Episode 135. She Walks In Beauty - First aired on September 22, 1963.

After she worked with Dan, guest star Gena Rowlands (Ragan Miller), said that she was amazed at the sensitivity, the enormous natural talent, and the ease with which it flowed out of Dan Blocker.

Episode 140. A Question Of Strength – First aired on October 27, 1963. 

Ilka Windish plays Mother Veronica. 

In this episode when a little boy dies we don’t see Ben at the graveside and according to Kent McCray that is because of Lorne’s sensitivity to people seeing him without his toupee on, or even knowing that he wore one. Because it was a flash back and Ben had to look younger, Lorne’s hair was darkened. It took a couple of hours to do it so the make up man went to Lorne’s house and then they travelled out to the location where they were filming. Lorne had been complaining that he wasn’t getting enough close ups and one morning he and the make up man showed up about forty-five minutes to an hour early. Kent immediately knew something was wrong because Lorne wasn’t supposed to be there yet. Kent went over to the make up man and asked if everything was all right, if Lorne had a problem. According to Kent the make up man replied, ‘No, we went through all the scenes today and he never takes his hat off so we only did the sides (of his hair) and everything else is fine.’ The first scene that was due to be filmed was after the child had died and people were standing around the grave, doing the service. According to Kent this is what happened. “I went down about three trucks away in the background and I said, ‘All the men around the grave without their hats on.’ Well Lorne looks around and he’s trying to see where that’s coming from. Well, I step around, going back and forth. About three times I said, ‘All the men around the grave without their hats on.’ He stood up and he said, ‘That’s right. You know, only the immediate family should be in this scene. I shouldn’t be here at all. I’ll be on my wagon and when the service is over, then we’ll ride out.’ He got out of the scene but he kept looking at me. He wasn’t sure if it was me, but he finally found out it was me.”

This is the first of four episodes where Kathie Browne plays Laura Dayton. David Dortort originally planned to have Adam and Laura marry. The following is from an article in 1964. Only four episodes with Kathie (Browne) have been planned so far, no definite date for a wedding has been set, and David Dortort, the show’s producer is carefully assessing public reaction to the encounter before proceeding with many more scripts. Why are they tampering with it? "It was Pernell Roberts constant agitation about wanting out of the show. We weren't sure what would happen, and had to protect ourselves." By 'protecting,' Dortort means if Roberts had left the show, a marriage would have been a logical way to shuffle him off into the sunset. On the other hand, the new dimension in his role might make him happier about staying. "Now," Dortort says, "the network has definitely said they will not let him out of his contract, so he'll be with us until '65." Kathie's previous appearances on Bonanza impressed producer Dortort. "Her serious attitude toward acting and her versatility were wonderful. She is intelligent and sensitive," he says. Dortort has faith that Kathie's three or four appearances will stretch into a continuing performance, and that her presence may give Roberts a reason to stay. Does the Roberts reputation scare Kathie? "I have found him a bit moody, but interesting to work with. The whole cast is wonderful. I love to work with them." Also according to the article, the previous year, Pernell had written to NBC suggesting that the network cast the part of his bride as an Indian girl (to be played by a black actress).

John Florea directed this episode. In the following two pieces he talks about Michael Landon.

"I would use Mike to get Pernell to cooperate, and Mike was a very good salesman. Pernell was kind of ornery, he didn't like the show. And there were always instances where you had to have a shot of the four guys together in the living room. And Pernell said, 'Well, I don't want to sit there; I'd rather sit over here.' And it added additional work. I would have to do the three-shot and then go over and do the single shot. And I'd try to convince Pernell: 'This is important to see the four of you together as much as we can. We don't see you together too much.' And he said, 'Well, seeing us at dinner is enough.' Things like that. And Mike would come over and say, 'Come aaahhhnn, you know you're only holding up the thing.' And Mike would finally convince him. He was a good ambassador, you might say." John Florea, 1991.

“He was very energetic, very helpful. He was game to just about do anything. I directed a show called 'Hoss and the Leprechauns', where these six little midgets were dressed up in green suits, running through the Ponderosa, looking for gold. They had escaped from the circus, and nobody would believe that Dan saw 'em, and finally Mike sees them and believes it and they can't convince Dad and Pernell that they've seen these things. And finally there's this big fight with the four Cartwrights and the six leprechauns, and the little leprechauns are tossing them all over the place. Mike insisted on doing his own stunts on that. I went down to the Olympic Boxing Stadium, and at that time they used to have midget wrestling matches. So I hired six midget wrestlers to double for the others. And Mike was just wonderful with these guys." John Florea, 1991. 

The photo of Lorne, Michael and Pernell is said to have been taken during filming of this episode. Apparently, Michael fell over when they were filming the scene where Joe comes running into the house to tell Pa and Adam that they’ve caught one of the little men.    

In an earlier draft of the script, Hoss is with Adam and Joe. Also, the Judge talks about when Adam was a lawyer. Adam replies that, that was a long time ago.

In the photo, taken during a break in the filming of this episode, Pernell and Marianna Hill (Delores Tenino) are jokingly applying makeup to Dan Blocker.  

Blooper: When Joe is practicing his shooting by firing at bottles on posts, he hits and breaks all the bottles, he then knocks some glass off a post and puts a new bottle up. There is still some broken glass on the post. Hoss rides up, and Joe turns to greet him, then the bottle is no longer on the post nor is any of the broken glass there.

Episode 152. The Gentleman From New Orleans – First aired on February 2, 1964. 

This was the sixth highest rating Bonanza episode.

This was the third highest rating Bonanza episode. 

Katie Sweet (Peggy Dayton) loved the time she spent on set with Pernell Roberts, she thought he was one of the nicest actors she worked with during the years of her career. Katie said that as well as playing catch with a ball, she and Pernell played frisbee with the round film containers. 

This was the second highest rating Bonanza episode.

This was the highest rating Bonanza episode. 

Blooper: Ben, Adam and Joe walk past the blue chair to go upstairs, Hoss follows them and goes past the chair. In the next scene he walks into the chair and falls over it.

According to an article, Will (Guy Williams) was originally going to be Ben Cartwright’s younger brother but because of his age, it made more sense to cast him as Ben’s nephew. 

Blooper: When Will finds out who Ben is, in the background behind Will you can see a car.

According to an article in 1964, at one time, Bruce Yarnell (who plays cousin Muley in this episode and the same character in “Hound Dog") was being considered as a replacement for Pernell Roberts. The following piece is from the article. The new season is bringing a certain number of changes to the show, in spite of the show business adage that you shouldn't change a good thing. And Pernell is a little more talkitive. We questioned him about the rumor that he'll get married on the show this season and that Bruce Yarnell might replace him. "That is what they promise," he said. "After my last four years of experience with this organization I'll believe it when I see it. They talk a lot. At the end of last season they asked me what I thought, but that was just to make me feel I belong. They do what they want to anyway. I told them I didn't have any feeling about a bride, one way or the other. I couldn't care less. I think they want to introduce a girl and then another male personality who will bunk at the Ponderosa. I really don't know what the reasons are. I can only say from a subjective point of view, because if the show goes more than two years they're going to be minus one fellow." Did this mean he isn't happy with the show? "No, not particularly. I have a contract and it runs out in two years, so if I go they'd like to have somebody else around the house. I guess that I am anti-establishment. It is a very good show but everybody has different needs in life, you know that. I want to be an actor. I don't feel that I'm acting in Bonanza. We are all just personalities, one-dimensional conceptions on the part of writers and producers and networks and so forth. My main beef is that Bonanza is 'bad literature' and in four seasons has not improved. When well-meaning friends and colleagues remind me that 'you can't argue with success' I reply: 'That, I say is a degenerate point of view.' I'm not going to leave the Bonanza show. I tried that a couple of times, right up to the courthouse door, and it won't work. They simply won't let me out of my contract. It is such a complicated subject. I can't treat it too glibly. I'm very grateful to the show in that it has served to make me a national name and that means a lot to me. I got sucked into Bonanza on the promise there would be some honest writing and that the people producing it had integrity. To my way of looking at it, the writing has been adolescent and the integrity is still on the shelf. We should sit down very quietly and intelligently for about an hour and discuss it. It's a very complex subject. That is why I can't treat it glibly. If we do, it'll lead to remarks like I'm over- sensitive, know what I mean?"  

Lorne, Pernell, Dan and Michael would sometimes do things just to see if they could get away with it. In this photo they are all giving “the finger". When the view finder reel for this episode was released, this photo was included, it was only discovered later what the cast had done. 

After working with Dan, guest star Marlo Thomas (Tai Li) told David Dortort, "I have never had an actor give me so much in a scene." 

The lead actors in Bonanza were all very concerned about civil rights. In January 1964, Lorne, Dan and Michael were booked to appear at a rodeo in Jackson, Mississippi. When they found out the audience was to be segregated, with white people to get the best seating, they pulled out. The Governor of Mississippi called for Bonanza to be boycotted. Pernell Roberts joined a picket line to protest about a housing development that refused to sell property to black people. According to articles in 1964, it was Dan Blocker who thought of the story idea for this episode. He discussed it with his co-stars and together they put the idea to David Dortort. Mr Dortort did some research into the history of the Bonanza time frame and read about Thomas Bowers, who travelled and performed in the 1860’s and 1870’s. Mr Dortort then turned the story idea over to two writers. General Motors, the sponsor of Bonanza was worried about viewer reaction in the South to this episode and asked NBC not to show it. NBC ran the show.

Ena Hartman (Caroline) was a model turned actress. Bonanza was her first dramatic role. David Dortort revised a scene in the script to give her a bigger part.

Susan Seaforth plays Holly Burnside. 

Kathie Browne played Laura Dayton in four episodes during this season. The following pieces are from an interview with Kathie where she talked about what it was like to work with the Bonanza stars. 

(Pernell) “There’s been an awful lot written about how difficult and rebellious he’s supposed to be. Well, that’s ridiculous! Pernell is anything but hard to work with. When they signed me for the part, Pernell and I met with the producers of the show and he couldn’t have been more eager to cooperate. He was already in the office when I got there – and I’m never late. They explained what they had in mind for us and he listened very intently, nodding like he was making mental notes. When they finished, he was all business. ‘Well, now,’ he said briskly, ‘I think that Kathie and I should get together and discuss this first script.’ Which is exactly what we did. I discovered immediately that Pernell is extremely serious about his work; he’s a real perfectionist. We hashed over that script for hours, down to the smallest nuance….He feels very strongly about keeping his personal life private, which probably inspires much of the criticism about him. For instance, he wouldn’t be sitting here talking to you, as I am. He doesn’t discuss his home life with anybody. You just get the impression that he’s very happy at home and that’s all. Otherwise, he’s quite cooperative about publicity. He once spent a whole free afternoon riding me around the studio on the handlebars oh his bike so they could get some pictures. He volunteered to do it and he was in a marvellous mood, laughing and carrying on and doing everything they asked him to.” 

(Dan) “If you see a crowd and hear a lot of loud laughter, you immediately know that Dan’s at the center of it! This man is unbelievable. He has the most marvellous gift for telling stories and the wildest sense of humor since they invented it. I think that Dan could make a trip to a supermarket sound like a great adventure. From the way he carries on, you’d think Dan was just a big, overgrown kid out for a laugh. That’s what I thought at first. But he has a very serious side. Dan is an excellent actor. He works hard and he has a good business mind. I doubt if there are many people who could pull a shabby on him.” 

(Michael) “Mike is probably the sweetest, most gentle man I’ve ever met. He adores children. If there’s a kid on the set, you can count on Mike to make a special point of going over and making friends. The kids immediately dig him, and, of course, the mothers are completely captivated. It’s no politician’s bit, Mike’s for real. You can’t talk to him for five minutes without him fishing out the pictures of his own kids, Mark, Josh, Jason and baby Leslie." 

(Lorne) “He’s the type of person whom I always visualize as sitting by a fireplace in a velvet smoking jacket, reading a book and puffing on a pipe, although I don’t know if he actually does. I could also see him sitting around the dinner table with a small group of politicians and writers and carrying on intellectual conversations. He’s a very warm, friendly person, but he’s hard to get to know.”  

The cast often joked around by pinching each other or squeezing a hand during filming while everyone tried to keep a straight face. Here is one example of it happening. This is from a 1964 article by John Poppy who was on the set during the making of this episode: A soundproof door leads from a glaringly sunlit alley into Stage 16, which contains the front yard of the Ponderosa ranch house. There, near the porch, Lorne Greene - Ben Cartwright - was doing a close-up, shaking hands with another actor. The camera was focused on Greene's face. "Good-bye, Uncle Ben...and thanks for all you've done," said the off-camera actor. Ben Cartwright nodded as though trying to swallow a lump in his throat, stared hotly into the lens and whispered, "Remember what I said...this will always be your home." The creamy bass voice throbbed like a church organ. He really meant it. Then, suddenly, he lurched and bellowed a laugh. "Cut," said the director. It dawned on me that Greene wasn't shaking hands; he was arm-wrestling. The scene started again, and the off-camera contest grew fierce. Arms pumped as if the two men were sawing wood. "Remember what I said...this will always be your home." The voice throbbed again, but the face in the close-up showed no sign of the arm's struggle. Later, Greene answered a question about his horseplay: "We need that release from tension, to make the pressure bearable.” Also from the same article is this piece about Pernell: The next shot was to be a close-up of Adam Cartwright struggling to get out of a wheelchair. An assistant director called for Pernell Roberts. Without moving from his camp chair, Roberts asked, “Are you absolutely sure you’re ready for me?” “Yes, sir, any time you are.” “Well, let’s not wait that long,” Roberts said and got up. “OK, Pernell, look back at Ben” the director was talking him through the scene – “now down at your legs. Start struggling up…cut.” There was a problem. “You’re coming up too fast, Pernell…Hold it longer. Show more suffering as you push with your arms.” “Gentlemen,” Roberts said, “my legs are damaged, not my arms, I’m supposed to be a big strong man, and there is no reason for me to have trouble doing a little push-up like this. I’ll suffer when I’m on my feet, if you don’t mind.” “Come on, Pernell,” said the director. “We need the shot this way. We don’t get in close on you after you’re up. Try it, will you?” “Anything you say, gentleman.” He began to push with his arms, setting his face in an expression that made me whisper, “My God, what is it?” It was remarkable. Roberts radiated suffering, bravery, strain and a nearly tearful look of hurt – plus something else that might have been pain, or mockery. At length, he heaved himself upright and swayed out of camera range. I relaxed as his face went blank, but he startled me by clearing his throat loudly and loosing a great spit. Right on the porch of his Pa’s house.  

The following is from the last page of an earlier script – where Adam and Laura have just gotten married.   

BEN

(to Laura, softly, sincerely)

I'm glad it's you. 

Laura's expression reveals that she is really touched by the compliment. She turns and climbs up into the buggy and Adam goes around and gets in the other side. 

ANOTHER ANGLE

ADAM

Sorry we can't stay for the

 reception, but we've got a

long way to go. 

Laura looks at Adam and he realizes that his words have significance beyond their original intent. 

ADAM

(Continuing; to Laura)

A long, long way to go. 

Adam flicks the horse into motion and the buggy starts out. Hop Sing and the others who have been holding their hands behind them, during all this, now start showering the bride and groom with handfuls of rice. 

WIDE ANGLE 

The buggy moves off with Laura and Adam waving and the wedding party ad libbing goodbyes. And then they are gone. 

CLOSE SHOT - BEN AND AUNT LIL 

BEN

Aunt Lil, will you do me the

honor of cutting the wedding cake? 

Lil daubs at her eyes with her handkerchief. 

LIL

If you don't mind soggy wedding

cake, I'd be proud to. 

The others laugh and all start drifting back into the house for the reception. 

FADE OUT 

THE END