Scene 9
Shot of Murdoch and Johnny on horseback. They speed up when they see something lying on the ground. Both dismount and Murdoch reaches the object first, lifts it up, Johnny follows, holding the reins of both horses.
Murdoch sets the saddle back down on the ground. Johnny steps over it, walks away a few more paces to pick up a rifle that is lying on the ground.
ML, puts his hands on his hips: “Well, we can’t be sure it’s his.”
(script adds: “He’d have bought a saddle along with the horse.”)
JL walks back towards Murdoch, looking around: “That carcass we found is about. . . forty eight hours old. The timing’s right.”
ML, adjusts his hat: “Traveling alone, on foot, in this heat.”
JL: “You know, I think the best thing we can do, is do what Scott musta done. Taken a southwestern direction and just keep going.”
(In the script, Johnny prefaces this by saying “Not much chance of picking up tracks.”)
ML: “Yeah.”
(script: instead of a simple “yeah”, Murdoch says: “And be prepared for. . . well, whatever we find.” Johnny is directed to grasp his arm in a silent offer of consolation)
They both move towards their horses, mount up and ride out. Johnny is riding his palomino and Murdoch is riding his usual horse with the very wide white blaze on its face.
Scene 10
Inside the Sickles’ shack, Ma Sickles is sitting on the bed in the outer room. The small table is set for breakfast for one person. She apparently hears a sound from the other room, gets up quickly and moves to the table to snatch up the napkin that she starts to refold.
The door opens and Scott enters.
SL: “Good morning.” He is still in the process of buttoning his new shirt.
HS: “Well, now, good mornin’. My, don’t that shirt fit nice. I could take you for Luke himself. Sit down and have your breakfast.”
Scott has finished the buttons and starts to tuck the shirt in—his belt is already fastened.
SL: “Where is Luke, I’m anxious to thank him. You did say he was coming back with the wagon today.” Scott sits at the table, and starts to fasten the buttons at the cuffs of the shirt.
HS: “Oh, he’ll, he’ll be back.” She smiles and moves around the table towards the stove, carrying a bowl in her hand. “Round about noon,” she adds as she reaches a very large pot of oatmeal and begins to spoon some into the bowl.
SL: “Where’s Andy-Jack this morning?”
HS, still back to Scott: “He’s out . . .tendin’ the goats.”
We can see Scott at the table behind her, taking up his napkin.
SL: “Oh, I thought he might be looking after the horses. He said you had a couple.”
Close up of Hannah, looking apprehensive: “He did?”
Camera on Scott: “Yes. But I didn’t notice them outside.”
Ma Sickles and places the bowl in front of Scott on the table. “Here, eat this while it’s hot.”
She turns back to the stove. “Well, Now, don’t you concern yourself none with them horses. Pearl took ‘em up to the canyon.” She picks up the coffeepot and turns back to the table. “There’s a patch of forage up there.”
Scott is starting to look a bit concerned by her responses. Close up on him as he looks at her, and barely nods. hannah finishes pouring a cup of coffee and replaces the pot on the stove. Once she is back to him again, Scott speaks to her, with his head lowered.
SL: “I thought I might borrow one, save Luke the trouble of driving me back town.”
HS: “Oh, it’s no trouble. Besides, you don’t know your way.”
He looks up at her. “I’ve got a map and a compass.”
Close up on Hannah. “Oh, well, now, I wanted to talk to you about that.” She turns to face Scott, who hasn’t looked up at her. He sips at his coffee while she continues speaking. “Andy-Jack broke that compass-thing.”
Scott looks up at her now. The camera swings around behind his head and we see Hannah Sickles standing with her hands clasped in front of her. She is wearing a high collared print blouse and a dark solid colored skirt. The broach is at her throat, as always.
HS: “He, uh, he took it apart to see what makes it work, and, uh, well, you know how the child is. I sure hope you don’t hold it against him. He takes to you something fierce.” She folds her arms across her waist, she is smiling but it’s a strained smile.
Camera shifts behind her to show Scott seated at the table looking up at her.
SL: “I’m very fond of him too. (pause) Let’s be honest, Mrs. Sickles. Luke isn’t coming back, is he?”
Scott’s pov again, and we see Hannah freeze. She is speechless. Then soft, ominous music begins to play and she starts to back away.
HS: “Well, now whatever made you think a thing like that?”
SL: Because I saw the wanted poster in your Bible.”
(in the script, he says “These “wanted” posters . . . they were in your Bible,” and then pulls them from inside his shirt. )
Tight close up on Hannah’s face, her eyes widen.
Shift to Scott. He has an angry expression. He takes the napkin from his lap and gets up out of the chair. He moves towards Ma. “Now you don’t expect me to believe that Luke’s in town, borrowing a wagon.”
Hannah is standing against the pie safe cabinet near the door. Scott comes to stand directly in front of her.
SL, gesturing towards his own chest with one hand: “You don’t have to be afraid of me, you saved my life.”
(in the script, she bolts for the shot gun now, then he takes it from her and delivers his line about her not having to be afraid of him--- while he unloads the weapon. In the next line, the script uses the word ‘civilization’ rather than family. )
Tight close up on his face: “I wouldn’t repay you by telling the Law about this place, and turning your son in. All I want to do is get back to my family.”
Tight close up on her face and she considers this. She swallows.
HS: “Without a horse and a compass, I . . I expect you’ll just have to make the best of things here.”
Close on Scott: “I’m sorry, I can’t. My father and my brother are waiting for me right now in Panamint. (pause) If they haven’t started tracking me down already.”
Tight on Hannah, who is frightened by this suggestion. Her eyes widen even more. She starts edging towards the corner of the room. We see her from SL’s pov, the back of his head. “You never said they were nearby.”
SL: “You never asked.”
(in the script: she says “You never mentioned kinfolk.” He replies “Neither did you!”)
Ma Sickles makes a move for the shot gun standing in the corner, Scott comes after her and immediately takes it out of her hands.
We still see only his back. SL: “Now I’ll just hold on to this. Just for a little while until I find out why you want to keep me here.”
He backs towards the door and exits the shack, carrying the gun. She stands near the pie safe for a moment, then hurries to the door, opens it and peers out.
Scene 11
Scott goes outside and we see Pearl standing in the yard peering through a telescope.
He is still carrying the rifle. He sits on a rock behind her.
SL: “See anything?”
She lowers the telescope to look at him, says “No,” then raises the glass to her eye and resumes looking.
SL, to her back: “How far is it to town, Pearl?”
She turns to face him: “Luke says thirty miles, as the buzzard flies.”
He shifts the position of the gun. “Any people ever come out this way, prospectors, like that?”
Pearl: “I think they know better, not to come snooping around.”
She uses the spyglass again, reacts as she spots something..
SL: “What is it?”
Music plays as we see a circle—Pearl’s view through the glass: Two men on horseback.
Pearl: “There’s two of ‘em.”
Scott stands up beside her, says “Let me see,” and takes the telescope from her. He looks through and we see the same circle as before, but now the two men are closer.
SL, lowering the glass: “That’s Johnny and Murdoch.”
Pearl: “Maybe they’ll go on by.”
Scott hands her back the spyglass and looks around. “They’ll never know about this old mine. We need a signal.” He turns and runs into the mine.
Pearl stands there a moment, watching him, then turns and yells towards the shack: “Ma Sickles!”
Cut inside to show Scott running through the mine. He jumps over fallen beams and then pushes aside the curtains to enter Andy-Jack’s special room. He comes back almost immediately, now carrying the boy’s version of a heliograph.
Outside the mine, we see that Hannah has joined Pearl; the two women watch as Scott exits the mine and runs by. Pearl sets the telescope down and runs after Scott, Hannah Sickles picks up her skirts and follows. Camera cuts to Scott who is still running, up the rocks. He sets down the rifle and sits astride a rock to begin manipulating the heliograph. Ma Sickles and Pearl can be seen coming up behind him.
Shot of Murdoch and Johnny. Murdoch says “whoa”. From their point of view, we see off in the distance the flashing light of Scott’s signal. They exchange a look, then ride off towards the light. (this shot is not mentioned in the script)
Back to Scott, still sending the signal, with the Sickles women coming closer behind him. Quick shot of Andy-Jack running up to see what is going on.
Back to Scott, and Pearl bends down to pick a rock up off the ground. She holds it in one hand and clonks Scott on the back of the head. Scott never sees it coming. Great reaction from WM here, as he slowly falls backwards, drops the heliograph and tumbles to the ground.
Shot of Andy-Jack’s bewildered face as he watches this happen.
(In the script, it is Hannah Sickles who strikes Scott on the head. According to the script: he’s too intent on what he’s doing to hear Hannah’s approach. Only when her shadow falls over him does he turn—the instant she brings the stone down on his head. He sprawls on the ground, unconscious. Pearl moves in and helps Hannah drag him toward the tunnel.)
Scene shifts to inside the barn and a pair of feet that we assume must be Scott’s. Ma Sickles is putting something in the box.
(script: they put Scott under a workbench. Pearl says: “I shouldn’ve known everything’d go wrong!” Hannah tells her : “Shut up! You started this. Now you’ll finish it!”)
Pearl: “It’s no good, Ma Sickles, if those men look around---“
HS: “ They can’t know he’s here. Now keep your wits about ya and go out there and stall’em.”
Pearl leaves and Hannah clambers over some beams and boxes. Suddenly, Andy-Jack peeks his head around.
AJ: “Gran, why’d you let her do it? He’s my friend.”
She reaches around to pick up the boy and set him down in front of her. “Then you’d best be careful who you call friend. He’s a bounty hunter.” Close up of Andy-Jack’s face, then back to Ma Sickles. She has drops of perspiration on her forehead. “Like the one that killed your Pa. And two of his men are ridin’ this way.”
Tight close up on Andy-Jack: “He couldn’t be a bounty hunter.”
Back to Ma: “I’m tellin’ you, he is.”
Shift to AJ: “But he’s teachin’ me.” We hear her voice: “Teachin’ ya what?” then the camera is back on her face. “What was it he was blinkin’ out with that sunthing of yours?”
AJ: “He said a call for help.”
Ma: “Now, ya see, ya believe what I’m tellin’ ya. C’mon.”
They exit and the camera shows us Scott’s feet.
(in the script, after Andy-Jack delivers his line about “a call for help,” the conversation goes as follows:
Hannah snorts derisively. She finishes hiding Scott and then turns to Andy-Jack, employing a patronizing manner to undermine the boy’s confidence.
HS: I thought you’d be too smart for his trickery, but I reckon little boys fool easy.”
AJ: “If he’s . . . what you say, why did Uncle Luke run away instead of killing him?”
HS, conspiratorially: “’Cause we got a plan working! But those men coming---they’ll spoil everything unless we can make them go away.”
AJ: “What kind of plan?”
HS: “Never you mind for now. Just keep your mouth shut!”
AJ, fearfully: “You’re gonna hurt Scott?”
HS, grasping the boy’s shoulders: “He’s a bounty hunter, child! Scum like those that butchered your poor father! He deserves whatever happened to him!”
Camera tightens on Andy-Jack’s boyish face and the dreadful conflict there.
HS: “Believe what I’m telling you!”)
Scene 12
Murdoch and Johnny ride in, scattering the goats.
Pearl comes out of the front door of the shack to stand on the porch. “Hello there, gents.”
Camera shifts to Murdoch and Johnny. ML says “Ma’am.” The two of them do a perfectly synchronized dismount.
Pearl: “O-offer you some water?”
ML: “Much obliged, ma’am.”
They follow her inside. She gestures towards the bucket and ladle sitting just inside the door. “Help yourself.”
Johnny has entered first and he reaches for the ladle, while Murdoch, behind him, adjusts his hat.
JL: “Got any trouble here ma’am?” He takes a drip from the bowl of the ladle while ML moves behind him to stand next to the girl.
Pearl: “Trouble? Where’d you get a notion like that?”
JL pauses in his drink: “We saw some light flashes. Looked like a signal.”
Pearl: “I wouldn’t know anything about that.”
Johnny looks at her, then hands the ladle to Murdoch. Murdoch moves over to the bucket, while Johnny crosses and walks off screen.
ML: “I, ah, hope you’re not afraid of us Miss. You see, our name is Lancer. We’re looking for my other son. We figure he might’ve gotten into trouble crossing this desert.”
Camera follows Johnny, who is in the doorway of the bedroom, checking things out. Meanwhile, Pearl and Murdoch are heard.
Pearl’s voice: “I ain’t seen anybody.”
ML’s voice: Well, maybe he’s holed up somewhere nearby, you mind if we scout around?”
Camera back to them. Pearl smiles and says “All right, surely.”
ML moves out the door. “We’re obliged. Johnny!” He exits.
Pearl stands there holding the door, then looks back over her shoulder towards Johnny.
Johnny turns around and leans against the doorjamb. “You got a man around? (pause) I mean, a husband, or a . . .father?”
Pearl: “What’re ya askin’ for?”
JL walks towards her: “Well, I kinda figured if he was out huntin’ or prospectin’, . . .he woulda come across somethin’.”
Pearl: “No, my father woulda mentioned it.”
Johnny looks down at her, barely nods. Then he raises his hand to the front of his hat brim and walks out past her. Close up on Pearl’s worried face.
Outside, we follow Murdoch as he walks away from the shack. Ma Sickles and Andy-Jack are standing side by side outside the mine entrance.
ML: “You, ah, mind if I take a look around inside there?”
For a moment, no one answers. Then Hannah turns around and picks up a lantern, saying “I’ll show you the way.” While her back is turned, ML flips up the front brim of Andy-Jack’s hat. The boy is standing there staring up at Murdoch. Hannah leads the way inside the mine, followed by Andy-Jack and then Murdoch.
HS: “I got no other men folk here, just Andy-Jack.” She stops and looks down at the boy. “You seen any thing of a stranger, Child?”
Andy-Jack shakes his head.
ML: “A boy like you must know every inch hereabouts. You know, all the caves and shafts where a man could hide, if he was sick. . or hurt. From the sun, huh?”
AJ: “No, I aint’ seen any body.”
ML, quickly: “But you’d tell me, if you had.”
HS, just as quickly: “The child’s no liar.” She places her hand on the boy’s shoulder.
Murdoch looks around behind him. “What’s in there?”
AJ: “Oh, that’s my special place. There’s all kinds of things in there, even a lizard that crawls around and knocks things over.”
Murdoch moves towards the room, but when Andy-Jack tries to follow him, Ma Sickles grabs his arm to hold him back.
ML: “I see.”
He enters the room, but without the benefit of the lantern, he walks right past Scott’s boots sticking up out of the bin he’s been stashed in. He looks around, then just when he turns back towards Scott, we hear Andy-Jack’s voice. “Mister, wait, I done it!” ML exits and the camera zooms in tight on Scott’s boots again.
(in the script, Scott’s boots are not visible, since he is hidden under a work bench, but he is starting to regain consciousness and his movements make noises that attract Murdoch’s attention and require Hannah and Andy-Jack to then deliver their lines as distractions. )
Back out in the mine, Andy-Jack is holding his heliograph. “Oh, Mister, it was me made those flashes. See.” He demonstrates how the machine works. “I was just playing around.”
ML: “Well, what we saw was no playing around.” He takes the contraption from Andy-Jack and examines it.
AJ: “Well, you see, I learned how to spell S O S—in case Gran got sick or somethin’.”
HS: “Shame on you, Boy, bringin’ those men so far outta their way, for nothin’.”
AJ: “I’m sorry, Mister, real sorry.”
(in the script, Hannah says “Sorry ain’t enough!” and starts to spank the boy. Then she tells him: “Don’t you go hollering! The louder you holler, the harder I’m gonna whip you!” Andy-Jack takes his cue and Hollers Bloody Murder. Again, they are masking sounds that Scott is making, as his movements cause an old glass bottle on the workbench to fall to the floor and smash.)
ML: “Oh, that’s all right, Son.” He hands the boy the heliograph. “Much obliged, Ma’am.” He leaves the mine.
HS, to AJ: “Go on outside, Grandma’s busy.” She heads back towards Andy-Jack’s special place. Close up on the boy, watching her.
Back outside, Johnny is sitting and waiting with head bowed. We see ML emerge from the mine entrance behind him.
Johnny hears him, gets up to face him. “Find out anything?”
ML: “Yeah, a little kid made those light flashes we saw.” They both mount their horses and ride off.
(Script: Johnny delays long enough to flash a smile at Pearl, then rides after Murdoch. Camera follows them as they leave---and with them Scott’s hopes for rescue.)
END of ACT THREE
ACT FOUR
(In the script, Act Four opens with a shot of Johnny and Murdoch riding away, then the camera pulls back to show Luke Sickles on horseback, with a rifle trained on the two Lancers. “They continue through picture, unaware of their danger. After a moment of hesitation, he jams the rifle back into its scabbard and kicks his horse into motion, going in the opposite direction from the Lancers.” This scene was not included in the episode.)
Scene 13
(in the script, this scene opens with a close shot of Scott’s hands, as Hannah finishes knotting a rope around them. Then the camera widens to show her rolling Scott over onto his back. His feet are tied too, and he’s painfully regaining consciousness. In background, AJ stands watching. Hannah examines the back of Scott’s head.
HS: “Paining you much?”
SL shakes his head. He looks up into her face, then says one word: “Why?”
Hannah starts to reply, but becomes aware of the boy watching and listening in the doorway.
HS, to AJ: “I thought I told you to keep a lookout with Pearl?”
Andy-Jack reacts, his face showing that he is still plagued with doubt. Scott puts an end to the boy[s hesitation.
SL: “Do like she says.” AJ leaves, grudgingly, then Scott addresses Hannah: “Well?” and she responds that she is “Sorry for what’s got to happen.”)
Here is the scene as filmed:
Camera shows us Scott’s feet, now his ankles are bound. Ma Sickles is seen entering the special room, carrying a bucket. She squats down beside Scott, who is seated and tied to a post. She reaches into the bucket and sprinkles some water onto his face. Just as he starts to stir, we see Andy-Jack enter. He is wearing his hat and he stands and watches with his hands behind his back.
HS: “Mr. Lancer?”
He looks up, at the same time recognizing that he is tied.
HS: “Brung some water. If you promise me you won’t make no noise, I’ll give ya some.”
Scott looks and her and nods.
When Ma Sickles shifts position, she notices Andy-Jack standing there watching. She points off to the left. “I thought I told you to keep a lookout with Pearl! Now go on!” He leaves.
Hannah reaches around to untie the bandanna tied across Scott’s mouth. “I’m sorry for what has ta happen, Stranger. I like ya. But I can’t let that stop me.” She folds the bandanna in her lap.
SL: “Stop you from what?”
She puts the bandanna aside. “Telling you would serve no purpose, none at all.” She dips a ladle of water from the bucket.
Close up on Scott as the ladle approaches his mouth. “Don’t you think I have a right to know?”
Close up on Hannah as she considers this. Finally, she nods. “I expect you do. Here, have some of this.”
Scott takes a drink. Ma places the ladle back in the bucket then gets to her feet.
You see. . .we got a plan workin’.” She wrings her hands and wets her lips as she speaks. “We’re gonna make the Law believe that you’re Luke.” Shot of Scott as he begins to realize where this is going. Ma’s voice: “He went into town to rob the bank, and he’s makin’ sure that a posse will chase him out here.”
She moves back towards the curtain. “Matter of fact, should be along shortly.”
Close up of Scott, looking stunned.
She moves back into the center of the space, but doesn’t say any more. Scott prompts her: “What then?”
Ma: “And then, Luke’s gonna draw ‘em down into the mine, and hide. . (close up on Scott) and it’ll be your body they’ll find.” Close up on Ma. “Then there’s bounty money—that’s five hundred dollars. And I intend to claim it.”
She is standing behind Scott, out of his line of vision, but he turns his head at this. He glances down, then stares straight ahead again. “You’re not up to taking part in murder.”
Close up on Hannah, but before she can respond, we hear the sound of the triangle. Scott hears it too. Ma Sickles runs out.
(most of the above is consistent with the script, except that there is no mention of the water. However, the script gives additional dialogue after Hannah explains that it will be Scott that the posse will find.
SL: “You can’t believe it’ll work.”
HS: “It’s a good scheme! Nothing’s gonna go wrong!”
SL: “Suppose they don’t kill me?”
HS: They won’t. . I will. You see, there’s the bounty money. Three hundred dollars. I intend to claim it.”
SL: You’re not up to murder.”
HS: “I’ll have to be. Won’t I?”
SL: “Even if you are, that posse won’t be fooled! I don’t look that much like Luke.
HS: “Won’t nobody question if I use a shotgun. Besides, there’ll be the bank loot right beside you. That’ll convince them.”
SL: “Of what? That a mother could shoot her own son? Nobody’s gonna believe that!”
HS: “They will! They’ll believe an old woman’s tears. I’ll cry for you, Stranger. . . and mean it. Know that for the truth. Your dying won’t be for nothing, either. Good’ll come from it. I promise you that. With the money, I can give Andy-Jack his chance. He. . well, he’ll be like a monument to you.” Her eyes appeal for him to say he understands.
SL: “Does he know about this?”
HS: “Not all. But he’ll go along. Lord, how that child craves learning! Like a sinner for salvation. . .”
Both of them react to the ringing of the triangle, Hannah moves to the door and there is direction for a reaction shot of Scott: “his face reflects how desperate his situation is.”)
Camera shows Pearl, ringing the triangle and calling for Hannah: “Ma Sickles! It’s Luke! He’s comin’!”
Interior shot shows Ma Sickles running out, then Andy-Jack is seen. He watches her go past, then heads in the opposite direction.
Shot of Scott, straining at the ropes holding him. He looks up, sees something, and painfully slides up to his feet. Once standing, he looks at the shelf in front of his face, and uses his head to knock a bottle onto the floor. Quick shot to show that Andy-Jack is watching him, then close up of Scott as he tries to reach a knife on the shelf. He moves another object with his head, to try to shift the knife.
Cut outside to show Luke Sickles arriving on horseback. He dismounts and ties off the animal. Ma Sickles and Pearl stand on the porch watching him. He grabs the saddlebags and heads towards them, then the camera cuts back to Scott who has managed to take the knife handle in his mouth, knocking a glass mug off the shelf as he moves it. He twists around and leans over to drop the knife to the ground. Quickly, Andy-Jack moves in and picks it up.
(in the script, Scott is lying on the floor, and inches over to the workbench, which holds the knife and other objects. He bumps against the table legs. Andy-Jack reveals his presence by saying: “Don’t! You’ll break things.”)
SL: “Andy-Jack, cut me loose.”
AJ: “Why should I?”
SL, looks over his shoulder at him, with disbelief: “Hey, we’re friends.”
AJ: “You’re just a dirty bounty hunter like killed my father.” Shot of Scott, looking stunned, then back to Andy-Jack. “And whatever happens to you, you deserve it.” The camera shifts back and forth between them during the following exchange.
SL: “Did your grandmother tell you that?’
AJ: “It’s true.”
SL: “It’s a lie and you know it.
AJ: “My grandmother wouldn’t lie. Not to me.” He moves behind the post and Scott turns his head to try to keep the boy in sight.
AJ: “She wouldn’t!”
SL: “Now look, I don’t have any time to argue. Your grandmother and your uncle are planning to ki—“
AJ: “I heard her. I was outside.” He lowers his eyes.
Close up on Scott: “Well, then?”
Tight on Andy-Jack’s face. “But I wanna go to school.”
Reaction from Scott, he closes his eyes and turns away, then: “Look, I know you do. But this isn’t the way to get there, and you know it!”
AJ: “I’ll never get another chance.”
SL: “Andy-Jack, I’ll do everything I can to help you—everything! But I need your help!”
Andy-Jack stares up at Scott for a moment with sad eyes, then looks down at the large knife he is holding in his hand.
(in the script: after Scott promises to do everything he can to help, if Andy-Jack will help him, the boy “turns to him with a bitter, skeptical look that makes Scott withdraw the appeal immediately.”
SL, shaking his head: “No. I’m sorry. No bargains, no promises. You make your own decision. Right or wrong----it’s up to you.”
Script directs a close up of Andy-Jack with the “dilemma etched in his boyish face,” then a reaction shot of Scott “in an agony of impatience knowing is life is resting on the child’s decision.”)
Scene 14
Murdoch and Johnny are riding along. They pull up.
ML: “It’s hopeless, Johnny. It could take weeks to find a trail down there.”
JL: “I think we oughta head back to that mine shack.” He takes a drink from his canteen. “That girl’s father mighta come back by now.” He screws the cover back on the canteen.
ML: “Father? Are you sure? The old woman said there were no other men down there.”
They wheel their horses and start to ride back in the direction from which they came.
(this scene with Johnny and Murdoch is not in the script.)
Scene 15
The Sickles are on the porch. Luke hands his saddlebags to his mother and then turns to Pearl.
Luke: “It’s done. The bank’s been robbed and the posse’s following me here.” They embrace and kiss.
Ma stands behind Luke, clutching the saddlebags: “How far behind?” She reaches out to tap his shoulder. “I said, how far behind?”
He slowly turns back to her. “Oh. . .maybe ten minutes.”
HS: “That close?! Come on, help me get the Stranger out of the cave and fix things up.” She takes Luke by the hand and leads him off of the porch, Pearl follows.
Cut to shot of Andy-Jack working the knife to cut Scott’s hands free.
SL: “Come on, give me the knife.” He bends down to cut the ropes on his ankles.
AJ: “Uncle Luke, he got here.”
Scott goes to the entry to listen--still has the ropes around each wrist, and the knife in his hand. He crouches down beside the boy. “I need a gun, now what’d you do with my gun?”
AJ, pointing: “Out there.”
SL: “C’mon.”
The go back out into the main part of the mine.
SL: “Tell me where it is, you stay here.” Scott sticks the knife, point end down, into a piece of wood and starts to remove the ropes on his wrists.
AJ: “I wanna go with ya.”
SL: “No, you could get hurt.”
AJ: “But I helped you. And you promised that you’d take me away with ya.”
SL: “Look, I can’t run and watch out for you at the same time. Now where’s the gun?”
AJ, backing away from him: “I’m not gonna tell you, you lied to me.”
SL picks up the knife. He looks around, then points at Andy-Jack. “You stay put.” He moves off. Andy-Jack follows him. Shot of Scott moving quickly through the mine, then Andy –Jack comes around a wall after him, only to be stopped by an outstretched hand. It is Luke, who looks down at the boy, calls him “Judas” and then takes him by the arm and drags him outside.
(in the script: Scott “unceremoniously gives AJ a push backwards” and exits. ]
AJ: “You didn’t mean it. You lied! You’re gonna leave me here!”
According to the script: “As his emotions build, though without tears, he must give vent to them. He lashes out at some of his stuff and knocks it to the floor. This unlooses a floodgate of destruction as he smashes everything within reach, breaking not objects, but every dream he’s ever dreamed. Then, it’s over. A moment of silence. Now, he reacts as Luke Sickles stands there.” Luke calls the boy “a little Judas” and then drags him along.)
Luke brings Andy-Jack over to the porch of the shack, where Ma and Pearl are standing. Suddenly, Pearl says his name and points. Camera shows Scott who has just emerged from the mine entrance.
Luke turns and fires, Scott runs back inside.
Pearl ducks under the railing and steps down off of the porch. She puts her hands on Luke’s chest. “It’s gone wrong, Luke, you’ll have to keep runnin’.”
Luke: “No, there’s still a chance to work our plan—he’s in the mine, ain’t he?”
Pearl: “But he can hide—and wait.”
Luke: “Half them shafts is blocked off, he won’t be hard to find.” He runs towards the mine entrance, leaving Ma clutching Andy-Jack.
Inside, Luke stops and listens. Camera shows us Scott running, he still has the knife in his hand. He pauses to catch his breath. Close up of Scott as we hear Luke’s voice. “Stranger. . every side tunnel is blocked. Now you’re trapped, Stranger!”
Camera back to Luke, gun in hand, as he starts running again. Then back to Scott, who is also on the move.
Back outside, Andy-Jack turns to his grandmother. “Gran, if you let this happen, I ain’t never gonna go to that school of yours, never!” He picks up a rifle off of the porch and starts running towards the mine entrance. He is carrying the weapon upside down and his hat falls off. Hannah calls after him “Andy-Jack, you come back here, boy!” He falls to his knees before he makes it to the entrance.
Ma Sickles runs after him, holding her skirts. “Don’t your family mean more to you than this Stranger?”
Andy-Jack stands up to face her. “Gran!”
HS: “All right, it’s gonna be all right. We’ve taken enough from you already.”
Shot of Pearl, watching them with a concerned expression. AJ’s voice: “What’re you gonna do?”
Hannah is seen picking up the rifle with one hand, while she holds onto the boy with the other. “It’s best that I do what has to be done. Now you go on back to the house. Go on.” She gestures with one hand, then gives him a little push, and Andy-Jack begins to head towards the shack, still looking over his shoulder at his grandmother. Ma Sickles heads into the mine, carrying the weapon.
Shot of Scott, running in the dark. He hold up, listens as Luke moves past in the background. Then Hannah enters the scene. Luke moves in behind her and tries to take the gun out of her hands. “Keep out of it Ma, keep out of it.”
Scott takes advantage of their struggle to move past them. Luke raises the gun to fire at Scott, then lowers it when he realizes it is too late. He hurries after Scott, while Hannah stands with her back against the wall of the mine shaft.
He fires one shot. Scott keeps running. He sees a lantern hanging over head, reaches up and flings it behind him, and there is a burst of flames. Luke manages to get past them.
Outside, shot of the entrance to the mine. Scott runs out. Luke is not too far behind him. He raises the gun, then lowers it again, apparently not having a clear shot. Shift to show Scott, clambering up some rocks. He keeps running, Luke fires this time and misses. Quick shot of Hannah emerging from the entrance of the mine shaft. Then Luke is seen running again. Quick shot of the shack, the door opens and Pearl comes out onto the porch.
Scott is seen high up on the rocks. He turns and hurls the knife at someone behind him, then comes running and jumping down the face of the rocks. Luke appears up above, following him.
Shot of Scott’s foot hitting a rock and he falls down. He turns to face Luke, who raises his weapon to fire. Meanwhile, up above another person appears, it’s Johnny, who says “Hold it.”
Luke whirls and is about to shoot JL, but Johnny finishes him off first, and Luke drops.
Reaction shots of Scott then Ma Sickles who closes her eyes and leans against a post. Pearl ducks under the porch railing and runs.
Scott gets up and heads towards Johnny who says “Hello, Brother.”
SL: “Johnny, how did yo—“
JL, uses his pistol to push the brim of his hat up: “Oh, we put a few pieces together.”
SL: “Well, where’s Murdoch?”
JL: “On the way back we ran into the Sheriff’s posse.”
Cut to show Pearl sobbing as she reaches Luke’s body, then back to the brothers.
JL: “He’s bringin’ em along.” Scott climbs back down over the rocks and Johnny follows.
Ma Sickles looks stricken. She stands with her arms hanging by her side, then moves forward mechanically. Scott enters the screen and stands and listens as she delivers her next line.
HS: “That’s my son. . . Luke Sickles. (pause) I’m identifying ‘im. And I’m claiming the reward.”
Scene 16
Same shot of the shack and surrounding. Then camera moves inside to show Scott coming through the door.
SL: “Andy-Jack! Andy-Jack?”
There is the sound of a chair moving across the floor. Scott turns and then heads towards the corner of the room, where the boy is hiding .
Scott turns the wicker chair around so that he can sit in it facing the corner.
SL: Well, well, well, now what do we have here?” He lifts the hat off of Andy-Jack’s bowed head.
AJ: “I ain’t cryin’.”
Tight close up on Scott, who nods slightly: “Well, maybe you’d better.”
AJ: “I never cry. My father never. . my uncles. . . and I’m gonna be just like them.”
Camera is behind Scott, who sits with his arms resting on his thighs, looking down at the boy.
Andy-Jack stands up. “I’m gonna rob banks, bang, bang! And kill people—bang, bang, bang, bang! And never care about nothin’.”
Scott reaches out to grasp Andy-Jack’s arm. He draws him closer and puts his other hand on the boy’s other arm, studies him for a moment. “No, it’s not in you not to care, Andy-Jack.”
Camera shifts to AJ’s pov as Scott tells him: “You’re special.”
Close up on the boy’s face, as Scott’s voice continues: You’re very special.”
Shift to tight close up on Scott: “But your grandmother’s got great hopes for you, great dreams. And we’re gonna make those dreams come true.” Camera shifts back and forth between their faces—one looking very cute and the other awesomely handsome. Andy-Jack cracks first, as he starts to sob, then puts his arms around Scott’s neck. Camera shows Scott’s face as he pats his back.
SL: “That’s good. You’ve gotta learn how to cry and when to cry, Andy-Jack.”
Shift to show AJ’s tearful face: “Those tears will wash away the bad things you’ve seen . . . and help you see the world through clean eyes.”
Camera on Scott again as he releases the boy and holds him at arm’s length, reaching up to touch his face with both hands. Camera swings around to show side view. Scott ruffles his hair, then reaches down for AJ’s hat. He puts it on his head and then turns up the front brim. Putting his hands on the boy’s arms again, Scott gets up, moving Andy-Jack back as he does so. SL stands and looks down at the child.
SL: “I’ll see you soon.” He holds out his hand for a handshake.
AJ: “You promise?”
SL: “I promise.”
They shake hands, and the camera closes in on their hands. Then Scott’s hand moves ujp first to hold Andy-Jack’s chin, then to touch the side of his face. Scott moves off screen and Andy-Jack turns to the window behind him.
Outside, Scott stands on the porch. Hannah is standing in front of the shack. They look at each other without speaking, then Hannah folds her arms across her chest and looks away. Scott steps down from the porch and walks over to where Murdoch and Johnny are waiting with the horses.
Shot of Andy-Jack wiping at the windowpane so that he can see out. Scott mounts up and the Lancers ride away.
THE END
HERE ARE THE FINAL SCENES AS THEY WERE SCRIPTED:
Luke brings Andy-Jack over to the porch of the shack, where Pearl is standing. Suddenly, Pearl says his name and points. Camera shows Scott who has just emerged from the mine entrance.
Luke turns and fires, Scott runs back inside.
Pearl ducks under the railing and steps down off of the porch. She puts her hands on Luke’s chest. “It’s gone wrong, Luke, you’ll have to keep runnin’.”
Luke: “No, there’s still a chance to work our plan—he’s in the mine, ain’t he?”
Pearl: “He can hide. And wait. . .”
AJ: “Scott won’t let you kill him!”
It draws Sickles malevolent attention.
LS: “Yeah? Well, now, do you think he’ll let me kill you?
He grabs Andy-Jack and hauls him forward out of the frame while the camera tightens on Pearl’s look of foreboding.
Cut to Scott inside the mine as he stops to catch his breath, then pushes deeper into the murky old mine workings. He picks his way forward into the dark, precarious depths. Rotting timbers creak, dust filters down and he stumbles over the fallen debris.
Sickles’ voice echoes: “Stranger!”
Scott ducks behind a rusty ore-cart and looks back. The camera shows us Scott’s pov: the lamp winks on with a pale light. Sickles and the boy are shadowy figures beyond it’s circle of light.
LS: “Hear me good, Stranger! I want you out here in the light before I count ten!”
Scott is motionless and silent as a cornered possum. The lamp light casts ominous shadows and shows that Sickles has his pistol menacing the boy, whom he is holding by the hair.
LS: “You don’t, I’m killing the boy!” One! Two . . . .”
Scott’s Voice: “You’re running a bluff!”
LS: “Three! Four! Five. . . “
Scott’s voice: “He’s your nephew!”
LS: “What of it? I don’t care about nothing or nobody---not when I’m saving my own skin!”
He gives Andy-Jack’s hair a painful twist and the boy can’t help crying out involuntarily.
AJ: “Scott!”
Reaction shot of Scott. There is only one decision he can make and he knows it. He rises from concealment and moves forward. Sickles and the boy stand immobile as Scott moves toward the slowly, emerging into the lamplight and stopping a couple of yards away form the muzzle of the outlaw’s pistol.
SL: “Let the boy go.”
Sickles releases his grip on AJ’s hair.
Close up of Scott: A look of resignation and inner peace comes into his face. If this is it, well, so be it.
Reaction shot of Andy-Jack. The emotional pressure on him nears its zenith as he looks from Scott up to his uncle, whose pistol is seen in the frame near the boy’s face. A flush of ugly triumph is glowing in Sickles’ features.
LS: “Now where’s that old woman with the shotgun?”
AJ: “Nooooo!”
The boy acts. He grabs at Sickles’ pistol hand and tries to bite his wrist. His teeth sink in and Sickles howls in angry pain, knocking the kid reeling and, in a burst of mindless animal retaliation, bringing his gun to bear on the defenseless child.
Reaction shot of Scott and then the sound of two gunshots, almost simultaneous, the deep rumble of a shotgun and the sharper crack of the pistol.
Camera shows Hannah. With a soul-wracking cry, she lets the weapon fall from her hands and moves forward. Camera pans to frame full shot disclosing the results fo the action: Luke Sickles lies dead and Andy-Jack is unharmed. Scott is also in picture. Hannah throws herself on her knees, touching Luke to confirm what she has done.
HS, looking upward: “Oh Lord, why? Why did you make me choose between them?”
Andy-Jack turns and runs out of the tunnel.
Full shot, featuring Scott. His face bears eloquent witness to the tragedy. Then he hears somebody coming and turns, reacting as Johnny approaches with gun drawn.
SL: “Johnny! How . . . ?’
JL: “Ran into a posse. Sheriff’s outside. He’ll be wanting an explanation.”
Scott nods and continues on toward the sunlight. Hold in full shot as Hannah gets to her feet and, with a superhuman effort at control, turns to Johnny while indicating her slain son.
HS: “That’s my son, Luke Sickles. I killed him and . . I’m claiming the reward. (her chin goes up) My grandson’s going to school.” Her eyes don’t waver. Fierce, defiant, indomitable.
Cut to the workshop, with Andy-Jack huddled here amid the destruction of his stuff, his body shaking as if he’s beyond consolation, but refusing to permit himself tears. Scott enters and surveys the wrecked “inventions” knowing them for wrecked dreams, and comes forward to stand towering over Andy-Jack. The boy won't look up.
AJ: “I ain’t crying.”
SL: “Maybe you’d better.”
AJ: “I never cry! My father never, or my uncles. . . and I’m gonna be just like them. I’m gonna rob banks and kill people and never care about nothing.”
SL: “It isn’t in you not to care.”
Scot kneels to speak directly to the boy.
SL: “No, you’re special. And you’re going to be worth the sacrifice your grandmother made.”
AJ, fighting tears: “Why’d she do it? She loved him.”
SL: “But she had dreams for you. . .and we’ll make them come true!”
Andy-Jack looks at him, desperately needing to believe, and Scott offers affirmation with quiet authority.
SL: “We’ll find a way!”
Now, AJ succumbs to his tears. Scott gathers the boy into his arms comfortingly as the camera tightens to close shot of the two of them.
SL: “That’s good. Learn how to cry, Andy-Jack. . . Tears wash away the bad things---let you see the world through clean eyes.”
Andy-Jack’s face takes on a look of new hope.
Close up of Andy-Jack’s “sunthing”. It catches and reflects the sunlight. The camera widens to a full shot including a broad vista of the barren and uncompromising landscape.
Fade out
THE END
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