ cake of yours.  (she looks directly at Josh when she makes the wedding cake remark) Now I could lead you straight to him! They holed up in a town that they keep alive-they own it, they own it lock stock and barrel.  Does that answer your question?

SL: How do you happen to know where Macall is when nobody else does?

Jenny, with a big smile: I know a lot. I listen.

Josh, with puppy dog eyes: Scott. .  please. Get her the money! (he pauses, swallows) It’s our only chance!

Short silence, while Scott considers this. Then Jenny moves forward, holding her hat.
Jenny: All right, I tell you what.  You look like a big spender. I am gonna trust you for it.  

She turns to look at Scott, who takes a few steps towards the left, he is facing away form Josh.   Josh moves towards him, but before Josh can ask again, Scott faces him. 
SL: All right.

More silence. Jenny sits down at the table in the foreground. Scott stands looking out the window to the left.  Josh is still standing behind him, holding his hat in his hands.

Josh, to Scott: Ya know  . . . something’s been naggin’ at me ever since we left. . . why did Macall want to take Laurie? (Scott, who had turned to face Josh when he started to speak, now turns away) How come he knew about the wedding? 

SL: Let’s find them first.  Then we’ll figure that out.
Camera shifts to Jenny who is writing in a small ledger book.

Josh: Well, it just don’t make sense.  And you been kinda draggin’ your feet. Now, is there somethin’ you know that maybe I oughta know too?

SL: Josh, why would I keep anything from you?

Josh: Well, I don’t know.

Camera shifts to Jenny again, she is still figuring!

Josh: Now, if you know somethin’—I ain’t no kid.  I may act like one, but I ain’t no kid, Scott.

SL, after a moment: I know that.  Now let’s go . . .

They exit, Josh first, Scott after him, setting his hat squarely on his head.  Jenny last, putting her hat on as she follows the men. Outside, Scott and Josh mount up.  

Josh, to Jenny: Come on, climb up.

Jenny: Uh uh.  I wanna ride with him.

Scott, with some resignation: Around this side.

She walks around, he gives her a hand up behind him.  
SL: Are you up there?
Jenny: Yup.  

The three of them ride off.

SCENE 8.

Close up of a white-sleeved arm and hand scraping at a horse’s hoof.  Camera moves back and we see that it is Scott. It’s still dark, we can hear the crickets singing.  Josh is standing off to the left side of the screen; jenny is seated in the background, drinking from a canteen.

Josh, sounding quite irritated: Scott, just how much longer is that gonna take you?

Scott: Now Josh, relax. The horse bruised his foot. I try to run him any further right now, I’ll damage him permanently.  You know that.

Josh, still angry and intense: Yeah, I know that.  But what’re we gonna do now?

Scott: The Marshall and Johnny have probably picked up our trail by now.  (emphatically) Now we’re gonna wait for them, right here. Believe me, it’s the best way. 

Josh sits down, his head hanging.  After a brief moment he starts to speak, his tone no longer angry.  

Josh: Hey, Scott? Do you remember that time when they raffled off that Pinto cutting pony? (he pauses, but there is no response from Scott) You remember . . . what a beautiful hoss that was?

Scott turns towards Josh, but still says nothing, just listens. Camera also shows us that Jenny is listening as well; she is still sitting and is cradling the canteen.

Josh: Well, I was holdin’ one of the final tickets . . .and I was so sure I was gonna win that beautiful hoss I went out and bought that Mexican slip saddle . . . .  .  Remember that?

Scott still doesn’t say anything, but he walks towards Jenny. 

Josh: Remember what a heck of a time you had gettin’ my money back?

Jenny offers the canteen to Scott, who accepts it, then crouches down.  Camera on Scott who is looking at Josh, but still Scott doesn’t speak.

Josh, to Scott: You remember?

Camera to Scott, who finally smiles and looks down at the ground at the memory.  Camera back to Josh, who is also looking down. 

Josh: I remember . .what you told me then.

Scott, speaking very gently: I don’t understand what that has to do with anything, Josh. (he starts to take a drink from the canteen as the camera returns to Josh.)

Josh, speaking haltingly, as if he is trying to recall the exact words: Well, you said . . sometimes a man can be too much of a believer and he can want something just too much so losin’ it makes it so much worse. (while Josh speaks, the camera goes to Scott and then to Jenny, both listening, both with serious expressions)  Well . . . someday, I’m gonna hafta learn that.

Sad music plays.  There is a moment of silence, and then Scott has made a decision.  He looks over at Jenny, who is still sitting pensively.

SL: How far is Macall’s town?

Jenny, rousing herself: Oh. .it’s  . . . it’s about ten miles.

SL, decisively: All right.  Let’s go.  We’ll take turns walking the horse.  

They head off.



SCENE 9.

Daylight.  Scott is walking his horse, Jenny is also on foot, holding a stick in her hand. Josh is in the background, riding.  They pass in front of a large grey barn-like structure. Shot of an empty main street.

SL, to Jenny: Are you sure that’s Macall’s town?

Jenny nods: Fifty dollars worth.  (she reaches up and strokes the neck of Scott’s horse)

SL: All right.  (turns, then gestures to Jenny) You wait here.

She seems a bit dejected as they ride off.  
Jenny: Now where do you figure I’m about to go??

She turns back to us, switches the stick in her hand in evident frustration.


SCENE 10.

Josh and Scott continue riding towards the deserted main street.  Quick shot of two men starting to come out of a building-they quickly draw back as they catch sight of the approaching riders.  The taller, heavy-set man is wearing a badge-he is the Sheriff, Burgess.  The shorter man is deputy.

Scott and Josh ride up to the building labeled, “saloon”.

SL: Remember, I do all the talking.

Josh doesn’t speak he barely nods.  They dismount and tie their horses, then head inside. The town is eerily quiet, their footsteps on the wooden sidewalk are clearly audible. 

(Here the script talks about the sound of music emanating from a busy cantina, at night)

INSIDE: There are three men seated at a table. Playing cards. The place seems otherwise empty, except for the bartender. Scott and Josh approach the bar.  Scott pushes his hat back on the crown of his head; Josh removes his and places it on the bar. 

Bartender: What’ll it be, gents?

Scott, reaching into his pocket for some money: Let’s have two beers. . . .  It’s a nice town you’ve got here.

Bartender: It’ll do . . .

Josh, quietly: Mister? We’re lookin’ for a Dave Macall . . . you know ‘im?

SL, before the bartender can respond: Just let us have those two beers. (he tosses a coin on the bar.)

The bartender moves away, and Josh turns to Scott. 
Josh: Now what’d you do that for-he might’ve known something-
SL: He might’ve known too much.  Now Josh, I told you to be quiet and follow my lead.

OUTSIDE: The sheriff and his deputy are coming down the sidewalk. They enter the saloon and walk up behind Scott and Josh who are still standing at the bar.

Sheriff Burgess: You boys mind turning around?  (Scott and Josh comply) That’s better, I like to see a man’s face when I’m talkin’ to him. 
The Sheriff stands with his hands in his vest pockets, a fairly pleasant expression on his face.  The deputy is beside him, his thumbs hooked over his belt. 

SL: What can we do for you, Sheriff?

Burgess: My deputy’ll do it.

Before Scott or Josh can react or protest, the deputy quickly takes their guns. 

Burgess: You look like you been around. .  . maybe you can save me some trouble.

Scott readjusts his hat. 
SL: We’re just passing through town, heading for Modesto.

Bartender: They’re lying Burgess, they were askin’ about Macall!

The Sheriff reacts strongly to this information, the camera is on him as he goes for his weapon.  Scott charges at him, while Josh pushes the deputy aside. The three men from the card game go after Josh.  Scott makes a break for the door, bending to pick his hat up off of the floor on his way.  

Outside shot: we see Scott roll out from under the batwing doors, scramble up and head for his horse.

Inside: Josh is also heading for the door, but the sheriff catches up to him just as he makes outside, hits him over the head and Josh drops to the ground.  The Sheriff starts to lift his gun in what we assume is Scott’s general direction.  Josh, lying on his back, looks up and sees what he is about to do and then kicks the gun out of Burgess’ hand.  The deputy tackles Josh and hits him a few times.  Camera cuts to Scott on horseback, he turns and rides away. 

Burgess: Throw him in a cell . . if he gives you any more trouble. .  break his head open! 
The Sheriff stares after Scott.  



ACT THREE

Scene 11.

Scott doesn’t go too far, we see him riding behind a building and dismount.  He ties his horse, then walks to the edge of the building, removes his hat and peers around the corner.

Shot of the street and the saloon, but no people visible.

Camera returns to view of Scott and we can see someone coming around behind his horse.  It’s Jenny.  We can hear her footsteps, but apparently Scott can’t!!  He gives a delayed startle reaction and quickly turns once she begins to speak.

Jenny: It’s a pity a fella like that never learned to keep his mouth shut.

Scott: What’re you doing here?

Jenny: Oh, I got bored. Besides, I figured I’d never see you again in one piece.

Scott does not reply to this, he is still looking around the corner, towards the saloon.

Jenny: Hey, you-you ain’t gonna try goin’ after him, are ya?

SL, giving her a direct look: That’s exactly what I’m gonna do.

Jenny: You’re as big a fool as he is! You’re both gonna get yourselves killed over some girl that don’t even care nuthin’ for that lunkhead!

Scott: Now, what makes you think that you know what she wants?

Jenny: Oh, c’mon now, that ain’t so hard to figure.  Any girl that’d run with Dave Macall doesn’t want to be bothered with a sheephead like that Josh of yours.  (big sigh, pause, then she continues) I been watchin’ you with him, you kinda know that too, don’t you?

Scott doesn’t respond.  He looks down the street. Camera shifts to his pov and we can see men exiting from the saloon.

Jenny: Something I .I kinda can’t figure out, though-how a fella like you ever picked up with a fella like him.

Scott looks at her.

SL: One day Josh came to the ranch from the high country.  He couldn’t read and he couldn’t write. He was too big and too proud and too ashamed to go to the school in town, so he asked me to help him. And I did.

Jenny: And you helped him, and you helped him and you’re still gonna help him. And I’ll make you a bet he doesn’t even thank you for it!

Scott watches the street for a moment, as four riders head out, probably looking for him.

SL: One day, we were clearing some stumps, with dynamite, in a field. Now one of the bigger jokers in the crew hollowed out a dynamite stick and lit it and threw it at me.  . . . Now, that big sheephead. . . saw it. . . and threw himself on that stick of dynamite.  It was very funny.  And everybody had a big laugh.

There is a pause while Jenny considers what Scott has just told her. 

Scott: Now you go back to the barn and you stay out of sight.
He reaches out and pulls her hat down over her face.  She removes the hat and smoothes her hair with one hand while he goes to untie his horse. And he walks past her, he looks at her, but neither of them has any more to say.  The camera lingers on Jenny’s face as Scott leads his horse away.


SCENE 12.

(the script provides a scene within “the cantina”, it’s still nighttime and Sheriff Burgess is drinking coffee in the almost deserted bar. Macall comes down the stairs, asks Burgess if there is any word, and after receiving a negative response, Macall gives the “lawman” his instructions.

Macall: All right. I’m gonna join the hunt. . . in the meantime, put a guard on the terrace outside the girl’s room-just in case our visitor gets away, doubles back. 

Burgess nods and Macall moves swiftly to the swinging doors.  As he reaches them, he turns monce more in afterthought.

Macall, wrily: Better get some sleep, Burgess. If we don’t get him, you’re gonna have a lot of explaining to do, come morning. . . 

He turns and goes out. As the swinging doors flap behind him, the scene shifts to Scott in a dark alley.)


We see Scott tying up his horse and then moving along a side street, staying close to the buildings, in their shadow (it’s still daytime). He steps over a hay bale.  “Sneaky” music helps him move along. He slips under the railing to stand on a shadowed staircase, a change in the music lets us know that Scott sees something, but we don’t’ know what it is. He then springs out to dash up behind a man standing some distance away, about to light a cigarette. Scott gives him a chop to the neck and the man goes down. 

(in the script, it’s still nighttime and we see the guard from Scott’s pov early on.  His approach is a more drawn out process with the camera cutting back and forth between the guard and Scott.  The guard actually hears a footstep, looks up and sees nothing.  Then:
Scott explodes out of the shadows, rips a punch into the guard’s gut.  As he doubles over, Scott chops down on his neck, sending the guard face forward, unconscious. )


Scott bends over the fallen man, quickly looking up and down the street to see that all is clear.  He also quickly makes a readjustment to his hat, pushing it back further on his head!  He bends down to roll the man over,–the “victim” seems to be rather cooperative in the roll and helping WM to grab a hold of his left arm.  Scott drags the man some distance and then back into the dark area next to the staircase. (The victim continues to be helpful, keeping his knees bent and holding his right arm up and out of the way.)

Scott disappears from view momentarily, then he reappears with his gun drawn.  He mounts the staircase.


SCENE 13.

In Laurie’s room. She is dressed in a dark red dress with a black patterned print, deep V neckline also edged in black, long sleeves. She is standing in front of a dresser mirror brushing out her hair.

Suddenly the door opens and Scott enters. As he shuts the door, the camera moves to Laurie’s face. She is surprised but her expression is unreadable as to whether his arrival is a good or bad surprise. 

(in the script, Scott enters via a window and Laurie is described as wearing a “spangled” dress)

Scott did not have his gun drawn when he entered-he uses both hands to open and then close the door.  As he looks up at Laurie, he raises his right hand in a silencing gesture.

SL: Keep your voice down . .  (nodding towards the door) they may have another guard posted outside. (he stays by the door, but glances around the room)

Laurie: Are you alone?

SL: I wasn’t. . . Josh was with me, but they grabbed him.  I saw the guard outside and thought maybe he was in here.  (slightest hint of a smile) I’m glad to see you’re all right. 

Laurie says nothing, but Scott responds to what he thinks he sees in her expression as the camera shifts to Laurie’s face.

SL: Oh, don’t worry.. . I’ll get him back.  (camera on Scott once more) We’ll come back for you. You’ll be all right til then?

Laurie nods.  Scott murmurs something like “later” and makes a motion towards the door.
Laurie, who has remained standing in front of her dresser, now steps towards Scott.

Laurie, sharply:  Scott . . .

He turns back.

Laurie: You haven’t got a chance. . . why don’t you just get Josh and-

SL: And what?  (she doesn’t answer, camera shifts to her) Let you and Macall live happily ever after?  (he says this still not really considering that it might be true)

Laurie stares at Scott and he looks back at her.

Scott, in half disbelief: Laurie. . .  (shakes his head a bit) Don’t tell me that’s the way it is. . . (he is clearly puzzled)

Laurie turns abruptly and takes a few steps away from him. I don’t know how it is . . I just want a chance to think . . . Even if I was sure I wanted to go  . . Even if you were to free Josh-get back here-How far do you think we’d get. . . I’d only slow you down . . .

Scott has been staring at her, now he straightens himself up a bit and walk over behind her. He rests both arms on the bedpost, expels a lengthy, audible breath and then waits a beat before speaking.

SL: I don’t know who’s the bigger fool—Josh or me. (he shifts position, half turning, so only his left arm is on the post)  Now somebody told me it’d turn out this way and I didn’t believe them. 

Laurie is still standing facing us, but back to Scott, her eyes are downcast but she has little expression. She lifts her head to reply: You and Josh, you’re always pressing me. Come here, come there, do this, do that. I never had a chance to figure out how I feel myself.

Scott reacts angrily to this, steps to Laurie, takes her arm and forces her to turn and look at him.

SL: How you feel?! What about Josh’s feelings? He put his life on the line because he thought you needed him.

Laurie, petulantly: I know everything you can say . . I’ve said it to myself. . . but it is my life! It’s not my fault I’m pretty.  I didn’t ask Josh to fall in love with me . . . if I decide to leave, I’ll do it on my own. . . Now—if you really care about Josh. .  if he’s half as important to you as you say-

SL, cuts in: I know, you told me. .   Find him and get him out. . .Well, finding him is not going to be hard, ’cause it’s the law that grabbed him. He’s lying in a cell right now-getting him out’s not gonna be so easy.

Laurie, placatingly: I’ll help you, Scott. . . any way I can. Whatever you think, I don’t want anything to happen to Josh. (he just stares at her) I swear it, Scott. . . the last thing in the world I want is for Josh to get hurt because of me. . . .

SL: He may not know it yet. . . but he’s been hurt already.


SCENE 14.

At the jail. The door to the cell block opens.  Josh is in a cell; Sheriff Burgess unlocks the door so that his deputy can enter the cell with a tray of food.  

Burgess, to Josh: Stay where you are.
The deputy puts the tray down inside the cell, then exits, while Burgess watches with his gun drawn. 

Burgess, while locking the door to Josh’s cell: Compliments of Mr. Macall.  Could be your last meal.

Josh ignores the tray and steps to the bars.
Josh: How’s my girl?

Burgess ignores his question. 
Burgess: I figure you’ll swing tomorrow at dawn. (he chuckles a bit) Be a shame to go out on an empty belly.

Josh, tightly: I asked you a question-how is she??

Burgess: Ask Mr. Macall. . .

Josh reaches through the bars in anger, but Burgess quickly steps back out of reach.  He exits, pulling the door to the cell block shut.  The camera zooms in on Josh’s angry face. 
Out in the main room of the sheriff’s office, Burgess grabs a tin cup and crosses to the stove and a coffee pot.  Removing a handkerchief from his back pocket, he picks up the pot and pours himself a cup. He sticks the handkerchief back into his pocket, then walks over to look out of the window as he takes a drink. Ominous music plays as we suddenly share his pov and see Scott out in the street, approaching the office, leading his horse, followed by Laurie. Burgess sets his cup down, opens the door and exits the office.

Out in the street, we can see that Laurie is holding a gun on Scott as he ties his horse to a railing next to the animal that Josh was riding.  They step up onto the wooden sidewalk and move towards Burgess, who is waiting just outside his office.

Burgess: What’s this?

Laurie, speaking quickly: He broke into my room-Macall left me a gun just in case something like this—

Burgess, cutting her off: Inside!

Camera in the office, Scott enters, followed by Laurie and then Burgess.  The Sheriff heads over to the cell block door to unlock it. 

Burgess, to Laurie: Nice going, gal.  Just throw him in here with—
While Burgess is speaking, the camera is on Scott and Laurie behind him.  We can see her hand the gun to Scott, Burgess turns and sees this as well.  He glares at them a moment before making a move for his own weapon.

Scott: I wouldn’t, friend.  
Scott tells Burgess to sit down, and tells Laurie to get the Sheriff’s gun. She takes Burgesses weapon and also the keys and then continues past him into the cell area.  Scott tells Burgess to sit down once more and this time he complies.

Inside the cell area, Laurie closes the connecting door, then goes to unlock Josh’s cell.

Josh: Laurie, how’d you get in here?

Laurie answers him while she is working on the lock: Scott’s outside. . . there are horses just a little ways down the street.

Josh comes out of the cell, holding his hat. 
Josh: Are you all right? (she nods) Where’s Macall?

Laurie: Out of town.  We’d better hurry.

(the script calls for Laurie to avoid Josh’s attempted embrace here, then he catches her hand)

Josh stands in front of her, holding his hat in both hands. 
Josh: Everything’s gonna be all right, you’ll see.  When we get back to the ranch, you’re gonna have the kinda weddin’ and honeymoon you always dreamed of-

(the script describes Laurie as touched by this, and indicates that she starts to put a hand to his face. As filmed, she simply looks down before delivering her next line)

Laurie: Josh, I’ve got to tell you something. . .

Josh: You just tell me you love me.  That’ll be fine for now.  (as he speaks, he puts on his hat and then takes the keys from her) Josh opens the door and lets Laurie go into the office ahead of him. The camera shifts to Scott, standing near the window.

Scott, to Josh, gesturing with his gun at the Sheriff: Lock him inside.

Josh takes Burgess by the collar and roughly shoves him onto a cell and locks the door. Another shot of Scott watching out the window, then Josh returns to the office.

Scott: Let’s go.
The three of them head towards the door-it looks as if Laurie is following Scott and Josh.  Josh removes his hat as he leaves.  Scott and Josh go to their horses, when suddenly Josh realizes that Laurie is not behind him.

Josh: Now where’s Laurie??

Scott unties Josh’s horse, then moves to his own. 
Scott, in a low voice: She’ll meet us later. Let’s go .

Josh puts on his hat, but we don’t actually see the two of them mount up as the camera cuts to a couple of men crossing the street.  We here Scott’s voice “C’mon, boy”, then the two men suddenly see something and start shooting. The camera shifts to Scott and Josh riding away hard, then back to show that several more of Macall’s men are hurrying to their horses. 

Scott and Josh ride around a corner and out of sight. The camera shows the street as five riders join in the pursuit.  Laurie is shown watching from a doorway. Suddenly, the last rider halts, it’s Macall who has caught a glimpse of Laurie. He stares at her, then rides over to where she is standing and dismounts. Neither one speaks as he walks over to her, then grabs her shoulder.  But before he can say anything, the camera cuts to Scott and Josh riding down a back alley.  They ride into an open barn-like door, which closes just before the pursuing riders tear around the corner after them.  The four men gallop past, and as soon as they are gone, the large door opens and Scott and Josh ride out, heading off in the opposite direction.


SCENE 15.

Close up on Josh, he is angry!
Josh: You’re lying, Scott! She’ll be here. . . she loves me and she’ll be here!
He turns and we see that Scott is seated behind Josh. Josh lowers his face to Scott’s as he finishes these lines.  They seem to be inside a barn of some sort, and Jenny is with then, standing in the background, just listening.

Scott: Josh, I should’ve told you before . . . it’s my fault as much as hers . . . . .

Josh, cutting in, still very angry: You told me, Scott. You told me from the time I started callin’ on her! (camera on Scott’s face, serious expression and sad eyes) The time when you didn’t come to town for the party!  (Scott looks down at this, then the camera zooms in on Josh) And you told me every time you came near us! I think you’re jealous-that’s right.  She’s such a beautiful gal and you just couldn’t stand the thought of me and her being together! (He’s shouting now)

Scott, raising his own voice angrily now: Josh, I saw her, and I talked to her. She’s not going to leave him! 

Shot of Jenny, listening in growing discomfort.

Josh: I don’t want to hear no more of your lies! You hear?! You shut up! Shut up! 
Josh waves a finger in Scott’s face then starts to walk away. Scott rises to his feet.

Scott: Now Josh, where are you going?

Josh doesn’t answer, but he’s heading to the door.

Scott moves after him, reaches out to grab him: Josh!

Josh whirls around: I’m goin’ to get her . . .

Scott: Will you listen to me—

Josh pushes Scott away hard, he ends up bumping against a support post.  He starts to head back towards Josh, who is standing there waiting and ready. Meanwhile, Jenny, who is behind Josh, picks up a rifle and uses the butt end to hit Josh over the head. Josh stands there momentarily, stunned. His knees bend, he shakes his head a bit, then drops to his knees. Scott draws back a bit as Jenny hits Josh again and he topples face first forward to the floor.  Jenny lets the rifle slip from her grasp and both she and Scott move towards josh. Scott stands with one foot on a bale of hay while Jenny kneels beside Josh.  She appears to gently turn him over, but we can’t actually see Josh here, and we never see him again in this scene. Jenny removes her hat, looking very concerned. She looks up at Scott, biting her lip.  Scott gives her a sidelong look, a knowing smile playing on his own lips.  Jenny looks back down with a half smile of her own.

ACT FOUR

Scene 16.

Still in the barn, it’s dim inside, Jenny is kneeling on the floor with Josh’s head in her lap. Scott is standing, hands on hips, looking down at him.

Jenny: Did you see that I had ta hit him twice before he’d go down? Now any one of those woulda felled a steer. (she is impressed)

While Jenny is speaking, Scott is taking a coil of rope off of a peg on the nearby support beam.  He crouches beside them holding the rope.

Scott: I saw that.

Jenny: He woulda racked you up good if I hadn’t done that.  He’s so BIG. . . . and so DUMB.

Scott: How’s his head?

Jenny: Oh, don’t worry about him, he’ll be comin’ around before you even know it . . .

SL: Good.

Throughout this exchange, Jenny has been tenderly wiping Josh’s face. Scott is busy tying the rope around Josh’s ankles.

Jenny: Hey, what’re you doin’?!

Scott: Trying to make sure I get him back to the ranch in one piece.

Jenny: Well, that ain’t gonna do no good!!

Scott: Look, thanks for all your help.  Now, I’ll get you that fifty dollars when I get back to Morro Coyo.  Now you just be a good girl and. . .  run along.

(the rather patronizing “be a good girl” is not in the script)

He finishes up the ankles and then moves to lift Josh’s upper body so that he tie his arms.

Jenny: But you can’t keep him hogtied up all his life!!

Scott is tying Josh’s arms behind his back.  There is a groan from Josh.
Scott: Now you let me worry about that, will ya?

Jenny: Look, he’s gotta get rid of some of that baby fat and now’s as good a time as any.

SL: He’s coming around.

Josh is murmuring to himself.  Scott asks Jenny to help roll him over.

Jenny, brightly to Josh: Gave ya two good blows, I did!

Josh: What’s this?

Scott reaches slightly behind to pick up a four legged stool, he sits on it, adjusts his holster out of the way, and looks down at Josh.  Almost as an afterthought, he thinks of the rifle leaning against the support post, snatches that and puts it across his knees.

Scott, to Josh: If you try to go back to that town of Macall’s, you’re a dead man. So I’m taking you back to the ranch if I have to drag you every foot of the way.

Josh still has his head in Jenny’s lap.  He looks up at Scott: Don’t do this to me, Scott.  Lemme just talk to her. . .

Scott: Josh (he really drags out his name here), she wrote to him.  She wanted him to come, can’t you understand that?

Josh: Now she was lyin’! She just said that ta get me outta there safe.

Scott: Josh, that’s not the way it was.

Josh: Don’t do this to me Scott. I ain’t gonna end here no matter what you say.  I’m going back for her.

Scott: Josh . . .  If I bring Laurie right here. . . and she tells you right to your face, will you believe her?

Josh, shakes his head: She wouldn’t do that. She wouldn’t do that to me, Scott.

SL: Right here, Josh, right to your face.

Jenny: Josh, a man would have ta be a four way fool not to believe that! Now I figured you for a three-way one, which ain’t necessarily all bad . .  ..

Josh: Stay outta this, Jenny.

Scott: Well?

Josh, without looking at either of them: All right, Scott. Bring her here.

Scott, handing Jenny the rifle: If he gets loose and tries to follow me . .  shoot him in the leg.

Scott gets up off of the stool, reaches for his hat hanging on the post.  Jenny laughs a bit, then, gun in hand, moves to take Scott’s seat.

Jenny: All this over one girl . . It’s some kind of madness, now ain’t it?

Scott nods, looks down at the hat he’s holding in his hands. 
SL: A very special kind of madness.

Jenny looks up at him and significant music begins to play: Scott, you think anyone would ever do this for me?

Scott: When the time comes and you want someone that much -(he reaches out with one hand to stroke her hair) I’ve a feeling he’ll do just about anything for you.  

(sigh)

He smiles at her and leaves.

Jenny starts talking to Josh: You know, I only seen that Laurie of yours but once. Didn’t pay much mind. Um . .  what kinda hair did she have?

Josh answers softly, as we hear the hooves of Scott’s horse departing.
Josh: Black. So black it glistened. So long she could sit on it.

Jenny brushes at her own short blond hair with one hand. 
Jenny: Sit on it? Now who’d wanna sit on their own hair?

Josh doesn’t answer or even look at her.

Jenny: ‘Sides, long hair keeps getting’ in the way. A gal can get a lot more chores done if she doesn’t have her hair keep getting’ caught up in things.

Still no response from Josh. 

Jenny: She looked like she had that kinda. . . .  pale, wishy-washy kinda skin.  Bet a day’s work out in the sun, she’d come back more speckled than a ginger bird.

Shot of Jenny, sitting on the stool, inspecting her own hands while Josh lies at her feet.

Jenny: Now, maybe they ain’t soft as that Laurie’s, but I bet they could . . .they could get a lot more done for ya.

Josh props his head up a bit at the base of the support beam.  Suddenly, Jenny puts the rifle aside and kneels down beside him. 

Jenny, angry: Now you lissen to me when I talk to you!!

She reaches out and grabs his face, turns it to her and kisses him squarely one the lips. It is a long, angry kiss. Then she releases him, gets up, grabs the rifle and walks away.

Josh looks after her. She gives him a sideways look back, and a little smile. He smiles back up at her. The camera goes back and forth a bit, between them both smiling.


Scene 17.

Back in town, Macall is leaning against a porch post, his man Vance Davis is to our right, Sheriff Burgess is back to us, talking with Macall. We can se Laurie in the background, standing in a doorway. The Sheriff is a bit nervous, he clears his throat several times as he addresses Macall.

Burgess: Well, ah, we been doing some talkin’ around town, Mr. Macall.  We know you’ve done a lot for us, but. . .  . we figure this is a good time for you and your boys to move on . . .
Macall, with a sardonic smile: Like maybe tonight?

Burgess: Look, now that word’s out, we’re gonna have a U. S. marshal and a whole pack of lawmen on our hands . . 

Macall: We’re staying til tomorrow-Sheriff.  (he places a snide emphasis on the title)

(cut from the script, Macall adds: We got a little ceremony to take care of . .  the Sheriff starts to protest, and and Macall says simply: Don’t say any more. Also in the script, Burgess addresses Macall as “Dave”.)

The Sheriff leaves.  Davis watches him go.
Davis: That’s too bad.  We had a good deal here. . . Think it’s too late to catch up with the other two?

Macall: The sod-buster and that pretty boy Lancer? They gotta be ten miles from here and still running!

Davis reacts with amusement, then he moves off down the street. Macall pushes himself away from the post, then steps towards Laurie. At the same time, she approaches him. 

We hear Scott’s voice, but don’t see him: Would you care to settle for thirty feet?

Macall starts to go for his gun, then freezes as Scott continues speaking.
SL: Don’t move. (we can see him a short distance away as he steps around the corner).  It’s just that pretty boy again . . . (nice closeup of SL with his gun extended and pointing at Macall)

The camera shifts to inside the saloon.  We hear Scott’s voice telling Macall to “get on that horse”, but we see the bartender wiping off a table.  Suddenly, something outside attracts the barkeep’s attention, and he moves to the window. Quick shot of Scott, Macall and Laurie on horses.

Bartender: Looks like your boss is elopin’ early and he’s takin’ his best man right along with him . . .

Davis and some of Macall’s other men go to the window and look out. 
Davis: It’s Lancer and he’s got Dave and the girl!

Three other men start to move towards the door, but Davis stops them. 
Davis: All right!! Hold it! We can’t jump him now. . . We’re gonna take this nice and easy. . . .


Scene 18.

Shot opens with the three riders arriving at the barn. Macall dismounts, tosses his horse’s reins over a corral fence and then leans back against the fence with his arms resting on the top rail.  Scott is still on horseback. 

(during the following conversation, the script describes Laurie as “strangely silent, withdrawn”. Later, she looks at Macall in a “strange evaluating way”.)


Scott dismounts and heads towards the barn, keeping his gun at the ready and an eye on Macall.

(As filmed, Josh and Jenny come around the side of the bar, but according to the script, Scott looks around and see no sign of Josh and Jenny, the barn seems to be deserted. Then, suddenly, a rifle comes down from out of the shadows and knocks the gun out of Scott’s hand.) 


Josh: Hold it, Scott. 
He and Jenny come around the side of the barn. Josh is holding a rifle, and Jenny, hatless, is walking at his side.

Josh: Sorry, Scott. I figure it’s time I start takin’ care of my own life.

SL: Now, listen to me Josh-

Josh: Why? You done all you could for me.  Now it’s my turn. 

Josh and Jenny have been walking towards the others. Macall and Laurie are standing on the other side of Scott. Scott starts to speak, but Josh doesn’t let him say anything.
Josh: Drop it, Scott.  (Scott hesitates) Drop it.
Scott still takes a moment to think about it, then sighs and drops his gun to the ground with an exasperated movement. His frustration is evident.

Josh, to Macall: Now you, Mister, you get on inside. 
Macall starts to speak, but Josh won’t let him say anything either.
Josh, louder: You get on inside!

Scott opens the barn doors behind him, gestures with one hand for Macall and Laurie to go in, he follows them.  Josh and Jenny go in as well; Jenny has Scott’s gun.

Once inside, Scott removes his hat and holds it in one hand. It’s pretty dark inside the barn. While Josh is focused on Macall and Laurie, Scott starts to make a motion towards Jenny  (this is not in the script).

Jenny makes a noise, draws back and then trains her gun on Scott.
Jenny: Nope. Let him do it his own way for once.

Macall steps up close behind Laurie. They are both facing Josh. 
Macall: You can see how it is, boy. Now why don’t you just go away and leave us alone?

Josh ignores him, but addresses Laurie: Laurie. . . talk to me, just tell me what happened.

Scott: Don’t do this to yourself, Josh. Let them go. I told you the way it was.

Camera on Laurie as her eyes shift and she apparently makes a decision.
Josh: Laurie?
Suddenly, Laurie breaks free from Macall and throws herself into Josh’s arms.
Laurie, sobbing: Oh, Josh. . . it was terrible. . . terrible.

Macall, Scott and Jenny all react. Jenny moves to take the rifle from Josh’s hand as he embraces Laurie and pats her back.

Josh, very gently: Tell me what happened.

Laurie: Just hold me, Josh! Hold me!

Quick shot of Macall’s men arriving at the barn.

Josh is holding Laurie, but he doesn’t look down at her, he seems to be glaring at Macall. 
Josh: It’s all right, you’re safe. You’re with good old Josh. 

Laurie: Tell me you love me, Josh.

The camera shoots over to Scott and then to Macall, who are both listening and reacting. Jenny can be seen behind Scott, looking rather bewildered. 

Josh: I’ve always loved you, Laurie.  Did he hurt you?

Laurie doesn’t answer, just sobs more.

Josh, to Macall: Mister, I’m gonna kill you.  (Macall starts to point and speak, but Josh keeps talking as he puts Laurie to one side in order to advance towards Macall.) I’m gonna kill you here. . .

Scott: Josh—–no!
Josh removes his hat, ignores Scott.
Josh: Right here. (he moves towards Macall)

Macall picks up a length of wood, steps backwards away from Josh.

Scott: Don’t do it, Josh! That’s not the way it was, I know! (to Laurie) Laurie! Tell him the truth! (Scott reaches for Josh) Josh, no!

Josh swings and Macall goes down. Then Josh turns angrily on Scott. 
Josh: You stay outta this!

Scott is equally angry: You said you wanted to grow up—-well, do it, now!
They confront each other.

Josh, very tight and angry: All I know is we ain’t got no chance of bein’ happy long as he’s alive.

Scott: You don’t have a chance anyway. 
(this line is not in the script)

Josh stares at Scott, who stares back. Scott glances at Laurie, sees she isn’t going to add anything. 
SL, still angry and emphatic: If you want to blame anyone, blame me!  I brought Laurie to Morro Coyo! She was working for Macall! There was something between them even then.

Close up of Josh as this registers on him.  Scott continues to speak quickly and emphatically, then abruptly slows.
SL: I wanted to tell you, many times, tried to, but I. . . .but I thought that it was. . . 

Josh: You thought it would be funnier to laugh at stupid Josh! Didn’t you?! (now he turns on Scott)

SL, backing away a bit: If that’s what you want to believe, all right. But let them go.

Josh, getting angrier and more bitter: Funny Josh! See Josh walk! See Josh run! See Josh jump! Everybody laugh! Everybody laugh while Josh falls flat on his face!

Scott assumes a defensive stance as he expects a physical attack from Josh when suddenly a new voice is heard:

Davis: And it could happen again. . . All right, drop the gun.  
Jenny obeys and tosses the guns to the floor. Macall’s other men enter beside Davis who has come in a back door, near where Macall has been lying. 

Macall pulls himself to his feet.  He is holding his hat, wipes at the corner of his mouth with a bandanna. Then he regroups, puts his hat on, tucks the bandanna into his jacket pocket, swipes the brim of his hat with one hand, transforming himself back into the man in charge. There is a close up of Laurie as she takes this all in.

Macall: Well, well, looks like we got a brand new dealer coming out. . ..
He steps up behind Josh, and takes his gun from the holster, then points it at Josh’s back. 

Macall, to Davis: Where are the horses?

Davis: Out front.
Macall: Wait outside for me.  We’ll be headin’ straight out. . . south for the border. . .

Macall holds the gun on Josh in a threatening manner. Scott steps up.
SL: You’ve got nothing against him, Macall. As a matter of fact, if you’ve got any sense, you ought to be thanking him right now. . . .

Macall considers this: You know, you’re right. . . sorry big fella. Looks like we both split the losing hand. . . .  
He starts to cross in front of them to exit through the front door, but as he turns to back away from Josh and Scott, Laurie comes up behind and puts her arms around him.

Laurie: Dave!  Dave! You’ve got to understand. .  when I saw you standing there, helpless and a t gunpoint. .  I stopped thinking clearly. . .

Macall is facing us, he is listening but he’s not buying it. He does not look at Laurie.  The camera shows us that Josh is listening as well, and realization is beginning to hit . . .

Laurie, the words tumble out: All I knew was that you’d be in jail thinking about me and when you’d get out, I’d be old and ugly and it’d be such a waste of the two of us. . .and for a moment, something inside of me broke and I stopped knowing what I . .  what I was saying. .  you can understand that, can’t you Dave? Dave?

During this speech, the camera shifts to Scott and Josh who are listening carefully. When we watch Macall’s face, we can see that he does understand, all too well. Laurie circles around him to stand in front, tries to initiate an embrace. 

Macall: Sure I can, Honey. . . (he looks at Josh, then pushes Laurie away) See you around.
Macall moves away and exits. Laurie calls after him: Dave! Dave Macall! You can’t do this to me! Dave! You hear!

Scott gives Laurie a look, then moves right and off screen. In the background,Jjosh is picking up the guns.

Laurie turns to Josh: Josh? Josh? (she starts towards him.) Josh,  I . . .
He extends his arm, pushing her away.  Jenny is just standing there, off to the left. Scott comes back on screen to hand Josh his hat; Josh gives Scott his gun, then accepts the hat, and stands there holding it to deliver his next line to Laurie: Like the man said. . . see you around.

Laurie looks briefly at Scott-nothing there. Josh is turning to Jenny, taking her hand and smiling down at her. She smiles up at him.
Laurie, bewildered: Dave! she calls, then exits. 

(in the script, she says I love you, Dave! I’ve always loved you, Dave!  Also the script does not have this smiling and hand holding between Josh and Jenny)


Josh glances briefly at Scott, then the three of them leave the barn, Josh, Jenny and Scott, bringing up the rear as he puts his hat on.

(in the script and cut: 
Laurie’s cries echo off into the distance. Jenny looks after her curiously. 
Jenny: Do you think he’ll take her back?

Scott nods: I think they deserve each other. . . .

Josh stands there with his horse, head hanging down in defeat.


Josh, to Scott: I guess I’ll be gettin’ back now. . .  Scott nods, Josh mounts up.

Scott, to Jenny: I’ll take you back where you came from. And get you that fifty dollars along the way . . .

Jenny shakes her head stubbornly: No . . I wanna ride with him.. . . (she looks at Josh) less you got some objections?

Josh looks at her, then shrugs, feigning indifference. 
Josh: Might as well.  Better’n ridin’ alone. . . .

Jenny: Is that all you got to say?


Josh: Just get on. . .

She clings lovingly to him, her head resting against his broad back, the two ride away.

Another cut scene: as they ride along, Josh trying to conceal a very contented smile, they encounter Johnny, Murdoch and a US Marshall with some deputies. 

Josh: You figure I oughtta wait up and go with the posse???

Scott; Right now, I think that’s the kind of decision you’ve got to make for yourself. 

Josh, looks at Jenny, then asks Scott a question: What would you do if you was me?
Scott: I guess I’d look at myself and figure I’d been awful lucky . . .


Josh nods slowly: See you back at the ranch. . .  
He turns his horse around and then pauses. He looks back at Scott.

Josh: You know something. . for a long time, all I wanted to be in the world was like you.  (he looks at Jenny) But now I guess I don’t feel like that no more. . .

The posse parts for them and Josh and Jenny ride right through the middle of them totally oblivious of their existence. 

Murdoch looks after them, puzzled, then turns to Scott: What happened?

Scott shakes his head: It’s a long story.


Murdoch: Well, what does it all come down to?

Close up on Scott as he considers the answer to this question for a long moment, then gestures south, then says wearily:  They went that way

The End)




Scene 19.

This is how the show actually ended. We see the front of the Lancer hacienda, and Murdoch is coming out as Scott rides up. Scott, by the way, is riding his horse with the white blaze and stockings.

Murdoch: Well, what happened to you? Thought you’d be back with Laurie by now.

Scott rides past him: We were delayed. 

Murdoch: You did bring her back?

SL, shaking his head a little: Not exactly.

Scott dismounts as Josh rides up with Jenny riding behind him. She dismounts and we have a shot of Murdoch reacting to the sight of a different female with Josh. 

Murdoch  is speaking to Scott but still staring at Josh and Jenny: Umm . . . Johnny rode off with the . . the posse. I didn’t think I’d be needed so I came straight back here. (he turns to Scott who has come to stand beside him)

Josh: Uh, Mr. Lancer, would it be all right with you if Jenny stayed in the main house for a couple days?

Murdoch, delayed reaction response; huh? Oh. .  yes, yes, that’d be fine.

Josh stands holding his hat in front of him, while Jenny, hatless, stands beside him: I think that’s for the best, Scott. I mean, we ought to start figuring on finding some one to take care of her, you know what I mean?

SL: I know exactly what you mean.

Josh, glances down, then speaks to Scott: You know. . for a long time, all I wanted in the world was to be like you. . . (he looks at Jenny) But I don’t feel like that no more.

Shot of ML looking at Scott. Jenny gazes lovingly at Josh, who takes her other bag off of the horse and then escorts her inside.

ML turns to Scott and stops him before he can speak: I know. I know. It’s a Long Story.

SL: Very long.

ML: Would a piece of wedding cake and a cup of coffee persuade you to tell it to me?

SL: Well, the coffee sounds fine, but I think we ought to save that wedding cake.

They go into the house chuckling, Murdoch putting his arm on Scott’s shoulder.





END

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