Satan McAllister's Heir

[Screenplay by C. Gardner Sullivan and Thomas H. Ince for a two-reel western
shot in one week in 1914 and released on March 11, 1915.]

1.      CLOSE UP ON BAR IN WESTERN SALOON
 
        A group of good Western types of the early period are drinking at the 
        bar and talking idly -- much good fellowship prevails and every man 
        feels at ease with his neighbor -- one of them glances off the picture 
        and the smile fades from his face to be replaced by a strained look of 
        worry -- the others notice the change and follow his gaze -- their 
        faces reflect his own emotions -- be sure to get over a sharp contrast 
        between the easy good nature that had prevailed and the unnatural, 
        strained silence that follows -- as they look, cut --
 
2.      CLOSE UP ON SATAN AT HITCHING RAIL BEFORE WESTERN SALOON
 
        TITLE: "SATAN" McALLISTER, THE RICHEST, MEANEST AND MOST HATED RANCHER 
        IN THE WYOMING VALLEY
 
        Satan is tieing his horse to the rail -- he finishes and looks brazenly 
        about him -- Satan is all that his name implies -- he is a sinister 
        gun-fighter, a man-killer and despite the fact that he is without fear, 
        a bully of the worst type -- he delights in hurting and abusing people 
        and dogs, and the more forlorn appearing they are, the greater his 
        delight in tormenting them -- everybody is afraid of him and hates him 
        -- he knows this and revels in it -- he exits, looking for trouble at 
        every step -- 

3.      CLOSE UP ON BAR: SAME AS 1.
 
        Flash back to the men at the bar -- they show Satan is coming and wait 
        uneasily, none of them knowing but that he will be singled out for 
        Satan's abuse -- 

4.      EXTERIOR SALOON: WESTERN
 
        Satan comes on from the sideline with a sneer -- have a lonesome 
        looking dog sitting before the saloon door -- Satan boots him off the 
        picture and smiles cruelly as he hears the dog yelp -- he looks about 
        for something else to abuse but finding nothing, exits into the 
        saloon --
 
5.      CLOSE UP ON BAR
 
        Cut back to the men waiting -- they force smiles now and say with an 
        effort at cordiality: "hello Satan" -- Satan comes on -- he takes them
        all in, in a contemptuous glance and ignoring their greeting, demands 
        that the bartender wait on him -- the latter hastens to comply -- Satan 
        dislodges a half soused cow puncher from the bar with a heavy blow on 
        the head and throws him out of the picture -- the others show how they 
        hate him and would like to get him but he has them completely cowed --
        Satan drinks off a glass of whiskey and sets it down -- he gazes about 
        him to see if he can catch anyone staring at him and then centers his 
        gaze off one sideline with an air of interest -- PANORAM TO A TABLE IN 
        THE CORNER OF THE SALOON WHERE A BEARDED DRUNK IS SLEEPING PEACEFULLY,
        THE DRUNK IS OF THE HOBO TYPE--
 
6.      CLOSE UP ON BAR SCENE  

        Cut back to Satan watching -- he sees the drunk and a cruel smile comes 
        over his face -- the others watch him silently -- Satan orders the 
        bartender to draw him a huge and heavy glass schooner of beer -- the 
        bartender obeys -- Satan takes it in his hand and again looks off the 
        picture--
 
7.      CLOSE UP ON TABLE: SALOON CORNER
 
        Flash of drunk asleep --
 
8.      CLOSE UP ON BAR
  
        Cut back to Satan -- he takes a deliberate aim and hurls the schooner 
        of beer off the picture in the direction he is gazing, with all the 
        force he can muster --
 
9.      CLOSE UP ON TABLE: SALOON CORNER
 
        Cut back to the drunk asleep -- have someone throw a schooner of beer 
        so that it hits the wall directly over his head and splatters all over 
        him -- get over the idea of the glass landing with awful force -- if it 
        will break without damaging anyone, so much the better -- the drunk 
        awakens with a frightened start, the beer streaming over him, he gazes 
        off the picture and then seeing who it is, forces a sickly smile --
 
10.     CLOSE UP ON BAR
 
        Cut back to Satan -- he is a little disappointed that he missed the 
        drunk but the sight of the latter covered with beer compensates him for 
        this -- he turns and orders himself another drink, utterly ignoring the 
        others who stand eyeing him furtively -- if one of them would take the 
        lead they would murder him on the spot but no one is willing to take 
        the chance --
 
11.     CLOSE UP ON FRONT SEAT OF MOVING PRAIRIE SCHOONER
 
        TITLE: FROM EAST OF THE MISSOURI, BOB ELLIS AND HIS WIFE, HATTIE.
 
        Bob Ellis and his wife, Hattie, are seated together, gazing about them 
        eagerly and talking as Bob drives -- they are not of the far West types 
        but farmers from the middle West -- Bob is a good looking, hard working 
        young chap and his wife is a pretty farmer's daughter -- they are very 
        happy with each other and are full of enthusiasm and hope over settling 
        in the new country --
 
12.     PRAIRIE
 
        The schooner driven by Bob comes on past the camera and starts into the
        background -- two horses are hitched to the schooner and a third is 
        tied behind -- a string of cattle, roped together by the horns are also 
        tied to the back of the wagon -- show seven or eight steers if we have 
        them -- use whatever cattle there are at the camp -- as the wagon works 
        along into the background sideline, it stops --
 
13.     CLOSE UP ON DOLLY IN PRAIRIE SCHOONER
 
        TITLE: THEIR SIX-YEAR-OLD DAUGHTER, DOLLY
 
        Dolly, about six years old and a bright pretty little girl, is sitting 
        near the end opening of the wagon, gazing straight ahead of her at 
        something in the wagon -- her eyes are sparkling with gaiety and she is 
        pursing her lips as she whistles and calls:: "come on Rags. Come on" -- 
        she whistles again and snaps her fingers --
 
14.     CLOSE UP ON PILE OF BLANKETS ON FLOOR OF SCHOONER
 
        TITLE: "RAGS"
 
        There is nothing to be seen but the blankets at first and then a puppy 
        shoves his way from beneath them -- this puppy ought to be a wonder --
        get the most disreputable looking little dog you can find -- in his 
        way, he should be a character -- he comes out from among the blankets 
        whisking his tail and yelping excitedly and runs to Dolly -- PANORAM TO 
        DOLLY AS RAGS RUNS TO HER -- she seizes him and squeezes him to her --
        she worships the dog -- register this clearly -- as she plays with him 
        get over the idea of the wagon starting again --
 
15.     CLOSE UP ON SCHOONER IN PRAIRIE
 
        It is moving off the sideline and into the background followed by the
        horse and cattle --
 
16.     GRASSY VALLEY OR PRAIRIE
 
        TITLE: UNAWARE OF McALLISTER'S DEEP HATRED OF "NESTERS" ELLIS DECIDES 
        TO LOCATE IN THE VALLEY ADJOINING THE McALLISTER RANCH 

        The schooner has been driven into the foreground as the picture goes on 
        -- Bob and his wife have jumped off the seat and are standing gazing 
        about in delight at the country -- Dolly comes on frisking with Rags 
        from the back of the schooner -- she runs about them playfully and they 
        smile at her and stop a moment to play tag with her -- register the 
        idea of a peaceful, simple little family -- Bob and Hattie get over the 
        idea of the sub-title and he turns to unhitch his horses -- show the 
        cattle still tied to the end of the schooner.
 
17.     EXTERIOR SALOON: SAME AS 4
 
        Satan comes on from the door -- a couple Indians who are standing 
        before the saloon, exit quietly off the sideline -- he gazes after them 
        with a bitter smile and then, going to the hitching rail, mounts his 
        horse and rides off the picture--
 
18.     HILL SKYLINE: PRETTY SHOT
 
        TITLE: AN HOUR LATER
 
        Shooting along the skyline -- McAllister rides on into the camera -- he 
        is coming at a trot but halts as he nears the camera and turning in the 
        saddle, gazes with angry surprise off the picture --
 
19.     PRAIRIE
 
        Flash of Bob's cattle grazing about the schooner -- the horses are also 
        picketed out and cropping the grass contentedly -- a fire is burning 
        before the schooner and Hattie is preparing a meal -- Bob is 
        constructing a lean-to nearby out of canvas and sticks -- Dolly is 
        playing with Rags --
 
20.     CLOSE UP ON SATAN: HILL SKYLINE
 
        Satan is staring off the sideline in deep anger -- he says savagely 
        "another one of them damn nesters. I'll get rid of him quick" -- he 
        wheels his horse and rides quickly off the sideline --
 
21.     CLOSE UP ON SCHOONER AND FIRE
 
        Cut back to Hattie getting the meal -- Dolly comes on and stands 
        watching her -- Hattie picks up a canteen and starts for water but 
        Dolly begs to go and her mother yields -- Dolly exits with the canteen 
        and Rags --
 
22.     PRAIRIE
 
        Bob's camp shows in the background -- Satan rides on aggressively past 
        the camera and starts into the background -- show Dolly in the 
        background beyond the camp with the dog and heading away from the 
        camera --
 
23.     CLOSE UP ON SCHOONER: ALLOW FOR ACTION
 
        Cut back to Hattie getting the meal -- Bob comes on and sniffs at the 
        fire hungrily -- he says "I'm starved" -- they both turn quickly and 
        look off the picture -- Bob's face expands into a smile and he says 
        with the air of a man who is glad to see another of his kind "Howdy 
        mister. How are you" -- he and Hattie look up in friendly greeting as 
        Satan rides on but their faces change as he makes no response but 
        scowls at them fiercely -- he dismounts with deliberation and comes up 
        to them, eyeing them both with an evil sneer -- he says: "who invited 
        you to make yourself so much to home?" -- Bob says uneasily: "why 
        nobody, we thought we'd----" -- Satan interrupts him savagely -- he 
        says "never mind what you thought. Shut up and listen to me" --
 
24.     BANK OF SMALL CREEK
 
        Dolly comes on romping with Rags and starts to fill the canteen --
 
25.     CLOSE UP ON SATAN, BOB AND HATTIE AT SCHOONER
 
        Satan is coldly telling them they will have to get out -- they look at 
        him and at each other apprehensively -- he speaks -- INSERT TITLE --
 
        "I AIN'T WHAT YOU MIGHT CALL A SOCIABLE CUSS AND I AIN'T ENCOURAGIN' 
        NEIGHBORS."
 
        BACK TO ACTION -- Satan continues to gaze at Bob with a deadly contempt 
        -- the latter looks at him but says nothing --
 
26.     CLOSE UP ON DOLLY AT CREEK BANK
 
        She has filled her canteen and is leaning over drinking from the creek 
        -- Rags is fussing about her and she cups her hands and fills them with 
        water that he may drink -- see if he won't drink -- make a cute scene 
        of it --
 
27.     CLOSE UP ON SATAN, BOB AND HATTIE AT SCHOONER
 
        Cut back to Satan ordering them to leave -- Bob starts to speak but 
        Satan interrupts him and says -- INSERT TITLE --

        "WHEN THEY DON'T TAKE THE HINT AND MOVE ON, I ANNOY THEM PLUM
        SCANDALOUS"
 
        BACK TO ACTION -- he drops his hands suggestively on the handles of his 
        pistols and holds the pose for the moral effect on them -- they stare 
        at him and show they are frightened and discouraged by his attitude --
 
28.     BANK OF SMALL CREEK
 
        Flash of Dolly leaving with Rags and the filled canteen --
  
29.     CLOSE UP ON SCHOONER. ALLOW FOR ACTION
 
        Satan, having delivered his speech is now ready to leave -- he turns 
        calmly and mounts his horse, ignoring Bob and Hattie as though they 
        were a couple of sticks -- he rides off the picture and they stand 
        looking after him in dejected silence as Hattie clings to Bob's arm -- 
        Bob slowly recovers from the shock -- his eyes flash and his face 
        hardens -- he thrusts out his chin and says "I'm damned if I'm going to 
        let that man drive me out of here like that. He doesn't own this land 
        any more than I do" -- she is frightened and says "But he is such a 
        terrible man" --
 
30.     CLOSE UP ON OTHER SIDE OF SCHOONER
 
        Dolly comes on gaily with the canteen and followed by Rags --
 
31.     CLOSE UP ON SCHOONER
 
        Cut back to Bob and Hattie -- he says "He may be a terrible man but he 
        don't own the earth and I'm going to stay for a while any way" -- he 
        talks on angrily when Hattie, showing she hears Dolly, puts her finger 
        to her lips in caution -- he stops talking and Dolly comes around the 
        end of the schooner with the canteen -- her parents conceal their worry 
        from her --
 
32.     CLOSE UP ON SATAN ON HORSE ON HILLTOP
 
        TITLE: LATER. McALLISTER FINDS HIS WARNING HAS BEEN IGNORED.
 
        Satan is sitting tensely in his saddle [looking] off the picture --
 
33.     EXTERIOR ROUGH SHACK IN PRAIRIE
 
        REGISTER THE IDEA OF THE SHACK HAVING BEEN JUST BUILT -- Bob is just 
        finishing nailing on the hinges of the door -- Hattie comes on from the 
        inside, her apron filled with shavings -- she dumps them in a pile near 
        the house and she and Bob stand back and look it over -- they are very 
        proud of their new home --
 
34.     CLOSE UP ON SATAN ON HORSE ON HILLTOP
 
        Cut back to Satan watching -- he turns slowly in the saddle and facing 
        the camera, says, "His ideas of movin' and mine aint exactly alike, but 
        I aim to teach him my way" -- he carefully inspects his pistols and 
        rides out of the scene down over the top of the hill --
 
35.     CLOSE UP ON REAR OF SHACK
 
        Dolly is seated on the ground leaning against the shack and seeking to 
        fit an old waist of her mother's upon Rags -- she is extremely busy --
 
36.     EXTERIOR SHACK
 
        Cut back to Bob and Hattie -- she is suggesting some little change as 
        to the door and he is listening to her -- she looks up quickly with a 
        suppressed shriek and Satan rides on -- Bob, who is unarmed, turns and 
        stares at him -- Satan, keeping his eyes on both of them, dismounts and 
        strides up to Bob -- his manner is slow and sinister -- Bob and Hattie 
        wait for him to speak -- he looks them both over and grins 
        sarcastically -- nobody says a word but they stand staring at each 
        other --
 
37.     CLOSE UP ON REAR OF SHACK
 
        Flash back to Dolly trying to get the waist on Rags --
 
38.     CLOSE UP ON SATAN, BOB AND HATTIE AT SHACK
 
        Bob and Hattie, standing close together, are still gazing at Satan who 
        is enjoying their evident fear of him -- he speaks -- INSERT TITLE --
 
        "SEEMS TO ME YOU ARE HANDLIN' YOUR LIFE MIGHTY CARELESSLIKE."
 
        Back to action -- Satan addresses this remark with deadly insult to Bob
        -- Bob flushes and stiffens but his gaze falls on Satan's guns and he 
        subsides -- he says "It aint no crime to try to make an honest livin'"
        -- Satan says "Mebbe not, but it IS a crime to get gay with me" --
 
39.     CLOSE UP ON DOLLY. REAR OF SHACK
 
        She has tied the waist about Rags after a fashion and is surveying him 
        with admiration when she shows she hears voices -- she knows some one 
        is talking to her father and rises with interest and exits, followed by 
        Rags --
 
40.     EXTERIOR SHACK
 
        Cut back to Satan abusing Bob and Hattie and telling them to get out at 
        once -- Bob, pale but determined, does not reply but looks at Satan, 
        half fearfully, half defiantly -- Dolly followed by Rags, comes on from 
        around the corner of the shack -- she sees Satan, hears him cursing and 
        reviling her father and stops in surprise and looks at him carefully --
 
41.     CLOSE UP ON DOLLY AT SHACK
 
        She is gazing off the picture with a wondering expression which 
        gradually changes to sympathy for her father -- she is deeply hurt that 
        he should be abused -- Rags, who is standing at her feet, sees a 
        stranger and exits, wagging his tail in welcome -- be sure he wags his 
        tail as he leaves this scene -- Dolly doesn't notice he is gone as she 
        gazes at the strange man who is so mean --
 
42.     CLOSE UP ON SATAN, BOB AND HATTIE AT SHACK. ALLOW FOR ACT
 
        Cut back to Satan giving Bob his last warning "I ain't caring about 
        repeatin' and I'm givin' you the last line of talk I intend to" -- he 
        says -- as he talks, Rags comes on wagging his tail and runs up to 
        Satan in boisterous puppy welcome -- Satan sees him and taking a step 
        forward kicks him off the picture -- have him get his foot under Rags 
        and lift him up into the air --
 
43.     CLOSE UP ON DOLLY AT SHACK
 
        Cut back to Dolly listening in sorrow -- she suddenly starts and then 
        her eyes flame with anger -- she shows she sees Satan kick Rags -- Rags 
        comes on, his tail between his legs and whining for sympathy -- Dolly 
        is enraged beyond measure -- that her puppy should be kicked inflames 
        her against Satan and she reaches down and picks up a rock -- she takes 
        a quick careful aim and throws it off the picture with all her might--
 
44.     CLOSE UP ON SATAN, BOB AND HATTIE
 
        Cut back to Satan repeating his threats -- he suddenly claps his hands 
        over one eye and staggers back with a cry of pain -- have him have the 
        rock in his hands and as he puts them over his eye, show it fall to the 
        ground -- he is blinded by the pain for the second and reels -- Bob and 
        Hattie are stricken with terror--
 
45.     CLOSE UP ON DOLLY
 
        She is standing, her eyes flashing as she watches off the picture -- 
        she says, "There you nasty man, how do you like to be hurt?" -- still 
        fighting mad, she walks up to Satan -- PANORAM TO SATAN AND BOB AND 
        HATTIE AS DOLLY WALKS -- Satan has by this time recovered himself 
        somewhat and turns and glares about him like a wild man as he bellows  
        "Who did that?" Dolly steps squarely in front of him and, her chin 
        thrust out, says "I did, you bad, bad man" -- her temper is fully 
        aroused and she confronts him fearlessly and ready to go on with the 
        battle -- he glares at her as she answers him and then rubbing his 
        injured eye, bends down slightly and takes a better look at her --
 
46.     CLOSE UP ON SATAN
 
        He is staring off the picture as though he couldn't believe his own 
        senses -- his eye hurts him deeply and his temper is flaring but in 
        spite of this, gradual look of wonder comes over him and this slowly 
        gives way to a reluctant admiration -- INSERT TITLE --
 
        THE FIRST PERSON HE EVER MET WHO WASN'T AFRAID OF HIM.
 
        BACK TO ACTION -- Satan registers this idea and tries to hide a grim 
        smile -- he advances slowly off the picture --
 
47.     CLOSE UP ON DOLLY
 
        She is waiting defiantly -- her eyes blaze anew and Satan comes on 
        slowly -- he stoops down and stares into her face with a strange 
        expression -- she returns the look and they gaze straight into each 
        other's eyes -- her hands clench at her side as she looks at Satan and 
        he notices this --
 
48.     CLOSE UP ON BOB AND HATTIE
 
        They are both staring off the picture in fear and waiting to see what 
        will happen -- Bob, half fearing that Satan will punish Dolly, seeks to 
        free himself from Hattie, and attack the bully but Hattie holds onto 
        him -- she has great faith in Dolly's years being a protection --
 
49.     CLOSE UP ON SATAN AND DOLLY
 
        Cut back to them staring into each other's eyes -- Dolly does not yield 
        an inch and so bitter a look of hate flashes over her that Satan smiles
        -- gazing at her -- he puts up one hand and ruefully rubs his damaged 
        eye -- the other eye he slowly winks at her -- she tosses up her head 
        disdainfully --
 
50.     CLOSE UP ON BOB AND HATTIE  
 
        Cut back to them watching -- they both smile in a relieved way -- Bob 
        thinks that Dolly has softened Satan and feels much relieved --
 
51.     EXTERIOR SHACK
 
        Bob and Hattie, smiling, are watching as he straightens up from over 
        Dolly continues to regard him with unabated hostility -- Satan gazes 
        about him and sees Bob and Hattie smiling at him -- His face settles 
        into a hard expression and turning his back on them he walks slowly to 
        his horse -- on his way he passes Rags -- he lifts his foot to kick the 
        puppy and then turns and looks at Dolly who is still eyeing him
        threateningly -- he rubs his eye again and with a grim smile mounts his 
        horse and rides off -- Bob and Hattie and Dolly all stand silently 
        watching him, the little girl still nursing her wrath and her parents 
        wondering what to expect now -- register the fact that Satan's 
        friendship does not extend beyond Dolly --
 
52.     CLOSE UP ON SATAN ON HORSE. PRAIRIE
 
        He is riding slowly along thinking -- he frowns deeply and then in 
        spite of himself a broad grin crosses his face as he says "The little 
        fire eater, damned if she didn't bust open my eye" --
 
53.     CLOSE UP ON LITTLE CREEK
 
        TITLE: THE DRY SPELL
 
        Pick out a location as much like SCENE 24 as possible but register the 
        idea of title -- just a little muddy water should show here and there 
        -- Bob's cattle are wandering up and down this creek -- Bob rides on and 
        drives them off past the camera -- he follows despondently -- have some 
        one on the sidelines do a lot of shouting at the cattle so that they 
        appear very nervous -- BE SURE TO REGISTER THE FACT THAT THEY HAVE 
        DRAINED THE CREEK ABOUT DRY --
 
54.     SANDY BASIN
 
        TITLE: CRAZED BY THIRST, THE CATTLE WANDER AFAR, AND THE EFFORTS OF 
        BOTH ELLIS AND HIS WIFE ARE REQUIRED TO TRACE THEM.
 
        Show two or three steers moving rapidly along -- chase them into the 
        picture and get over the idea of their being wild from thirst and in 
        search of water --
 
55.     ROCKY HILLSIDE
 
        Flash of a few more steers or cows -- same idea as in previous scene --
 
56.     EXTERIOR SHACK
 
        Hattie is ready to mount her pony -- Bob, tightening the saddle girth 
        on his horse, is about ready to join her -- both are pale worn out and
        utterly discouraged although they try to keep up -- Dolly, wearing a 
        long apron that comes down to the floor, comes on in the doorway to 
        wave them goodbye -- her sleeves are rolled up and she has a dish rag 
        in her hand -- both Bob and Hattie go to the door --
 
57.     CLOSE UP ON SHACK DOORWAY
 
        Dolly is standing in the doorway -- Bob and Hattie come on and kiss her 
        goodbye -- they are heartbroken at being obliged to leave her alone but 
        she takes it bravely and tells them not to worry -- they show they must 
        leave and kissing her again, exit --
 
58.     EXTERIOR SHACK
 
        Dolly is standing in the doorway as Bob and Hattie come down to their
        horses in the foreground -- they mount -- as they do, Rags rushes on 
        from the doorway and starts to follow them -- Dolly calls and Bob 
        orders him back but he is minded to go along. Bob dismounts and calling 
        Rags to him, picks him up and carries him to the doorway -- he reaches 
        inside the doorway and takes down a coil of rope --
 
59.     ROCKY RAVINE
 
        Flash of two or three steers trotting along --
 
60.     EXTERIOR SHACK
 
        Cut back to Bob and the rest -- Bob is finishing tieing Rags to the 
        cabin, he leaves him quite a little rope -- Bob mounts again and he and 
        Hattie ride off waving back at Dolly -- she turns rather forlornly as 
        they exit and then consoling Rags over his fate, exits back into the 
        doorway --
 
61.     SHACK KITCHEN
 
        IDEA OF NEWNESS AND ROUGHNESS -- nothing but boards -- a bench has been 
        built against one wall and is used as a table -- it is covered with tin 
         dishes -- Dolly comes on and resumes washing these dishes -- show 
        quite a pile of them -- a small window shows and a fireplace -- pegs 
        are about the walls with various articles and pieces of clothing 
        hanging from them -- Dolly is very lonesome and down cast but forces 
        herself to cheer up and starts to whistle --
 
62.     PRAIRIE
 
        Bob and Hattie ride on past the camera and then separate -- he 
        instructs her as she rides away from him and they exit off opposite 
        sidelines--
 
63.     CLOSE UP ON RAGS AT SIDE OF SHACK
 
        He has the rope in his mouth and is chewing on it vigorously --
 
64.     SHACK KITCHEN
 
        Cut back to Dolly -- she has finished washing the dishes and is 
        arranging them in a neat pile on the bench --

65.     CLOSE UP ON RAGS AT SIDE OF SHACK
 
        Cut back to Rags chewing on the rope -- cut it so that only a thin 
        strand holds it -- have some one call him so that he bounds forward and 
        breaks this strand -- cut picture before he gets out of the scene--
 
66.     SHACK KITCHEN 
 
        Cut back to Dolly -- she is wiping off the bench with her dish rag -- 
        she is through now and takes off her apron and exits gladly --
 
67.     EXTERIOR SHACK
 
        Have Rags with a piece of rope hanging about his neck waiting before 
        the door -- Dolly comes on from the door -- she sees he is free and 
        says "you naughty dog. How did you do that?" -- she seeks to grab him 
        but he frisks about her and runs off the picture -- get him excited in 
        this scene so that he jumps about and does a lot of barking -- she 
        follows him off calling to him to stop --
 
68.     PRAIRIE
 
        Rags runs on followed by Dolly -- he will not let her catch him and 
        they both exit -- 
 
69.     CLOSE UP ON CACTUS IN SAND
 
        TITLE: AN HOUR LATER 
        THE SURRENDER
 
        Rags comes on and stops -- he looks off the picture and wags his tail 
        --if possible have him tired out from playing when you take this scene
        -- Dolly comes on slowly -- she is tired out from the long chase and 
        sinks in the sand beside Rags and putting her arm about his neck scolds 
        him solemnly for running away -- she is so tired she leans against him 
        as she talks to him --
 
70.     ROCKY RAVINE
 
        Flash of Bob driving a few cattle ahead of him as he rides into the 
        camera --
 
71.     CLOSE UP ON CACTUS IN SAND
 
        Cut back to Dolly and Rags -- she realizes she must be starting back 
        and although she is far from rested, gets up -- she exits holding onto 
        the piece of rope which is tied about Rags' neck --
 
72.     SAND
 
        Dolly and Rags come on uncertainly -- they wander aimlessly across the 
        sand and finally exit --
 
73.     SAND 

        TITLE: LOST 

        Dolly and Rags come on slowly into the camera -- they stop close to it 
        and Dolly gets over the idea of the title -- she does not know which 
        way to turn and her eyes fill with tears -- if you can make him do it, 
        have Rags sit down and look up at her -- she turns to him and says: 
        "Oh, you needn't look at me. It's all your fault. Come on now and help 
        me" -- she tugs on his rope and they exit past the camera --
 
74.     SANDY BASIN
 
        Flash of Hattie rounding up a couple steers -- have them running 
        rapidly as she chases them and seeks to turn them back--
 
75.     SAND
 
        Dolly and Rags come on, trudging wearily -- they cross the picture and 
        exit as Dolly seeks in vain to sight some familiar mark --
 
76.     EXTERIOR SHACK
 
        TITLE: LATE THAT AFTERNOON
 
        Hattie, covered with dust and exhausted, rides on -- she dismounts 
        stiffly and goes up to the door calling to Dolly -- there is no answer 
        and she exits into the house --
 
77.     SHACK KITCHEN
 
        It is as Dolly left it -- Hattie comes on and calls: "Dolly, where are 
        you?" -- there is no answer and she begins to grow alarmed -- she calls 
        again loudly --
 
78.     PRAIRIE: SHACK IN BACKGROUND SCENE
 
        Bob rides on driving most of his cattle ahead of him -- he leaves them 
        and rides into the background for the shack --
 
79.     SHACK KITCHEN
 
        Cut back to Hattie calling Dolly -- she is extremely frightened now --
        she opens a sideline door and looks in, but showing Dolly is not there, 
        exits in a panic --
 
80.     EXTERIOR SHACK
 
        Bob rides on and dismounts -- as he does, Hattie rushes from the shack, 
        wild-eyed and hysterical -- she runs to Bob crying: "Dolly is gone" --
        he cries: "What?" -- she says: "Yes, she is nowhere to be found. I've 
        searched the house" -- he says: "She must be about somewhere" -- he is 
        badly frightened but tries to be calm -- he goes up to the shack and 
        then notices Rags is missing -- he picks up the piece of rope and looks 
        at it --
 
        INSERT END OF CHEWED ROPE
 
        BACK TO ACTION -- the rope enlightens Bob as to why Dolly is not there
        -- he says excitedly: "Rags got away and she followed him, God knows 
        where" -- Hattie starts to cry but he rallies her saying: "She is 
        simply wandering on the prairie somewhere. We'll find her" --
 
81.     SAND
 
        Flash of Dolly, all in and hardly able to walk, slowly dragging herself 
        along and pulling Rags after her --
 
82.     EXTERIOR SHACK
 
        TITLE: FRANTIC, ELLIS DETERMINES TO APPEAL TO McALLISTER TO AID IN THE 
        SEARCH FOR DOLLY.
 
        FOREGROUND ACTION -- cut back to Bob seeking to rally Hattie but he 
        himself is crazed with fear and grief -- he registers the idea of the 
        title and telling her to search the adjacent prairie, helps her into 
        the saddle -- he jumps onto his horse and they both ride off rapidly --
 
83.     SAND
 
        Dolly and Rags come on past the camera -- both are exhausted -- if you 
        can do it, have Rags lie down in the sand -- Dolly seeks to arouse him 
        and then, refusing to desert him picks him up and carries him off the 
        scene -- if he is too heavy, have her drag him off the sideline close 
        to the camera -- get a pathetic little scene here--
 
84.     PRAIRIE
 
        Hattie rides on looking about her in all directions and calling 
        continually for Dolly --
 
85.     RANCH YARD
 
        TITLE: THE McALLISTER RANCH
 
        SHOW A COUPLE LONG WATERING TROUGHS -- have as many cattle as is 
        possible crowded about these troughs and drinking -- McAllister is 
        standing by a trough in the foreground watching his men water the 
        cattle -- show several cowboys among whom are quite a sprinkling of 
        Mexicans -- McAllister is the same as ever and his men are all afraid 
        of him -- suggest a fence about the yard -- there is a stir among the 
        men and McAllister looks up and off the picture --
 
86.     GATE OF RANCH YARD
 
        Bob rides on up to the gate and through it at a wild pace --
 
87.     CLOSE UP WATERING TROUGH RANCH YARD ALLOW FOR ACTION
 
        McAllister is waiting in anger and wonder -- he steps back slightly, 
        his hands on the handles of his guns -- Bob rides on and wheels up his 
        horse in a cloud of dust -- McAllister says "What the hell do you mean 
        by comin' over here? Why you damned--" Bob interrupts him and says --

        INSERT TITLE --
 
        "MY BABY IS LOST. WILL YOU HELP ME FIND HER?" 
 
        BACK TO ACTION -- Bob leans from his horse and watches Satan 
        desperately -- Satan starts and says "The little girl? Lost?" -- Bob
        says "Yes, she wandered away with her dog" -- Satan stands there hating 
        to aid his enemy and seeking to make up his mind --
 
88.     CLOSE UP ON SATAN
 
        His natural mercilessness and cruelty and the chance to get back at Bob 
        are strongly urging him to have nothing to do with the search for Dolly 
        but memory of the little girl comes back to him and he cannot fight it 
        off -- as he stands there DISSOLVE BACK TO SCENE 49 WHERE DOLLY DEFIES 
        SATAN AND HE WINKS AT HER -- DISSOLVE BACK TO SATAN AT THE WATERING 
        TROUGH -- the recollection of the only being he ever felt a spark of 
        feeling for, softens his face -- he seeks to hide it but a fear for the 
        little girl has come over him -- he straightens up and looks off the 
        picture --
 
89.     CLOSE UP ON WATERING TROUGH
 
        Cut back to Bob in an agony of suspense awaiting Satan's answer -- 
        Satan looks at him and says -- INSERT TITLE -- 
 
        "NOT FOR YOUR SAKE, BUT FOR HERS, I'LL HELP YOU."
 
        BACK TO ACTION -- Bob starts to thank him but Satan turns and yells off 
        the picture -- a couple cowboys run on and he orders them to turn out 
        everybody on the ranch -- he runs off the picture after them --
 
90.     SAND
 
        Flash of Dolly staggering along carrying Rags in her arms --
 
91.     RANCH YARD
 
        Satan, Bob and a bunch of cowboys are riding out through the gate --
        lots of action, speed and dust--
 
92.     ROCKY GULLY
 
        FOREGROUND ACTION -- Dolly comes on carrying Rags -- she sinks down
        helplessly and then feeling she must go on, gets a new hold on Rags and 
        exits with him, carrying him --
 
93.     PRAIRIE. LONG SHOT
 
        Satan and Bob and the others ride on in the middle background -- where 
        they separate on both sides into a huge fan and ride on widening out as 
        they go -- Satan on the extreme left end of the fan, passes close to 
        the camera, his face showing his great anxiety -- it is the first time 
        he has felt a worry over any human being and it hits him hard --
 
94.     CLOSE UP ON BIG ROCK  

        Dolly reels on with Rags in her arms and plumps down by the rock -- she 
        simply cannot go any further -- she holds Rags tightly to her and 
        buries her face against him as she sobs and tells him they are lost -- 
        she is so tired that even her fear and sorrow cannot keep her awake, 
        and she leans heavily against him in her drowsiness --
 
95.     DISTANCE SHOT OF PRAIRIE AND BACKGROUND HILLS
 
        Flash of the cowboys, Bob and Satan riding away from the camera in a 
        wide half circle -- get over the idea of great distance here --
 
96.     CLOSE UP ON DOLLY AND RAGS AT BIG ROCK
  
        TAKE LOTS OF PAINS HERE AND GET A PRETTY PICTURE -- Dolly, her arms 
        about Rags and her head nestled on him, is sound asleep -- Rags should 
        also be asleep or pretending to be -- have them both covered with dirt 
        and sand --
 
97.     SAND. DAWN
 
        TITLE: THE DAWN FINDS McALLISTER WIDELY SEPARATED FROM THE REST OF THE 
        SEARCHING PARTY.
 
        McAllister, tired and heavy-eyed, rides on looking about him and 
        calling loudly "Dolly, are you here?" -- he exits past the camera --
 
98.     CLOSE UP ON DOLLY AND RAGS AT BIG ROCK. DAWN
 
        Flash of them sleeping together --
 
99.     ROCKY GULLY
 
        McAllister rides on into the background, looking about him on all sides
        -- he rides into the foreground and stops, about discouraged -- he 
        takes off his hat and runs his hand over his forehead wearily -- he is 
        about to turn and ride back when something ahead of him catches his eye 
        and he bends forward with a start --
 
100.    CLOSE UP ON DOLLY AND RAGS AT BIG ROCK
 
        Flash back to them asleep--
 
101.    CLOSE UP ON SATAN ON HORSE IN GULLY
 
        He is staring off the picture and he utters a whoop of delight which he 
        quickly suppresses as he says "Shut up you damn fool, do you want to 
        scare her to death" -- he rides forward slowly--
 
102.    CLOSE UP ON BIG ROCK. ALLOW FOR ACTION
 
        Cut back to Dolly asleep with Rags -- Satan rides on and dismounts -- 
        he goes softly to Dolly and bends down over her -- just the head of the 
        horse should show in the picture --
 
103.    CLOSE UP ON SATAN. DOLLY AND RAGS AT ROCK
 
        Satan is bending down over Dolly and he touches her tangled hair 
        reverently -- this arouses Rags and he sits up and looks at Satan --
        Dolly, feeling Rags move, also awakens, she reaches out sleepily and 
        then sits up -- as she does she sees Satan gazing at her -- she 
        remembers him and her old feeling of enmity for him comes back -- she 
        grabs Rags as though to protect him and regards Satan with flashing 
        eyes -- he smiles rather wistfully and then speaks -- INSERT TITLE --
 
        "DON'T BE MAD AT ME. I'VE COME TO TAKE YOU HOME."
 
        Back to action -- Satan says this so gently that it surprises himself 
        -- Dolly sees that she has not to deal with a different person [sic]
        -- she looks at him a moment and then believing him implicitly, throws 
        her arms about his neck and kisses him in her great relief and 
        gratitude -- he returns the kiss awkwardly and nervously pats her head
        -- all past strife is forgotten by her and she now gravely presents 
        Rags to be kissed -- Satan hesitates a second and then yields -- he is 
        kneeling beside her and drawing her to him, he asks her to tell him how 
        she wandered so far -- she starts to talk -- get a fine heart interest 
        scene here --
 
104.    HILLSIDE
 
        TITLE: A WANDERING BAND OF CHEYENNES, AFTER AN ALL-NIGHT CAROUSAL OVER 
        A STOLEN BARREL OF WHISKEY, START AN INCIPIENT UPRISING.
 
        A bunch of drunken Indians are whooping and dancing around a barrel, 
        the top of which has been broken in -- it is empty and they kick it 
        disgustedly down the hill -- their ponies show in the background -- the 
        Indians are all crazed with booze and are brandishing their weapons and 
        telling what great men they are --
 
105.    CLOSE UP ON BIG ROCK
 
        Cut back to Satan with Dolly and Rags -- he tells her they must be 
        starting back -- he leads the horse fully into the picture and lifts 
        her on -- she starts to mount behind but she looks at Rags who is 
        watching the proceedings and holds out her arms appealingly -- he 
        chuckles and hands Rags to her -- he mounts and they ride off --
 
106.    HILLSIDE. SHOOT THE OTHER WAY

        Cut back to the Indians in their frenzy -- they begin to mount and ride 
        off the picture down the hill, shooting their rifles and yelling -- 
        have them do some good riding here --
 
107.    PRAIRIE
 
        Bob, exhausted and torn with grief, is sitting on his horse near the 
        camera and waiting -- Hattie, about to collapse from her saddle, rides 
        on -- as she asks him if there is any news she sways weakly -- he leaps 
        from his horse and runs to her just in time to catch her as she faints
        -- he lays her on the ground and fans her with his hat --
 
108.    ROCKY GULLY. SHARP BEND IN FOREGROUND.
 
        Satan, with Dolly and Rags, rides on and heads for the bend -- as he 
        does, he stops his horse abruptly and listens with a look of surprise 
        and deep fear--
 
109.    ANOTHER ANGLE OF GULLY 
 
        Flash of the Indians riding into the camera shooting and whooping.
  
110.    ROCKY GULLY. SAME AS 108
 
        Cut back to Satan with Dolly and Rags -- he says "Indians or I'm a 
        fool" -- he listens again and then wheels and rides rapidly back into 
        the gully -- before he can exit, the Indians ride on around the bend --
        they sight him and with wild whoops of joy start in pursuit.

111.    ROCKY RAVINE. LONG SHOT
 
        Satan, with Dolly and Rags, rides on from the background hotly chased 
        by the Indians -- he is going faster than they are and gains on them 
        before he passes the camera -- get a good exciting chase scene here 
        with lots of speed -- TURN CAMERA SLOWLY -- as the Indians begin to 
        ride past the camera -- CUT --
 
112.    PRAIRIE
 
        Flash of cowboys assembling in the foreground from all directions and 
        reporting no success --

113.    NARROW PASSAGE IN ROCKS
 
        Satan rides on with Dolly and Rags -- he stops the horse and leaps from 
        it -- grabbing a lariat from the saddle horn he rapidly starts to 
        uncoil it, listening all the while tensely -- Dolly, frightened, but 
        having great confidence in Satan, watches him silently as she clings to 
        Rags--
 
114.    ANY ROCKY PASS
 
        Flash of Indians riding in hot pursuit --
 
115.    CLOSE UP ON SATAN'S HORSE. NARROW PASSAGE IN ROCKS
 
        TITLE: THE SACRIFICE FOR THE BABY WHO STONED HIM
 
        Satan, working deftly and with great speed, is binding Dolly and Rags 
        securely into the saddle -- Dolly realizes that he intends to remain 
        behind and objects hotly -- she holds out her arms to him and begs to 
        stay with him -- he seeks to quiet her and completes tieing her to the 
        saddle --
 
116.    ANOTHER ANGLE OF ROCKY PASS
 
        Flash of Indians riding rapidly across the picture --
 
117.    CLOSE UP ON SATAN'S HORSE. SAME AS 115
 
        Cut back to Satan and Dolly and Rags -- she begs him not to stay behind 
        but he tells her he will be all right -- he bids her goodbye with a 
        smile and she leans forward to kiss him -- he kisses her tenderly, 
        grips her convulsively by the shoulder in farewell then strikes the 
        horse a sharp blow on the flank -- the horse dashes off -- Satan stands
        a moment with dimmed eyes gazing after it and then whipping out both 
        his pistols runs off the scene in the opposite direction -- get an  
        affecting scene where Dolly and Satan bid each other goodbye.
 
118.    RAVINE
 
        The horse bearing Dolly and Rags gallops on -- TURN CAMERA SLOWLY -- 
        and exits --
 
119.    CLOSE UP ON ROCKY RIDGE
 
        Satan is standing back of the rocks firing with both pistols off the 
        scene -- he retreats slowly past the camera, firing and re-loading --
 
120.    ROCKY SLOPE
 
        The Indians, some of them dismounting, others already on foot, are 
        firing hotly up the slope and slowly making their way up it -- show 
        puffs of smoke coming from the background -- use plenty of smoke and 
        make the picture look businesslike -- show a couple Indians killed --
 
121.    MOUTH OF ROCKY CAVE
 
        TITLE: AN HOUR LATER, HIS LAST CARTRIDGE
 
        Satan, torn and disheveled and bleeding from a wound across his 
        forehead, runs on -- he has but one pistol now -- he shows he has 
        eluded the Indians for the moment -- he stops at the mouth of the cave 
        and listening tensely, takes out his last cartridge and puts it in the 
        pistol -- still listening, he exits cautiously into the mouth of the 
        cave --
 
122.    INTERIOR CAVE
 
        GET A GOOD LIGHT EFFECT HERE -- IDEA OF SUNLIGHT STRIKING AN ANGLE OF
        THE INTERIOR FROM THE OUTSIDE -- Satan comes on and leans against the 
        wall of the cave weakly --
 
123.    ROCKY LEDGE
 
        Flash of Indians scattered out and searching for Satan -- they have 
        lost him and are yelling with rage and disappointment --
 
124.    CLOSE UP ON SATAN IN CAVE
 
        SAME LIGHT IDEA AS IN SCENE 122 -- Satan is standing breathing heavily 
        as he clutches his pistol -- he shows he hears the Indians searching 
        and a grim smile flickers over his face -- have his face bloody and 
        smeared with dust --
 
125.    SIDE OF ROCKY CAVE
 
        BE SURE THIS IS READILY IDENTIFIED AS THE SAME CAVE IN WHICH SATAN IS 
        HIDING -- an armed Indian comes on -- he listens and then starts to 
        climb up the rocks to the roof of the cave -- PANORAM AS HE GOES -- on 
        the roof of the cave, the Indian bends down -- he then drops on his 
        knees and flattens his face against chink in the rock --
 
126.    CLOSE UP ON SATAN IN CAVE AS SEEN THROUGH HOLE IN ROOF
 
        GET OVER THE EFFECT OF THE SHAFT OF LIGHT FROM THE ROOF STRIKING SATAN 
        AND BRINGING HIM OUT IN BOLD RELIEF -- he is still standing, pressed
        against the wall of the cave and facing the mouth as he listens --
 
127.    CLOSE UP ON INDIAN ON ROOF OF CAVE
 
        The Indian is peering through the opening -- he shows he sees Satan and 
        smiles in cruel triumph -- he aims his rifle carefully through the
        opening and fires --
 
128.    CLOSE UP ON SATAN IN CAVE
 
        Cut back to Satan hiding -- he hears the pursuit still going on and 
        again smiles grimly as he thinks that after all he may get away with 
        his life -- show a puff of smoke spurt into the picture from the top -- 
        Satan spins about violently shot in the back -- he staggers and then 
        collapses in a heap --
 
129.    CLOSE UP ON INDIAN ON ROOF OF CAVE
 
        Cut back to the Indian -- he is holding his rifle and listening 
        intently -- he feels sure his shot went home --
 
130.    CLOSE UP ON SATAN ON FLOOR OF CAVE
 
        GOOD LIGHT OVER HIM -- Satan is lying face downward -- he slowly and 
        painfully rises on his hands and looks up at the roof -- he realizes 
        how he was shot -- the old devilish spirit comes over him and he snarls 
        like a wolf as he stares at the roof -- he has but one idea, to get the 
        Indian who shot him -- he picks up his pistol from the floor and 
        gripping it with difficulty, waits, his eyes fixed on the roof --
 
131.    CLOSE UP ON INDIAN ON ROOF OF CAVE
 
        Cut back to the Indian listening -- he hears nothing and, clutching his 
        rifle in one hand, leans over the opening and peers through --
 
132.    CLOSE UP ON SATAN ON FLOOR OF CAVE
 
        GOOD LIGHT OVER HIM -- cut back to Satan watching the roof -- he 
        suddenly whips his pistol over his head and with a wild yell of hate 
        and revenge fires upward--
 
133.    CLOSE UP ON INDIAN ON TOP OF CAVE
 
        Cut back to Indian peering through the opening -- he jumps backward 
        wildly, regains his feet then reeling drops his rifle and flattens out 
        across the rocks dead --
 
134.    ANOTHER ANGLE OF ROCKY LEDGE OR ROCKS
 
        The rest of the Indians are still searching for Satan -- they stop and 
        all show they hear the shots in the distance -- they begin to whoop 
        afresh and start to exit on the run --
 
135.    CLOSE UP ON SATAN ON FLOOR OF CAVE
 
        TITLE: HIS LAST WISH.
 
        SAME GOOD LIGHT EFFECT -- cut back to Satan -- he is dying fast and can 
        hardly muster enough strength to hold on -- he registers the idea of 
        having a last wish to record -- he picks up a piece of pointed rock 
        with which the floor of the cave is littered and crawls painfully to 
        the wall of the cave -- PANORAM AS HE GOES -- he only goes a few feet 
        as he was supposed to be close to the wall when shot -- have this wall 
        a very smooth piece of stone -- Satan crawls to it and propping himself 
        up starts to scratch a message on it with the pointed stone -- his hand 
        drops a couple of times but he forces it back and continues to write --
 
136.    ROOF OF CAVE
 
        The Indians come on over the roof from the back -- they find the dead 
        body of their comrade and with many yells of hate and vengeance begin 
        to exit down the side--
 
137.    CLOSE UP ON SATAN AT WALL OF CAVE
 
        BEAUTIFUL LIGHT EFFECT -- Cut back to Satan writing -- he finishes and 
        his arm drops limply -- he has completed his task and is ready for the 
        end -- he succeeds in forcing himself up so he can read what he has 
        written -- a tender sad smile comes over his face and he sinks gently 
        back onto the floor, his head pillowed on one arm, and passes out -- an 
        Indian's head comes on and regards him intently -- as the Indian stares 
        at him, close slowly with an iris lens --
 
138.    PRAIRIE
 
        OPEN SLOWLY WITH IRIS LENS -- the horse bearing Dolly and Rags comes on 
        from the far background as the picture begins to open -- show him come 
        in all the way to the foreground and exit past the camera -- TURN 
        CAMERA SLOWLY AND REGISTER SPEED --
 
139.    PRAIRIE
 
        Bob is standing in the foreground supporting Hattie who is leaning 
        against her horse and weeping bitterly -- the cowboys are clustered 
        about, sympathetic, and not knowing what to say -- one of them glances 
        off the picture and then turns to the rest excitedly as he says "Looka 
        over there" -- they all look --
 
140.    PRAIRIE
 
        Cut back to the horse galloping along with Dolly and Rags --
 
141.    PRAIRIE
 
        Cut back to Bob, Hattie and the cowboys -- they all see the horse -- it 
        revives them like a flash -- the cowboys, with yells of joy, gallop 
        off -- Bob helps Hattie on her horse and they both ride off after the 
        rest --
 
 
142.    PRAIRIE SCENE
 
        The horse bearing Dolly and Rags comes on from the background pursued 
        by Bob, his wife and the cowboys -- as they near the foreground the 
        horse is overtaken and caught by cowboys who ride in on either side of 
        his head -- they halt in the foreground and Hattie and Bob leap from 
        their horses and rush to Dolly's side, hysterically embracing her and 
        trying to untie her and Rags --
 
143.    INTERIOR CAVE
 
        GREAT LIGHT EFFECT -- flash of the Indians inspecting Satan and the 
        interior of the cave -- they grunt to each other and begin to exit --
 
144.    CLOSE UP ON DOLLY, BOB, HATTIE AND GROUP OF COWBOYS: ALLOW FOR ACTION
 
        Dolly, covered with dust and tear-stained, has one arm about her 
        mother's neck and the other about her father's -- she is sobbing and 
        says "My big, good man stayed up there to fight the Indians" -- her 
        words electrify the rest -- they cry "Indians" -- she says: "yes, lots 
        of them, too" -- they start to rush off the scene -- Bob turns Dolly 
        over to her mother and rushes with them -- PANORAM TO THE HORSES -- Bob 
        and the cowboys rush on, mount and ride off like the wind --
 
145.    CLOSE UP ON DOLLY AND HER MOTHER
 
        Hattie, kneeling by her horse, has her arms about Dolly and is holding 
        her tightly and seeking to console her -- Rags is hanging around 
        anxiously -- Hattie picks Dolly up and helps her onto the horse -- she 
        leads it off the picture in the opposite direction taken by the cowboys 
        -- Rags follows her off --
 
146.    ROCKY PASS SAME AS 114
 
        TITLE: THE RECKONING
 
        Bob and the cowboys ride into the picture -- they halt abruptly in the
        foreground and point off past the camera excitedly --
 
147.    MOUTH OF CAVE
 
        Flash of Indians dancing about and celebrating their victory over 
        Satan --
 
148.    ROCKY PASS
 
        Cut back to Bob and the cowboys -- they pull out their guns and opening 
        fire at a lively rate, dash off past the camera --
 
149.    MOUTH OF CAVE
 
        Cut back to the Indians dancing -- get over the idea of a sudden hail 
        of shot -- several of the Indians fall -- the others make a rush to 
        escape, shooting back as they go -- FAST ACTION -- the cowboys rush on, 
        some afoot, the others mounted -- a hot skirmish follows in which the 
        Indians flee, leaving most of their number dead or wounded -- the 
        cowboys chase them --
 
150.    ROCKY PASS
 
        The Indians, only a few of them, run on past the camera, closely 
        pursued by the cowboys who are shooting them down -- show enough of 
        this to register the idea of a slaughter and then cut --
 
151.    MOUTH OF CAVE
 
        Bob and one of the cowboys are standing looking into the mouth of the 
        cave -- they get over the idea of blood stains on the rocks and exit 
        into the cave as they trace them --
 
152.    CLOSE UP ON SATAN AT WALL OF CAVE
 
        BEAUTIFUL LIGHT EFFECT -- Satan is lying dead close to the wall -- Bob 
        and the cowboy come on -- they discover him and bend down over him --
        they see he is dead -- Bob rises sadly and is about to direct the 
        cowboy to help him remove the body when the cowboy notices the writing 
        on the wall -- he points to it in wonder and he and Bob bend over it to 
        get a better view -- INSERT CLOSE UP OF WRITING SCRATCHED IN WHITE
        AGAINST A BLACK BACKGROUND, WITH THE IDEA OF THE BACKGROUND BEING A 
        ROCK -- THE WRITING SHOULD BE SCRAWLY BUT PLAIN, IT READS:
 
        I, SATAN McALLISTER, DYING AND KNOWING WHAT I AM DOING, 
        HEREBY WILL MY RANCH AND EVERYTHING I OWN TO THE BEST 
        ENEMY AND TRUEST FRIEND I EVER HAD, DOLLY ELLIS, SIX YEARS 
        OLD. THIS GOES.
 
        BACK TO ACTION -- Cut back to Bob and the cowboy reading the writing --
        they turn silently and gaze at each other -- Bob chokes and bows his 
        head and the cowboy, after looking at him a moment, exits softly --
 
153.    MOUTH OF CAVE
 
        Other cowboys are coming into the picture and clustering about the cave
        -- the cowboy who was with Bob comes on from the cave -- they see him 
        and start forward but he gently pushes them back as he says "Not yet, 
        boys, wait a minute, wait a minute" -- they stop and look at him for an 
        explanation --
 
154.    CLOSE UP ON BOB AND SATAN AT WALL OF CAVE
 
        BEAUTIFUL LIGHT EFFECT -- Bob is standing gazing down at the body of 
        Satan -- his features are rigid -- he slowly drops to one knee beside 
        the body and reaching for one of Satan's hands, takes it in his own --
        he grips it tightly as he looks into Satan's face -- then he says 
        brokenly: "Old man, forgive me. I had you all wrong" -- as he holds the 
        pose, CLOSE THE PICTURE VERY SLOWLY WITH AN IRIS LENS--
 

                                        THE END