Season 1, Episode #4
FOLEY
Director: Alex Spinner
Teleplay by: Anthony Spinner
Story by Anthony Spinner and Brian McKay
Guest Stars:
Gant Foley: R.G. Armstrong
Polly Foley: Lynn Loring
Corey Foley: Don Quine
"FOLEY"
(notations in parentheses are in reference to changes from the script labeled "FINAL, May 29, 1968", with revisions dated 6/7/68)
ACT ONE
SCENE 1
As the opening credits appear, we see a man driving a wagon pulled by two horses down a dusty street in town, then other shots of activity, people moving about on foot and on horseback. Two men crossing the street, pause, then turn to stare at three men on horseback. Ominous music plays as the camera closes in on the three, who look hot, tired and unhappy.
They dismount in front of a building. As one of the three ties his horse to the hitching rail, another hurries across the wooden sidewalk to enter the building, almost bowling over a well-dressed male passerby in the process. The other two men stand leaning against a couple of wooden posts, waiting for their friend.
Camera shifts, unusual angle as we are looking up from the ground, past the neck of a horse tied to a rail. Scott walking towards the camera, using both hands to adjust his hat on his head, as a man behind him is saying, "Well, thank you very much, Mr. Lancer, it's always a pleasure doing business." He hands Scott what looks like a folded piece of paper, which SL accepts and tucks into his billfold. Behind them we can see the windows of what is identified as the Green River Bank. The man is dressed in a suit, with a vest under his jacket and a string tie; he's the assistant bank manager.
"You're welcome, Sir, and I guess I'll be seeing you, in about, ah, oh another month." As he speaks, Scott is tucking the billfold inside of his nice leather trimmed cropped jacket. He extends his hand towards and the two men shake hands.
Manager: "Fine. And give my regards to your father, he's a very fine----" Suddenly, three gunshots and a woman's scream are heard and both men react to the sound.
Camera cuts to the two men who are standing and waiting for their friend. They look up. Quick shot of Scott running across the street, then back to the two men. The door opens and a woman with long hair and a bright colored blouse comes out, looks startled to see the two men waiting. One runs inside, then the larger man, wearing a vest over a plaid shirt, grabs the woman and says "Well, hello, Polly."
Camera cuts back and forth between Polly struggling with the man holding her and Scott working his way towards them-he has to push past a few other people who get in his way. Scott reaches them and pulls the big man around to face him, draws back to give him a good punch, then we see a shot of the balcony of the building. We hear, but do not see Scott's punch connect, as up above a man steps through the window out onto the balcony, calling "Marsh! Marsh!" Then back to Scott, who is hitting Marsh in the stomach and the voice continues from up above: "Frank's dead, she killed him!"
(Note: the script identifies the man as "Ed Marsh", but on the tape it sounds as if Vince is shouting "Mark!" Or even "Mike!"!)
As Scott finishes off Marsh, we see his friend up above draw his gun and shoots at Scott. SL draws his own weapon. Throughout, we see Polly standing in the background watching anxiously. (Knowing that she is pregnant, it is noticeable that she is holding her arms protectively around an ample stomach, but this likely wouldn't be discerned in an initial viewing.)
Scott, hatless now, whirls and crouches, returning fire and hitting the man up on the balcony, who spins back towards the building. Scott turns to look at Polly-close up of her face, with her hair covering half of it. Then up on the balcony, the wounded man has staggered back to the railing and fires once more at Scott, hitting his hand and causing him to drop his weapon. He drops to the ground. Up above the wounded man collapses against the railing, breaks it and falls all the way to the ground.
Polly now springs into action-close up of her hand as she picks up Scott's discarded gun. The camera follows her eyes as she looks at Scott and we see him holding his injured hand and turning away, clearly in pain. Polly steps purposefully to a buckboard wagon parked in front of the building. She is wearing silver hoop earring that show clearly in this shot. Next, we see her from behind as she climbs up into the seat. She's not at all agile, nor does she seem to be hurrying. (Again, a viewer who didn't realize she was pregnant probably wouldn't pick up on this.)
Shot of Scott as he turns and looks around, then we see from his perspective, the wagon departing with Polly at the reins.
SL shouts "Hey!" but she's gone. Already the wagon is practically out of sight and people are starting to go about their business on the busy street. Scene ends with close up of Scott looking unhappy, shaking his injured hand and wrapping a handkerchief around it.
(One significant change here is that in the script, Scott is hit in the shoulder, which would have been a more serious wound, likely to have hampered him a great deal)
SCENE 2
Shot of Polly from above, driving two horses. She's sitting on a wagon seat, but the back of the 'wagon' is little more than eight or nine parallel boards.
(in the script it's nighttime here and Scott is seen "framed in the moonlight" as he rides after Polly)
Shift to a rise up above, and we see Scott on horseback coming down towards the road. He has his hat on again, the one with the brim folded up on one side. Camera cuts back and forth between shots of Polly's determined profile as she urges the horses forward and shots of Scott riding hard after her. Polly turns and sees him, she knows he's gaining on her. Scott pulls up alongside the left hand horse and reaches out for the animal's harness, eventually stopping the wagon.
Scott turns his own mount to face her, and Polly pulls a Scott's gun out from under the seat cushion and points it at him.
Polly (as SL leans as if to dismount): "You put one foot on the ground and I'll blow your head off."
SL, gesturing with his bandaged right hand: "I'd appreciate my gun back."
(in the script, Polly gets down from the wagon and despite her warning, Scott slips off of his horse, so they are standing on the ground facing each other.)
Close up on Polly again: "And I'm warning you-" The gun goes off!
Scott ducks, grabbing his hat off of his head with his right hand, "Now look-"
Polly: "The next time I won't miss. Now you just get outta here and leave me alone." Close up on her as she's speaking. She has abundant auburn hair, large eyes, full lips and a very determined expression.
Scott sets his hat on the pommel of his saddle, then gestures again with his right hand. He seems to be holding in his anger despite having his hair almost parted. "Just as soon as you tell me why I had to kill a man."
She looks angry and cocks the gun, but doesn't fire. Camera shifts behind her again so that we can see Scott. "Who are you? And who is the man you killed?"
Close up on her face, with the gun muzzle visible, while Scott's voice continues. "Look, I don't want to hurt you, I just want some answers." Back to show Scott from her pov as he continues speaking. "I got shot because of you."
Close on Polly again: "Now for the last time, just ride out." Back to Scott, then cut to Polly again. Neither one speaks. Then camera shifts to behind Polly again and we watch as Scott begins to slowly dismount. He does not take his eyes off of Polly and his gun. Close ups of Polly show her watching and gripping the gun. Once on the ground, Scott faces her, swallows hard, then raises his injured hand towards her.
Extreme close up of Polly, then back to Scott, stepping closer with his injured hand raised. He has a blue print bandanna tied around it. He's still wearing his leather-trimmed jacket, with the usual beige checked shirt underneath it. He also has a burgundy colored cloth tied around his neck inside the collar of the shirt. Back to tight shot of Polly's face, and she blinks several times apparently woozy. Tinkly music plays and then the image of Scott's serious expression and upraised hand blurs. He reaches out and snags the gun just as she passes out with a little gasp and collapses against him. Fade out with shot of Scott's relieved face over Polly's hair.
(here's how the script describes the action: Polly, rigid, tense, gun up, watches him slowly cross the few steps between them. Scott moves carefully, walking on egg shells; approaching as one would a coiled rattler. A step or two from her, he hesitates for a split second, his gaze on her. Eternity hands in that split second as Polly tries to summon the will to cut him down in cold blood. Then abruptly Scott lunges for the gun, grabs her wrist. As Polly is jerked forward, and the gun falls from her hand, she suddenly sways, collapse against him, passing out from both exhaustion and the sudden break in the tension. . . then slowly, in spite of the pain in his arm, he lifts her and starts to carry her back to the buckboard.)
SCENE 3
In a field, three men in cowboy hats around a fire, two eating. One is semi reclining, looks up at an approaching rider and asks: "What's this all about?"
Shot of an older, heavy set man, crouched down while a voice says: "Foley. . . here's, here's yer boy." Then we see that the Marsh is leading another horse with a man slung face down across the animal's back.
Gant Foley puts down his plate and slowly rises. Camera shows us the younger man, who we will learn is Gant's nephew Corey, lounging on the ground. He's quite good looking, wearing a white shirt, vest and string tie.
(in the script, Corey gets up and follows his uncle)
Foley presses his lips together, goes over and takes the reins of his son's horse. The lounger doesn't move, but the third man stands. Marsh wipes at his face and his horse shakes its head and snorts.
Close up on the dead man's face, as his father lifts his head to make sure it is really his son.
GF: "How? (pause) How did it happen?"
Marsh, clearly not eager to tell this story: "He went in first. Next thing, there was . . shots. Polly come runnin' out of the boardin' house. (Shot of Foley listening). She done it, Mr. Foley, it was Polly! There was nothin' Vince and me-
Gant interrupts him. "You kill 'er?" When Marsh doesn't answer right away, Foley repeats the question more loudly, grabbing at the man. Shot of Corey watching. He is still lying on the ground.
Marsh, rapidly: "She got away, I don't know how or where. She had help. I checked with the man at the bank. His name's Lancer, from Morro Coyo. (pause) and . . . he took me out . . . killed Vince."
GF, demanding: "One man? Just one man?"
Marsh: "Well, he was on me before I knew it. (pause) What could I do?"
GF, bitterly: "You could have died. Now get out of here! Get outta my sight, get!" Camera pulls back to show the group, with Gant Foley gesturing angrily and Corey still lying on the ground. (During Marsh's speech about Polly getting away and checking with the man at the bank, the camera cuts to show Corey picking up his plate to continue eating. Clearly, he's not distraught over his cousin's death.)
Marsh taps his horse with his heels and rides off. Shot of Corey, holding his plate of food. He sets it down, still chewing. Gant looks back at his son's corpse. Then he steps towards Corey, holding the reins of his son's horse. He is a large unshaven man, barrel chested, wearing a dark shirt under a longish jacket.
GF, to Corey: "I want every member of this family old enough to ride to meet me at Cross Creek in an hour."
Corey bows his head, but doesn't say anything.
GF: "Somethin' wrong, Corey?"
Sighing, Corey finally gets up. "I just don't know why you just don't let me take care of her for ya, Uncle."
GF: "One hour, Corey. Be there with the rest."
Corey dips his head, then says, "Come on, Lew." The two younger men walk off, Corey with his hand on Luke's shoulder. Scene closes with Foley resting his hand on the neck of his son's horse.
(in the script, the previous two scenes are reversed, first we see Gant Foley learn of his son's death, and then Scott catches up with Polly)
SCENE 4
Scott is now driving the wagon, with his horse tied behind and Polly slumped against him. on the seat beside him. They ride under a crooked sign that reads: "Monterey Stage Line Oak Flat Station."
They pass fences, a well, several buildings, it all looks to be deserted. Scott reins up near the barn doors. He carefully lays Polly down on the wagon seat, then jumps down and lifts the bar from the double doors. He opens up one side, peers in, then goes back to Polly, and lifts her off of the seat. She drapes one arm around his shoulder and he carries her inside. She seems quite tiny. Polly is wearing a solid color skirt and boots or shoes with heels. Inside, Scott looks around for a bit before deciding to put her down on what looks like part of an old wagon. Polly is conscious, she looks around a bit. Scott seems to carry her quite easily and is in no hurry to set her down. Once he does, he takes a sack partly filled with hay and puts it behind her. She relaxes gratefully against it. We can clearly see now that she is very pregnant.
(script has Polly lying in the back of the wagon and Scott driving it right into the barn. Polly climbs down from the buckboard, they do part of the following dialogue, then Polly starts to sway again and Scott helps her to the pile of hay.)
Scott sits down near her feet and removes his hat.
SL: "You all right?" He tosses the hat aside, runs his bandaged hand over his sweaty hair. Something is hanging near his head, perhaps an old lantern.
Polly: "I'll live."
Scott puts his right foot up on the wagon bed, rests his arm on his knee.
Polly: "Where are we?"
SL (glancing around): "It's an abandoned way station."
PF (with a slight wry grin as she closes her eyes for a second): "I suppose it's the last place in the world a girl could get a drink."
SL: "Well, there's a pump right outside (he gestures) I'll get you some water." He starts to get up.
Polly starts to say "Water---" (clearly, that's not what she wants to drink) then gasps in pain and clutches her abdomen.
Scott reaches for her, asks "Are you all right?" She eases back, while he takes her hand. She looks up at him angrily. "I'm not dying! Look, I thank you for what you done, now why don't you just get smart -"
Scott interrupts, looking away from her as he speaks.
SL: "I know, I know-ride out." He looks back.
Close up on Polly: "Suit yourself. (pause) You hang around long enough, and if curiosity doesn't kill ya, the Foleys will."
Camera shifts to Scott, who is holding a piece of straw in his mouth. He removes it and his brow furrows as he asks: "Foleys?"
She gives him an incredulous look.
SL, smiles: "That's right. . . I don't know them."
Polly starts off with a crooked grin that breaks out into a big smile. "You're really something, you really are."
SL asks: "Who are they?" then puts the straw back in his teeth. (note New England accent when he asks this question. Also, there is no mention of this piece of straw in the script)
Polly, in a warning tone: "You're gonna find out, if you don't get outta here."
SL, with straw in his mouth, points at her: "Oh, that doesn't answer my question."
PF, her expression hardening: "Look, Mister, in case you missed the point, I ain't about to tell you anything." Camera shifts to Scott who removes the piece of straw again, as he listens and Polly's voice continues. "Not now, not ever, not in this life."
Close up on PF again: "Now I'm sorry you got involved, but I gotta watch out for me. Now you understand . . . the only thing that I care about is me! Me and this child that I'm carryin'." (shot of Scott, very serious) "Now why don't you just go away, please!"
Camera pulls away to show both of them.
SL (gestures): "There's a doctor a few miles south. I'll see if I can find him; be back as soon as I can." He reaches back for his hat and then starts to stand up, then pauses when she speaks.
PF: "I really think you're crazy."
SL: "Hmm, you're probably right. (he gestures with his hat) Just hard to shake a lifetime of training."
PF: "The man I killed is my husband." Close up on Scott as he tries not to react to this announcement. Camera moves back and forth between them, Polly lowers her eyes, then Scott does the same, until Polly finally continues: "He's been huntin' me down ever since I left him six months ago."
PF, speaking slowly, deliberately: "He was a vicious, lyin' animal, and if I hadn't a shot him, he'd a killed me and my baby." While she is speaking, we glimpse Scott's intent expression, lips pressed together as he listens. When she's finished, SL, glances down, then back up at her, speaking in a low voice: "Sounds like, uh, you married into a . . . very nice family."
(note: some lines from the script were cut here. After Polly, in a "clipped, staccato" voice, "feeling grudgingly that she owes this much to him", tells Scott about her husband, ending with the part about how he would have killed her and the baby, she continues with:
PF: "Whether you believe it or not---that's the truth."
Scott, after a silent beat, uncompromisingly: "It still doesn't explain why you ran away-why you pulled a gun on me. . . ."
PF: "It would if you'd ever heard of the Foleys. . ."
PF continues: For fifteen years they've run this part of the country. . . killing, robbing, lynching. . . and when you're on the run from them, there's only one way to go-alone . . I know. . . Frank. . . he'd never have found me if people hadn't been scared---hadn't sold me out to him to save their own necks."
Scott replies with his comment about marrying into a very nice family and they continue on as follows)
Polly lowers her eyes. "When. . . when you're seventeen 'n . . . fresh from the East, a minister's daughter . . .(she seems to put extra emphasis on the last two words, and Scott reacts to this, then Polly sighs and looks up) Men like Frank, they . . (she brushes a strand of hair back behind one ear.) He, he never wore a starched shirt, he never said 'thank you,' or 'yes ma'am,' (half smile, she shakes her head) I really thought it was exciting."
Camera shifts to Scott, still listening carefully. He reacts by lowering his eyelids, then bowing his head, looking down. Back to Polly, who isn't looking at Scott but seems to be gazing at something only she can see.
PF smiles, and rolls her eyes. She has very large eyes and a wide, generous mouth. "I guess in a way, it still is, huh?"
Scott looks up at that, but doesn't smile, glances down, then away, before finally looking at her. "I'll uh, hide that buckboard in the ravine. And get back as soon as I can."
Scott exits the barn. Outside, he slides the bar back into place across the doors to close them up. Shot of Polly inside, she hasn't moved. Scott's voice tells the horses to "get up". Back outside, Scott is driving the buckboard.
SCENE 5
Abrupt shift, as Scott drives past, suddenly his image is replaced by that of a serious looking woman with light colored hair wearing a dress with a white collar. Camera pulls back to show she is holding a white cloth in one hand and seems to be placing objects on it. There is a window behind her and two men, one seated and one standing on either side of the window. Gant Foley moves into the shot and stands behind the woman.
GF: "You'd do good to tell us right now where the doctor is."
Woman: "I don't know where my husband is. He left early this morning, to make several calls."
GF, still behind her: "Nobody's been here? (softer) Like maybe . .. a girl in her twenties, gettin' ready for her time?"
The doctor's wife half-turns towards him at that, shakes her head 'no', then starts to move away from him. Foley reaches out and grabs her arm. She refuses to look at him.
GF: "You know a fella named Lancer?"
Now the doctor's wife turns and looks directly up at Gant, and shakes her head 'no' again.
GF: "Now if he had been here. . (he clutches her neck with his left hand, forcing her to continue looking up at him) you'd tell us now, wouldn't ya?"
She nods 'yes', barely moving her head. Gant says "Good girl," pats her cheek and releases her. She moves away, Gant follows her across the room. Shoot widens to show the other two men standing at the window and we hear the sound of approaching hoof beats. The doctor's wife is placing things inside a tall cabinet.
Foley hurries over to the window. Camera shot of Scott riding up to the doctor's house.
Inside, Gant grabs the doctor's wife and roughly pulls her over to the window.
GF: "Who is that man?"
The woman looks up at him, makes a sound and shakes her head. She seems too frightened to speak.
GF, considers this: "All right, maybe he'll tell us." Then he tells the other two men to "Get in there", pushing them off camera. Gant looks down at the woman: "And no coachin', do ya understand?"
She presses her lips together, says "um" and nods her head 'yes'.
Foley moves off to join his men in the next room that is separated from this one by a curtain. A coat rack and cabinet are visible to the left.
There is a knock on the door, the doctor's wife opens it and Scott enters. He removes his hat as he steps inside.
SL: "Is the doctor here?"
Wife: "He went out earlier."
SL: "Would he be in town now?"
Wife, glances away, then looks back at Scott: "No."
Scott picks up on something being wrong. He glances around. Scott starts to move further into the room, holding his hat in two hands and still looking around as he continues speaking. "Well, uh, if the doctor's not around, I guess,. . …um. . … there's no point in me waiting." Scott backs up, moving towards the curtain that serves as a 'door' to the next room.
The camera is on Scott, so if the woman is giving him any sort of sign, we can't see it. Dramatic music signals the movement as Scott reaches out to move the tall coat rack, tipping it so that it falls against the wall.
One of Foley's men steps through the curtain, gun drawn, and moves the coat rack aside.
SL, to doctor's wife: "Excuse me, I didn't realize you already had a patient." We see the second man follows the first, also with his gun drawn and then Gant Foley emerges, while Scott's continues speaking off-camera. "I hope it's not an emergency."
Foley stands in front of Scott: "Very funny, Friend. Who are you?"
SL, gestures with his hat in one hand: "Just a man lookin' for a doctor. Who are you?"
Close up on GF: "We're Foleys. (he glances at his men, the camera stays on him) All of us here, are Foleys."
Camera pulls back to show all four men, Scott and the three Foleys. Scott smiles: "Good for you." He is clearly feigning enthusiasm. He also seems pretty relaxed. SL is holding his hat in his right hand and hooks the thumb of his left hand over his belt.
GF: "You heard of us?"
SL, glances at the man nearest him-both of Foley's men still have their guns drawn and aimed at Scott. "I can't say as I have, but welcome to the little community. (close up on Scott) You wouldn't be farmers by any chance (reaction shot from Gant) we could always use a good farmer around here."
Camera stays on Gant as Scott finishes speaking; GF seems at a loss for words.
GF, gestures at SL's hand: "How'd you get that?"
SL, looks down at his hand, then raises it toward GF in a defensive movement: "Now wait a minute, Friend, I've got no argument with you. (close up on Scott) If I thought this was any of your business, I'd explain. Now if you don't mind explaining, I will."
Close up on Gant: "If I thought you was involved in this, I'd--- " Foley pauses, and the camera shifts to Scott.
SL: "You'd what?"
Close up of Gant, who doesn't answer, then camera pulls back to show the group.
GF: "C'mon, let's get out of here." Foley moves to open the door and his two men exit. Foley turns to look at Scott. "If I had a little more time, Friend, I'd tend to you myself."
SL smiles at him. He glances down, then back up with a serious expression. "I'm sure you would, Friend, but if you're lucky, maybe you won't have that time."
Foley glares at both of them, then exits, leaving Scott alone with the doctor's wife.
Scott moves to the door and listens to make sure they are really leaving.
SL, to the doctor's wife: "Doctor really gone?"
Wife: "He'll be back by nightfall, if it's not too late."
SL: "Too late. . it may be too late already. Thanks." He nods at her, opens the door and exits.
As the door closes, the doctor's wife sags in relief, placing a hand on a nearby cabinet to support herself.
(Note: this entire scene at the doctor's home is a new addition which does not appear in the script dated 6/7/68)
SCENE 6
Music plays as we see Gant Foley ride past on horseback, he's riding a horse with a very wide white blaze and muzzle. It's difficult to count them, as they ride past, but he has at least nine other men following him.
Riding down a slope from another direction, we see Corey Foley with at least two additional men. The Foley clan is quite large, it appears. The two groups link up and continue riding. It appears that they have reached Cross Creek at the allotted one hour deadline. Nice shot of them from a distance as seen through the rails of a fence, then the camera cuts to the inside of the abandoned way station barn and Polly reclining on the broken wagon with her eyes closed. She opens her eyes, eases herself up and goes to look outside. We can hear the hoof beats of the approaching horses and from her pov, see the riders again through the fence. Her facial expression and the music lets us know that she recognizes the men.
Shot of them riding in beneath the crooked sign.
Corey stops his horse next to Gant's and says : "You can see halfway to Morro Coyo from up there but there's no sign of her."
As they ride around the area, Gant shouts out orders to his men: "Clem, check that way station! Lew, check inside that barn!" Some of the men ride off, Gant remains on horseback. A couple men dismount and head into the barn, one of them drawing his gun as they enter. They look around the interior, one climbs a ladder to check the floor above while the other checks underneath the assorted items inside the barn. Centered in the shot is the broken wagon on which Polly had been seated.
Outside, Foley yells: "Anything?" and someone replies, "Not a thing, Gant."
Next he shouts towards the barn: "What the Devil's going on in there, huh?"
Some one shouts another negative response and Foley is ready to move on.
GF: "All right, let's go, if we can't find her, we'll find her new boyfriend."
As they ride away, the camera looks around the outside edge of the barn and Polly gets up from a hiding spot and begins to walk awkwardly away from the building, stumbling a little.
SCENE 7
(in the script, this scene was to open with a shot of the blacksmith's hammer and Murdoch Lancer waiting impatiently as his horse is reshod by the bare-chested blacksmith.)
Quick cut to town, the Foleys riding in en masse, walking their horses. There are eight men on horseback following Foley down the street. His nephew Corey is riding alongside him. They ride silently, no conversation, and the townsfolk, who appear Mexican, including a pretty young woman, watch the newcomers with curiosity and perhaps some apprehension. She plainly catches Corey's eye. GF has to call his nephew's name to get his attention. GF gestures.
Further along the way, an older Anglo man is crossing the street. Gant raises one hand to halt the men behind him. Corey, looking bored, swings his right leg forward and over his horse's neck. Gant addresses the passerby.
GF: "I'm lookin' for a man named Lancer. He in town?" He adds, "I'm in a hurry," when the response doesn't come quickly enough.
The passerby indicates a direction with a brief movement of his head. "Blacksmith shop."
GF: "Much obliged." Foley and a few of his men ride past. As the passerby hurries across the street, we see some of the group dismounting.
Abrupt camera shift to show Murdoch Lancer being slammed against a wall! Dramatic music accompanies this. ML looks confused. Camera pulls back to show Gant and Corey standing facing him. Murdoch takes them in as well as another man standing almost off screen, on our right.
ML is wearing a white checked shirt and a leather vest over it. In this shot, Gant appears to be as tall as ML, if not taller! A couple men outside can be seen looking in, but they make no move to interfere. Corey stands in a relaxed position with his hands behind him.
GF looks him over: "You're a lot older than I thought you'd be. Your name is Lancer, ain't it?"
ML (carefully): "That's right."
Close up on Gant: "All right, Mr. Lancer, where is she?"
Close up on ML, who shakes his head slightly: "Mister, I'm afraid there's been some sort of mistake."
With his eyes and the barest movement of his head, Gant signals the man standing on our right, who steps up and points the business end of a six gun at Murdoch's face.
Shot of Murdoch reacting to the sight of the weapon and the sound of it being cocked. He refuses to be intimidated. "All right, I'm impressed. But I still don't know who you're looking for or why you picked on me."
Close up of Gant: "I'm gonna say this just once. The girl you helped killed him, and I want her. I want her now!"
(omitted portion "My son is dead" appears in the script in between "just once" and "the girl". After "now", Gant adds "You understand? . . . My son is dead!")
Camera shifts to Murdoch, who doesn't respond, then back to Gant, who now turns at the sound of another voice, familiar and welcome: "If you don't tell 'im to take that gun outta my old man's neck (shot of Johnny leaning against a post inside the shop, outwardly cool, not moving) he might join 'im."
(script line: "You don't put that gun down, mister, you'll join him.")
Camera pulls back to show the group. Corey and Gant are turned to look behind them at Johnny, while the third man lowers his weapon.
ML: "I told you before, Mister, I don't know any girl."
Shot of Johnny in a continued relaxed pose, his gun hand ready.
Corey: "You want me to kill him for ya, Uncle?"
GF: "Nah." He pushes Corey out of the way and moves towards Johnny. "Who are you?"
JL: "I'm Johnny Lancer."
GF: "Lancer, huh?"
JL: "That's right."
GF: "Why'd you stick your neck out for that girl, she ain't worth it."
JL: "I don't know what you're talkin' about."
Camera has alternated between them, now rests on Gant as he considers this. He looks back over his shoulder at Murdoch. Apparently he believes that these men are telling the truth, since he directs his men: "All right, let's go! Clear out!"
(in the script, JL harshly asks "You hear what I said?" when Foley doesn't put his gun away quickly enough. Murdoch asserts that he's telling the truth about not knowing any girl . . "
Corey: "I can take him, Uncle . . Just give me---"
GF: "Shut up!"
Corey: "But. . "
GF: "I said shut up." Then he asks Johnny if his name is Lancer. . .)
Corey and the other men walk past Murdoch, then Corey stops and turns to wait for his uncle. Gant stops in front of Murdoch. "I'm Gant Foley. If you know that name, then you know I'd never forget. (close up of Murdoch, listening) If I find out you are involved in this, (turns to look at Johnny, camera follows) either one of ya! (Close on Foley) Well-he was my son, just remember that. Frank was my sole surviving son."
Foley leaves. Murdoch looks grim faced, looks across at Johnny, who smiles. Murdoch watches the Foleys leave for a moment, then speaks to Johnny. "What time was Scott due to meet us here?"
Camera on Johnny, who pulls at the cord of his hat and looks down at his hand. He slips the hat onto his head as he walks over to Murdoch. "I dunno. Oh, about an hour ago, I guess. Want me to ride over towards Green River, see if I can run 'im down?"
ML: "Yeah, tell him to stay away from town. They're looking for a Lancer. Scott's the only that's not accounted for."
We see the Foley horses moving in the street, then Corey speaks up, swinging his hat in his hand: "Wait a minute. The boys are tired and the horses need waterin'. I think we oughta take a little break."
Tight close up on Gant, who clearly doesn't think well of this idea. Shift to Corey who continues speaking. "Sides, we'll have plenty of time to catch that little girl for ya, Uncle."
Back to Gant: "The girl? I don't want the girl. I want that baby."
Dramatic music plays as he mounts his horse. Fade out to commercial.
ACT TWO
SCENE 8
Shot of Scott riding along on horseback. Then we hear a whistle, and up on the hill there is a second rider-Johnny on his palomino. Cut back to Scott, who reins up and waits as Johnny rides down the slope towards him. Scott leans forward, crossing his arms over the saddlehorn. Johnny pulls up beside him. JL is wearing his pink shirt and usual button-leg pants.
(in the script, Scott is described as looking very weary, with a sweat-stained shirt, half opened and part of a red-stained bandage visible. Johnny fires his pistol into the air as a signal. Scott draws his own gun, waiting until Johnny rides close enough to be identified before holstering it. Johnny rides up and halts, mops his brow and the brothers study each other.
JL: "Well-it looks like you really did buy yourself some trouble. . . called the Foleys? They came to town looking for you.")
JL: "Somebody came into town lookin' for ya. . . called the Foleys?"
SL: "Morro Coyo? How'd they know where to look?"
JL: "How'm I supposed to know that? Thought maybe you'd tell me." (JL sounds a bit winded here, and while Scott's horse sits perfectly still, Barranca keeps shifting and moving about in this scene.)
(the script has JL's line as: "Buddy--- I don't know anything. Maybe you'd like to explain. . .")
SL: "Follow me, I'll fill you in." They ride off, Scott leading the way.
Cut to some trees in shadow and a person-apparently Polly-- moving away, trying to run and then falling to the ground.
Then back to the Boys, riding beneath the abandoned way station sign. Scott gallops over to the open barn door. "It was closed," he says, then dismounts. Great rear view shot of him as he does this. Johnny joins him at the door, SL hands his horses reins to his brother and goes inside. Johnny loops the reins over the door handle.
Quick cut back to another shot of Polly, who struggles to her feet and continues moving away from the camera.
Scott comes out of the barn, takes his reins from the door handle. "She can't have gotten far on foot." He moves around to remount his horse; Johnny follows him, holds SL's horse's bit.
JL: "You know there's still a lot of country out there. I think you oughta lose yourself in it." Scott gets into his saddle, but Johnny is still holding his horse's reins and looking up at him. "You know, it's too bad you didn't find that doctor. I have a funny feelin' you're gonna need 'im more than she is."
Scott just rides away without answering. Johnny bows his head, then heads towards his own horse. As he unties his own reins, he turns and shouts after Scott: "It's your funeral, Brother!" then mounts Barranca.
Scene shifts to some rather barren rocky outcropping, then view slides down to lower ground and we see the two Lancers on horseback. Shot of Scott, then Johnny, both gazing intently at the ground, looking for tracks. There is a bit of this, and then Scott rides away from Johnny across a very shallow stream and spies Polly, semi-reclining on the ground. He calls his brother's name as grabs his canteen and dismounts.
Johnny, splashing through a shallow stream, rides over and gets off of his own horse. Scott kneels beside Polly and begins to remove the cover from the canteen.
SL: "I thought I'd seen the last of you."
(Scott's line here is not in the script. According to the script, Polly has been trying to reach the buckboard that Scott had hidden in a ravine. He finds her twenty yards from the wagon, half kneeling, face down, her head resting on a large rock with her eyes closed. He gently turns her to a sitting position.)
Close up of Polly as she grabs the canteen and takes a drink. We can clearly see that she still wears a wedding band on her left hand.
Polly: "It's a lot better than waitin' for the Foleys to come back."
Close up on Scott, as he turns in profile to indicate JL: "This is my brother, Johnny."
(Script: Scott identifies JL as "my brother," without giving his name. "Johnny reaches the scene, halts, stares down at her. Something flicks in his eyes. Is it recognition? Polly holds his glance for a split second, a faint trace of bitterness instantly entering her expression." Scott delivers his next line without noticing the quick interplay.)
Polly looks up at him, then close up of JL looking down at her. Back to Polly, who squints at Johnny, then Johnny again, who now has the barest hint of a smile, but doesn't say anything. Polly lowers her eyes as we hear Scott's voice: "We'll have to go get the buckboard; she's in no shape to ride." While he's speaking, the camera moves back to Johnny, who reacts by bowing his head with more of a smile.
Close on Scott, who speaks to Polly: "I'm sorry, but I couldn't locate that doctor. Will you be able to ride, with a little rest?"
Polly, not looking at him: "I'm all right."
Scott nods with a bit of a smile: "Good."
Shot pulls back to show the three of them and the horses, as Scott, still kneeling beside Polly, turns to Johnny. Johnny looks down and wipes his mouth with his hand. Scott glances at Polly, then back at his brother.
SL to JL: "Something wrong?"
JL: "I'll get the buckboard."
Close on Scott, concerned: "Johnny, I asked you a question."
JL smiles and says "Ask her" as he mounts up.
Scott looks at Polly, who gives a soft snort and smiles, with her eyes closed. "What he means is is that I'm not worth it. I'm someone who used to-- (long pause here, she doesn't want to say this next part, but she finally opens her eyes to look up at him) -- used to share a bottle with him a couple of hundred years ago. (camera shifts to Scott as he listens, starts to look away and then back at her as she continues) That's right, I was a dance-hall girl. I'm not from the East and my father isn't a minister. (Camera moved to Polly and she was sounding defiant, but now she lowers her eyes) I married Frank Foley because with him it was champagne instead of beer." She slides a glance up at him at this last.
Close up on Scott as he looks back at her and listens intently, but his expression doesn't betray any emotion.
Close on Polly, who closes her eyes and exhales and forces another smile. "You've been had, Mister, and the only one you got to blame is yourself." She says this deliberately, wearily.
Camera to Scott. It takes a second, then he makes a derisive sound and looks down and away from her. He looks at her again: "Well, I (pause, little nod) . . . guess I'm just a born loser." (this is such a Scott delivery: the low and deliberate "Well, I" and the rising inflection and slight accent on the word "loser.") He manages the tiniest smile, then turns to Johnny: "When you get back with that buckboard, we'll head for the ranch. (shot of Johnny, with his head bowed, no longer smiling) Scott continues: "She needs rest and a clean bed. (softer) And I'm not leaving her."
Camera pulls back to show Johnny turning his horse and Scott getting to his feet. No more words are spoken as Johnny rides off and Scott glances one last time at Polly then hooks his canteen over the pommel of his saddle.
(the script calls for Johnny to give his brother an "is he crazy" look before Scott announces that he isn't leaving her. "A beat more as Johnny continues to stare at him. Then shrugging, a faint cynical smile on his lips, he turns his horse, rides off into the heavy grass.
Camera direction: Polly and Scott, to feature Polly--
"to catch her staring at Scott, her expression unguarded for the first time; her face younger somehow as she searches his still turned-away face trying to understand him--- trying to understand why anyone would stick his neck out for her or any other human being. Then as he turns his gaze from the disappearing Johnny and back to her, she looks away, the hard mask dropping over her face once more.")
SCENE 9
Opens with a shot of the Lancer hacienda from a distance. Murdoch is riding towards the house, past cattle and vaqueros. He waves to a few and we see one young man waving back. He looks Mexican, wears a light colored hat and gets a couple of close ups before he rides off. As ML reaches the front of the hacienda, a cowboy comes out to take his horse for him. He dismounts and walks under an archway towards the camera.
(this opening scene presents all as peaceful. The young man who waves back may hesitate a bit. The script calls for a close up of the vaquero who takes ML's horse, and asks the question: "Is there a hint of worry in his impassive gaze, a touch of foreboding in his eyes?")
Next, the big carved wooden door opens and ML enters. He stops, the music changes abruptly and a stranger moves into the picture, and Lew, holding a gun at Murdoch's neck. Quick shot of the room, showing Gant Foley and Corey and a third man behind them, then back to a grim-faced Murdoch.
GF: "Welcome home, Mr. Lancer." Shot of room again. Corey is sitting on the end of the big dining room table, with his feet on a chair, reading a book and smoking a cigar. "We sure do appreciate your hospitality," Gant adds as he pours from the decanter he is holding in his hand. Now we can see that Teresa is seated in a chair in the far background. "Your people were real friendly-like, appreciate that, too."
Reaction shot of Murdoch, then back to Gant who is taking a drink. "In case you get any ideas, come with me, I'm gonna show ya something."
The man with the gun nudges Murdoch, who strides into the room, Gant leading the way. "I gotta compliment ya, Mr. Lancer, you got a mighty nice place here." Gant sounds almost friendly. Corey is still in the background and they walk past the other man. When ML reaches the chair in which Teresa is seated, he pats her shoulder.
Gant stops near the large window behind Murdoch's desk. Gant pulls the curtain aside. The camera shows us the view, as Gant speaks: "My men are behind that ah corral fence, and that stone wall, they're up on that roof there." We see each one as he is mentioned, the men by the fence and the wall are crouching and a horse and a cow respectively run through the shot.
Close up on ML: "Why?"
Gant gives him a look.
ML: "What the devil do you want?"
GF: "Your son. Scott." He's still holding the decanter and a goblet. GF moves away from the window and sits on the edge of a ML's desk. "Before we pulled out, we did a little checkin' around town. He was in Green River yesterday. He's the Lancer we're lookin' for."
ML: "Well, you came to the wrong place. (slight pause) After Green River, he was going to Sacramento-business for me."
Gant considers this. "Funny, your foreman didn't know nothin' about that. But a couple of cuts from a pistol barrel and he said your boy was due back any time now."
Camera shifts to Murdoch, then back to Gant. "I'm bettin' when he shows, it'll be with the girl." (he gets to his feet) "You try to warn him, Mr. Lancer, and it'll be the last thing you do in this life." (quick shot of the still silent ML, then back to GF) "And I guarantee ya."
He gives ML a significant look, then sets his glass down on the desk. Camera pulls back to show Gant turning to walk away from Murdoch, who still stands in front of the big window behind his desk.
ML: "Foley!" Gant turns to face ML. "If it's only the girl you want, why don't you leave her to the Law?"
Close up on GF: "What I want, the Law can't give me. I want that child's she's carryin'; (cut to ML, who does not visibly react) I want my grandson. I'll wipe out you, your family, and half this territory ta get 'im."
Foley turns and walks most of the length of the Great Room, past his two men, then stops beside Corey, who is still sitting on the table with a book, his feet still resting on one of the dining table chairs.
Gant turns back to look in ML's direction, resting one arm on the back of the chair. "Corey, keep an eye on Mr. Lancer, I'm gonna check around outside."
Foley exits out the front door as Corey, his attention still on the open pages of his book, slowly leaves his "seat" and starts walking towards Teresa and ML. He takes a puff off of the cigar in his right hand. He stops behind Teresa's chair, closes the book and places it on the chair back, which he also leans against, still puffing on the cigar. Teresa looks around uncomfortably. Behind them, ML is still standing in front of the window, with one of Foley's men at the end of the desk literally "keeping an eye on him."
Quick cut to a shot of a team of horses approaching the camera, pulling a buckboard. Scott is driving the team. As the wagon moves past, we see Polly curled up motionless on the back. Johnny on his palomino is riding along beside them and Scott's horse is tied to the other side of the wagon.
Cut to close up of an ornate clock face, showing the time as three o'clock. Camera travels down the clock to the swinging pendulum. Sounds of the clock ticking and distant lowing of cattle. We're back in the Lancer Great Room, one of Foley's men walks by, and then we see Teresa seated in the blue chair. She's wearing a white or light colored blouse and a determined expression on her face. Her brows are furrowed and she has her arms on the armrests of the chair, gripping the ends.
The camera follows her gaze to her right and we see Murdoch sitting in a straight backed wooden chair in front of his desk. He has removed his hat. Beyond him we can see a gun rack with rifles and a portrait hanging on the wall. Back to Teresa, who turns around to look over her shoulder; the camera follows gaze as well, and we see the clock face once more. Back to Teresa again. She pushes herself out of the chair and crosses the few steps to stand in front of Murdoch. She apparently has a plan of some sort.
TO: "You want some coffee?"
He barely looks up at her, just shakes his head "no".
TO: "Well, I do. I'll bring you back some, in case you change your mind." She seems to be making an effort to speak slowly and distinctly.
Teresa starts to walk away, but one of Foley's men is standing in front of her; just behind him is Corey, seated on the edge of a table.
TO: "The kitchen's out back."
The man turns to look at Corey, who says "Where's your manners, Lew?" Lew smiles and steps aside. Teresa glares at Corey as she walks past him and exits through an archway. She's wearing a calf length rose colored skirt and has her hair pulled back.
Close up on Corey and Lew. Corey: "I don't want ya drinkin' all of his booze now, ya hear, Lew?"
Lew grins and moves off, probably to get himself a drink.
Outside: Teresa is moving quickly and quietly past the curved adobe wall. Dramatic music signals her face to face encounter with a grinning Corey.
CF: "Hi, Honey Pie." She turns to try to get away from him, he grabs her and she cries out. Corey tries to cover her mouth.
Quick inside shot of Lew and Murdoch reacting to the sound. ML rises from his chair and barrels right over Lew.
Outside, Corey is roughly forcing kisses on Teresa, who is struggling and saying "NO!"
Murdoch bursts through the door and grabs Corey by the collar, pulling him off of Teresa and casting him aside. Teresa goes to him, and ML pulls her into an embrace, then faces Corey. Lew comes out the door, the other Foley man is behind him. Corey pulls his gun and aims it at Murdoch.
Off screen we hear Gant yell Corey's name, then he comes into the shot to stand directly in front of his nephew, between Corey and Murdoch. "Put that gun away!" It takes a moment before Corey slowly complies.
Gant Foley turns to ML: "My apologies, it won't happen again." Then to every one: "All right, let's go inside. And settle down!"
Murdoch and Teresa start back to the doorway, his arms around her shoulders. She then hurries inside ahead of him. Lew follows and finally Gant, after giving Corey a long look. Corey sighs, but doesn't look at his uncle. He puts his hands on his belt buckle and then walks over to pick up his hat. He seems to have a little grin on his face; apparently he's not sorry. . .
(script of this action: no mention of Corey saying anything to Teresa, let alone calling her "Honey Pie." It does call for Murdoch to slam Corey to the floor, where he draws his gun, ready to fire point blank, when Gant throws open the front door, kicks out savagely at Corey's gun arm and sends the gun skittering away. In the script, in between his assurance that it won't happen again, and his instruction for everyone to go inside and settle down, the script calls for Gant to also say: "I'll be just as glad as you, Mr. Lancer, when it's over. When we all get what we want. . .")
Cut to shot of the buckboard, as the brothers and their cargo of Polly continue to approach the ranch. Scott's still driving, he glances back over his shoulder to check on Polly as the wagon rolls past. Johnny is still following.
Back to the ranch and shot of the clock pendulum, then a Foley man standing and looking out the French doors. Shot of the man up on the roof with a rifle, close ups of two other men crouched down behind the fences, then back inside, to Lew who is also looking out the big window. He glances over his shoulder and we can see that Murdoch and Teresa are back in their respective chairs. ML has his hat on now. Gant is seated in the foreground pouring another drink from the decanter. He sets down the sword shaped letter opener he is holding in his other hand, then picks up another item from ML's desk. It looks like a carving of a stag, lying on a flat base. His eyebrow goes up as he hefts it.
(close ups of the Grandfather clock are mentioned in the script, but not as many shots of the people tensely waiting, both inside the hacienda and out.)
Close up of ML, watching Gant. Close up Teresa, her hair is still disheveled. Camera then moves to show Corey, moving restlessly. Close on Teresa again, she lowers her eyes as Corey turns in her direction. He's tapping what looks like a pencil against one hand. He has a cigarette in his mouth now, and slowly removes it. He appears to then put the other object in his mouth and take a bite! So maybe it's jerky or something? Close up on ML. He looks tense.
Lew, at the window: "Gant-somebody's comin'."
Close up on Murdoch's reaction as he sits forward. Dramatic music and reaction shots of Gant, who gets up, and Corey, who turns. Gant pushes Lew aside so he can look out the window. Camera follows his pov and we see the buckboard with Johnny riding behind. The Lancer arch is visible behind them.
Close up of Scott, from the level of the wagon wheel, as he removes his hat and tosses it into the back of the wagon. Close up of Johnny as he rides along behind.
Then we go back inside for a series of quick, tension building shots: Gant, Lew and Corey at the window, Murdoch listening intently, Teresa turned towards the Foleys, the Foleys at the window again, outside shot of one of the men behind the fence and the man on the roof, who is alert and ready with his rifle.
The back to the buckboard. Johnny is now on the far side of the wagon, on Scott's right. Scott is running his bandanna-bandaged hand over his hair. Behind them we see cattle and a few vaqueros.
Cut to close up of the other man behind the fence, readying his weapon. Back to the buckboard, Scott flicks the reins. Back to the man who now takes aim, sighting along the rifle barrel.
Cut to commercial!
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