"THE WEDDING"
Season 1 Episode 13
Directed by: Sobey Martin Written by: Anthony Spinner
Josh: Bo Svenson Laurie: Brioni Farrell
Jenny: Brooke Bundy Dave Macall: Lawrence Dane
(Notations in italics indicate changes made from the Episode Script dated 10/31/68)
"THE WEDDING"
ACT ONE
SCENE 1.
It is very, very dark and we can hear voices of men talking, one is singing. Jelly is driving the buckboard. As they pull up, he is talking, saying things like "Come on, come on! All right, all right!"
Scott is standing in front of the hacienda as the wagon pulls up and the men climb down.
Jelly: Oh, I never seen such carryin' on for one wedding in all my life.
Scott, to Jelly: Seems to me all this celebrating for Josh was your idea. . .
Jelly: Yeah, but I didn't think he was gonna enjoy it so much!
Camera is on Jelly standing beside Josh who has a big grin. Josh is wearing a white shirt. He is very much taller than Jelly.
Josh: You shoulda been with us, Scott. . . I mean, we done painted that town, ain't that right, Johnny?
Camera to Scott and Johnny standing together. Johnny looks down at the ground as he speaks, Scott smiles down at his brother.
Johnny, with a smile: It was a pretty good party, Scott.
Josh, to Scott: Never understood why you didn't come. . .I mean, anybody could've taken care of all this.
Scott, with a faint smile: I'll do my celebrating tomorrow at the wedding, all right, Josh?
Josh nods, barely breathes out a "yeah" as he thinks about tomorrow.
Johnny: I'm going to bed. . good night. (to Scott) It's gonna be all right, now, . .all right . . (he starts to walk away) I'm gonna turn in.
Jelly also says good night, Scott remains standing with his arms folded across his chest as they move away.
Josh: I'm gonna go with ya-I want ta say good night to Laurie . . . (he starts after Johnny and Jelly)
Scott: Josh! Come here! (he beckons with one finger, then refolds his arms across his chest.) I think you'd better get some sleep if you don't want to pass out at your own wedding. Now Laurie's already gone to bed.
Josh: Guess you're right. . Sure would've liked to've talked to her though . . He brightens, then ends with a look of concern: But I got my whole life to talk to her now, right, Scott?
Scott: That's right, Josh. (big grin from Josh) Now, for the last time, . .get to bed.
(during this piece of dialogue, Scott's hat magically changes-it was square on his head, but suddenly it is back on the crown!!!)
(Cut from the script:
Josh: You know, it's funny . . I mean until now I always thought doin' your job and getting' Saturday drunk is what it was all about--- that a shot of whiskey and a dancehall girl who couldn't even remember your name was all a guy had to look forward to . . And now . . this whole crazy sudden thing . . what I mean is-how could a girl like that--- like that . . .
Scott, with a grin: Because she likes big ugly guys! Now get some sleep.
A beat as Josh stares at him---"friendship and gratitude in his expression". )
Josh: See ya in the morning?
Scott: Right.
Josh: I just hope it ain't too long in coming.
Scott slaps at his arm: Go get some sleep! Now come on! (Scott gives Josh a little push as he moves away.)
Josh: Night.
Scott: Night.
They each give a little wave. Scott watches Josh for a moment, standing with his hands on his hips. Then he turns to go into the house, and as he does so, he reaches up with his right hand to remove the hat that is perched on the crown of his head, then resettles it more squarely as he takes the few steps to the front door.
SCENE 2.
Inside
Scott removes his hat as he enters and hangs it on the hat stand just inside the door. He steps into the great room, looks around a bit, and we can see that it has been decorated and the furniture moved around in preparation for the wedding the next day. There are lights on, but we don't see Murdoch until Scott speaks to him.
Scott: Up a little late, aren't you?
Murdoch: Yeah, I have this . .ah, work to clean up.
He is seated at his desk looking at some papers.
Scott walks down the "aisle" which has been created from chairs and white ribbon, stops at the organ. Two candlesticks on the organ top have also been decorated with large white bows.
ML: I can guess why you skipped the party . . .
SL: Oh, there's a lot to do around here with the wedding tomorrow.
ML: Sure.
Scott sits down on the bench: The wine to be unloaded, the furniture moved. . .
ML, without looking at Scott, his attention apparently still on his paperwork: Uh huh. The hands couldn't have done it half as well.
Scott looks at Murdoch, speaks with some emotion: What am I supposed to say? "It's no good?" (he stands up) "It won't work, Josh"? Who gave me the right? Who appointed me his keeper?
ML: Is she wrong for him, Scott? Do you know that?
SL: I don't know anything. All I know is I brought her to Morro Coyo.
ML: From where?
SL: She worked for a man by the name of Macall as a dance hall girl. She said she wanted to get out somehow. . .
Murdoch seems to recognize the name: Dave Macall?
SL, nods: I got her a job waiting on tables at the hotel and everything seemed to be fine. Until she met Josh.
ML: And you didn't tell him about her?
SL, softly: What could I say? (he continues on in a stronger voice) There didn't seem to be any need to tell him anything, then all of a sudden they were in love and it was too late. . .
ML: Want some advice?
SL: I could use some.
ML: Stop torturing yourself. Just leave it alone. If there's something wrong, really wrong. . . he's gonna have to find out for himself.
SL: I suppose you're right.
ML: Sure I am. I think Josh is a very lucky man to have you for a friend. Talk is cheap. Sometimes it's harder just to remain silent.
Scott smiles: Thanks.
He exits and Murdoch watches him go, then picks up a cup to sip some coffee.
SCENE 3.
Countryside
Five men on horses ride down a short rise in single file; one of them is leading an extra horse. Camera closes in on the man we will later learn is Dave Macall. He is wearing a brown jacket, dark shirt and string tie and a black hat, which he removes as the riders come to a stand still. After a very brief pause, Macall addresses the man nearest him: "Get'em moving!"
Vance Davis, (we hear his voice but never see his face): Look, Macall . . let's give 'em a break . . they're beat. . . . We're not gonna make the Lancers' place by noon anyway . . You know it as well as me.
Dave Macall, coldly, making a forward motion with one arm: I said get 'em moving!
They continue on.
SCENE 4.
Lancer Great Room
We hear organ music and see clusters of people, dressed for the wedding. The ribbon delineated "aisle" is visible, leading to a spot in front of the big picture window behind Murdoch's desk. Quick shot of Scott and Josh standing with Murdoch. All three are dressed up in their "Sunday best". Camera pulls back to show the room again, with a woman in the foreground crossing the "aisle" and ducking under the ribbon.
Back to SL, ML and Josh: Scott, on the left, is wearing a tan jacket with contrasting dark collar and pocket flaps, white shirt and black string tie. Josh is also wearing a tie and has a medium grey-blue jacket. Josh is standing in between the two Lancers. Murdoch wears a brown jacket, dark shirt and a tie. Scott stands with his hands clasped in front of him and Josh and Murdoch have their hands behind.
[Cut/changed from the earlier script: It is supposed to be obvious at this point that there is some sort of delay. According to the script, only Josh seems to be oblivious to that fact. He looks to Scott and points to his tie, which Scott readjusts for the "hundredth time".
Josh: I bet nobody here ever figured you'd be my best man. They never could believe that the two of us could be best friends . . I mean you got everything going for you and I'm . . . your tie doesn't even scrunch all over the place like mine. But Laurie picked me outta everyone and that's the main thing, isn't it?
Scott: Sure Josh. That's the main thing.
He exchanges a quick concerned look with his father. In the script, Murdoch, takes this cue,,and moves back towards the entrance where the bride is to appear. In the episode as filmed, the camera is on Josh, Scott and Murdoch standing and waiting, then----, ]
Camera shifts to Laurie, dressed in her wedding gown, white headdress and veil. She is standing in front of a mirror, studying her reflection. She is very beautiful, with perfect features, and a not very cheery expression. As she stares in the glass, she brings one hand up to finger the high lace collar at her neck. We can still hear the organ music in the background.
She reaches down, picks up a decanter of sherry from a console table beneath the mirror, pours herself a full glass and downs it quickly.
Shot of the great Room again, close up of Scott, Josh and Murdoch. Josh turns to Scott, says something we can't hear, gestures to his tie. Scott reaches up and adjusts it for him-there is just a hint of something in the movement that lets us know that this is probably not the only time he has done this for Josh.
Back to Laurie, who take the decanter and starts to pour herself another glass. We hear the sound of a door opening and then in the mirror, we see Teresa coming in behind Laurie. Teresa is wearing a light purple sleeveless dress with a large white collar around the shoulders down to the bodice. Teresa is carrying a bouquet of flowers and looks questioningly at the bride.
Laurie (harshly): What are you looking at?
Close up of Teresa as she speaks (there is also some arm movement that suggests that, out of sight of the camera, she is handing the flowers to Laurie.
Teresa: Do you really need it that badly, Laurie?
Laurie (close up of her): The men had their little night out, why shouldn't I have mine?
Camera returns to the three men again. The wedding march begins, Josh smiles. Murdoch gestures with his arm-we can tell that he is going to escort the bride. Shot of the Great Room and guests as we see ML walking back down the aisle.
Shift to Laurie and Teresa standing in front of the mirror, now we see ML's reflection in the glass as he approaches.
Murdoch : Well, from the sound of that music, it's time to give the bride away.
Laurie drains the second glass of sherry, while Teresa and Murdoch exchange a look. Laurie sets the glass down, then turns to ML and asks: "Shall we?" with a big smile. She reaches for his arm and her smile quickly fades. The camera holds on the mirror and we watch as the three of them exit the room.
Next shot: Murdoch and Laurie under the archway entrance to the great Room. They pace slowly in time to the music, Teresa is behind them as the sole wedding attendant. Laurie is carrying her bouquet, Teresa is empty handed.
Quick shot of riders, pushing their horses hard, we assume it is Macall and his men. Camera zeroes in on the pounding horses hooves.
Back to the Great Room: the minister stands in front of the large window that is usually seen behind ML's desk. Murdoch moves to the right, back to where he was standing previously, while Josh goes over to stand next to Laurie. There is a random close up of a very handsome Johnny, wearing a black jacket and white shirt and smiling, then cut back to show Scott and Murdoch standing together.
Minister: Dearly beloved, we are gathered together here in the sight of God and in the face of this company, to join together this man and this woman in holy matrimony. . .
As the minister speaks, the camera focuses first on Laurie, looking none too happy, then on Josh, who has a solemn expression with his gaze elevated upward. As the minister concludes this introduction, the camera cuts to Jelly and Teresa standing side by side. Jelly, in a string tie and jacket is also not looking very cheerful!!
Quick shift once more to the riders and the sound of pounding hooves!!! Then back to Laurie's face as the minister continues.
Minister (to Josh): Wilt thou have this woman to be thy wedded wife
Shot of Josh, eyes still elevated, then he glances at Laurie.
Minister (continues): to live together after God's ordinance in the state of holy matrimony?
Shot of Scott and Murdoch exchanging a glance.
Minister: Wilt thou love her, comfort her, honor and keep her in sickness and in health; and forsaking all others . .
Shot of Laurie, facing Josh with lowered eyes, then quick shot of Josh and back to Laurie.
Suddenly, there are shots and the sound of a door opening! The camera shows us a man in a hat with a drawn weapon coming in a side doorway, quick cut back to the minister who has his head turned towards the newcomer.
The stranger uses his gun to smash some glassware on a table just inside the door as he enters the room. Ominous music plays. Two more men burst through the French doors on the other side of the room. There is a shot of SL and ML as their heads turn in sync to look back behind them-where a man enters with a shotgun, and behind him is Dave Macall. Quick shot of Laurie-she barely reacts. Macall enters, gun in hand, but lowered. He glances around the room, slowly comes to stand near Murdoch.
ML: What the devil do you want?
Close up of Josh, who appears bewildered. Macall does not look at Murdoch, his reply is to cock his gun and say: Laurie. . .outside.
Reaction shot of Scott and Murdoch looking at Laurie, then the camera pulls back to show the room, with Laurie, Josh, Scott and Murdoch standing in a line with Macall at the end on the right.
Macall, to man nearest the bride: Take her!
Macall also moves towards the bridal couple. There is another close up of Johnny. Macall approaches Josh from the right and strikes him on the back of the head as his man moves towards Laurie.
Laurie shouts out : Leave me alone!
Johnny jumps on Macall's man and they drop to the floor.
Macall's voice is heard: Hold it, everybody! Easy! All right!
Josh is lying on the floor, Johnny is also down and is being punched as Scott and Murdoch watch.
Macall: Take her out!
His men move to do so. Macall looks down at the floor. We know he is looking at Josh, but we can't see the erstwhile groom, because the assembled, silent guests are blocking our view. Macall holds his gun up and ready as he backs away. When he reaches Murdoch, the Lancer patriarch speaks.
ML: You'll hang for this, Macall.
Macall: You know my name-then you know they can only hang a man once. (He signals his men to move out)
Macall, loudly, with gun pointed at SL and ML: Anybody tries to follow . . I kill the girl.
Exterior shot shows Laurie being escorted by her captor, and the rest of Macall's men moving quickly to their horses and mounting up.
Inside, Johnny gets slowly to his feet, then goes to the door, while Scott and Murdoch hurry over to Josh. Camera follows Johnny as he reaches the door to look out, then cuts back to show Scott, Murdoch and Teresa kneeling on the floor around Josh.
SL: He's all right, he's just unconscious. You going after them?
ML: You heard what Macall said. . .
Murdoch gets up and moves out of the frame. In the next shot, ML joins Johnny at the doorway, looking out, then the camera cuts to the bride and her abductors riding away.
SCENE 5.
In front of the large picture window. Murdoch is perched on the edge of his desk in the left of the shot. Josh is in the center, back to us, standing and gazing out the window. Scott is on the right, he's looking at Josh.
Josh, sounding angry, almost desperate: All right, Mr. Lancer, so you've sent Johnny for the law, now what good do you think that's gonna do?!
Scott: All right, now Josh, calm down.
Josh: You calm down!! (he starts to move forward) I'm gonna do something!
Murdoch: Josh, listen to me. You go out and do something, you go out after Macall and the only thing you'll succeed in doing is getting yourself and Laurie killed!
Murdoch, gets up and walks after Josh: Now listen to me, son . . (ML walks around so he is standing and speaking with Josh face to face. Scott, behind Josh to our left, sits down.) The Federal Marshall's in Green River right now-he can be here in a day. He's got a lot more experience at this sort of thing than you have.
The following exchange between Josh and Murdoch takes place in loud angry voices.
Josh, bitterly: Sure, Mr. Lancer, that man has had so much experience he ain't been able to run this Macall down since he broke out of jail three months ago!!!
ML: Now if a federal Marshall can't find Macall, what chance do you think you'd have?
Josh: I just know that there's gonna be a trail out there somewhere . . .now that's a heap of a lot better than just sittin' here!
ML, emphatically: Josh, this is wrong!
Josh, in a softer voice: Look, Mr. Lancer, they may kill her anyway . . or worse . . now you want to play it safe, you stay here . . that's up to you two . . but she's my gal and she's my responsibility . . and I'm goin' after her!!
Josh starts to walk away with a very determined expression on his face.
Scott rises to his feet: Josh.
Josh keeps going.
Scott, louder, more harshly: Josh!
Josh stops but doesn't turn to face him. Camera shifts to close up of Scott.
SL: Meet me at the stable . . I'm going with you.
Josh reacts slightly, then keeps going.
Scott and Murdoch are standing facing each other. ML has his hand in his jacket pocket. Scott is removing his string tie.
ML: You think you're doing him a favor, well, you're wrong. We all feel the same way. . but-
Scott cuts him off: You're right and he's wrong. I know, do I have to spell it out for ya. . . I'm on your side. (he looks down at the tie in his hand)
ML: Then?
SL, looking up to meet ML's gaze: Try talking him out of it? (he gestures after Josh with the folded up string tie he is holding in his hand) You don't know Josh like I know him . . I've no more chance of talking him out of going than he has of standing up against Macall by himself. (looking down at the tie he is slapping against the open palm of his other hand) As for going with him . .(he looks up again) that's something I gotta do . . . I'm in this up to my neck.
ML: All, right . . We'll follow as soon as Johnny gets back with the Marshall.
Scott says "right", then starts to remove his jacket as he walks away. ML watches him go.
[in the script, this scene ends with a close up of the bride and groom dolls on top of the wedding cake, moves in to fill the frame as they stare vacantly into the camera]
SCENE 6.
Thundering hooves of galloping horses. Next shot is of a rather run down looking house. There is a girl out front, working a pump. She looks up at the riders. Macall dismounts, tells one of his men to water the horses. Another man assists Laurie off of her horse; she is still attired in her wedding gown. Macall stands for a moment, hands on hips, facing away from us towards the house. Laurie is rubbing her hands together as if to clean them as she steps towards Macall, and faces the house as well. He steps towards the building as the horses are led out of the way; Laurie remains a little bit behind.
The girl, who we will later learn is named "Jenny", is still vigorously working the pump handle. She has blond hair and is wearing a black hat. Macall puts a hand on the handle to stop the pumping action. Then he uses one finger to move aside the hair that is covering one half of her face.
Macall: Who else lives here?
No answer from Jenny, she just looks at him, then turns to go inside, giving Laurie a long look. As she walks towards the door of the house, Jenny removes her hat.
Macall also removes his hat as he walks back towards Laurie. Behind him, we see that the girl Jenny has stopped and is leaning in the doorway, watching them.
Laurie, to Macall: You're going to die for this, Dave. (she smiles cruelly) And I'm going to be right there.
Macall ignores this. He puts his hat back on his head, then reaches out to grasp the bridal veil on either side of her face.
Macall: Get outta that.
Laurie: And just what would you like me to wear?
Macall looks around, then steps towards the girl, while gesturing back towards Laurie: You got anything at all that'll fit her?
The girl must nod, because Macall uses an arm motion to urge Laurie forward, towards the house.
Laurie: I'm not wearing any . pants-
Macall, cuts her off: Shut up . . and get in there!
Laurie, bitterly: Nothing about you has improved, has it?
Macall: You've got exactly two minutes-otherwise, I'll come in there and help you.
Inside the house, it's fairly dark and sparsely furnished. Jenny has her hat back on again, with her hair partially covering her face. The camera follows her through the house to a bedroom where she stands back to us to contemplate the clothes hanging form pegs on the wall. She slaps her arms to her sides as she stands there. Laurie enters the room behind her and looks around. From Laurie's pov we see two grimy opaque windows.
Jenny, turning and handing some clothes to Laurie: Here ya go.
Laurie takes them: Get out of here. Jenny shrugs and sticks her hands in her pockets, then leaves. With a look of distaste, Laurie flings the clothing on the bed and goes immediately to the windows to try to open them.
Camera shifts to outside view of Jenny exiting the house. Macall approaches the girl, reaches into his jacket pocket and then grabs her hand, slaps a coin into it. She looks avidly at the coin resting in her open palm.
Macall: That's five dollars gold for the clothes. If you know what's good for you, you never saw us . . .
Jenny seems to be trying not to smile. Macall looks at her hard, then puts his hand on the top of her hatted head and turns her away from him. She heads back in the direction of the house. Macall turns back to face the camera, slapping dust off of his jacket sleeve as he does so.
Macall, turning and yelling towards the house: One minute, Laurie!
Laurie (shot of her inside the bedroom, still trying to open the window): I'm doing the best I can!!!
The camera is on Macall again as he hears a noise, reacts and turns to run towards the house. The camera is inside as he bursts through the door, hurries through the house to the back bedroom and arrives just in time to grab Laurie as she is about to climb out the opened windows. He pulls her inside, then pushes her towards the bed. He closes the windows. Camera shot of first Laurie looking at Macall, then Macall staring at her. When the camera returns to Laurie, she addresses him.
Laurie: What do you want from me? Didn't you read my letter?
Macall: I read it. (pause) The words weren't important . . the only thing that is is that you wrote it. . that after all this time, you had to write me-tell me you were getting married. . .
Laurie, sharply: To pay you back for ditching me . . to prove to you how little I need you. . ever needed you . . . (she walks away)
Macall: A simple wedding invitation would've been enough.
She is standing back to him. He goes to her and turns her around to face him, taking her in his arms.
Macall: You're lying, Laurie. To yourself and me. . .
He kisses her. Finally, she pulls her lips away forcefully, but he is still holding her in his arms.
Laurie: Do yourself a favor. . Read the letter again . . Read it real carefully. And when you finish maybe you'll realize how stupid you sound!
He moves to try to kiss her again, but this time she spins out of his arms. She faces away for a moment, then turns to face him with a smile.
Laurie: They'll get you Dave. Josh and the others won't buy your threat . . they'll be along. . .
Macall: For their sake Laurie, . . (he picks up the clothes from the bed) you better pray you're wrong. (he tosses the items at her.)
Macall exits, Laurie holds the clothes for a moment, then tosses them on the bed. She stares after Macall while dramatic music plays.
COMMERCIAL
ACT TWO
Scene 7.
It's dark and two riders approach Jenny's house-Scott and Josh.
Josh: What are we stoppin' for?
Scott: The ground's too hard. And it's too dark. The trail's gone.
Josh removes his hat, slaps it against his leg: There's gotta be a way. . . . there's gotta be.
Jenny comes out of the house, closing the door behind her. There is a light on the outside of the house, beside the door.
SL: Have you seen any riders pass by here? (the camera shifts to Jenny as Scott continues to speak) They had a girl with them, in a wedding dress. (When Jenny says nothing, Scott adds more) Now, it's very important . . . we'd be much obliged.
Jenny walks slowly towards them, up to the low fence in front of the house. Finally she speaks: Maybe I seen 'em---maybe I didn't.
Scott dismounts and approaches her, stopping on his side of the fence. He hands her something: Maybe this'll help you remember.
Jenny takes the coin, looks at it: Nope. Didn't see nuthin' . Then she turns to go back into the house!!!
SL: But you just took my money!!
Jenny: Now I never said you were gonna get nuthin' for it.
SL: Well, you can give it back, right now! He opens the gate to go after her. Josh dismounts and follows Scott. Jenny goes inside with the two men in pursuit.
Inside, we see Jenny standing back against the wall, Scott on our left and Josh on the right with Jenny between them. Josh is holding his hat in his hand, Scott is still wearing his.
[In the script, the first thing that Scott says to her is to ask Jenny "What are you doing dressed like that?"
Her response: People leave me alone! That's what for I'm dressed like this!"]
SL to Jenny: Why don't you just tell us what we want to know and we'll be glad to leave you alone.
Jenny: What makes you think I seen anything?
Josh: We'll pay anything you want. Just tell us which way they went!
Scott, warningly: Josh!!
Jenny smiles at that, looks from one man to the other: Anything?
Josh: Anything.
Close up on Jenny as she removes her hat and smiles. She brushes her hair out of her face before looking at Josh and stating her price: Fifty dollars.
Josh, with sad eyes and furrowed brow: I ain't got fifty dollars.
Camera shifts to Scott who closes his eyes and bows his head with a weary expression. He reaches up and moves his hat back a bit on his head. Close up on Jenny once more, she looks at Josh and makes a loud "tsk tsk" sound with a not sympathetic look on her face.
Jenny, not meaning it at all: Now that's too bad.
Josh, to SL: Scott, we gotta find out which way they went. Now you can advance me the money, you can take it outta my pay.
Scott, looking frustrated, pulls a coin out of his pocket and holds it up.
SL: That's all I've got. Would've been enough, if you'd kept quiet.
Jenny sees her opportunity: Mister, you're a rancher, now you can get credit anywhere. Fifty dollars ain't gonna mean nothin' to you . . .
Scott: Just tell us what you saw.
Jenny's glance flicks from one to the other. Finally, she gives up some information about what she knows.
Jenny: Dave Macall and his boys haulin' off that little piece of weddin' cake of yours. (she looks directly at Josh when she makes the wedding cake remark) Now I could lead you straight to him! They holed up in a town that they keep alive-they own it, they own it lock stock and barrel. Does that answer your question?
SL: How do you happen to know where Macall is when nobody else does?
Jenny, with a big smile: I know a lot. I listen.
Josh, with puppy dog eyes: Scott. . please. Get her the money! (he pauses, swallows) It's our only chance!
Short silence, while Scott considers this. Then Jenny moves forward, holding her hat.
Jenny: All right, I tell you what. You look like a big spender. I am gonna trust you for it.
She turns to look at Scott, who takes a few steps towards the left, he is facing away form Josh. Josh moves towards him, but before Josh can ask again, Scott faces him.
SL: All right.
More silence. Jenny sits down at the table in the foreground. Scott stands looking out the window to the left. Josh is still standing behind him, holding his hat in his hands.
Josh, to Scott: Ya know . . . something's been naggin' at me ever since we left. . . why did Macall want to take Laurie? (Scott, who had turned to face Josh when he started to speak, now turns away) How come he knew about the wedding?
SL: Let's find them first. Then we'll figure that out.
Camera shifts to Jenny who is writing in a small ledger book.
Josh: Well, it just don't make sense. And you been kinda draggin' your feet. Now, is there somethin' you know that maybe I oughta know too?
SL: Josh, why would I keep anything from you?
Josh: Well, I don't know.
Camera shifts to Jenny again, she is still figuring!
Josh: Now, if you know somethin'---I ain't no kid. I may act like one, but I ain't no kid, Scott.
SL, after a moment: I know that. Now let's go . . .
They exit, Josh first, Scott after him, setting his hat squarely on his head. Jenny last, putting her hat on as she follows the men. Outside, Scott and Josh mount up.
Josh, to Jenny: Come on, climb up.
Jenny: Uh uh. I wanna ride with him.
Scott, with some resignation: Around this side.
She walks around, he gives her a hand up behind him.
SL: Are you up there?
Jenny: Yup.
The three of them ride off.
SCENE 8.
Close up of a white-sleeved arm and hand scraping at a horse's hoof. Camera moves back and we see that it is Scott. It's still dark, we can hear the crickets singing. Josh is standing off to the left side of the screen; jenny is seated in the background, drinking from a canteen.
Josh, sounding quite irritated: Scott, just how much longer is that gonna take you?
Scott: Now Josh, relax. The horse bruised his foot. I try to run him any further right now, I'll damage him permanently. You know that.
Josh, still angry and intense: Yeah, I know that. But what're we gonna do now?
Scott: The Marshall and Johnny have probably picked up our trail by now. (emphatically) Now we're gonna wait for them, right here. Believe me, it's the best way.
Josh sits down, his head hanging. After a brief moment he starts to speak, his tone no longer angry.
Josh: Hey, Scott? Do you remember that time when they raffled off that Pinto cutting pony? (he pauses, but there is no response from Scott) You remember . . . what a beautiful hoss that was?
Scott turns towards Josh, but still says nothing, just listens. Camera also shows us that Jenny is listening as well; she is still sitting and is cradling the canteen.
Josh: Well, I was holdin' one of the final tickets . . .and I was so sure I was gonna win that beautiful hoss I went out and bought that Mexican slip saddle . . . . . Remember that?
Scott still doesn't say anything, but he walks towards Jenny.
Josh: Remember what a heck of a time you had gettin' my money back?
Jenny offers the canteen to Scott, who accepts it, then crouches down. Camera on Scott who is looking at Josh, but still Scott doesn't speak.
Josh, to Scott: You remember?
Camera to Scott, who finally smiles and looks down at the ground at the memory. Camera back to Josh, who is also looking down.
Josh: I remember . .what you told me then.
Scott, speaking very gently: I don't understand what that has to do with anything, Josh. (he starts to take a drink from the canteen as the camera returns to Josh.)
Josh, speaking haltingly, as if he is trying to recall the exact words: Well, you said . . sometimes a man can be too much of a believer and he can want something just too much so losin' it makes it so much worse. (while Josh speaks, the camera goes to Scott and then to Jenny, both listening, both with serious expressions) Well . . . someday, I'm gonna hafta learn that.
Sad music plays. There is a moment of silence, and then Scott has made a decision. He looks over at Jenny, who is still sitting pensively.
SL: How far is Macall's town?
Jenny, rousing herself: Oh. .it's . . . it's about ten miles.
SL, decisively: All right. Let's go. We'll take turns walking the horse.
They head off.
SCENE 9.
Daylight. Scott is walking his horse, Jenny is also on foot, holding a stick in her hand. Josh is in the background, riding. They pass in front of a large grey barn-like structure. Shot of an empty main street.
SL, to Jenny: Are you sure that's Macall's town?
Jenny nods: Fifty dollars worth. (she reaches up and strokes the neck of Scott's horse)
SL: All right. (turns, then gestures to Jenny) You wait here.
She seems a bit dejected as they ride off.
Jenny: Now where do you figure I'm about to go??
She turns back to us, switches the stick in her hand in evident frustration.
SCENE 10.
Josh and Scott continue riding towards the deserted main street. Quick shot of two men starting to come out of a building-they quickly draw back as they catch sight of the approaching riders. The taller, heavy-set man is wearing a badge-he is the Sheriff, Burgess. The shorter man is deputy.
Scott and Josh ride up to the building labeled, "saloon".
SL: Remember, I do all the talking.
Josh doesn't speak he barely nods. They dismount and tie their horses, then head inside. The town is eerily quiet, their footsteps on the wooden sidewalk are clearly audible.
(Here the script talks about the sound of music emanating from a busy cantina, at night)
INSIDE: There are three men seated at a table. Playing cards. The place seems otherwise empty, except for the bartender. Scott and Josh approach the bar. Scott pushes his hat back on the crown of his head; Josh removes his and places it on the bar.
Bartender: What'll it be, gents?
Scott, reaching into his pocket for some money: Let's have two beers. . . . It's a nice town you've got here.
Bartender: It'll do . . .
Josh, quietly: Mister? We're lookin' for a Dave Macall . . . you know 'im?
SL, before the bartender can respond: Just let us have those two beers. (he tosses a coin on the bar.)
The bartender moves away, and Josh turns to Scott.
Josh: Now what'd you do that for-he might've known something-
SL: He might've known too much. Now Josh, I told you to be quiet and follow my lead.
OUTSIDE: The sheriff and his deputy are coming down the sidewalk. They enter the saloon and walk up behind Scott and Josh who are still standing at the bar.
Sheriff Burgess: You boys mind turning around? (Scott and Josh comply) That's better, I like to see a man's face when I'm talkin' to him.
The Sheriff stands with his hands in his vest pockets, a fairly pleasant expression on his face. The deputy is beside him, his thumbs hooked over his belt.
SL: What can we do for you, Sheriff?
Burgess: My deputy'll do it.
Before Scott or Josh can react or protest, the deputy quickly takes their guns.
Burgess: You look like you been around. . . maybe you can save me some trouble.
Scott readjusts his hat.
SL: We're just passing through town, heading for Modesto.
Bartender: They're lying Burgess, they were askin' about Macall!
The Sheriff reacts strongly to this information, the camera is on him as he goes for his weapon. Scott charges at him, while Josh pushes the deputy aside. The three men from the card game go after Josh. Scott makes a break for the door, bending to pick his hat up off of the floor on his way.
Outside shot: we see Scott roll out from under the batwing doors, scramble up and head for his horse.
Inside: Josh is also heading for the door, but the sheriff catches up to him just as he makes outside, hits him over the head and Josh drops to the ground. The Sheriff starts to lift his gun in what we assume is Scott's general direction. Josh, lying on his back, looks up and sees what he is about to do and then kicks the gun out of Burgess' hand. The deputy tackles Josh and hits him a few times. Camera cuts to Scott on horseback, he turns and rides away.
Burgess: Throw him in a cell . . if he gives you any more trouble. . break his head open!
The Sheriff stares after Scott.
Fade to commercial.
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