"THE SEARCHERS"
Revised Final Screenplay by
Frank Nugent
FADE IN
Behind the main title and the credits:
EXT. PLAINS COUNTRY - CLOSE SHOT - MOVING JUST ABOVE GROUND
LEVEL - A STUDY OF HOOFPRINTS - LATE AFTERNOON
The hoofprints are deeply etched in the ground, picking their
way through scrubby desert growth. An occasional tumbleweed
drifts with the light breeze across the pattern of prints;
and lightly-blown soil and sand begin the work of erasing
them. The CAMERA FOLLOWING the hoofprints
RAISES SLOWLY TO:
EXT. PLAINS COUNTRY - LONG SHOT - LATE AFTERNOON
We see the rider now. BACK TO CAMERA, jogging slowly along --
heading down a long valley toward a still-distant ranch house
with its outlying barn and corrals.
EXT. PLAINS COUNTRY - MED. SHOT - MOVING - LATE AFTERNOON
The CAMERA FRAMES and MOVES with the lone horseman. He is
ETHAN EDWARDS, a man as hard as the country he is crossing.
Ethan is in his forties, with a three-day stubble of beard.
Dust is caked in the lines of his face and powders his
clothing. He wears a long Confederate overcoat, torn at one
pocket, patched and clumsily stitched at the elbows.
His trousers are a faded blue with an off-color stripe down
the legs where once there had been the yellow stripes of the
Yankee cavalry. His saddle is Mexican and across it he carries
a folded serape in place of the Texas poncho...
Rider and horse have come a long way. The CAMERA HOLDS and
PANS the rider past and we see another detail; strapped onto
his saddle roll is a sabre and scabbard with a gray silk
sash wrapped around it... Horse and rider pass, moving closer
to the ranch as a little girl and a small dog come tearing
around the corner of the house.
EXT. THE YARD OF THE EDWARDS RANCH - MED. SHOT - DEBBIE -
LATE AFTERNOON
She is staring wide-eyed at the distant horseman o.s.
Her little dog has seen him too and is barking excitedly.
DEBBIE quickly reaches to grab the dog by the scruff of the
neck, crouching over him. Debbie is 11 years old with a
piquant, memorable face.
EXT. THE YARD - CLOSE SHOT - DEBBIE
Here we must establish and dramatize what it is about her
face that is memorable, so that if we were to see her again
five or six years later, we would know it is she -- perhaps
the eye color or the slant of eyebrow, or a trick of
scratching bridge of nose with crooked forefinger.
EXT. THE EDWARDS HOUSE - MED. SHOT - AARON - LATE AFTERNOON
The ranch house is of adobe, solidly built, with a sod and
cross-timbered roof, deep windows. A small gallery or porch
extends across the front. AARON EDWARDS comes through the
door, attracted by the dog's barking -- and then he, too,
sees the approaching horseman and comes farther out -- curious
but not at all apprehensive. Aaron is a lean, weathered and
tired man, with a down-swept mustache; a gentler-looking man
than Ethan and possibly a few years older.
As he squints off, studying the rider, his older daughter,
LUCY, comes out to stand behind him. Lucy is from 16 to 18 --
a pleasant, feminine girl. She is carrying a mixing bowl
with some sort of batter in it, which she now completely
forgets to whip in her interest in the approaching stranger.
In the next instant MARTHA EDWARDS follows the daughter onto
the porch. Martha is a still-lovely woman, although the years
have etched fine wrinkles about her eyes and mouth, and work
has worn and coarsened her hands. Those hands will never be
idle when Martha is on scene... And now, while she shares
the family's interest in the approaching horseman, she
automatically notes that Lucy has forgotten her task -- and
she takes the mixing bowl from her and stirs the batter.
EXT. YARD OF THE EDWARDS HOUSE - FULL SHOT - LATE AFTERNOON
Along the side of the house comes BEN EDWARDS, 14, with a
man-sized armload of chunkwood clutched to his chest. He,
too, has spotted the stranger and is all attention. So much
so that he trips, but recovers his footing. He pauses to
dump the wood into a woodbox by the door -- his eyes always
riveted on the oncoming rider -- and then he moves toward
the others, biting a splinter out of a finger. Beyond Ben,
MARTIN PAULEY emerges from the barn and crosses the open
ground heading toward CAMERA. Martin is somewhat under 20, a
lithe, perfectly coordinated male animal, with Indian-straight
hair and a white man's eyes. He is carrying bridle or other
horse-gear. He looks to the family on the porch -- to see if
they recognize the stranger -- then out again. He continues,
followed by Ben, toward where
Debbie crouches over her dog.
EXT. PLAINS COUNTRY - LONG SHOT - ETHAN - LATE AFTERNOON
As he rides downslope toward the house.
THE CREDITS END.
EXT. THE EDWARDS RANCH - MED. CLOSE SHOT - MARTHA, LUCY, AND
AARON - LATE AFTERNOON
Suddenly, Martha's eyes widen as she -- even before Aaron --
recognizes the distant rider. Her hand goes to her mouth to
check the name that trembles on her lips... An instant later
Aaron, too, identifies the oncoming horseman.
AARON
(incredulous)
Ethan?
He looks at her, frowning, then slowly steps out onto the
hard ground. Martha hands the bowl back to Lucy and follows
Aaron.
EXT. THE YARD OF THE EDWARDS HOUSE - FULL SHOT - THE GROUP
as Ethan rides in and sits his horse, looking down at them.
There is a noticeable constraint on all of them. Finally:
ETHAN
Hello, Aaron...
His eyes shift to Martha and hold. Ethan is, and always has
been, in love with his brother's wife and she with him.
ETHAN
Martha...
MARTHA
(a bit shakily)
Hello, Ethan.
Ethan slowly, stiffly swings out of the saddle. Aaron and
Martha exchange quick glances... troubled, puzzled. Aaron
pastes on an uncertain smile as Ethan comes around his horse
toward their side.
AARON
How's California?
ETHAN
How should I know?
AARON
But Mose Harper said...
ETHAN
That old goat still creakin'
around?... Whyn't someone bury him?
He goes to his saddle pack, begins unlacing it. Ben and Debbie
have inched closer -- half-shy, half-curious.
Debbie's dog begins sniffing at his heels. Ethan looks down
at them - not unfriendly, just a man not used to children.
ETHAN
Ben, ain't you?
Ben nods.
ETHAN
(frowning at Debbie)
Lucy, you ain't much bigger than
when I saw you last.
DEBBIE
I'm Deborah!
(pointing)
She's Lucy.
Ethan looks in the direction of the pointing finger.
EXT. YARD - ANOTHER ANGLE
as Lucy steps down from the porch and approaches.
MARTHA
Lucy's going on seventeen now...
BEN
An' she's got a beau! Kisses him,
too!
MARTHA
That's enough... Go on inside and
help Lucy set the table... You, too,
Deborah!
EXT. YARD - FULL SHOT - ANOTHER ANGLE
as Martin -- with slightly averted face -- crosses to take
the bridle of Ethan's horse and lead him away.
ETHAN
(wheeling on him)
MOMENTO!
Martin checks his stride, stares in surprise.
MARTHA
(contritely)
Martin!... Here we've been standing...
Ethan, you haven't forgotten Martin?
ETHAN
Oh... Mistook you for a half-breed.
MARTIN
(levelly)
Not quite... Quarter Cherokee. The
rest is Welsh... So they tell me.
ETHAN
You've done a lot of growin'...
AARON
It was Ethan found you squallin' in
a sage clump after your folks was
massacred...
ETHAN
(bluntly)
It just happened to be me... No need
to make any more of it...
MARTIN
I'll take care of your horse for
you, Uncle Ethan.
Again, he starts to lead away.
ETHAN
Hold on!
Martin stops again.
ETHAN
I'll take this...
He completes unlacing the pack and takes it -- treating it
as though it contained something of value. Martin watches
with a touch of resentment: Ethan doesn't trust him.
Ethan turns and sees the look. He doesn't care what Martin
thinks, nor does he explain. Martin leads the horse off.
MARTHA
Supper'll be ready by the time you
wash up... Let me take your coat for
you, Ethan.
He hesitates, then grudgingly surrenders it -- conscious of
its sorry condition.
MARTHA
(smiling faintly)
And... welcome home.
He just nods, then turns to follow Aaron around the side of
the house toward the wash-up.
EXT. THE EDWARDS HOUSE - CLOSE SHOT - MARTHA
She stands alone, looking after Ethan -- his coat in her
arms. She holds it against her breast for just a moment and
her eyes are tender.
DISSOLVE TO:
INT. EDWARDS HOUSE - FULL SHOT - NIGHT
The family is finishing dinner -- and the scene is not quite,
but almost, a still-life. Loud in the room is the pendulum
tick of a Seth-Thomas clock on the mantel above the fireplace --
in which logs are burning briskly. Ben crouches near the
fireplace, fascinatedly examining the scabbard and sabre
Ethan has brought home from the wars.
He tries to ease the blade just a bit out of its scabbard.
Aaron sits at one end of the hand-hewn table, Martha at the
other. At her right is Ethan, his fork scraping the last
crumb off his plate. Lucy sits at her father's right and
Martin at his left. Next to Martin is Debbie. In the center
of the table is the sorry remnant of what was once a meal.
Lucy and Martin have finished eating. Aaron is sipping his
coffee, and Martha -- her own plate largely untasted -- is
watching Ethan.
Ethan has shaved, changed his shirt. He straightens
contentedly and every eye is on him, expectantly.
ETHAN
Good.
The clock rattles alarmingly -- the usual preliminary to its
striking; and then it bangs out the strokes like a fire-alarm
gong. Eight fast clangs.
AARON
Ben! Deborah! Bed!
DEBBIE
But I've got to help with the dishes.
MARTHA
Not tonight... Ben, put that sword
back.
BEN
It's not a sword, ma... it's a saber!
(moving to Ethan)
Did you kill many damYankees with
this sabre, Uncle Ethan?
ETHAN
(matter-of-factly)
Some...
BEN
How many damYankees, Uncle Ethan?
MARTHA
Ben!... Martin, he'll sleep in the
bunkhouse with you tonight.
Martin nods and crosses to kiss Martha good night.
MARTIN
Good night, Aunt Martha... Uncle
Aaron...
(he hesitates)
Good night, Uncle Ethan.
Ethan doesn't like being called Uncle -- as we must know
from the quick look he shoots at Martin. But he acknowledges
it.
ETHAN
Night.
Ben reluctantly puts the scabbard away, turns to Ethan.
BEN
Will you tell me tomorrow about the
war?
AARON
The war ended three years ago, boy!
BEN
It did?... Then whyn't you come home
before now?
MARTHA
BEN!... Go 'long with Martin. MARCH!
As Ben reluctantly heads out with Martin, Deborah crosses to
Ethan's side and studies him gravely.
DEBBIE
Lucy's wearing the gold locket you
gave her when she was a little girl...
ETHAN
Oh?
DEBBIE
She don't wear it much account of it
makes her neck green.
LUCY
(aghast)
Deborah!
DEBBIE
(defensively)
Well, it does... But I wouldn't care
if you gave me a gold locket if it
made my neck green or not.
Ethan looks at her gravely.
ETHAN
'Fraid I...
(then he remembers
something, rises)
Wait.
He crosses to where his pack is -- a side table or something --
and burrows into it. Debbie is at his side.
ETHAN
How about this?
It is a gold medal or medallion -- something appropriate to
Maximilian of Mexico -- suspended by a long multi-colored
satin ribbon.
DEBBIE
Oh! LOOK! My gold locket!
She holds it high for mother -- and all -- to see. Martha
takes it and reacts at its weight.
MARTHA
It's solid gold... Ethan, I don't
think she's old enough...
ETHAN
Let her keep it... Just something I
picked up in Mexico.
Martha reluctantly surrenders it to Debbie's eager hand.
Aaron hasn't missed the word "Mexico" and looks sharply at
Ethan.
DEBBIE
Oh, thank you, Uncle Ethan...
LUCY
(to Debbie)
Come along...
The two girls leave the main room. Martha and Aaron both
look at Ethan -- half expecting some further explanation.
He turns from them and looks into the fire. Martha begins to
clear the table. Aaron gets up, takes a pipe and a spill --
lights it at the fire.
ETHAN
Passed the Todd place comin' in...
What happened to 'em?
AARON
They gave up... went back to the
cotton rows... So'd the Jamisons...
Without Martha, I don't know... She
wouldn't let a man quit.
Ethan turns and looks at her -- still busy with her dishes.
AARON
(change of tone)
Ethan, I could see it in you before
the war...
(Ethan looks at him)
You wanted to clear out!
Martha freezes in what she's doing -- listening.
AARON
And you stayed out beyond all need
to... WHY?
Ethan can't answer, but he takes it as a challenge and almost
welcomes it.
ETHAN
(hard)
You askin' me to clear out now?
AARON
(straightening --
with grave dignity)
You're my brother... You're welcome
to stay as long as you got a mind
to... Ain't that so, Martha?
MARTHA
(almost a whisper)
Of course he is.
ETHAN
I expect to pay my own way...
Martha resumes her activity. Ethan crosses to his pack,
reaches into it for a leather pouch, brings it back and tosses
it onto the table. It lands with a resonant clink.
Both Martha and Aaron draw close to the table.
(NOTE TO WINTON HOCH: This scene should be dramatically back-
lighted.)
ETHAN
There's sixty double eagles in
there... twelve-hundred dollars.
He opens a waistline shirt button and hauls out a leather
money belt and drops that on the table.
ETHAN
An' twice that in here.
He reaches into the belt and takes out a few mint-fresh gold
pieces which he slides across the table.
ETHAN
...only these got the late Emperor
Maximilian's picture on 'em.
Martha picks up one of the gold pieces, staring at the face
on the coin: the same as that on the medal -- staring sharply
then at Ethan. Aaron is examining another coin with a
different interest.
AARON
Mint fresh... not a mark on 'em.
He glances questioningly at Ethan.
ETHAN
So?
Aaron shrugs and crosses to a barrel chair. He raises the
seat and lifts out a pair of old boots, some rags of clothing
and then raises a false-bottom lid and drops pouch and money
belt into it. Carefully he replaces everything. During this
Ethan's attention has gone to Martha's hand, to one cut
finger, its wound barely healed. He takes the hand -- gently.
ETHAN
Cut yourself?
She nods and withdraws the hand.
ETHAN
(softly)
You were always hurting about your
hands.
She looks quickly at him and self-consciously tries to hide
her hands, conscious of their work-worn appearance.
Then for a moment their eyes meet and hold -- and a world of
sadness and hopelessness is in the look.
Aaron closes the seat of the barrel chair.
AARON
Time for bed...
He picks up one of the lamps and starts away toward their
bedroom door. Martha looks at Ethan again. His expression is
bitter.
AARON
Night, Ethan... Come 'long, Martha.
She turns obediently and follows Aaron. Ethan looks after
them and waits as Aaron opens the bedroom door. Martha goes
into it and Aaron follows and closes the door.
Ethan crosses to the lamp on the mantel, blows it out.
Only the firelight strikes his face as he stares broodingly
at the closed bedroom door.
DISSOLVE TO:
OMITTED
EXT. YARD OF THE EDWARDS' HOUSE - FAINT DAWN LIGHT
Debbie's dog is barking excitedly as six horsemen slowly
ride toward the house and dismount. A lamp goes on inside.
THE SIX HORSEMEN ARE:
CAPTAIN, THE REVEREND SAM CLAYTON, a big man with frosty
blue eyes, graying hair, a bristly full mustache and the air
of grave and resolute authority. He is a minister of the
Gospel with a .44 on his hip.
LARS JORGENSEN, the Edwards' neighbor, is a harried little
man, Scandinavian. As we shall find out soon, he has a brisk
and buxom wife and a rather astonishing brood of children.
BRAD JORGENSEN is one of these: sandy-haired, brash, amiable,
impulsive. He is in his early twenties.
CHARLIE MacCORRY, slightly older than Brad, is Sergeant of
Company A of the Rangers. (He is also Company A.) Charlie is
a taciturn, gently-spoken, competent man, clearly patterned
by his association with Captain, the Rev. Sam.
MOSE HARPER is an old scout -- a walking bone-rack, yet
capable of tireless feats of endurance. Some think him
"tetched" yet he has managed to endure to his age during a
time and in a region where few men lived to see their
grandchildren. He wears a ragged dark overcoat in all weather,
a narrow-brimmed hat with a feather in its band.
ED NESBY is a rancher and homesteader in his mid-thirties;
resolute, honest, self-effacing; nothing picturesque or
dramatic about him; just a solid citizen and a realist.
16-A
INT. EDWARDS' HOME - CLOSE SHOT - MARTHA
She is at the window of her bedroom, wrapper clutched with
one hand, lamp upraised in the other as she stares into the
dawn to see who these callers are. We hear the heavy foot-
falls of the approaching men, then a loud knock thrice
repeated -- an ominous sound.
OMITTED
17-A
INT. THE EDWARDS' - ANGLE AT DOOR
SAM'S VOICE
Aaron! Open up!... Sam Clayton!
The door is opened by Aaron -- holding a lamp and a gun. He
is only partly dressed -- pants, boots, undershirt. The bar
of light slashes across the faces of Sam and some of the men
behind him.
AARON
Reverend... Come in!
INT. THE EDWARDS' HOUSE - FULL SHOT
CLAYTON
Sorry to get you out of bed so
early...
(as Martha enters,
tightening her wrapper)
Mornin', Sister Edwards.
MARTHA
What is it, Reverend?
CLAYTON
Lars Jorgensen claims someone bust
into his corral last night and run
off his best cows...
AARON
You mean those pure breds he just
bought?
Jorgensen enters -- an angry little man -- closely followed
by Mose Harper, who is grinning foolishly.
JORGENSEN
Next time I raise pigs, by golly!
You never hear of anyone running off
pigs, I bet you.
MOSE
Injuns has 'em... Caddoes or Kiowas...
Kiowas or Caddoes.
CLAYTON
(irritably)
Caddoes!
Mose spots Martha and at once whips off his hat and makes
her an exaggerated cavalier's bow.
MOSE
Respects to a charmin' lady, ma'am.
...Respects, respects...
Ed Nesby enters.
NESBY
Mornin'...
MARTHA
Coffee's made if you...
CLAYTON
Coffee'd be fine, sister...
She heads for the stove.
MOSE
(an old man's whimper)
My bones is cold...
His eyes brighten as he looks toward the fire and spots a
rocking chair. He shuffles toward it, plants himself and
begins rocking and half-crooning to himself.
JORGENSEN
Or bumble bees, by golly... I show
them dirty rustlers!
MOSE
(crooning)
Lookit me, old Mose Harper, rockin'
in a rockin' chair... I'm a-goin' to
set 'n rock, 'n rock, 'n rock, 'n
rock...
The front door opens to admit Martin, fully dressed and armed,
with Charlie MacCorry.
CLAYTON
Over here, Martin... Aaron...
Martin ranges himself next to Aaron and both face Clayton.
CLAYTON
Raise your right hands.
Martha sets out cups on the table, begins pouring the coffee.
During the swearing-in, Ethan will enter the room from the
inner door -- unnoticed by the other men, but not by Martha.
And as the scene plays, the audience must always be conscious
of the by-play of glances between Martha and Ethan as they
face the prospect of being left in this house together.
CLAYTON
You are hereby volunteer privates in
Company A of the Texas Rangers and
will faithfully discharge the duties
of same without recompense or monetary
compensation -- meaning no pay!...
Amen and get your shirt on, will
you, Aaron.
AARON
(stubbornly)
Ain't goin' volunteerin' after
rustlers without my morning coffee,
Reverend... Drink your own!
CLAYTON
(sternly -- as he
reaches for his cup)
From now on, call me 'Captain'!
But Ethan advances and calmly appropriates the cup Clayton
is reaching for...
ETHAN
(mockingly)
Captain the Reverend Samuel Johnson
Clayton!... Mighty impressive.
Clayton marks his surprise.
CLAYTON
(dourly)
Well... the prodigal brother...
When'd you get back?
Ethan sips his coffee and doesn't answer.
CLAYTON
Haven't seen you since the surrender.
(a pause)
Come to think of it, I didn't see
you at the surrender.
ETHAN
I don't believe in surrenderin'... I
still got my sabre, Reverend... never
turned it into any ploughshare
neither!
JORGENSEN
Is no time for kaffee-klatch while a
man's beef is been run off.
MOSE
Injuns, Ethan...
(taps his nose)
Caddoes or Kiowas... Mose Harper,
drinkin' coffee in a rockin' chair.
...ay-eh!
Martha has left the room briefly to fetch Aaron's shirt and
vest and stands behind him. Aaron drains his cup.
AARON
Ethan, countin' on you to look after
things while I'm gone.
Ethan -- cup to his lips -- looks over its rim at Martha as
Aaron starts to put on his shirt. Their eyes meet briefly,
then she looks away. Ethan sloshes the dregs of his cup into
the fire -- some of it spattering Mose.
ETHAN
You ain't goin'...
CLAYTON
He sure is goin'... He's sworn in.
ETHAN
(angrily)
Well, swear him out again!... I'll
go with you.
Martha stands submissively, with her head bent, eyes averted
as Ethan crosses the room to get his coat, guns, etc. Aaron
follows him.
AARON
Now, Ethan, I ain't sure...
ETHAN
Don't argue!... And stay close...
Maybe they're rustlers... and maybe
this dodderin' old idiot ain't so
far wrong...
MOSE
Thankin' ye, Ethan... thankin' ye.
Kind words...
CLAYTON
(grudgingly)
All right... I'll swear you in...
ETHAN
You can forget that...
(as Sam stares)
Wouldn't be legal anyway.
CLAYTON
Why?
(a pause -- then
shrewdly)
You wanted for a crime, Ethan?
Martha waits -- intent.
ETHAN
You askin' as a Reverend or a Captain,
Sam?
CLAYTON
I'm askin' as a Ranger of the
sovereign state of Texas.
ETHAN
Got a warrant?
CLAYTON
You fit a lot of descriptions.
ETHAN
(levelly)
I figger a man's only good for one
oath at a time... I took mine to the
Confederate States of America...
(he pauses -- then)
So did you, Reverend...
He looks past him then -- at Martha and then at Aaron.
ETHAN
Stick close, Aaron...
He looks at Martha again... and then strides out.
EXT. THE EDWARDS' HOUSE -- DAWN LIGHT
As Ethan emerges he is brought to a momentary halt by sight
of a couple -- Brad and Lucy -- in each other's arms, standing
near the saddled horses of the posse. Clayton and Jorgensen
following him out, spot the couple, who now belatedly are
conscious of their audience.
JORGENSEN
Brad!... Is no time for lolly-
gagging...
In confusion, Lucy runs back around the side of the house as
Brad -- unrepentant -- grins at his irascible old man and
heads for his waiting horse. Clayton chuckles and turns toward
Martha, who has followed them out.
CLAYTON
Looks like I'll be reading the lines
over that pair before long, sister
Edwards.
JORGENSEN
Is no time for talking weddings...
Better say prayers for those dirty
thieves, by golly... running off a
man's beef...
Mose, last to emerge, bows elaborately to Martha.
MOSE
Grateful to the hospitality of yore
rockin' chair, ma'am...
The men are mounting. Mose nimbly vaults onto the back of
his horse -- which he rides bareback, with only a blanket
pad.
AND
OMITTED
EXT. THE EDWARDS' HOUSE -- DAWN LIGHT
as Ethan and Martin ride to join the group.
CLAYTON
Let's get on with it...
DEBBIE
WAIT!
She comes flying out of the house in her long flannel nightie
and runs to Martin.
DEBBIE
Martin! Ride me as far as the well!
MARTIN
Grab hold!...
He swings her up in front of his saddle. They start away.
Ethan is last to ride out. He is watching Martha. He brings
a gloved hand up in a salute. She starts to raise her hand
but only brings it just above her waist, a fluttering gesture
with tremulous fingers. It is the last he will ever see of
her alive.
EXT. YARD OF THE EDWARDS' HOUSE - FULL SHOT
as the posse slowly rides out, with Ethan last. Martin reins
in to let Debbie slip to the ground. Ethan passes her.
Debbie stands watching the men ride away, waving at them.
AARON'S VOICE
(calling)
DEBORAH!
She turns and comes running back -- CAMERA PANNING -- to the
little group on the porch; Ben in the door; Lucy crossing
the porch; Aaron and Martha at the steps.
SLOW DISSOLVE TO:
EXT. OPEN COUNTRY - FULL SHOT - POSSE - LATE AFTERNOON
Ethan and Mose are advancing at a steady walk, both men
leaning slightly out of their saddles to study the terrain --
the trail they are following. Out to one side -- fifty yards
distant -- is the main body of the posse: Sam, Jorgensen,
Charlie, Ed, moving roughly parallel to Ethan but at a faster
clip. Martin comes riding in toward Ethan from behind CAMERA.
MARTIN
(calling)
Uncle Ethan!
Ethan reins in -- compressing his lips at the "Uncle."
Mose waits.
MARTIN
Somethin' mighty fishy about this
trail, Uncle Ethan...
ETHAN
Stop callin' me 'uncle'... I ain't
your uncle.
MARTIN
Yes, sir.
ETHAN
Don't have to call me 'sir' neither...
Nor grampaw neither... Nor Methuselah
neither... I can whup you to a
frazzle.
Mose lets out a snickering laugh.
MARTIN
What you want me to call you?
ETHAN
Name's Ethan... Now what's so mighty
fishy about this trail?
MARTIN
Well, fust off...
He breaks and all turn at a distant hail from Jorgensen.
JORGENSEN
Look! Look!
OMITTED
EXT. OPEN COUNTRY - LONG SHOT - RISE OF GROUND - BRAD
He is holding his rifle with both hands straight over his
head -- and he repeats the signal until he sees they have
seen him.
JORGENSEN'S VOICE
(excitedly)
Brad! He's found them... Come on!
EXT. OPEN COUNTRY - FULL SHOT - THE POSSE WITH BRAD IN
THE DISTANCE
as Jorgensen digs spurs and leads the way. The other riders
follow.
MED. SHOT - BRAD - RISING GROUND - LATE AFTERNOON
He waits grimly until he sees them coming, then wheels his
mount and takes off over the hill.
FULL SHOT - THE POSSE
as it comes up the rise and the men rein in on the crest.
Jorgensen stares and his face mirrors shock and dismay.
The other men look down into the long valley on the far side
with equally grim expressions.
ETHAN
Call that young fool back!
Jorgensen doesn't even seem to hear him. Angrily Ethan whips
out revolver and fires into the air. Then he swings his arm
in a come-back gesture. He rides out ahead then a short
distance and dismounts... and slowly the others follow.
We see now, the bodies of a few bulls stiffening in the sun.
Ethan goes to the nearest one. A feathered lance is driven
into it. He pulls the lance out. Mose comes over beside him.
ETHAN
(angrily)
Caddo or Kiowa, huh?... Ain't but
one tribe uses a lance like that!
He hands the lance to Mose.
MOSE
(almost a whisper)
Ay-he... Comanch!
Brad rides in -- shrill with anger.
BRAD
Killed every one -- an' not for food
either... Why'd they do a thing like
that?
ETHAN
Stealing the cattle was just to pull
us out... This here's a murder raid...
(facing Jorgensen)
It shapes up to scald out either
your place... or my brother's.
Jorgensen wilts and casts an anguished look back over the
miles they have ridden.
JORGENSEN
Mama!... Oh please... please no...
BRAD!
And with that one word, Jorgensen calls upon his son to follow
and they take off... fast. Ed Nesby and Charlie MacCorry
follow. Sam Clayton pauses.
CLAYTON
Jorgensen's place is closest... If
they're not there, we'll come straight
on!
Then he too rides. Martin swings his horse back to where
Ethan and Mose still are standing.
MARTIN
Well, come on!
ETHAN
Easy!
(he starts toward his
horse)
It's forty miles, sonny... Horses
can do with some grain and a little
rest.
MOSE
Comanch generally hits at moonrise.
MARTIN
Moonrise!... It'll be midnight
before... I ain't waitin'...!
He wheels his horse and goes tearing to catch up with the
others. Ethan shrugs and stoically takes grain bag to feed
his horse. Mose does the same.
MOSE
Wisht it was Caddoes... or Kiowas...
(shakes his head)
Comanche...
Ethan just gives him an angry look and then ruthlessly begins
discarding every bit of unnecessary equipment from his saddle.
WIPE TO:
EXT. THE EDWARDS RANCH - WIDE ANGLE - SUNDOWN
Nothing moves. Nothing could be more tranquil. The shadows
are long. A thin wisp of smoke rises from the chimney. And
then Debbie's little dog trots around the side of the house
out into the yard.
EXT. EDWARDS YARD - CLOSE SHOT - THE DOG - SUNDOWN
He comes to a standstill and his nose is working. He begins
to make excited little sounds deep in his belly.
Then he lies down, muzzle between his paws, watching,
listening.
INT. THE EDWARDS HOUSE - FULL SHOT - ANGLING TOWARD
THE DOOR
Debbie sits on the floor, playing with a little rag doll.
The slanting blaze of the setting sun makes a brilliant area
of light in which she is sitting. Beyond her, on the porch
steps, Ben is squatting, whittling a piece of pine into a
slingshot frame. We hear Martha and Lucy busy with the dishes.
Aaron comes from behind CAMERA and stands in the doorway,
absently rapping out his pipe. Near the doorway, on a wooden
peg, hangs his gun, belt. He puts the pipe in his pocket and
glances down at Deborah, intent on her play. He looks swiftly
at where the women are busy - then stealthily eases the gun
from its holster and slides it under his shirt. He hasn't
made a sound and is sure he's got away with it.
He clears his throat noisily and reaches for a light shotgun
pegged above the door.
AARON
Think I'll see if I can pick off a
sage-hen or two, Martha...
INT. THE EDWARDS HOUSE - MED. CLOSE SHOT - MARTHA AND LUCY
busy at the wooden sink. Martha doesn't turn.
MARTHA
You do that, Aaron...
AARON
(still pleased with
himself)
Won't go far...
He steps out. Only then does Martha turn -- and her
EYES GO AT ONCE TO:
INT. THE EDWARDS HOUSE - ANGLING TO DOOR
and FRAMING the empty holster, as Aaron pauses on the porch.
LUCY'S VOICE
My, the days are getting shorter!
INT. EDWARDS HOUSE - CLOSE SHOT - MARTHA AND LUCY
as Lucy heads for the lamp.
MARTHA
(sharply)
Lucy!... We don't need the lamp yet...
Lucy frowns at her mother.
MARTHA
(easily)
Let's enjoy the dusk a while.
EXT. THE EDWARDS HOUSE - MED. CLOSE SHOT - AARON AND BEN -
ON PORCH
Aaron is slowly scanning the terrain.
AARON
(to Ben)
Mind you sweep up them shavin's.
BEN
Yes, Pa...
(undertone -- man to
man)
An' if you see any sage-hens, I'm
ready.
Aaron stares as the boy shifts a fold of blanket, or whatever,
by his side -- to disclose Ethan's cavalry sabre. Aaron smiles
and rubs the youngster's head, then sets out across the yard.
EXT. THE EDWARDS YARD - FULL SHOT - MOVING
Debbie's dog rises at Aaron's approach and joins his master
as they set out across the plain.
EXT. OPEN COUNTRY NEAR EDWARDS HOME - MED. CLOSE SHOT -
AARON
He is walking through the scrub and brush grass, every sense
alive and straining. He pauses every three or four strides --
casting each quadrant in turn. Once he whips, gun ready, as
a sage-hen or quail whirrs up not far from him. He smiles
grimly as he watches it fly away. He keeps on.
EXT. THE EDWARDS HOUSE - MED. CLOSE SHOT - AT PORCH
Martha comes to stand in the doorway. Ben doesn't look at
her. His eyes -- like hers -- are fixed on the figure of the
man.
BEN
(quietly)
It's all right, ma... I been
watchin'... Only I wish...
MARTHA
(quietly)
What, Ben?
BEN
I wish Uncle Ethan was here. Don't
you, ma?
She doesn't answer. Lucy comes to the door.
LUCY
Mother, I can't see what I'm doing!...
MARTHA
NOT YET, LUCY!...
EXT. RISING GROUND - WIDE ANGLE - PAST AARON
He stands on the near slope of a rise and then gradually
moves toward its summit, so that only head will be
silhouetted. He drops to one knee, half-leaning against the
slope and slowly looks out... The CAMERA PANS very slowly,
following his careful sweep of the terrain.
The scene is entirely peaceful.
EXT. RISING GROUND - CLOSE SHOT - AARON
with narrowed eyes slowly scanning the ground. Suddenly the
head whips right. We hear a bird's sharp call.
EXT. OPEN COUNTRY - SKYWARD SHOT - A SMALL BIRD
It is taking flight, sweeping away in erratic arcs.
EXT. RISING GROUND - CLOSE SHOT ON AARON
He squints closely at the ground from which the bird had
flown. Then slowly his eyes range toward the left.
EXT. RISING GROUND - WIDE ANGLE - PAST AARON
Across the meadow, a shadow seems to touch the grass and at
once a covey of quail takes off, whirring loud. Aaron waits
no longer, but slides down the slope and starts running at a
crouch for the house, stopping every so often to look
backward.
EXT. THE EDWARDS HOUSE - MED. CLOSE SHOT - MARTHA AND BEN -
SUNSET
NOTE TO W. HOCH: What J.F. has in mind for this and the
following scenes is the same kind of dramatic use of red you
achieved in "Yellow Ribbon" in the scene telling of Custer's
defeat.
They are standing in the ruddy glare of the sunset and Ben
has Ethan's sabre in his hand. We hear Aaron coming at a
run, breathing hard. Ben takes a step as though to go to
him, but Martha's hand at once is on his shoulder. Aaron
gains the porch.
AARON
In the house, boy... and...
He puts finger to his lips, sign for Ben to say nothing.
Ben nods and goes inside. Aaron and Martha face each other,
the question large on her face. Slowly he nods the
confirmation of her fears, then gently propels her ahead of
him through the door.
INT. THE EDWARDS HOUSE - FULL SHOT - SUNSET
The room is deeply shadowed except where the dull crimson of
the sun through door and windows slashes the blackness.
Ben is waiting and Martha turns toward Aaron as he pulls the
door shut, bars it and sets the shotgun down. He takes the
revolver from his waist and Martha holds it as he reaches
for his gun belt.
AARON
Ben, close the shutters.
Buckling on his gun belt, he moves toward the middle of the
room, looking around him, taking inventory of his resources.
Lucy slowly approaches, biting a knuckle, eyes wide with
fright.
LUCY
Pa?
One shutter closes and the bar of light they were standing
in goes out. Martha, Aaron and Lucy are dark silhouettes now
against the red beam from another window.
MARTHA
(sudden fear)
Where's Deborah?...
(calling it)
DEBORAH!
Debbie emerges from a shadowed corner into a beam of light.
She is clutching her rag doll, nibbling a cookie. She holds
it for them to see.
DEBBIE
I only took one, ma... Topsy was
hungry.
Ben closes the shutter. And now the room is almost completely
blacked out, except for the dying light filtering through
the rifle ports of the closed shutters.
WIPE TO:
EXT. OPEN COUNTRY - WIDE ANGLE SHOT - THE POSSE - DUSK
This should be an expansive view to convey the fact that the
posse has split -- the main group heading for the Jorgensen
place, Martin forking off to race alone for the Edwards ranch.
Coming toward and passing CAMERA is Martin, riding all out.
Several hundred yards away and moving in a divergent direction
are the others -- Brad and Charlie, Sam, Jorgensen and Ed
Nesby. The men are not compactly bunched, but strung out,
each taking his own best course and his own speed... As the
riders pass and the dust of their passing, we see two other
riders -- Ethan and Mose -- minute specks in the distance,
possibly a mile or two behind.
EXT. OPEN COUNTRY - MOVING SHOT - ETHAN AND MOSE - DUSK
(NOTE TO W. HOCH: What we are trying to get here is that
moment of swift transition from twilight to night; of riders
briefly touched with the last colors of day and then, as
they pass, becoming one with blue shadows of night.)
Ethan and Mose are holding their mounts to a jog, in marked
contrast to the all-out pace of the others. The CAMERA PANS
after them as the dark fingers of the night stretch across
the valley. The wind begins to rise and somewhere off in the
hills a coyote pack yaps.
DISSOLVE TO:
INT. EDWARDS - ANGLING PAST AARON AT WINDOW INTO ROOM -
NIGHT
Aaron is little more than a shadowy silhouette as he peers
into the night through a partly-opened shutter. Suddenly the
room leaps alight as Lucy opens an inner door and enters,
holding a lighted lamp. Aaron closes the shutter, spins on
her angrily.
AARON
LUCY!
Martha crosses the room swiftly and blows out the lamp.
In the brief moment the room has been lighted, we see that
Lucy is carrying a dark shawl in one hand; that Ben is
crouched at another window -- rifle ready; and that Deborah
is on her feet -- standing like a child who is being dressed.
LUCY
I'm sorry... I couldn't find the
shawl...
AARON
Hurry, Martha... Moon's fixin' to
rise...
He cautiously swings the shutters open. A pale light filters
into the room. We see Martha wrapping the shawl around
Deborah.
MARTHA
(softly to the child)
We're going to play the sleep-out
game... Remember?... Where you hide
out with grandma?
DEBBIE
Where's she buried?
MARTHA
And you'll go along the ditch --
very quietly -- like a...
(her voice breaks)
DEBBIE
Like a little mouse.
AARON
Now!
He reaches for the child, but he has to wait for Martha's
last embrace.
MARTHA
There!... And you won't come back or
make a sound... no matter what you
hear? Promise!... No matter what?
DEBBIE
I promise... Wait!
AARON
Child, child!
DEBBIE
Can't I have Topsy to keep me company?
AARON
There's no time...
MARTHA
Here she is, baby... Baby...
Aaron takes the child, swings her out the window.
AARON
Down low -- go!
Martha would come to the window to look out, but Aaron bars
her with an arm and draws back to the side of the window to
watch her go... Outside the little dog barks a welcome and
presumably starts to follow the girl. Aaron reacts.
AARON
(hoarse whisper)
Here dog... here!
The dog whines but obeys. Aaron continues watching the child's
course -- unconsciously imitating her every run and twist...
Then he smiles and we may see the brightness in the corners
of his eyes.
AARON
She reached the ditch...
He closes the shutters and turns -- and his arms go around
Martha, weeping soundlessly.
AARON
She'll be all right, mother... she'll
be all right.
EXT. A HILLOCK WITH TWO HEADBOARDS - MED. CLOSE SHOT -
NIGHT
Nothing stirs and we hear nothing. Then, with faintest little
rustle, Debbie comes snaking along the ground into the hollow
between the two graves and lies there face down, pressed
against Topsy. She becomes one with the earth and the
stillness. And then the moonlight strikes the tips of the
scrub growth and as a cloud scuds by, the moonlight reveals
something glittering -- like beads. And the CAMERA from that
ground-level shot
RAISES QUICKLY TO:
CLOSE SHOT - FROM EXTREME LOW ANGLE - SCAR
The Comanche we are later to know as SCAR is painted for war --
tall, savage, mockingly looking down at what we know is the
child's hiding place... And in that instant, from a dozen
quarters and a dozen throats, sounds the wild yammer of the
warwhoop!
DISSOLVE TO:
OMITTED
EXT. RISING GROUND - MED. CLOSE SHOT - MARTIN - MOONLIGHT
He stands beside his spent and fallen horse. Its breathing
is a rasping whistle. Martin tries to haul its head up.
Useless. Breathing hard himself, his face ashen in the
moonlight, Martin looks desperately off in the direction of
the ranch. Then he jerks the rifle from its saddle scabbard --
struggling with it because it is under the horse. He freezes
then -- listening... And we hear the steady beat of two
horsemen approaching. Martin knows who they are and his face
is alive with hope. He gets the rifle free at last and goes
running toward the oncoming riders.
MARTIN
(shouting)
Ethan!... Ethan!
The CAMERA SWINGS with him and we see Ethan and Mose
approaching at the same steady gait.
MARTIN
(waving)
Uncle Ethan... it's me... Martin!
Ethan doesn't slacken, nearly rides him down.
ETHAN
Out of my way!
Martin goes sprawling to his hands and knees. Mose continues
without slowing.
EXT. RISING GROUND - ANOTHER ANGLE - PAST THE RIDERS -
MOONLIGHT
MARTIN
(desperately)
Mose! Wait!...
He goes running, stumbling after the riders -- desperately
calling to them...
MARTIN
Ethan!... Mose!...
And then at the crest of the rising ground, he stops --
We see in the distance the glow of a fire leading from the
barns and the hayricks and the house of Aaron Edwards.
Martin runs down the slope.
EXT. YARD AND APPROACH TO EDWARDS HOUSE - WIDE ANGLE - NIGHT
(NOTE TO W. HOCH: Here again that use of red is suggested.)
The ANGLE is past the porch uprights toward Mose and Ethan
as they ride in. Little tongues of fire are licking the edges
of the uprights. A few arrows, imbedded in the wood, are
burning along their shafts. Beyond are the glowing ashes of
the hayricks and the charred, smouldering rails of the corral.
There are no bodies in evidence... The red glow of the burning
is on the faces of the men as they dismount.
Ethan strides to the porch, knocking away one of the blazing
arrows as he heads to the door. He stops there -- and what
he sees makes the big shoulders droop, the huge frame slump.
Slowly then -- and removing his hat -- he goes in. Mose
shuffles to the edge of the porch and squats there and rocks
back and forth, his face working and crying soundlessly with
senile grief. We hear a splintered door crash from its hinges
within the room and Ethan's muffled voice calling through
the house:
ETHAN (O.S.)
Lucy?... Deborah? Lucy?
He strides back through the main room and out onto the porch
just as Martin comes at a shambling run across the yard.
Ethan takes a few steps out toward him. Martin would pass
him, but Ethan grabs his arm.
ETHAN
(harshly)
You stay out!
Martin tries to fight his arm free.
ETHAN
Nothing for you to see.
MARTIN
Leggo...
Ethan turns him and drives a brutal right to his jaw. Martin
goes down -- out cold. And only now do we understand how
merciful the blow was as Ethan looks compassionately at the
fallen figure.
ETHAN
Don't let him go in there, Mose...
And he takes off at a stumbling run for the hilltop.
EXT. THE HILLOCK WITH THE TWO HEADBOARDS - FULL SHOT - ETHAN
as he nears the graves.
ETHAN
(calling)
Lucy -- Lucy!
He runs in, looking around him. He sees the little dog, dead
on the ground. And then he sees a shadowed something:
The shawl Debbie had worn. It is spread out, almost as though
concealing a body. Fearfully he stoops and pulls it away...
There is nothing there, but the shawl. He drops to his knees,
his head bowed, his face tortured. The moonlight is clear on
the face of the nearer headboard. It is of weathered wood
and the chiselled letters on it read:
HERE LIES
MARY JANE EDWARDS
KILLED BY COMANCHES
MAY 12, 1852
a good WIFE & MOTHER In her 41st year
SLOW DISSOLVE TO:
EXT. THE HILLOCK - FULL SHOT - SLOWLY PANNING - DAWN LIGHT
The funeral is begun. In the foreground are three newly-
made crosses at the head of as many open graves -- which we
need not see. With head bared, Sam Clayton is concluding his
prayer. Near him stand the Jorgensen family: Mrs. Jorgensen,
Lars and LAURIE -- blonde, just beginning to reach her
maturity -- and a stepping-stone of tow-headed children.
CLAYTON
...and to Your keeping we commend
the souls of Aaron... Martha... and
Benjamin Edwards...
Mrs. Jorgensen and Laurie -- impelled by the same feminine
sympathy and interest -- turn to look at Ethan and Martin.
The PANNING CAMERA picks them up...Ethan standing dry-eyed,
looking at the grave of Martha; Martin -- with bruised lip --
looking out across the plain.
Clayton now opens his small, well-worn Bible to a marked
page.
CLAYTON
Man that is born of woman is of few
days and full of trouble...
Ethan looks at him, angrily, impatiently.
CLAYTON
He cometh forth like a...
ETHAN
(harshly)
Amen!... Put an 'amen' to it!
CLAYTON
...like a flower and is cut down...
Amen!
ETHAN ET AL.
Amen!
Ethan turns on his heel and walks -- CAMERA PANNING -- to
where Ed Nesby has been holding the horses. Brad is already
mounting. Mose is there too and Charlie MacCorry. Silhouetted
against the dawn light are the rifles in each man's saddle
scabbard. Clayton is right behind Ethan.
CLAYTON
Charlie--you and Brad ride point!
...Don't get too far ahead...
The young riders spur out.
EXT. NEAR HILLOCK - MED. CLOSE SHOT - ETHAN AND MRS.
JORGENSEN
Ethan is about to mount when Mrs. Jorgensen comes up and
catches his arm.
MRS. JORGENSEN
Ethan...
(he turns impatiently)
Those girls mean as much to me as
though they were my own... Maybe you
don't know my Brad's been sittin' up
with Lucy... and my Laurie's real
fond of Martin...
Ethan glances back at where Martin and Laurie are standing.
ANOTHER ANGLE - FAVORING LAURIE AND MARTIN
The girl is looking at Martin full of compassion, tries to
console him by taking his arm and squeezing it as he stares
blindly at the graves and Jorgensen stolidly beginning the
work of shovelling them full.
EXT. NEAR HILLOCK - ETHAN AND MRS. JORGENSEN AS BEFORE
Ethan looks back at her -- stone-faced.
ETHAN
(impatiently)
I'd be obliged if you'd get to the
point, ma'am.
MRS. JORGENSEN
I am... I am... It's just that I
know Martha'd want you to think of
her boys as well as her girls... And
if the girls are... dead... Ethan,
don't let the boys waste their lives
in vengeance!
Ethan shrugs his arm free and mounts.
MRS. JORGENSEN
Promise me, Ethan!
He ignores her and turns angrily to where Martin is.
ETHAN
(harshly)
Come on, if you're comin'...
He digs spurs and rides out with the others. Martin comes
over, with Laurie a step behind. His face is set, his eyes
almost unseeing.
MRS. JORGENSEN
(a heartbroken murmur)
Oh, Martin... Martin...
MARTIN
We'll find them, Mrs. Jorgensen...
We'll find them...
He swings into his saddle. Laurie impulsively runs to his
side, steps onto the toe of his stirruped boot and pulls
herself up to his level to kiss him hard and full upon the
mouth.
He looks at her dully, as though hardly conscious of it. And
she is back beside her mother. Martin rides away after the
others.
MRS. JORGENSEN
(slowly)
I almost hope they don't find them!
Laurie looks at her mother and understands.
CUT TO:
61-A
EXT. OPEN COUNTRY - THE SEARCHERS - EARLY MORNING LIGHT
The SEARCH THEME begins as we see the riders in turn.
A series of portraits of the men.
CLOSE SHOT - BRAD AND CHARLIE - riding point, they come to a
pause, surveying the terrain ahead. Charlie, with an arm
signal, indicates he will take the left. Brad nods and he
rides out to the right.
THE MAIN BODY OF THE MEN, Clayton passing first, expression
resolute, competent... Then Ed Nesby and old Mose, squinting
at the ground as they ride, all but sniffing like an old
hound dog.
63A
MARTIN - Next to last in file. Finally:
63B
ETHAN - His face a study of relentless purpose.
WIPE TO:
OMITTED.
EXT. OPEN COUNTRY - FULL SHOT - BRAD AND CHARLIE - AFTERNOON
The two men are at a cairn of rocks -- their horses nearby.
In the near distance, Clayton is leading the men of the search
party at a fast clip toward the cairn. Charlie is standing,
Brad tearing the rock cairn apart. In Charlie's hands is a
Comanche head-dress of polished buffalo horn and feathers.
Brad doesn't even look up as the men ride in and dismount,
but continues his grim work of uncovering the buried Indian.
CLAYTON
Another one, eh?
CHARLIE
This 'un come a long way 'fore he
died.
CLAYTON
Well, that's seven we can score up
to your brother, Ethan.
NESBY
I don't like it.
CLAYTON
What don't you like?
NESBY
Injun's on a raid generly hides their
dead so you won't know how many
they've lost... If they don't care
about us knowin', it only spells one
thing... they ain't afraid of us
followin' -- or of us catchin' up
with 'em either.
ETHAN
You can back out any time, Nesby.
NESBY
Didn't say that...
(angrily indicating
Brad)
What's he doin' that for...
CHARLIE
He wants to be sure...
Brad shifts another rock and Looks grimly upon the face (O.S.)
of the dead Comanche. Then he spits at it and stands.
BRAD
(grim)
Let's get along...
ETHAN
(to Brad)
Why don't you finish the job?
With that he strides to the cairn, whipping a knife out. he
crouches over the body (O.S.) concealing what he is doing,
he bends to his bloody task.
Sam Clayton crosses to stand behind him.
CLAYTON
(gravely)
What good does that do?
ETHAN
By what you preach... none!
He stands now and he faces Sam.
ETHAN
But by what the Comanche believe --
now he can't enter the spirit land,
but has got to wander forever between
the winds... because I took his mangy
scalp!
He flings the scalp down and grinds it into the dirt with
his heel... He wipes clean the blade of his knife as he
crosses back to his horse. The men mount (those who have
dismounted) and they ride off.
DISSOLVE TO:
OMITTED
EXT. NIGHT CAMP - RAVINE - CLOSE SHOT - BRAD AND MARTIN
Brad is looking out into the night -- strain and tension in
every line. Beyond them we may see some of the other men --
sitting or sprawled on the ground near a sheltered fire.
BRAD
(a whisper)
If only she's alive... I'll make it
up to her... No matter what's
happened... I'll make her forget...
She's just got to be alive...
Ethan crosses behind them carrying his blanket roll. He looks
at them sourly.
ETHAN
Get some rest!
They move off, heading for their blankets. The CAMERA HOLDS
on Ethan as he rolls up his blanket and turns on his side.
He fishes a miniature out of his pocket and gravely studies
it by the light of the flickering little fire.
70-A
CLOSE SHOT - THE MINIATURE - NIGHT
It is a picture of Martha. The CAMERA PULLS BACK to show
Ethan studying it gravely, then putting it away and lying
back to stare broodingly into the night.
DISSOLVE TO:
EXT. RIDGE TOP - CLOSE SHOT - ETHAN, BRAD, MOSE, SAM -
SUNSET
The four faces are just over the ridge, peering at something
far distant, far below.
MOSE
Could be a buffler...
BRAD
It's horses, I tell ya...
ETHAN
It's them all right...
He starts to squirm down the ridge, the others following.
EXT. HIGH COUNTRY - FULL SHOT - THE SEARCHERS - SUNSET
Ethan's group crosses to where the other men are waiting
with the horses.
ETHAN
They're camped by the river -- 'bout
twenty miles from here. Soon's it
gets dark we'll circle out so's to
jump 'em before daybreak.
CLAYTON
(slowly)
You're right sure you want to jump
'em, Ethan?
Martin and Brad stare at Sam -- not understanding the
question. But Mose knows what he means and studiously looks
into space.
ETHAN
(touch of defiance)
It's what we're here for, ain't it?
CLAYTON
I thought we were trying to get the
girls back -- alive... We jump those
Comanches, they'll kill 'em... You
know that!
BRAD
(bewildered, angry)
But... but what are we doin' then?...
What are we supposed to do?
CLAYTON
What I had in mind was runnin' off
their hoss herd... A Comanche on
foot is more apt to be willin' to
listen...
NESBY
That makes sense to me.
MARTIN
Yeah...
ETHAN
(angrily)
What do you know about it?... What's
a quarter-breed Cherokee know about
the Comanche trick of sleeping with
his best pony tied right beside him...
You got as much chance of stampedin'
their herd as...
CLAYTON
...as you have of findin' those girls
alive by ridin' into 'em... I say
we do it my way, Ethan... and that's
an order!
ETHAN
Yes, sir... But if you're wrong,
Captain Clayton, don't ever give me
another!
They look into each other's eyes a moment, then Sam turns to
mount... and the others follow. Slowly then they start riding
down the slope.
DISSOLVE TO:
EXT. FLAT GROUND, LIKE MARSH COUNTRY - FULL SHOT - THE
SEARCHERS - DAWN MIST EFFECT
(NOTE: It is now planned to shoot this on sound stage.)
Fog and heavy morning mist rise from the swamp. Some cattails
in the near ground. The effect is eerie, very still except
for the trilling of frogs. Then, very quietly, the men emerge
from the mist swirling around them. They are leading their
horses. Sam looks baffled, angry. They stand still, listening --
then slowly continue.
EXT. FLAT GROUND - ANOTHER ANGLE - FULL SHOT - DAWN MIST
(SOUND STAGE)
The mist is thinning. In the f.g. is a small blackened area --
the ashes of a campfire. The men come through the mist --
wary, vigilant. It is Mose who first spots the fire. He runs
to it and drops beside and feels the ashes.
The others come up around him.
MOSE
Ay-he... They was here...
ETHAN
(to Sam)
SURE!... They WERE here... Now they're
out there... an' waitin' to jump
us!...
He looks at Clayton.
ETHAN
You got any more orders, Captain?
CLAYTON
(quietly)
Just keep goin'...
They move on, slowly.
74-A
EXT. FLAT GROUND - FULL SHOT - MOVING (SOUND STAGE)
The mist is thinning as the men warily move along.
Suddenly there is the faint hoot of an owl from behind and
to one side... the men turn slightly, hearing it... A moment
later another owl hoot, from the same side but up ahead.
From the interchange of looks, we must know that the riders
are aware of its significance. Mose cups hand to his mouth
and he hoots in exact imitation of the other calls. Clayton
glares at him.
MOSE
(in soft apology)
Jus' bein' sociable, Cap'n...
Ethan grins wryly. And now the first, faint, ruddy touch of
the sun hits the slowly moving horsemen and begins to burn
through the mist.
74-B
EXT. NEAR RIVER - PANNING SHOT - MORNING
The CAMERA SLOWLY PANS from a sun-touched butte or crag to
the file of men slowly walking their horses. An occasional
shred of mist drifts by. Everything about the little cavalcade
bespeaks tension, watchfulness. Suddenly -- and every man
sees it at the same time -- we see a file of eight Comanches
ride slowly out of a canyon at a distance, walking their
horses at the same pace and on a course roughly parallel
with, but slightly converging on, our group.
CLAYTON
(softly)
Keep goin'...
Brad, who has been looking up ahead, sounds a new warning.
BRAD
(tensely)
Look!
CLAYTON
Easy!
74-C
EXT. CANYON COUNTRY - LONG SHOT - PAST THE SEARCHERS
Another Indian file of eight angles out of a different canyon
and begins to cut in toward the group -- riding slowly, very
quietly. Clayton slightly alters course, veering slightly
away from the converging files, but still riding slowly. And
then, from ahead but at a 100 yards, another Comanche group
seems to rise out of the ground and slowly begins closing
the gap.
ETHAN
(to Clayton)
If you were tryin' to surround 'em,
you sure succeeded.
CLAYTON
How far's the river from here, Mose?
MOSE
I been baptized, Reverend... yes
suh, been baptized, thank ye...
CLAYTON
Well, you better brace yourself for
another one... Ya-HEE!
And with that yell, he drives spurs and cuts sharply at an
angle to the converging Indian files -- and every man is
with him. In the next instant, the Comanches whoop and give
chase.
74-D
EXT. OPEN COUNTRY - FULL SHOT - THE CHASE
with the Ranger group short-cutting in such a way as to
outstrip the Comanche horsemen in a mad dash for the river.
74-E
EXT. THE RIVER'S EDGE - FULL SHOT - THE GROUP
Clayton flings his hand up in a signal to halt as the Rangers
reach the bank. They rein in, wheel their horses and are
reaching for the rifles as the Comanche vanguard races into
view -- to find themselves opposed by seven veterans, sitting
their horses, rifles at their shoulders.
The charge breaks as the seven rifles bark, almost in unison --
and the Indians wheel to shelter.
CLAYTON
YA-HEE!
And once again he spins his mount and takes off, across the
river, followed by the others.
74-F
EXT. THE RIVER - FULL SHOT
As the men pound across.
74-G
EXT. FAR BANK OF RIVER - FULL SHOT - THE GROUP
They dismount and Charlie and Nesby take the horses and run
them to some place of protection as the men group around
Clayton and Ethan. During this:
CLAYTON
(shouting his orders)
This is as good as any... Charlie,
you and Ed take the horses...
Mose runs over and crouches beside Ethan. Beyond Ethan is
Martin, then Brad... Nesby and Charlie will rejoin the group
after an appropriate interval... with all the men shielded
behind river boulders, etc.
EXT. RIVER'S EDGE - ANGLING PAST ETHAN AND MOSE WITH MARTIN
AND BRAD BEYOND
Ethan and Mose are hunkered down behind some rocks, very
casual and business-like as they check rifles, set out and
carefully wipe cartridges.
MOSE
(chattily)
Minds me o' the time Joe Powers an'
me fit us some Kiowas...
Martin is in the throes of buck-fever, wiping mouth with
back of his hand, peering anxiously across the river.
MARTIN
You think they mean to charge us,
Uncle Ethan...?
MOSE
...We found us an ole buffler
wallow...
BRAD
(staring across river)
Criminy!
EXT. RIVER'S EDGE - LONG SHOT - PAST THE GROUP
On the opposite bank, we see the full force of Comanches
riding into sight -- racing their mounts to the edge, then
wheeling off -- jeering, taunting. Brad starts to bring up
his rifle.
ETHAN
Steady, Daniel Boone! You don't want
to miss... It makes them think their
medicine's stronger than yours...
MOSE
Ay-he... That's jest what I tole Joe
Powers... That un's gettin' kinda
sassy, ain't he, Ethan?
One Comanche rides a few yards into the water, brandishing
his rifle, taunting the white men. A moment later he is joined
by a second brave.
ETHAN
(grimly)
Real sassy.
He and Mose slowly bring their rifles to bear -- and then
the two shots crack out almost simultaneously. And within
split seconds both Comanches fall. The others race away.
Sam comes charging over to Ethan and Mose.
CLAYTON
(angrily)
I didn't give any order to fire!
ETHAN
That's all right, Captain... I don't
need any formal invitation to kill a
Comanch...
CLAYTON
(grimly)
You got one now!
And he drops behind a rock as, with a wild whooping, the
Comanche forces swing from their places of hiding and hit
the river. The men open fire, all but Martin, who has frozen,
staring wild-eyed at the oncoming Comanches.
EXT. RIVER'S EDGE - PROFILE SHOT - THE DEFENDERS
Brad, Charlie, Clayton, Nesby are snapping shot after shot.
Only Martin seems out of it. Ethan shoots him a glance.
ETHAN
Slack your shoulders... Slack 'em...
Your hands'll take care of
themselves...
Some of the tension leaves Martin. Somehow his gun is in
position and he is firing as fast and well as the others.
77-A
EXT. THE RIVER - FULL SHOT - INDIAN CHARGE
The Comanches are coming in, crouched low over their ponies'
necks, whooping and firing. Men and horses go down, counted
off by the expert marksmanship of the Texans. But they keep
coming.
77-B
EXT. RIVER'S EDGE - PROFILE SHOT - PAST MARTIN, ETHAN, MOSE
They drop their rifles now and pull out revolvers for close-
range work. One Comanche breaks through from the side, his
buffalo lance ready for the thrust. Ethan whirls and fires.
The Comanche horse charges through the defense line and out
and there is a muffled scream of pain from Ed Nesby.
77-C
EXT. THE RIVER - WIDE ANGLE - THE INDIANS
The charge breaks and Comanches wheel left and right, racing
back across the river. With magnificent horsemanship, one
brave rides to an unhorsed warrior crouched in the shallows
and swings him up behind. Two others, riding together, head
for one of the two dead Comanches Ethan and Mose had downed
on their first shots. Swinging simultaneously from their
saddles, they grab the dead man and carry him off.
77-D
EXT. THE RIVER'S EDGE - ANGLING PAST MOSE AND ETHAN
MOSE
(cackling)
There goes yer scalp, Ethan!...
Ethan snuggles his rifle to his shoulder as two other racing
Comanches prepare to pick up the other dead Indian. Most of
the Comanches have regained the far bank now and are racing
away. The firing from the Texans has stopped.
ETHAN
I still got one out there.
OMITTED
EXT. RIVER'S EDGE - CLOSE SHOT - BEHIND ETHAN
The angle is along his rifle barrel as it beads on one of
the racing Comanches trying to pick up the dead Indian.
Clayton's big hand grasps the rifle barrel.
CLAYTON'S VOICE
(quietly)
No, Ethan.
EXT. RIVER'S EDGE - CLOSE SHOT - THE TWO
Ethan looks up into Clayton's face.
CLAYTON
Let them bury their dead...
Ethan pulls the gun free and looks out across the river.
EXT. THE RIVER - LONG SHOT - PAST THEM
The Comanches have done their work, are riding away -- and
over the saddle of one lies the limp form of the dead Indian.
Ethan looks back at Sam.
ETHAN
That tears it, Reverend... From now
on, you keep out...
(mad now -- facing
the others)
All of you!... I don't want you with
me... I don't need you... for what I
got to do!
CHARLIE
(quietly)
No need to shout, mister.
The CAMERA SWINGS to pick up the figure of Nesby outstretched
on the ground, writhing in pain; with Charlie kneeling beside
him. The men cross to stand around the fallen man.
CHARLIE
Reckon we got to go back -- Ed's
shoulder is smashed -- bad!
NESBY
I can make it... just get me on a
horse...
CLAYTON
No good, Ed... And Ethan's right...
This is a job for a company of
Rangers... or it's a job for one or
two men... Right now we're too many...
an' not enough...
BRAD
(facing Ethan)
Only one way you can stop me lookin'
for Lucy, mister... An' that's kill
me...
MARTIN
That's how I feel, Uncle Ethan...
(correcting the slip)
Ethan, sir.
Ethan glares at them, but has to accept it.
ETHAN
All right... but I'm givin' the
orders... You take 'em or we split
up here and now...
MARTIN
(quickly)
Why, sure, Ethan... There's just the
one thing we're after... finding
Deborah and Lucy...
ETHAN
(grimly -- turning
away)
If they're still alive...
He heads away, for his horse. Brad and Martin look at each
other as the full import of Ethan's footnote strikes home.
Then they head for their own horses.
OMITTED
86-A
EXT. THE RIVER - FULL SHOT
Ethan, Martin, and Brad mount. Clayton crosses to them.
CLAYTON
You boys got enough shells?
They nod.
MARTIN
Yeah...
CLAYTON
Vaya con dios.
The three re-enter the river and slowly start across, with
Clayton gravely looking after them. The three riders continue
across the river... and the Search Theme resumes.
DISSOLVE TO:
EXT. WIDE ANGLE - DESERT COUNTRY - BLAZING NOON
A region of buttes and giant rock formations; treeless, arid
and seemingly reaching out to infinity. Far off we see a
cloud of dust -- miles and miles off. Only the dust, nothing
else. From behind CAMERA ride the three men -- Ethan, Brad,
and Martin -- dust-powdered, eyes bloodshot. The three are
watching that distant cloud of dust. They force their weary
horses onward.
WIPE TO:
EXT. DESERT COUNTRY - WIDE ANGLE - LATE AFTERNOON
The ANGLE is past some spectacular butte or citadel of rock
into another long reach of valley -- different from the first
view of it, yet alike in its suggestion of endlessness.
But now there is no cloud of dust far away -- nothing to
suggest the passage of anything but time itself.
Ethan, Martin, and Brad ride into the fringe of the butte's
shadow and scan the terrain ahead.
BRAD
(shrill)
They got to stop sometime... if
they're human at all, they got to
stop!
ETHAN
Naw... a human man rides a horse
till it dies... then he goes on
afoot... A Comanche comes along...
gets that horse up... and rides it
twenty more miles... Then he eats
it.
Ethan turns to catch Martin thirstily drinking from his
canteen.
ETHAN
(angrily)
Easy on that!
MARTIN
Sorry... We don't even know if Debbie
'n Lucy are with this bunch... Maybe
they split up...
ETHAN
They're with 'em -- if they're still
alive.
Brad wheels on him.
BRAD
You've said that enough!... Maybe
Lucy's dead... maybe they're both
dead... but if I hear it from you
again, I'll fight ya, Mr. Edwards!
ETHAN
(an aside)
That'll be the day!... Let's ride.
WIPE TO:
OMITTED
89-A
EXT. VALLEY AND CANYON WALL - WIDE ANGLE - THE RIDERS -
LATE AFTERNOON
(NOTE: This is the gap in the rocks near the "Medicine
Country" at Monument.)
The three riders come to where the trail they have been
following forks... the main horseprint track leading ahead,
a lesser track heading for a narrow gap between two buttes.
MARTIN
Four of 'em cut out here... Why?
Ethan thinks he knows why. His face is bleak. But he tries
to be casual.
ETHAN
I'll take a look... You keep after
the others...
He turns his mount toward the gap.
MARTIN
(eagerly)
You want us to fire a shot if...
ETHAN
(disgustedly)
No... nor build bonfires... nor beat
drums neither. I'll meet you on the
far side.
He's still grumbling as he rides off. An abashed Martin rides
ahead along the broad trail with Brad.
(NOTE: Ethan's serape, tied behind his saddle, should be
clearly seen as he rides away -- not pointed up, but visible.)
WIPE TO:
EXT. FAR SIDE OF BUTTE - TWILIGHT
Martin and Brad, riding in a direction opposite to that in
which they had taken off -- indicating their circle route --
haul up momentarily as they spot Ethan, standing beside his
horse, his back to them, some distance along. They turn
slightly off their course and ride out toward him.
EXT. OPEN COUNTRY - NEAR BUTTE - TWILIGHT
Ethan turns, almost startled, as the two youths ride in.
His serape is no longer behind his saddle. Ethan looks at
them blankly for a minute -- as though not really seeing
them.
ETHAN
Oh... it's you.
They both stare at him.
ETHAN
(a vague gesture)
I... uh... here's where they met up
again...
They both can see that.
ETHAN
(pointing)
Trail leads off there...
They look at him and each other -- for these are clearly
unnecessary remarks and doubly surprising coming from Ethan.
BRAD
Why'd they break off?
(no answer)
Was there water in that canyon?
ETHAN
Huh...? No... no water.
MARTIN
You all right, Ethan?
ETHAN
Huh...?
(more like his usual
gruff self)
Sure I'm all right...
He goes to his horse, mounts. Martin is right beside him and
he notes the missing serape.
MARTIN
Say!... What happened to your blanket?
Lose it?
ETHAN
Must've... Anyway, I ain't goin'
back to look for it...
He leads out. Brad rides up beside Martin. Again the two
exchange puzzled looks. Martin shrugs and the three continue
along the broad trace of the Indian ponies into the setting
sun.
DISSOLVE TO:
EXT. NIGHT CAMP - A POCKET IN THE HILLS - TWILIGHT
Ethan crouches over a small fire built into a slit trench so
that barely the glow of the flames can be seen. Beyond him
Martin is leading their unsaddled horses away. The men have
come to the end of another long day. Both men look up as
Brad comes over a hill slope and rides recklessly down the
incline to their camp. His horse is lathered.
BRAD
(shouting it)
I saw her!... I saw Lucy!
Martin runs to his side as Brad slides off his mount.
Ethan moves more slowly.
BRAD
(continuing)
They're camped 'bout two miles over...
I was just swingin' back when I saw
their smoke... I bellied up a ridge
an' they was right below me...
MARTIN
Did you see Debbie?
BRAD
No, but I saw Lucy all right... She
was wearin' that blue dress... an'
she was walkin' along...
ETHAN
(voice flat)
What you saw wasn't Lucy.
BRAD
It was, I tell you!
ETHAN
What you saw was a buck wearin'
Lucy's dress...
(they stare at him)
I found Lucy back there in that
canyon... I wrapped her in my blanket
an' buried her with m'own hands... I
thought it best to keep it from you --
long as I could.
He can't look at Brad or at Martin. Brad can't speak -- and
then finally:
BRAD
Did they...? Was she...?
Ethan wheels on him in shouting fury.
ETHAN
(blazing)
What've I got to do -- draw you a
picture?... Spell it out?... Don't
ever ask me!... Long as you live
don't ever ask me more!
Brad wipes his mouth with the back of his hand. He turns --
walking stiff-legged as though on stilts back to his horse.
He bends his head against the saddle, as though to hide his
grief. Martin turns away from him and walks back to Ethan.
And in that moment, Brad mounts and takes off in the same
direction from which he had ridden in.
MARTIN
(frantically)
BRAD!...
They run for their horses.
CUT TO:
92-A
EXT. ROUGH ROLLING COUNTRY - NIGHT - MOVING - CLOSE SHOT -
BRAD
He comes pounding down a slope, and he takes off his hat and
skims it away. He rips off a neckerchief as though to relieve
the rush of raging blood.
92-B
EXT. THE EDGE OF A RISE - MED. CLOSE SHOT - BRAD - NIGHT
He reaches the crest and reins in. A distant firelight is on
his face. He takes one moment to look down into the Comanche
camp o.s. Then he has his gun out. His eyes are wild, his
face wet with sweat. Then he throws back his head and he
yells -- and with the yell goes charging into the camp.
92-C
EXT. A RIDGE - FULL SHOT - ETHAN AND MARTIN - NIGHT
They rein in -- staring -- as from afar they hear Brad's
yell echoing and bouncing off the canyon walls. There is
nothing they can do. They hear his shouts, then the quick
bark of his .44, and the angry shouts of the Comanche.
92-D
EXT. COMANCHE CAMP - EXTREME CLOSEUP - BRAD - RIDING - NIGHT
His face is red with the reflected light of the fires he is
passing o.s. and his eyes are alight with a crazy, savage
joy. His gun cracks once, then again -- and the hammer clicks
on a spent shell.
92-E
EXT. COMANCHE CAMP - CLOSE SHOT - SCAR - NIGHT
He stands apart, warbow drawn and arrow notched. He releases
it at his running target. We hear its impact and a high gasp
of pain... and then the jubilant, yammering yells of other
Comanches.
92-F
EXT. A RIDGE - FULL ON MARTIN AND ETHAN AS BEFORE - NIGHT
The distant yammering of the Comanches doesn't quite drown
out one stifled scream of pain; we can surmise a scalping
knife was busy in the last instance of Brad's life. Martin
slumps in his saddle. Ethan listens a moment, then turns to
Martin.
ETHAN
Let's just hope he took some with
him...
He turns his horse back the way they had come. Martin stares
at him.
MARTIN
What you goin' to do?
ETHAN
Get some sleep... Tomorrow's another
day...
Slowly, he rides away. Slowly, reluctantly but helpless to
do otherwise, Martin follows.
DISSOLVE TO:
OMITTED
EXT. PLAINS COUNTRY - LOW ANGLE SHOT - DAY
A study of horseprints etched in the soil -- the mark of the
passage of many horses; perhaps an eagle or turkey feather
fallen from a warbonnet. And then we hear and see the approach
of two plodding horses, and the dusty boots of the horsemen --
Ethan and Martin -- following the trail. The Search Theme
resumes and continues over the next three shots, helping us
suggest the passage of time, the change of scene.
EXT. PLAINS COUNTRY - LONG SHOT - ETHAN AND MARTIN - DAY
The two figures are little more than specks in a vastness of
savage country.
WIPE TO:
EXT. MOUNTAIN COUNTRY - LOW ANGLE SHOT - DAY
Again we study the hooves of two horses, fighting their way
up a rocky slope and past a thorn bush on which -- fluttering
in the mountain wind -- is a torn scrap of scarlet cloth
with a bit of beadwork or Indian decoration.
WIPE TO:
OMITTED
EXT. PLAINS COUNTRY - LOW ANGLE SHOT - ETHAN AND MARTIN -
AFTERNOON
It is a portrait study of two faces -- etched by wind and
privation and cold into tragic, fanatic masks.
Martin has aged years in a matter of months. Falling snow
flakes touch their faces and begin to rime their stubbly
beards.
MARTIN
(bitterly)
Say it. We're beat!
ETHAN
(slowly)
No... our turnin' back don't change
anything... not in the long run. If
she's alive, she's safe... for a
while... They'll keep her to raise
as one of their own, 'til she's of
an age to...
He turns his mount.
MARTIN
And you think we got a chance to
find her?
ETHAN
An Injun will chase a thing til he
thinks he's chased it enough... Then
he quits... Same when he runs...
Seems he never learns there's such a
thing as a critter that might just
keep comin' on... So we'll find them
in the end, I promise you that...
We'll find them just as sure as the
turning of the earth.
FADE OUT
OMITTED
FADE IN
EXT. THE JORGENSEN HOUSE AND APPROACH - WIDE ANGLE -
TWILIGHT
The time is spring. It is a year and a half later.
The Jorgensen house is larger than the Edwards place -- of
sod and logs, with a covered breezeway connecting the two
separate buildings of the house: one being the keeping room,
the other the sleeping quarters of the numerous Jorgensen
brood. A meadowlark breaks into his sudden song. A dog or
two come barking around the side of the house as Ethan and
Martin ride slowly from behind CAMERA toward the house. In
that instant a lamp is lighted within the house and Lars
Jorgensen comes to the door.
EXT. THE JORGENSEN HOUSE - FULL SHOT - NEAR DOOR - TWILIGHT
Jorgensen peers at the two men as they ride up - recognizing
them, of course, but ill-prepared for the change in their
appearance and full of unspoken questions.
Bearing a lamp, Mrs. Jorgensen hurries out to stand beside
her husband -- and her face works and tears begin to well in
her eyes. Two tow-headed boys -- 13 or 14 -- come after her.
Jorgensen makes a little signal with one hand, not even
looking at the boys, and they hurry out to take the reins as
Ethan and Martin dismount.
EXT. THE JORGENSEN HOUSE - MED. SHOT - ETHAN AND MARTIN
The passage of time has stamped Martin -- and will continue
during our story more and more to stamp him -- in the image
of Ethan. Now it may show only in the set of his hat or trick
of standing; later it will be in his walk, in his speech (or
paucity of speech). Neither man is sure of his reception.
They are thinking of Brad -- dead because of their search;
and Martin is thinking of Laurie. And then Mrs. Jorgensen is
running across to Martin and has him in her arms as though
he were her son -- saying nothing, just holding him. He stands
frozen a moment and then he returns the embrace. Ethan watches
a moment, then crosses to Jorgensen.
ETHAN
(to Jorgensen)
You got my letter about your son,
Brad?
JORGENSEN
Yah... Just about this time a year
ago...
MRS. JORGENSEN
It came the day before his...
birthday.
JORGENSEN
The Lord giveth--the Lord taketh
away...
Mrs. Jorgensen starts to lead the way inside. Martin hangs
back.
MARTIN
I ain't fit to go indoors, miz
Jorgensen... These clothes is...
Laurie rushes past her mother.
LAURIE
Martie!
She kisses him hard and full on the mouth -- and has no eyes
for anyone else. Mrs. Jorgensen looks on with amusement.
Martin is just bowled over.
MRS. JORGENSEN
(teasing)
And him probably forgettin' all about
you!... Probably can't even call
your name to mind.
MARTIN
(smiling)
Laurie.
And Laurie smiles triumphantly at her mother.
MARTIN
(continuing)
But I fairly forgot just how pretty
you was...
Laurie grabs his hand then and pulls him indoors -- and there
is no further resistance from Martin.
Mrs. Jorgensen and her husband converge then on Ethan -- and
her face is gravely questioning.
MRS. JORGENSEN
The little one?... Debbie?
Ethan shakes his head. She squeezes his arm reassuringly and
they start indoors.
DISSOLVE TO:
INT. THE SPARE BEDROOM OF THE JORGENSEN'S - MED. SHOT -
MARTIN - NIGHT
This is a room off the kitchen end of the keeping room --
and described in the book as the "grandmother room": with
narrow, slit-like windows, a set of single bunk beds, possibly
a fireplace.
Martin is in a deep wooden tub, taking a hot bath, currying
his back with a long-handled brush. Beyond him is the door.
It opens and Martin turns casually -- and at once stops being
casual as Laurie enters and purposefully crosses to a stool
or bench on which his discarded clothing is scattered.
MARTIN
Hey... What you doin'...?
She picks up the shirt, puts it over one arm; she reaches
for his long-handled and ragged underwear, runs a fist through
a hole in its seat, clucks and shreds it into rags. During
this:
MARTIN
(a yelp)
Don't go takin' that stuff...
LAURIE
Ain't worth the mendin'...
She turns and looks at him, matter of fact.
LAURIE
What you gettin' red-in-the-face
for?... I have brothers, haven't I?
MARTIN
Well I ain't one of 'em!
LAURIE
I'm a woman, Martie...
(he tries to say
something but she
goes right on)
We wash and mend your dirty clothes
all our lives... When you're little
we even wash you... How a man can
ever make out to get bashful in front
of a woman I'll never know...
MARTIN
You talk like a feller might just as
leave run around nekkid...
LAURIE
Wouldn't bother me...
(she heads for the
door)
I wouldn't try it in front of pa,
though, was I you...
And she is laughing as she closes the door behind her.
INT. THE KEEPING ROOM OF THE JORGENSEN HOUSE - FULL SHOT
It is a plastered room, everything bright and shiny; a big
wood-burning cookstove, above it a row of shiny copper pots;
the furniture handmade and probably not too much unlike the
good plain Swedish modern of today.
There should be Scandinavian accents in the decor. All told,
a cheerful, warm-smelling room.
Ethan is talking as Laurie enters the room still carrying
Martin's shirt, the rags of his underwear. She will wait,
listening for a break in what Ethan is saying, to try to get
her mother's attention. Jorgensen is sitting in his usual
chair -- with his boots off, puffing his pipe more or less
in tune with what Ethan is talking about. Mrs. Jorgensen is
in her rocker, darning or knitt