Kathie Browne on Bonanza

Bonanza

Before being cast as Adam Cartwright’s fiancé, Laura Dayton, Kathie

Browne had already appeared on BONANZA twice – once as Hoss’s love interest!

Second Season
Episode 54
“Tax Collector”
February 18, 1961

Good-for-nothing Jock Henry, a neighbor of the Cartwrights, finally lets himself be talked into going to work as the local tax collector.  The job goes to Jock’s head when he realizes he has the ultimate authority on how much taxpayers are assessed.

CAST

Eddie Firestone

Kathie Browne                                                 

Russ Conway

Charles Watts

Third Season

Episode 82
“The Tall Stranger”
January 7, 1962

Hoss Cartwright is interested in Margie Owens, the banker’s daughter, but he has a formidable rival on Mark Connor.  Margie, who has a bad case of wonderlust, is captivated by Connor’s stories of his travels.

CAST

Kathie Browne

Sean McClory

Jacqueline Scott

Russell Thorso

********************************************************************

“Ponderosa Bride”

by David Dortort,

Producer, BONANZA

(Exclusive to TV Times, September 11, 1963)

We’ve made some changes on the Ponderosa, and Ben Cartwright and his three sons – Adam, Hoss and Little Joe – are all for them.  We hope the viewer will be as happy. First off, we’ve decided that it might be nice to hear wedding bells on the ranch.  This would enable the show to move in new, fresh directions, and, incidentally, answer the wishes of many of the audience.

So, we’re thinking in terms of Adam getting married. Why Adam?  I was the one responsible for this decision, and I believe that it is Adam who is most ready for marriage for three reasons:

First, he’s the oldest son.  Second, he has a greater maturity than either Little Joe or Hoss.  An adult, true love is the kind I feel that the show needs.  Third, Adam is the leading man type, ready for a mature love story, not the mere flirtation.

We’ve already picked Adam’s bride, and she’s worked in several episodes.  She’s actress Kathie Browne, a rare girl, and so far she’s done an excellent job.

I interviewed Kathie first for the role, and she read extremely well.  Then I listened to readings by six other top actresses.  Kathie stood out among all of them.

Kathie has worked on BONANZA twice in the past.  On one show, she played in a comedy episode.  She was very expert, and I remembered this, for to be good at comedy is most important – it shows an understanding of timing.

The other BONANZA Kathie did was a dramatic tale in which she had a love situation very similar to the one we envision for her.

However, in that one, Adam was not the man involved.

Briefly, the way we see Kathie’s character of Laura Dayton is a true pioneer woman.

Complex woman       

She must be able to convey the strength and courage of the pioneer.  Kathie is all this.

But don’t think this will be the usual love affair.

In this case, the concept of Laura is as a girl with deep psychological problems.  Loving her must not be one of those uncomplicated things that one sees on most series.  Adam must be confronted with the need to help her and, in doing so, finds a deeper love.

This is why she was made a widow with a seven-year-old girl.  The child also has problems.  But in spite of her problems,

Laura Dayton is a character with exceptional warmth and deep human feeling.

The character of Laura will evolve in stages.  One writer will pick up where another left off.  Each time a new writer is doing a show, he or she will have to carefully review what has been done before him.  So far, four writers have worked in succession on presenting the character.  As yet, we have not found the right child for the role of her daughter.

But that’s not the only news from the Ponderosa: We’ve also decided to bring in a brother for Father Ben.  We’ve picked Guy Williams to play the part of Ben’s brother.  We think Guy will fit into the Cartwright family just right.  He’s already played in one Western series – The Mark of Zorro – and he’s a fine actor.  He’ll be the big boy of the family – Guy stands 6 foot, 3 inches.

He’ll be about 15 years younger than Ben, and in appearance, he’ll seem close to Adam’s age.  He’ll be as different from Ben as brothers can be.  He’ll be a seafaring man who’s been most anywhere in the world.  He will not have seen Ben in many years and now comes to the Ponderosa out of a great feeling of loneliness and desire to become part of a family, to sink roots.

He’s a good man, but a troubled man with a great need for help.  He’s a “loner” and because of his confusion and problems, we’ll be able to tell more powerful stories.

We won’t rush Adam into a marriage with Laura.  Their romance will take time.  They’ll discover each other’s strengths and weaknesses naturally, so that when marriage comes, it will be right and real.

(The editors would like to thank Kathy E. for supplying us with this article.)

*******************************************

5th Season                                                                        5th Season
Episode 144                                                                      Episode 153
December 8, 1963                                                         February 9, 1964
Adam is attracted to pretty Laura                         A stranger tells Laura Dayton that she will
Dayton, a recently widowed mother                    receive a large sum from her late husband’s
who won’t tell her daughter that her                    insurance.
father is dead.
Kathie Browne                                                                Kathie Browne
Katie Sweet                                                                      Katie Sweet
Jacqueline Lougherty                                                  Peter Breck
Wayde Preston
Bill Quinn

Episode 166                                                                     Episode 167
“The Pressure Game”                                                “Triangle”
May 10, 1964                                                                   May 17, 1964
Adam’s romance with widow Laura                      Will Cartwright finds himself falling in
Dayton has reached the serious                              love with widow Laura Dayton, Adam’s
stage, and Laura’s Aunt Lil thinks                         fiancée.
that Adam should hurry up and
propose.
Kathie Browne                                                               Kathie Browne
Joan Blondell                                                                   Guy Williams
Katie Sweet                                                                       Katie Sweet
Guy Williams                                                                  Grandon Rhodes
Robert Karnes
Charles Bateman

“KATHIE and the Bonanza Four”

by Rose Perlberg

 

A lucky girl is Kathie Browne, whose job includes being spoiled by the Cartwrights of TV fame.

 Kathie Browne has to get up at 4:30 in the morning and words until 7:30 or 8:00 p.m.  She often doesn’t have time to go on a date for weeks at a stretch.  But she still wouldn’t trade places with any other girl she knows.  The reason is, quite possibly, because a big part of Miss Browne’s job includes being spoiled by four of the most popular men in Hollywood!

She is the lucky lass who was chosen last spring out of 700 eager aspirants to invade the heretofore strictly male domain of “Bonanza’s” Ponderosa.  According to the master plan devised by brains behind (one of) TV’s favorite Westerns, she is destined eventually to topple ol’ Pernell Roberts right off his high horse and down on one knee, a-beggin’ for her hand in marriage. But they’re not galloping Pernell to the alter.  “Bonanza” has been, for too long, the only Western where the girl rides off into the sunset and it may take fans a little while to get used to the idea of some permanent feminine finery around the Cartwright quarters.  Kathie’s courtship will be a slow one, and naturally, the whole Cartwright clan is going to have a hand in it.  Which is just A-Okay with Kathie.  She can’t think of anything more delightful.

The prospect is, no doubt, equally attractive to the heroes involved.  Kathie is a soft-voiced blonde with deep, sea-green eyes and a smile like a shy sun.  She is the type who naturally inspires and red-blooded male’s protective instincts – and the Bonanza brood has responded true to form.  Miss Browne, in turn, is a young lady who fully appreciates such chivalry.

One day early last fall, Kathie met me for coffee and described some of her feelings about her co-workers.

“When I first found out last spring that I’d gotten the part,” she said, “I was a little leery.  I mean, I was plugging headfirst into a situation that could be a bit sticky.  The show had already been completely accepted without a steady girl character.  The personalities of the Cartwrights had long since been established – they’d clashed and resolved and the smoke had drifted away and everything was comfortable and settled.  Then I am injected and I have to be able to prove that I can fit in, too.

“I’ll admit I was nervous,” she said candidly.  “But from the very beginning, everyone made me feel so much at home that I just sailed right into it.  They could have made it tough for me, you know.  After all, I was in a position to steal a little of their thunder, and a sense of competition is part of any actor’s make-up.

But I never once felt it with any of the boys.  They’re kind and thoughtful and such perfect gentlemen.  Each of them, in his special way, is so masculine that I feel utterly feminine around them, if you know what I mean.

“What has impressed me most is that, while they make such a perfect team on the show, each of them is very much an individual.”

“Take Pernell.  There’s been an awful lot written about how difficult and rebellious he’s supposed to be.  Well, that’s ridiculous!  Pernell is anything but hard to work with.

“When they signed me for the part, Pernell and I met with the producers of the show and he couldn’t have been more eager to cooperate.  He was already in the office when I got there – and I’m never late.  They explained what they had in mind for us and he listened very intently, nodding like he was making mental notes.  When they finished, he was all business.  ‘Well, now’ he said briskly, ‘I think that Kathie and I should get together and discuss this first script.’  Which is exactly what we did.

“I discovered immediately that Pernell is extremely serious about his work; he’s a real perfectionist.  We hashed over that script for hours, down to the smallest nuance.  He’s the same on the set.  He’s very analytical:  everything is always well planned.  He knows his lines perfectly and he’s very patient about re-doing scenes if something goes wrong.  I’ve never seen him lose his temper.

“I’ve heard that he doesn’t like the show and he’s itching to leave, but let’s face it, most actors on a series say that at one time or another.  It’s a quirk with people in our business: they scream for security, but the minute they have it, they insist they’re being misused.  Of course, while they’re hollering, they’re still there, and, really, they have no intention of quitting.  Look,” she added with a bemused shrug, “if Pernell really wanted out that much, he could just take a walk – right?”

She punctuated it with a decisive nod that closed the subject and continued with a few more revelations about the enigmatic Mr. Roberts.

“This may surprise you, but Pernell has a wonderful sense of humor.  It’s not the explosive type like Dan Blocker’s but more of a dry sort of wit.  Pernell has a very quick mind and he’s always tossing off a flip comment, the kind that hits you only after a few seconds, then breaks you up.

“Another thing, he’s quite a musician.  He keeps his guitar on the set and, between scenes, he goes off to his dressing room or to a quiet corner of the set and plays and sings.  He has a very nice voice and a lot of talent.  If he wasn’t so set on being a serious actor, he could be an excellent singer.

“He’s basically a serious, intelligent person.  We’ve had some long discussions – which usually start with a script and then branch off into other topics.  Pernell is very versed on just about anything, from show business to sports.  He’s also very outdoorsy.  He adores camping trips, for example.  He often rides his bicycle to the studio and he keeps himself in wonderful physical shape.

“He feels very strongly about keeping his personal life private – which probably inspires much of the criticism about him.  For instance, he wouldn’t be sitting here talking to you, as I am.  He doesn’t discuss his home life with anybody.  You just get the impression that he’s very happy at home and that’s all.

“Otherwise, he’s quite cooperative about publicity.  He once spent a whole free afternoon riding me around the studio on the handlebars of his bike so they could get some pictures.  He volunteered to do it and he was in a marvelous mood – laughing and carrying on and doing everything they asked him to.”

“Dan Blocker is the opposite in temperament.  If you see a crowd and hear a lot of loud laughter, you immediately know that Dan’s at the center of it!”  She shook her head, grinning.  “This man is unbelievable.  He has the most marvelous gift for telling stories and the wildest sense of humor since they invented it.  I think that Dan could make a trip to a supermarket sound like a Great Adventure!

“None of his gregariousness is put on:  Dan is a complete extrovert.  The bigger the audience, the better he performs – I mean off-stage.  One of his biggest delights is faking fights with Mike (Landon).  Dan, as you know, is a huge man, while Mike is no puny weakling, he still looks little next to Dan.  They usually start it by Dan striding up to Mike with a ferocious look on his face and growling something.  Mike snaps back at him like he’s really bugged, and Dan glowers some more and raises his hand in a threatening gesture.

“Mike challenges him and Dan takes a poke at Mike.  Mike returns it and they go at each other fiercely.  The tourists – and believe me, the set is always jammed – don’t know what to think.  They just stand there and stare!

“If it doesn’t break up with the director yelling for both of them to get on stage, Mike hollers ‘Uncle,’ and Dan reluctantly lets him go, and turns on one of the ladies and, with a charming smile, makes up a fantastic story about how the whole ‘argument’ began.

The tourists love it. “from the way he carries on,” Kathie said, suppressing a few reminiscent giggles, “you’d think Dan was just a big, overgrown kid out for laughter.  That’s what I thought at first.

But he has a very serious side.  Dan is an excellent actor.  He works hard and he has a good business mind.  I doubt if there are many people who could pull anything shabby on him.

“Mike is a sharp guy, that way, too. 

He likes to kid around and all, but when it comes to dollars and cents, he knows what’s going on.  He and Dan and Loren have some pretty big business deals working.

“Mike is probably the sweetest, most gentle man I’ve ever met.  He adores children.  If there’s a kid on the set, you can count on Mike to make a special point of going over and making friends.  The kids immediately dig him, and, of course, the mothers are completely captivated.  It’s no politician’s bit – Mike’s for real.

You can’t talk to him for five minutes without him fishing out the pictures of his own kids – Mark, Josh, Jason and baby Leslie.

“He’s the typical proud father:  he’ll chew you ear off for hours about how great those kids are.  when he says that his family comes first, he means it.  I’ve never met his wife, Lynn, but from the way he talks about her, she must be quite a gal.”

Kathie broke off, her eyes shining.  After a few seconds, she continued again, her tone casual and the subject was Loren Greene.

He’s on a slightly different plateau than the other boys.  He’s older, of course, and he appears to be more sophisticated.  I don’t mean stuffy,” she added with a quick little frown, “because he certainly isn’t.  But he does have a certain air of…” she gestured gropingly, “of the matinee idol, the grand actor, which I, personally, find delightful.  Loren kids around with Dan and Mike, but it’s more like a gracious joining in.

“He’s the type of person whom I always visualize as sitting by a fireplace in a velvet smoking jacket, reading a book and puffing on a pipe, although I don’t know if he actually does.  I could also see him sitting around the dinner table with a small group of politicians and writers and carrying on intellectual conversations.  He’s a very warm, friendly person – but he’s hard to get to know.”

Kathie was born in San Luis Obispo, Calif., a small town north of Los Angeles on Sept. 19 of a year she steadfastly refuses to divulge.  On “Bonanza,” she plays a girl in her early twenties and she doesn’t look much older.  She’s an only child.  Her parents, May and Joe Browne were divorced.  When, she won’t say, but we gathered it was sometime during her early teen years.

She grew up “pretty much of a loner.  I was in and out of a number of schools none of which I was interested in.  I didn’t understand the children or the teachers.  I never felt like I belonged.  It was probably my fault in a way, because I never made any special effort to try and fit in.  I just kind of kept to myself.  I guess I still do.  I read a lot and I enjoyed writing.  I still do that, too.  I devour novels and biographies and I write little sketches of impressions, usually in free verse.  I also keep a collection of notes that one day I might turn into a novel.”

Her main source of pleasure was going to the movies.  She can’t remember when she didn’t have a crush on Cary Grant or when Katherine Hepburn wasn’t her idol.  “I used to spend all day Saturday and Sunday at the movies.  I literally lived in a celluloid dream world.  It was a marvelous escape.”

She made her own show business debut at six in a school play.  “I was a fairy,” she laughs, “and I was scared to death!  I didn’t act again until high school.”  But the bug stayed, and when she graduated from San Luis Obispo High, she moved to Los Angeles, stayed with an aunt and dove into little theatre work.

A TV director and some casting agents saw her in the lead of “Cat on a Hot Tin Roof,” auditions followed and Kathie was soon playing top roles on major TV shows like GUNSMOKE, “Have Gun, Will Travel,” and “Bonanza.”  She made her first appearance with the Cartwrights two years ago and became the only girl invited back a second time.  “We got along great,” she says modestly, “and they seemed to like my work.”

By then everyone in the business seemed to like her work.  She was doing a TV show a week until the spring of 1962 when she took a break to make her first movie, “The Brass Bottle,” with Tony Randall.  That fall she took another TV sabbatical, to accept a trip to Europe as a guest of honor at a foreign film festival.

She briefly toured Europe and the Middle East and by the time she got back to Hollywood, the TV offers were stacked high. When the “Bonanza” bosses corralled her last May to dangle the plum part of Laura in front of her, she floored them by seriously hesitating.

They finally made the offer irresistible with a deal generous enough to cause mutiny on any lot: she had a one-year contract with complete freedom to do any other TV show or movie!

Her main extravagance is clothes.  She has a custom-made wardrobe along simple, straight Chanel lines and on Saturdays she “suffers through endless hours of fittings.  But it’s worth it, because I do so enjoy clothes.  I’m a bug about how people dress.  I judge a person’s appearance on the same aesthetic place as I would a house.  Wearing things that don’t match is like putting clashing periods of furniture in the same room.”

Saturday is the one night in the week she goes out.  “I have a lot of boy friends but only one or two men I date,” she says careful to make the distinction. “Most of the men I meet are connected with some phase show business, but I’m not attracted to any particular type.  I look for a sense of humor in a man, and most importantly, someone who has something interesting to say about things other than show business.”

Somewhere in the not-too-distant past she was married briefly and divorced.  It is a subject which she adamantly refuses to discuss.  “Let’s just say,” she tightly insists, “that I was married once… very unhappily… and that now I’m single again and that’s the end of it!”

As for her current romantic plans, she shrugs.  “I don’t have any particularly strong feelings one way or the other.  I’m not dying to get married, or trying hard to avoid it.  I imagine that I shall eventually get married.  I do like children and I think I could be a good mother.  I think I’d be interested enough in them to be able to giver and care.  That’s very important, you know.”

Would she have time, with her kind of  schedule?  She doesn’t hesitate.  “I would definitely give up my career,” she says decisively.  “I don’t believe that two careers in a family can work.”  She breaks off abruptly and there is a pensive pause.  “Of course, that’s something I don’t have to worry about now,” she adds.

At the moment, Kathie is a full-time career woman.  She’s up before the sun, gets in her little black Peugeot and is at the studio by 6 a.m. for two hours of hairdressing and make-up before the cameras roll.  Filming from 8 a.m. until 12 or 12:30, when she gets a one-hour lunch break which shrinks considerably by the time she crawls out of the corsets and petticoats of the period costume.  “I have to get out of those lacings,” she says wryly, “or I wouldn’t have room for lunch!”  She admits she has the “appetite of a large horse,” but nervous energy and “a lot of running around” keep her five-foot-five figure a trim 110 pounds.

She finishes at the studio ” hopefully at seven or eight, and then I dash home and try and answer 20 phone calls in 15 minutes and grab something to eat that goes down easy, like Metrecal, so I have time to go over the next day’s script before I have to go to bed.

Four-thirty in the morning comes awfully early!”  She functions best on eight hours of sleep, but during the working week rarely gets more than six.

Sundays are her “one day to myself.  I treasure them avariciously.”  Once a month she joins a group for a day of deep-sea fishing, her favorite sport.  The others are spent catching up on sleep, correspondence and reading books and fan mail.  She gets about 100 letters a week, answers all of them personally.  Her favorite to date came from an 11-year old boy who had apparently read an article in which she said she didn’t like horses or riding.  He indignantly wrote, “Dear Horse-Hater:  If you hate horses, I hate you.  You won’t be happy on the Ponderosa.  Go back to the City.  (Signed) A Horse Lover.”

Kathie claims that she actually told the author of the story, “I don’t like to ride because I’m afraid of horses and they always know it!” but she didn’t mind the misquote and the letter it drew because “it taught me an important lesson:  your fans do read what’s written about you.  Since then, I’ve been very careful about how I phrase things.”

Sunday, and any other day that she has a few minutes, is introspection time for Kathie.  She studies herself in the same intently analytical way that she tackles a script and she is brutally honest.

“My biggest problem is still letting go.  I’m a very emotional person, but I keep everything inside; I don’t have any outlets, like kicking the cat!  You extend this further and it becomes my struggle to extend myself with other people.  I’m gradually overcoming this, I think.  I’m still very shy when it comes to meeting someone, but all the personal appearance tours I have to do are helping.

“I’ve also found in the last year that I enjoy being with people much more than I ever thought I could.  On the “Bonanza” set, I feel almost like one of the family.  When I go back for a second or a third time on another show, it’s like old home week – everyone from the crew to the cast makes me feel I really belong.  That’s something I’ve missed up to this point.

“I’m beginning to find people, in general, fascinating.  Which is great, because I find out about other people. what I have to learn, more than anything, is how to really be natural and be myself around people.  It’s hard because I’m not quite sure of what I really am.  I don’t understand myself, really; I suspect I shall spend my whole life trying to understand myself… but that’s the way it probably should be.

“There’s only one thing I do regret,” she softly reflects.  “I wish that, somehow, I could have speeded up my life, not wasted so much time getting to where I am now – because now I’m just beginning to realize what it is to be a whole, full, wonderful person.  I think that now, for the first time in my life, I can truly say I know how it feels to be happy.

****************************************************

(The editors would like to thank Kathy E. again, for sharing this article from her collection.)

The following is the complete

script for “The Pressure Game,” including revision dates.

Additionally, the original, unfilmed ending to the script, revealing that Adam and Laura have married and are leaving on their honeymoon, follows the text.

BONANZA

“The Pressure Game”

Written by Don Tait

Prod. No. B-226

(also registered as #31531)

September 19. 1963

FADE IN:

EXT. VIRGINIA CITY – DAY

It is an extremely hot day and few people are out in the blazing sun.  Some men are draping a flag out in front of one of the stores in honor of the pending Fourth of July celebration.

EXT. GENERAL STORE – PEGGY

DAYTON

She is standing near the entrance studying a crude poster which reads:  ANNUAL INDEPENDENCE DAY PICNIC – JULY 4TH – DONNEVAN FLATS – FIREWORKS – SPEECHES – STAY ALL DAY.  ADMISSION ONE DOLLAR, KIDS FIFTY CENTS – ALL PROCEEDS GO TO MINER’ WIDOW FUND.  ANGLE WIDENS as LAURA DAYTON followed by ADAM and the STOREKEEPER emerge from the store.  Both Adam and the Storekeeper are carrying parcels.  CAMERA PANS them across the boardwalk to the waiting wagon.  Peggy falls into step with them as CAMERA PANS the group to the waiting wagon.  Over this:

PEGGY

Mommy, can we go to the picnic?

LAURA

(stalling)

We’ll see.

Adam and the Storekeeper start

loading the goods into the back of the wagon.  Peggy gets into the back of the wagon, but keeps at her mother.

PEGGY

Please, Mommy.  Billy Hammermill is going.

LAURA

(a little impatient)

We’ll see, Peggy.  Now get up in the wagon, we have a long way to go.

Peggy obeys, but is crestfallen by this stall.  Adam winks at her.

ADAM

If you’ll be my partner in the sack race, I’ll take you — and your mother, too.

PEGGY

(so grateful)

Oh, will you?  Will you, really, Adam?

ADAM

A promise.

ANGLE

Laura climbs up into the wagon with Adam’s help.

LAURA

(to Storekeeper)

Will you put that on my account, Mr. Evers?

Mr. Evers nods.  Adam mounts the wagon and is unwrapping the reins when two middle-aged BIDDIES with parasols enter the scene and stop.  Adam touches his hat, but he is not anxious to get in conversation with these two.

ADAM

(a greeting)

Ladies.

1ST LADY

Afternoon, Mrs. Dayton, Mr. Cartwright.

2ND LADY

Thought we’d be hearing an announcement from you two before this.

TWO SHOT – ADAM AND LAURA

Laura is embarrassed.  Adam parries the remark with an announcement about the weather.

ADAM

Hottest summer on record, but that’s not official – just what they’re saying.

He touches his hat again and flicks the reins.  ANGLE WIDENS as the wagon starts off down the street.

CLOSE TWO SHOT – THE LADIES

1ST LADY

They’re not fooling me any.  There goes the next Mrs. Cartwright.

2ND LADY

I should hope so!  That young man has certainly been monopolizing all her time since her husband died.

1ST LADY

I wonder which one is doing all the hesitating.

2ND LADY

It’s probably the man, my dear — as usual!

                                                   

FADE OUT.

COMMERCIAL INSERT

                                                     

ACT ONE

FADE IN:

EXT. OPEN COUNTRY – DAY – LONG

SHOT – WAGON

moving along road in open country.

CLOSE SHOT – WAGON (PROCESS)

Adam and Laura as we last saw them, but Peggy cannot be seen.  Adam looks at the lack of the wagon.

ANGLE – PEGGY

She is asleep in the back of the wagon, her head pillowed by some of the supplies.

ADAM

Looks like I’m going to have an extra bundle to carry in.

LAURA

Thank you, Adam — (beat) Though I suppose you shouldn’t come in at all.

Laura avoids Adam’s look.

ADAM

I know — A woman in your position — is very vulnerable to gossip….especially if she’s seen keeping company with one man too long.

LAURA

I’m afraid it’s something we both have to think about – not to please those silly gossips, but to decide these things for ourselves —

ADAM

(a smile)

I assure you my intentions are strictly honorable, Ma’am.

LAURA

(laugh)

So are mine.

Adam reacts to something he sees ahead.

ADAM

There’s someone in your house.

POV – LAURA’S HOUSE

A thin trail of smoke comes out of the chimney.

BACK TO SCENE

Laura looks off, concern showing on her face.

ANGLE

The wagon pulls to a halt in front of the house.  Adam starts to climb down, his eyes studying the house.

ADAM (continuing)

Stay here.

CAMERA PANS him past the wagon and towards the house.

ANGLE – THE HOUSE

The door swings open and the figure of a woman is silhouetted in the door frame.

LIL

(calling)

Don’t shoot unless you want to lose your favorite Aunt.

ANGLE – THE WAGON

Laura reacts strongly to the sound of this woman’s voice.

LAURA

Aunt Lil!

She jumps down from the wagon and CAMERA PANS her past Adam and into the arms of Lil, who has moved forward to meet her.

ANGLE – LAURA AND LIL

They embrace enthusiastically, ad libbing greetings choked with emotion.

LAURA

What a wonderful surprise!

WIDER ANGLE

as Adam watches, Peggy who has been awakened by the new SOUNDS, runs past him and into the arms of Lil.  Lil sweeps her up and hugs her and puts her down.  Laura now turns to Adam who has moved toward the group.

LAURA (continuing)

Adam, I’d like you to meet my Aunt Lil.

Lil extends her hand and she and Adam shake hands, al lib greetings.

LIL

Just call me Lil.  Aunt Lil sounds like someone standing over a hot stove stirring pea soup.

LAURA

Actually, she’s my fairy Godmother.  She’s always turning up at the right time.

Impulsively she hugs Lil again.

LIL

You’ve got to stop polishing those lamps, honey. (a beat) Well, come on in, and make yourself to home.

ANGLE

Lil and Adam exchange a look which does not get past Lil.

(NOTE: The line should have read:  Laura and Adam exchange a look….)

ADAM

(an excuse)

I’d best get back and see if the ranch is still there.  Nice meeting you — Lil.

LIL

Same here.

Adam turns to Laura.

ADAM

Can I give you a hand with the things?

LAURA

Thanks.  We’ll manage fine.

PEGGY

(to Adam)

Don’t forget about the picnic.

ADAM

I won’t.

He nods to the two ladies, turns and walks out of scene to where his own horse is tethered.  He mounts and rides off.  CAMERA HOLDS on Laura,  Lil and Peggy as they enter house.

INT. DAYTON HOUSE

as group enter.

LIL

(to Peggy)

If you go up and look in your room I’ll bet you find something that wasn’t there this morning.

ANGLE SHOOTING PAST Laura and Lil as Peggy runs excitedly up the stairs.  The two older women watch her disappear into her room.

CLOSE SHOT – LIL AND LAURA

as they face each other.

LIL (continuing; indicating door)

So that’s the balky critter?

LAURA

(evasively)

I’ll get some coffee started.

She starts away toward the kitchen, but Lil stops her.

LIL

Never mind that, just tell me what’s wrong.

Laura looks at Lil with feigned innocence.

LAURA

Wrong?  Whatever gave you that idea?

LIL

Your last letter.  Little things I read between those brave little lines.

LAURA

Peggy and I are getting along fine.

LIL

Laura, this is your Aunt Lil, and I’ve come a long way.

LAURA

(coming off it a bit)

I know, and I’m so glad you’re here — Maybe the ranch is getting me down.

LIL

It’s a rough job for a woman.  (beat) Especially when she has to work with her heart on her sleeve.

LAURA

Now, Lil —

LIL

Don’t you now Lil me! —

(takes her by the arm)

Come on, honey.  Tell your Aunt Lil the truth.  He’s sure a good-looking young fellow, but believe me, I’ve seen ’em all from Chicago to San Francisco and there ain’t none worth a single hair on your head.

Laura feels obliged to say

something in Adam’s defense and she turns away from Lil’s arms.  Lil smiles

wryly.

LIL (continuing)

You do have your heart set on him, don’t you?

LAURA

Adam is a very fine man.  He’s honest and kind — and he’s been wonderful to me and Peggy — I guess he’s made me really happy for the first time in my life.

LIL

But he likes to keep his hat near the door where he can get at it.

Laura nods.

LAURA

Don’t all men?  (Don’t they all?)

LIL

(seriously)

Do you really love him?

Putting it in so many words kind of shocks Laura.

LAURA

Lil — that’s something personal between Adam and myself.

LIL

Well, really! — You forgetting who I am, honey?  I’m your Aunt Lil, not some stranger.

LAURA

I know — but all this talk about marriage and all — Well, don’t you see, first we have to be sure we love one another — then we’ll know what to do.

LIL

That’s fine, but what I say is, get them to marry you first, then fall in love later!

LAURA

Lil – you stop that.

ANGLE

as Peggy comes running down the stairs.  A new raggedy-Anne-type doll hangs in her hand.

PEGGY

Oh, I love her, Aunt Lil — I love her!  Thank you, thank you!

LIL

(tousles Peggy’s hair)

You’re welcome, darling — (looking at Laura)  Now that your fairy Godmother’s here, everything is going to be wonderful!

As CAMERA COMES UP to Laura’s face: 

DISSOLVE TO:

31531 – Rev. 2/14/64

INT. CARTWRIGHT LIVING ROOM –

NIGHT – BEN

He stands staring thoughtfully out the window into the blackness — his hands shoved into his hip pockets.  As he turns away from the window and walks back into the center of the room

CAMERA PULLS BACK and ANGLE WIDENS

revealing others — HOSS, WILL.  They are seated in various chairs about the room.  The mood is one of dejection.  Ben pauses a moment in the room before he speaks to Hoss.

BEN

How many we lost so far?

HOSS

Dozen, or so, maybe.  Trouble is, it’s not going to get any better.

WILL

What about this summer range you talked about?  There’s grass up there, isn’t there?

HOSS

Along with plenty of cows to eat it.

BEN

It we put too many beeves up there, it gets over-grazed.  Then it’s years before the grass comes back.

HOSS

We gotta do something with these down here, ’cause any that squeaks through the summer sure ain’t gonna last the winter.

ANGLE

The door opens and Adam enters.

HOSS

Howdy, stranger.

Adam nods to the group but ignores Hoss’s sarcasm.

ADAM

Looks like a wake.

HOSS

As a participating member of this ranch I think you ought to know that we’re liable to lose over five hundred head of cattle in the very near future.

BEN

Hoss says they’re already starting to eat cactus and loco weed.

ADAM

(well aware of all this)

I know.  I had a look at them the other day — I think we better try and unload them.  Little Joe’s in San Francisco.  Why not wire him and see what price they’re offering down there?

BEN

I thought of that — but we don’t have the hands to get them there, no matter what the price.

ADAM

Then what about the Bonner brothers?

The reaction of the other Cartwrights is not good.

BEN

If I can help it, I’d just as soon not do business with those two cut-throats.

ADAM

But I don’t see how you can help it — They’re the only drovers working through here this time of year.

There is a pause as Ben considers this alternative.

BEN

(to Adam)

You used to chase around with them before you got better sense.  You want to talk to them?

ADAM

Maybe I can catch them in town.  I’m picking Laura and Peggy at the hotel anyway to take them to the Fourth of July picnic.

WILL

When you going to bring that gal around here so I can get a look at her.

HOSS

Or better yet marry her so’s you can spend a little time around here yourself.

ADAM

(bridling)

That’s the third time today I’ve been prodded in the same spot and it’s getting pretty sore.

HOSS

Sorry.

There follows an awkward silence for a beat until Will speaks.

WILL

(to Adam)

I persuaded Hoss to leave some of that venison.  It’s in the cooler.

ADAM

Thanks, Will.  I’m not hungry.

He turns and goes up the stairs.

ANGLE

as Will rises and moves over beside Ben, who is looking after Adam, concerned.

WILL

Heat’ll do that.

BEN

Yeah — maybe.

Ben nods as he continues to look up the stairs after Adam, but it is plain he does not think it is the heat that is bothering his eldest son.

DISSOLVE TO:

EXT. VIRGINIA CITY – DAY

We are CLOSE on a rusty, upturned tin can.  A firecracker fuse SPUTTERS under the rim of the can.  It EXPLODES, driving the can upward and out of frame.

ANGLE – THE CAN

as it sails in the air and falls back to the street in front of the Virginia City Hotel.

INT. HOTEL LOBBY

A Clerk is behind the desk.

ANGLE

The sofa on which Laura and Lil are seated.  Both are decked out in light, attractive summer dresses and hats.  On the floor nearby is a picnic basket.  Peggy turns away from a window where she has been keeping vigil.

PEGGY

We’re going to miss all the fun if we have to sit here all day!

Laura and Lil smile, acknowledging Peggy’s concern.

LIL

You’re quite rite (sic) dear — Isn’t it a shame we have to depend on men for most of our fun?

PEGGY

Where is Adam, Mommy?

LAURA

I don’t know, honey.  He said he would meet us here.

Lil gets to her feet.

LIL

Well, I’ve got a pretty good idea where he is.  I’ve had some experience in these matters.

LAURA

Where are you going?

LIL

(ducking the question)

Never you mind — I’ll be right back.

CAMERA PANS Lil to the door and outside.  Through the plate glass window we see her sweep down the  boardwalk in grand fashion.

EXT. STREET

The three young boys are lighting another firecracker.  One of them spots Lil and his eyes widen.  He nudges the boy lighting the firecracker.  They all three look up at Lil.  What a perfect target.

ANGLE – LIL

She sees them and stops, well aware of their plan.  We see a steely side of Lil and realize that she is able to cope with these boys on their own terms.

LIL

(she means it)

You do… and I’ll throw you all in the horse through — in one ugly lump.

WIDE ANGLE

The chastened boys decide not to take the chance and Lil, reassured she has made her point, resumes her role as Grand Lady and sweeps on down the boardwalk, nodding graciously to a PASSING PEDESTRIAN.

ANGLE – THE BOYS

watching her in awe.  The one holding the firecracker suddenly becomes aware that the fuse is burning and he flings it away.

INT. SILVER DOLLAR SALOON –

CLOSE SHOT – WHISKEY BOTTLE

as the BARTENDER pulls the cork out.  It gives a loud POP.  He fills the three shot glasses on a tray.  CAMERA PANS him and ANGLE WIDENS as he carries the order around the corner of the bar.  We see that the

Silver Dollar is generously populated with MINERS and COWHANDS, celebrating Independence Day.  CAMERA CONTINUES TO PAN Bartender as he carries the tray to a table occupied by Adam and the two BONNER brothers.  (JEFF and RICK).

ANGLE – THE GROUP

as the Bartender sets the tray down and starts placing the drinks before the men.  Adam signals to the Bartender that the drinks are on him and the Bartender retires.  Adam is doing the selling here and hence the entertaining.

JEFF

(downing half the shot)

Trouble is, Adam, the market’s way down at rail head — even for good cattle.

ADAM

You’ll come out all right — you always do.

RICK

This is different.  That’s a big herd — over five hundred head. Hungry cattle don’t drive easy and we’d have to take on extra men.

JEFF

The whole deal could wind up costin’ us money.

ADAM

That I’d have to see… All right, we’ll make it twenty-five dollars a head — but that’s as low as we can go.

ANGLE – BATWING DOORS

Lil is standing outside, looking over the crowd for Adam.  His back is to her and she can’t see him.  Nor can he see her.

ANGLE – SAM (THE BARTENDER)

He sees Lil and reacts hugely.

SAM

Lil!

He comes swiftly around the bar and heads for the door.

ANGLE – LIL

Her face falls.  She is about to take to her heels when Sam pulls open the doors and drags her inside.  It’s old home week, as far as he is concerned, and he grabs her in a bear hug and whirls her around.  Finally he puts her down.

SAM

If you ain’t a sight for sore eyes.  When’d you hit Virginia City?

Lil straightens her hat and tries to regain her dignity.

LIL

(the Grand Duchess)

I’m visiting relatives here.  Nice to see you again, Sam.

Lil smiles and looks around

the room, trying to spot Adam.  But Sam holds her at arm’s length, looking her over fondly and professionally.

SAM

Can you still sing?  You picked up a pound or two here and there, but you’re still a lot of woman, Lil.

He puts across his point with a pat we HEAR but don’t see.

LIL

Sam, please!  I’m a lady of means, now.  Mrs. Lillian Manfred of San

Francisco.

SAM

So you and the Moose finally got hitched?  Wonderful!

LIL

Charlie was killed in a mine accident two weeks after the nuptials.

SAM

(sincerely sorry)

Oh, that’s too bad.

LIL

Not all bad.  The cave-in exposed a silver shelf big as that bar.

It suddenly registers what all this adds up to.  Lil is indeed wealthy.  He looks her over again and his tone is more deferential.

SAM

Oh.

LIL

Oh, is right.

(The Grand Duchess)

I’m seeking Mr. Adam Cartwright.  Is he a patron here?

(Revised 2/17/64)

SAM

Yeah, sure, Lil — Mrs. Manfred.  He’s right over there.

He leads the way toward the table where Adam and the Bonner brothers sit.

ANGLE – THE TABLE

The Bonner brothers react to the approaching Lil, and Adam follows their gaze.  As soon as he recognizes Lil, he scrambles to his feet.  The Bonner brothers remain seated.  Lil enters shot.

ADAM

Lil!

LIL

Excuse me, Adam.  Laura and Peggy were wondering if you still planned to attend the picnic.

Adam glances uncomfortably off at the clock and then back at Lil.

ADAM

I didn’t realize it was so late.  Why don’t you ladies go on and I’ll join you as soon as I finish up here.

Lil glances down at the drinks on the table and then at the Bonner brothers.  Adam takes Lil by the elbow and guides her toward the swinging doors.

ANGLE

We are SHOOTING PAST the Bonner brothers, TOWARD the door where we see Adam hand Lil several tickets he has pulled from his breast pocket.  We cannot hear what Adam and Lil are saying from this distance, but the Bonner brothers are smirking at Adam’s discomfort.  By this time, most of the people in the saloon are watching Adam and Lil.

ANGLE – THE DOOR – ADAM AND

LIL

ADAM

Please explain and tell Laura and Peggy I’m very sorry.

He holds the door open and Lil exits.

JEFF

(calling to Adam)

You better run along, Adam, before you get yourself in real trouble.

This gets a HEARTY LAUGH from those within earshot and a grim look from Adam.

RICK

(calling)

‘Pears like that Laura Dayton’s got a ring in your nose even before she’s got you hog tied.

Adam heads back to the table amid further LAUGHTER.

CLOSER ANGLE

as he arrives at the table and remains standing.

ADAM

(he’s sore)

I came here to talk about cattle–

RICK

(stalling)

Sure, Adam… maybe you could take us out there and give us a look at them beeves.  We’d hate to buy a cow in a poke, so to speak.

Adam hesitates.  He doesn’t know whether these two are finally ready to do business or not. He’d like to close the dead.  Again, he glances up at the clock.

ADAM

You can find them, can’t you?

JEFF

In a week we could, but we’re due up in Aurora tomorrow.

Adam grabs his hat off the chair.

ADAM

Let’s go.

He starts out.  The Bonner brothers exchange a look of satisfaction and follow him out.

                                               

DISSOLVE TO:

EXT. A CLEARING BACKED BY

TREES AND BUSHES – DAY

A ball rolls swiftly along the grass coming to a halt at the hooves of a horse.  In the b.g. we can HEAR high pitched voices of people at play.  A man’s boots come into the scene as he dismounts and recovers the ball.

WIDER ANGLE – WILL

He holds the ball and looks off in the direction from which it came.  He smiles at what he sees.

ANOTHER ANGLE

Peggy comes running around a clump of bushes, obviously seeking the ball.  She stops short as she sees Will.  Quickly he puts the ball behind him and looks innocent.  But Peggy has seen this maneuver.

PEGGY

That’s my ball!

REVISED 2/14/64

WILL

(mock seriousness)

Oh.  What shape is it?

PEGGY

Round.

Will takes the ball out and

examines it closely.

PEGGY (continuing)

My Aunt gave it to me.  You can ask her.

WILL

You better learn to catch better.  Winners keepers — losers weepers.

PEGGY

(getting alarmed)

It wasn’t my fault.  Aunt Lil can’t throw too good.

Will reacts to the name.

LIL’S VOICE (o.s.)

Ladies aren’t supposed to be able to throw good.

ANGLE – LIL

She has come around the same clump of bushes to help Peggy find the ball.  She reacts at the sight of Will, pleased with what she sees. She corrects her English.

LIL (continuing)

I mean — too well.

MED. SHOT

as Will smiles and gives the ball to Peggy.

WILL

Well, since you’ve made positive identification, I guess I’ll have to give it back.

PEGGY

I’m sorry… would you like to play with us?

WILL

Do you need an extra player?

LIL

I’ll offer you a deal.  You play ball with Peggy here — and we’ll share our picnic basket with you. (beat) That is — if you’re alone.

WILL

I’m alone.  I just dropped by to take some chances on the raffle.

LIL

Good.  Come along.

They begin to exit, Lil

leading.

ANGLE ON TABLE

showing Laura setting out the picnic lunch.  She looks up as Lil, Peggy and Will approach.

ANOTHER ANGLE

as they reach the table.

LIL

I’ve found someone to play ball with Peggy — one who can throw better that I

can, I hope.

PEGGY

And we’re going to give him some of our picnic lunch.

Laura looks at Will, likes what she sees, smiles.

WILL

A neck’ll be good enough for me.

LAURA

I think we can do better than that — if you want to take your chances.

WILL

(looking at her)

I think I’m doing much better right now than anything I could have won at the raffle.

REVISED 2/17/64

LIL

(dryly)

I hope you can throw a ball as well as you do a line.

WILL

(mock serious)

Why ma’am, I was speaking the truth — the pure truth.

PEGGY

(impatiently)

Come on, let’s play ball, mister… mister… What’s your name?

WILL

Will… Will Cartwright.

There is a silence as they all look at him.

WILL (continuing)

Did I say something wrong?

LAURA

Forgive us.  I’m Laura Dayton.  This is my daughter, Peggy, and my Aunt Lil.

WILL

(slowly)

Laura… Oh, you’re Adam’s girl.

LAURA

Not exactly.  (beat)  As you can see.

WILL

Where is Adam?  I remember him saying he was taking you to the picnic.

LAURA

I think he’s attending to some important business.  But you’re welcome all the same — Isn’t it strange that we haven’t met?

WILL

I stick pretty much to the ranch.  But I’ve sure heard a lot about you from

Adam.

LAURA

Oh? — Nice things, I hope.

LIL

(interrupting)

Laura… let’s fix lunch.  We’ve lost one Cartwright and found another, so things are sorta even.

PEGGY

That’s right, Mommy.  Finders keepers, losers weepers.

There is a brief silence, then Will takes Peggy’s hand.

WILL

Come along, young lady.  I’ve got to earn my chicken.

They move off.  Laura looks after them.  Then, suddenly conscious that Lil is watching her, she busies herself with the lunch.  Lil smiles and starts to help her as we:

                                               

DISSOLVE TO:

EXT. DAYTON HOUSE – NIGHT

The lights are on downstairs.

INT. PEGGY’S BEDROOM – LAURA

AND PEGGY

Laura is seated on the bed beside Peggy.  She is trying to get the child to sleep.  The room is quite dark, the only light coming from the door which has been left ajar.  Peggy’s eyes are wet and her cheeks tear stained.  Laura uses a corner of the sheet to daub a tear away and then folds it back neatly as she tucks Peggy in.

LAURA

It’s nothing to cry about.  You had a good time with Will, didn’t you?

Peggy

(nods)

Yes, but Adam promised.  Maybe he got hurt or something.

LAURA

Oh, I don’t think so.  Now don’t you worry — just close your eyes and tomorrow will be a lovely new day.

She leans over and kisses

Peggy’s cheek and rises.

Laura (continuing)

Goodnight, sweet.

Laura looks down at her

daughter, lovingly, protectingly, then she turns and CAMERA PANS her to the door, where she exits quietly.

INT. DAYTON LIVING ROOM

as Laura comes down the stairs, shutting the door quietly behind her.  Lil is also visible in the shot.  She is seated on the sofa, the picnic basket at her feet.  She is finishing a chicken leg.  Laura crosses over to her.

LIL

She finally give up?

Laura nods.

LIL (continuing)

Want some twice-baked chicken?

Laura has to smile, but she

shakes her head ‘no.’  Lil discards the chicken bone, licks a couple of fingers and then wipes her hands on a napkin.  Over this:

LAURA

I don’t understand it.  It’s not like Adam — At least he could have sent some sort of message.  That’s the part that makes me angry.

LIL

It’s like all of them.  Believe me.

Laura shakes her head; she knows this isn’t Adam.

LIL (continuing)

He’ll be full of apologies and you might start feeling sorry for him — so don’t see him.  I learned that the hard way.

There is a KNOCK on the door

and the two women look at each other.  Laura gets to her feet and starts for the door, but Lil hurries after her and eases her off to the side so she cannot be seen.

ANGLE

as Lil moves to the door and opens it.  Adam is standing there, hat in hand.

LIL

(feigned surprise)

Oh, Adam.  Good evening.

But she makes no move to step aside and let Adam enter.  Adam is a little surprised.

ADAM

Is Laura in?

LIL

She’s retired for the evening.  I’ll tell her you called.

ADAM

Please extend my apologies to her and Peggy.  I was unable to get away.

ANGLE

Laura enters scene and pulls the door open wider, facing Adam.  She’s angry.  Lil sighs in despair.

LAURA

Hello, Adam —

ADAM

(he’s had a hard day)

Laura, I’m sorry — It was business that wouldn’t wait.

LAURA

Sometimes promises can’t wait, either — It was very rude of you to keep us waiting in that hotel lobby — Peggy was bitterly disappointed.

CLOSE SHOT – LIL

She rolls her eyes heavenward.  This is getting out of hand.

BACK TO SCENE

ADAM

I don’t think that disappointing a child when it’s unavoidable is the end of the world… I hope to make it up to Peggy.

LAURA

I hope you can.

Laura and Adam stand there,

glaring at each other.  Lil moves away from the door and flops down in a chair.  Laura’s blown the whole thing sky high.

ADAM

(controlled)

Once again, I apologize.  Good night. He turns and disappears out of the shot.  Laura slams the door heavily and goes to the window.  Lil looks at her and shakes her head, sadly, back and forth.

LIL

Baby, baby, baby.  Don’t ever let ’em know you’ve got a temper — ‘specially at this stage of the game.

She rises and goes to Laura to comfort her.

LAURA

Aunt Lil — Really!

EXT. DAYTON HOUSE

Adam mounts and rides out.

INT. LIVING ROOM – LAURA AND

LIL

They stand at the window, looking out.  Obviously, they have just seen Adam ride off.

LIL

(consolingly)

Don’t worry, they usually come back, hat in hand, and feeling very contrite.

Lil turns away from the window and starts back into the room.  As she PASSES CAMERA:

LIL

(continuing; not sure)

Usually.

CAMERA MOVES IN on Laura’s

face.  Tears have started to form in her eyes.

                                                               

FADE OUT.

                           

END OF ACT ONE

 

                                                

ACT TWO

FADE IN:

EXT. DAYTON RANCH – DAY – LAURA AND LIL

They are trying to chase a steer out of the yard.  Both are dressed in everyday clothes and Laura wears an apron and carries a dish towel.  She waves the dish towel at the street, trying to chse it off.  She sounds like she knows what she’s doing.

LAURA

Hiiyah… git!

She SNAPS the towel.  Lil picks up a clod and flings it at the steer, hitting it in the rump.  Over this:

LIL

Skeedaddle, shoo!

The steer trots off in the direction from which it came.

TWO SHOT – LIL AND LAURA

watching the street take off.  The enemy vanquished, Laura sighs in despair.

LAURA

The garden’s ruined.  everything!

LIL

It’s a Cartwright cow.  Let them make it good.

LAURA

(a sigh)

We’re supposed to maintain that stretch of wire. (her voice rises in frustration)  And I can’t fix a fence myself, I’ve tried.

LIL

And you wouldn’t think of asking handsome to come over and help out…

LAURA

(emphatic)

No, I wouldn’t.  And besides…

She is interrupted by the sound of a distant explosion.  Both women look off in that direction.

LAURA

(continuing)

It’s on the Ponderosa.  They’re probably trying to open up some springs — find some fresh water for the cattle.

Lil considers this for a moment.  The wheels are starting to turn.

LIL

You know it’s such a hot day.  I think a little drive will cool me off.  I’ve never seen the Ponderosa — maybe I’ll drive by there. Come along?

LAURA

No thanks.  But you go ahead.  If you want.

Laura has no intention of going onto the Ponderosa and she turns and heads for the house.  CAMERA HOLDS on Lil looking off in the distance.

LIL

(softly)

And while I’m at it, I just might to a little fence-mending myself.

                                                   

DISSOLVE TO:

EXT. PONDEROSA BARN – DAY

Ben is busy loading some crates of dynamite onto the buckboard when he HEARS the sound of an approaching horse and looks up.

POV SHOT – LIL

driving toward him in Laura’s buckboard.

MED. SHOT

as she pulls up and stops near Ben who moves to her buckboard.  Simultaneously, they react to SOUND of another explosion.

LIL

With all those explosions going on, I hope it isn’t too dangerous — for a lady.

BEN

(smiles)

My sons are doing some dynamiting several miles away.

(indicates work clothes)

I was just on the way to bring them a fresh load of explosives —

(beat)

So I assure you, you’re quite safe.

LIL

(coyly

I’m not so sure — I can see now where Adam got his good looks from.

BEN

(laughs)

You must be Laura’s Aunt Lil from San Francisco. I’m Ben Cartwright.  I wish I had known you were coming — we would have been a little better prepared

to welcome you.

LIL

Nonsense — with your Adam and my Laura, I feel like a part of the family — and I wouldn’t disturb your work for the world.  It’s just…well, being a woman, I had to see this wonderful Ponderosa that Laura keeps talking about.

CLOSE SHOT – BEN

He smiles — becoming aware of the real reason behind Lil’s visit.

BEN

She’s a wonderful person.  We were all greatly concerned for her when she

lost her husband.

MED. SHOT

LIL

Well, as the good book sayeth — sometimes these things are all for the best.

BEN

(smiles)

I must have missed that bit of Scripture.

LIL

(getting back on safer ground)

I understand your home is quite a showplace out here, Mr. Cartwright.

Ben knows she is angling for an invitation and has decided to extend one, but he’s enjoying the exchange.

BEN

Nothing fancy.

LIL

I’d love to see it.

BEN

Any time.  Perhaps you and Laura could come to dinner tomorrow night.

LIL

We’d love to.  What a splendid idea!

There is another EXPLOSION o.s. Both Ben and Lil look off in the direction of the explosion.  When it’s

over, Ben turns back to Lil.

BEN

My sons will be running out of dynamite — I hope you will excuse me if I get back to work.

LIL

Of course.  It’s been a very rewarding little conversation.

They both understand each other.

LIL (continuing)

See you tomorrow.

ANGLE

Lil flicks the horse into motion, turning the wagon in a broad circle and setting it back in the same direction from whence she came.  Ben watches her fondly.  Her brashness and transparency don’t bother him.  In fact, he likes it.

ANGLE – BEN

watching the wagon move away.  Hoss rides into the scene from around the barn.

HOSS

We been waitin’ for you, Pa.

(looks off)

Whooee.  Who was that?

BEN

One of Dan Cupid’s henchmen.  There were arrows zingin’ all over the place.  Maybe Adam was lucky to be out on the range with you.

Hoss is puzzled by the answer for a second, but then he realizes what Ben is getting at.

HOSS

Adam’s workin’ harder since he stopped seeing that gal, but he’s sure harder to live with.  I’m not sure which way is best.

BEN

(thoughtfully)

Neither am I, Hoss.  Neither am I.

                                                   

DISSOLVE TO:

OMITTED

EXT. DAYTON RANCH HOUSE – DAY

(DUSK) – ESTABLISHING SHOT

We can see lights burning in the house.

EXT. PONDEROSA – NIGHT (STOCK)

INT. ADAM’S BEDROOM – NIGHT

He is buttoning his shirt.  Through the mirror, he sees Ben enter.  The door has been open, but now Ben “casually” shuts it.

BEN

‘Bout ready?

Adam knows there is more on his father’s mind that just that.

ADAM

A few years back, if you’d come in and closed the door, I’d figure I was in for a lecture or a tanning.

Ben has to smile.  He remembers too.

BEN

Neither.

ADAM

(he has a pretty good idea)

Just a little fatherly advise?

Ben picks a string tie off the bed and slings it to Adam, who catches it, turns to the mirror and starts putting it on.

BEN

I’m probably meddlin’ where I’ve got no business, Adam, but…

(a beat; as he tries to find the right words)

You’ve been seeing Laura Dayton pretty regularly since her husband died.

ADAM

That ‘n’ horse stealing seem to be real serious crimes around here.

BEN

(bridling)

Adam, if you want me to tend to my own business, just say so.  But there’s no need for this sarcasm between us.

Adam doesn’t respond, but his expression says he regrets the sarcasm.

BEN

(continuing; a beat)

See Laura Dayton all you want, and I can’t say I blame you.  But in case you’re not aware of it, people in these parts are starting to figure her as Adam Cartwright’s property.  That entails a certain amount of responsibility on your part — even obligation.

Adam turns and faces his father.

ADAM

(hotly)

Laura is free to keep company with whomever she chooses and my relationship with her has been above reproach.

BEN

You going to tack that testimonial up in the post office for all the doubting Thomases?

Adam sees the reasoning in this.  He goes back to his tying.

ADAM

A man is kind to a woman who has lost her husband and suddenly he finds himself in a position where…

BEN

(interrupting)

Is that all it is, Adam?  Are you just being kind?

Adam pauses as he considers this.

ADAM

I don’t know.

Ben moves over to the door and puts his hand on the knob.

BEN

When a man’s been single as long as you have, it’s natural he’d be a little spooky about marriage.  But if you’re not sure then maybe you should back out of this — it’s better than life with the wrong woman.

He pulls open the door. BEN (continuing)

I’ve said it and that’s the last you’re going to hear from me on the subject.

ADAM

I’ll be right down.

BEN

What about the Bonner brothers?

ADAM

If we want to give that herd away, they’ll be glad to take ’em.

BEN

(a beat)

We’ll just sit tight another day.  If they don’t come around, we’d better make plans to drive them to the coast ourselves — it’s that or slaughter them.

He hesitates, not liking the thought, then turns and exits.

CLOSE SHOT – ADAM

as he stares into the mirror, wondering what the evening will bring.

                                                       

DISSOLVE TO:

 

INT. THE CARTWRIGHT DINING

ROOM

The Cartwrights and their guests have finished dinner and are sipping second cups of coffee.  Ben sits at the head of the table with Lil on his right.  Adam sits at the other end with Laura.  Hoss, Will and Peggy fill the sides.

LIL

I don’t know how you men do it.

BEN

What’s that?

LIL

Set a table like this with all the other things you have to do.

Rev. 2/14/64

BEN

I’m glad you enjoyed it.

Lil is not going to let it drop that easily.

LIL

Still, it must be a chore, coming home from a full day of man’s work, then facing household duties, too.

TWO SHOT – LAURA AND ADAM

Laura lowers her eyes to the table, embarrassed by Lil’s bluntness.  It does not escape Adam.

WIDER ANGLE

BEN

Hop Sing attends to all that in addition to doing the cooking.

LIL

(refusing to give up)

I’m sure he’s very good, but you probably miss the pies and cakes though, and all the other little delicacies a woman likes to make.

Lil’s words trail off as she sees Laura glaring at her.  Maybe she is pouring it on a little thick.

LAURA

Aunt Lil — Hop Sing’s a very fine cook — as he just proved.

LIL

Oh, yes, he did, didn’t he?

(to Ben)

Ben, I’m just dying to see that new stallion you were talling (sic) us about.

BEN

(a little surprised)

Now?

LIL

Why not?  It’s bright as day outside.

BEN

Of course, if you’d like.

LIL

And Peggy, I bet if you asked Hoss real nice, he’d show you his egg collection.

CLOSE SHOT – HOSS

He chokes on his coffee.

HOSS

What egg collection?

BACK TO SCENE

LIL

Now, Hoss.  Be honest.  I never knew a country boy that didn’t collect bird’s eggs.

HOSS

(embarrassed)

But that was fifteen years ago.

BEN

(he knows they’re there)

You might just find them in that old chest in the storeroom, Hoss.

ADAM

With the butterflies.

Hoss is dying.

PEGGY

Could I see them?  Please?

Hoss gives Adam a look and

rises, excusing himself from the table.  He is followed by Peggy and they exit the scene.

ANGLE – WILL

watching them go.  He realizes he is Lil’s next target.  He beats her to the punch, turns to her.

WILL

I just decided I’d ride into town.

(laughs)

If that is all right with you ladies.

Both Lil and Laura look at him, smile.

THE SCENE

as Lil, mission accomplished, rises, followed by Ben and Will.  They AD LIB the niceties of civilization to Adam and Laura as they leave the table.

TWO SHOT – ADAM AND LAURA

Adam has made the gesture of rising, but now sits back down.  Laura stares into her coffee cup.

LAURA

Aunt Lil is quite an organizer.

ADAM

But a nice organizer.  Pa calls her “Cupid’s henchman.”

There is an awkward silence then they both speak together.

ADAM & LAURA

I’m sorry about…

They laugh.

ADAM

Let’s forget it.  Blame it on the heat.

LAURA

Adam, if I fan myself with my handkerchief, will you suggest we go outside where

it’s cooler?

ADAM

Did Aunt Lil say I would?

(Laura nods)

Shall we step outside in the moonlight?

Rev. 2/17/64

They rise and CAMERA HOLDS on them as they exit the room.

                                                       

LAP DISSOLVE:

EXT. WOODED AREA – NIGHT

Laura and Adam stroll in the moonlight.  CAMERA DOLLIES with them, then MOVES IN when they stop.  Laura has her back to Adam as she views the moonlit scene.

LAURA

It does feel good.

ADAM

(a beat)

Remember this place?

LAURA

It’s where you first kissed me… I’m afraid I acted rather silly.  It didn’t seem right at the time.

ADAM

Does it seem right now?

CLOSE SHOT – LAURA

Maybe Lil is right.  Maybe men do need to be guided a little. 

She turns and moves close to Adam, looking up at him in a fetching manner.

LAURA

I don’t know — I haven’t any basis for comparison.

Adam gathers her in her arms and they kiss warmly — passionately.  When the kiss is ended, Adam continues to hold her in his arms and she lets her head rest on his chest. Her eyes are closed.

LAURA

Oh, Adam, what would I do without you —

Adam frowns.  He knows he has to say something but when he does speak, his words are guarded, controlled.  He is uncertain about his feelings and it shows.

ADAM

It seems I’ve done you an injustice, Laura.

LAURA

(frowning)

How?

ADAM

Well, you know I’ve been pretty much monopolizing your time.

Laura opens her eyes. 

She is uneasy at Adam’s labored, hesitant approach.

LAURA

You’ve been wonderful, Adam.

ADAM

But I’m afraid I haven’t given the other fellows much of a chance.

LAURA

I haven’t minded.

ADAM

Neither have I, but people begin to assume I have some kind of option on you and…

LAURA

What are you trying to say, Adam?

ADAM

I guess what I’m trying to say is… if you’ll have me, Laura —

LAURA

Yes, Adam — Go on.

ADAM

Well, maybe I’m doing it badly, but I’m asking you to be my wife.

LAURA

(a beat)

You don’t do something badly that you feel.

Adam cannot reply.  He realizes that Laura’s words are true.

LAURA (continuing)

Adam, you don’t owe me anything — but I do thank you for your thoughtfulness and your concern.

She takes one last look at him and then turns and runs off.  Adam watches her go.

ANGLE – FRONT OF CARTWRIGHT

HOUSE – BEN AND LIL

They are coming back from the barn, but they stop as Laura runs blindly past them into the house.

CLOSE SHOT – LIL

She looks off toward the trees where Adam is and sighs.  She knows Laura has ruined it.

                                                               

DISSOLVE TO:

EXT. CARTWRIGHT HOUSE – DAY –

BEN

He levers a shell into the chamber of a carbine rifle, and then shoves it into its leather scabbard.  ANGLE WIDENS and we see that he is standing near a partially loaded chuck wagon on which WIll is strapping a water keg.  As Will comes away from his task, Ben tosses him the rifle.

BEN

Put it where we can get at it, Will.  Probably be no call for it, but sometimes they’re more precious than food and water.

Ben heads back into the house and CAMERA HOLDS on Will as he lays the rifle inside the chuck wagon.  He turns at the SOUND of hoof beats.

ANGLE – THE BONNER BROTHERS

They rein in their horses and slouch in their saddles.

RICK

Goin’ someplace?

THE SCENE

WILL

We’re movin’ a trail herd to the Coast.  We hope to find some range there.

JEFF

Well, now, maybe we can save you a trip.  Adam around?

WILL

I’ll fetch him.

Will starts toward the house

but the trip proves unnecessary, as Adam and Ben emerge through the front door and cross towards the Bonner Brothers.  They nod in greeting but do not invite the Bonner Brothers to climb down.

JEFF

Rick ‘n me talked it over and seein’ as how you folks and us been friends so long we’ll go twenty dollars.

ADAM

(firm)

I meant what I said the other day.

There is a long pause as Jeff thinks it over.

Rev. 2/13/64

RICK

I think he does, Jeff.

JEFF

Okay, you got yourself a deal.  We’ll run a count and leave a draft at the bank in town.

BEN

(doesn’t trust them)

One of the boys’ll give you a hand.

ADAM

When do you plan to move ’em?

JEFF

Wednesday.

RICK

That’s movin’ day for your lady friend, too, ain’t it?

The expressions on Adam’s and Ben’s faces reveal that this is news to them.

RICK (continuing)

Ain’t you heard?  She’s gonna put the whole kit ‘n kaboodle on the block.

CLOSE SHOT – ADAM

as he looks off toward Laura’s ranch.

                                                           

DISSOLVE:

EXT. DAYTON RANCH – DAY – FULL

SHOT

Some household articles and crates are piled outside the open door. 

Adam rides up, views the scene.  He dismounts, tethers his horse and walks toward the house.

(OMITTED)

INT. DAYTON LIVING ROOM – LIL

AND LAURA

The women have dust-clothes around their heads to protect their hair.  Both are wrapping and packing china for transit.

ANGLE – THE STAIRS

Peggy comes out of her room to the head of the stairs and calls down:

PEGGY

Can I take my dolls on the stage?

LAURA

Just one, dear —

Peggy hesitates thoughtfully

and then disappears back into her room.

ANOTHER ANGLE

Lil is inspecting a milk pitcher with no handle and a chipped spout.  She holds it up.

LIL

Nobody’s going to bid on this.  You want to pay freight on it all the way to San Francisco?

Laura looks at it.

LAURA

No.

Lil lets it fall into a waste basket and we hear the CRASH.  We also hear a KNOCK on the door.  Both women turn in that direction.

ANGLE – ADAM

He stands framed in the doorway, hat in hand.

ADAM

Good afternoon.

LAURA

(cool)

Adam.

She returns to her work. 

Lil is troubled by this and she makes her AD LIB greeting friendly and warm as she invites him inside.

ADAM

(entering)

I understand you’re planning to sell the ranch.

Rev. 2/17/64

Lil knows this is no place for

her.

LIL

I’ll help Peggy get packed.

As she moves past Laura she pulls the dust cap from Laura’s hair, and hurries upstairs.

ANOTHER ANGLE

Adam comes into the room, moves closer to Laura.

ADAM

When did you decide this?

LAURA

Well — I finally admitted that I can’t run a ranch by myself — Aunt Lil invited us to stay with her in San Francisco until I get situated.

ADAM

Oh — I see.

LAURA

Thanks for dropping by, Adam.  It was very neighborly.

She starts to return to her work, but Adam catches her arm.

ADAM

Laura — is it because of what happened the other night?

LAURA

Not just the other night — Maybe it’s time I faced the truth.

ADAM

(feeling his way)

But why all the haste — I mean, I’ve been doing a lot of thinking about the other night and…

LAURA

(stopping him)

Don’t, Adam.  When it’s not there, a lot of thinking and back-tracking isn’t going to put it there.

INT. PEGGY’S BEDROOM

Clothes are laid out on her bed along with several dolls.  She, too, is making preparations for a move.  Lil is folding clothes, putting them in a packing case, as Peggy studies her dolls.

PEGGY

I want to take the doll you gave me, Aunt Lil, but I’m afraid the others I’ve had all along will get jealous.

LIL

That could be a problem.  Jealousy isn’t good for people or dolls…

A thought strikes Lil and her tone changes as she finishes the sentence.

LIL

… But on the other hand, sometimes it’s real strong medicine.

Lil rises and moves to the door, her mind working fast.

INT. LIVING ROOM – ADAM AND

LAURA

Adam is taking his leave awkwardly.

LAURA

Goodbye, Adam.

ADAM

You’re sure there’s nothing I can do to help?

WIDER ANGLE – INCLUDING LIL

LIL

Yes, there is.  You can come to dinner tonight.

This is a bolt from the blue.  Adam is surprised and Laura is shocked.  They look at Lil who is coming down the stairs.

LAURA

We’re in no position to entertain now!

Lil has reached the ground floor and moves toward Adam and Laura.  Over this:

LIL

Don’t you worry about a thing.  This is my party.  We own Adam a dinner anyway.

ADAM

(looks at Laura)

You don’t owe me anything.

LIL

(undaunted)

Then let’s say it’s a going away party.  Now that’s not too much to ask, is it? — After all, you may never see me again.

ADAM

(hesitant)

Well, I…

LIL

(clinching it)

Wonderful.  We’ll look for you and your cousin Will around eight.

ADAM

(puzzled)

Will?

LIL

I wish we had room for everyone, but I don’t think we could manage more than the four of us. —

(clinching it)

It’s just that Laura and Will got along so well at the picnic.

Adam is a little taken back by all this.  He looks at Laura, wondering how she is taking it.  Adam tries to make a graceful exit.

ADAM

I’ll ask him — he’ll be here if he can.

He nods to Laura and Lil and  exits.  Laura is glaring at Lil, who starts for the kitchen.

LAURA

(firm)

Aunt Lil, will you please stop meddling in my life?

Lil stops and turns to face Laura.  She is the picture of innocence.

LIL

How can you accuse me of meddling because I want to have a simple party — for just the six of us.

LAURA

For six of us?

LIL

Six altogether, baby — Including Peggy… and a green-eyed monster.

ANOTHER ANGLE – LIL

She turns and continues into the kitchen.

                                                       

FADE OUT.

                       

END OF ACT TWO

 

Rev. 2/13/64

                           

ACT THREE

FADE IN:

INT. DAYTON LIVING ROOM –

NIGHT

CAMERA has the SAME ANGLE as in the finish of Act Two.  Only this time we see Lil emerging from the kitchen carrying a silver coffee pot. She is dressed for the party.  we can HEAR Will’s voice and Laura’s laughter as Will finishes a story.

ANOTHER ANGLE – LIL

CAMERA PANS her to Will and Laura who are seated on the couch.

WILL

But that was only the beginning… the stage was still twenty miles outside El Paso in wild country…

LIL

More coffee, Will?  I made some nice and fresh for you.

WILL

Thanks, Lil.  It’s delicious.

LIL

(pouring)

Laura showed me her secret.

Lil starts to set the coffee pot down and then, in what appears to be an after-thought, but which is quite deliberate, she turns to Adam.

LIL (continuing)

Oh, Adam.  I almost forgot you.  Can I warm yours up?

ANGLE – ADAM AND PEGGY

Adam is seated in the leather chair.  His fingers are entwined with a network of string that Peggy has arranged.  It is the old parlor game.  Adam holds up his hands helplessly.

ADAM

I’m afraid it would just get cold again.

PEGGY

(to Adam)

Now keep it tight.  I’ve got it this time.

THE SCENE

All watch as Peggy carefully tries to remove the string from Adam’s fingers in the right manner so that it will form another geometrical design.  She fails.  Peggy is disappointed.

PEGGY

(undaunted)

I know what I did wrong.  Just once more, Adam, please.

With a sigh Adam holds up his extended fingers as Peggy starts to lace them with the string again.

ANGLE – LIL

watching Adam’s plight.  She is enjoying this thoroughly and finds it hard to keep a straight face.

LAURA (to Will)

Well, go on with your story — I can’t wait to hear what happened.

ANGLE – WILL, LAURA AND LIL

WILL

Anyway, as soon as the driver reined in, I knew something was wrong.  There was no stop scheduled way out there.

ANGLE – PEGGY AND ADAM

Peggy is now more interested in Will’s story than she is in her own trick.  She looks off at Will, wide-eyed.

PEGGY

What was it, bandits?

WILL

You guessed it, Peggy.  Five of the meanest looking cusses you ever saw.

Peggy lets her fingers slip from the strings and she stares at Will, forgetting Adam completely.

ADAM

(a note of sarcasm)

You’re sure it wasn’t fifty?

WILL

(he knows Adam is gigging (sic) him)

No, just five.

PEGGY

Were you scared, Uncle Will?

Adam gives a look at Peggy.  Uncle Will!

WILL

I think I was, a little.  They looked like real cutthroats.

LIL

Were you armed?

WILL

With a single shot Derringer, so discretion seemed the better part of valor at the time.  I grabbed all the large denomination bills from my wallet and shoved them under the seat.

ANGLE – ADAM

who has been listening to the story less than enchanted.  He resents having the three women hanging on Will’s every word.

ADAM

That was good thinking.

BACK TO SCENE

Will starts to glance over at Adam, but Laura prevents this.

LAURA

Go on, Will — You’ve got me on the edge of my seat.

PEGGY

Me, too.

She crosses to Will and listens to him wide-eyed.

WILL

Well, this Major’s wife, who was coming from Chicago to join her husband, wore two extremely valuable diamond rings.  I told her to hold them fast. The poor girl started tugging at those rings, but she couldn’t get them off.

PEGGY

What’d you do?

WILL

I don’t know what to do.  But I realized if those bandits spotted those rings, they’d take fingers and all.

The women react.

WILL

(continuing)

So, just before the bandit leader yanked open the door of the stage, I reached over and took the lady’s hand… as though I were her husband comforting her.  Of course, I was careful to cover the rings on her hand.

ANOTHER ANGLE

To demonstrate, will reaches out and takes Laura’s hand in him.  Everyone is extremely aware that Will is holding Laura’s hand as he continues with his tale.

CLOSE SHOT – ADAM

He glances over at Laura.

CLOSE SHOT – LAURA

She looks at him then lowers her eyes.

ANGLE – LIL

She is lapping it up.  This is more than she could have hoped for.

PEGGY

Did they ever find the rings?

WILL

(shakes his head)

They were completely taken in.  I must have held the lady’s hand for a good fifteen minutes, all through the robbery… and for some time thereafter.

LAURA

(impressed)

Oh, Will.

Will is a good story teller and ends this one up on a humorous note.

WILL

I’ve often thought, I’m glad the lady in question had the presence of mind to remove her hand once we arrived at the garrison, for if the commandant had found us like that, I might have been in even more trouble.

Laura and Lil laugh loudly at this aspect of the story.

ANGLE – ADAM

He is staring at the clasped hands of Will and Laura.  He doesn’t realize it himself, but he has the string on his own hands pulled taut to the breaking point.

LAURA AND WILL

LAURA

Well, if I can hand my hand back, I think I’d better get Peggy off to bed.

Reluctantly Will releases

Laura.  The whole scene is charged with feeling.  There is a sharp SOUND of a snap and all look over toward Adam.

REV. 2/17/64

POV SHOT – ADAM

He stares at the limp strings which finally give way and now trail from his fingers.  He is quite surprised himself, for he was unaware he had been exerting so much pressure.

THE SCENE

All realize what happened and their laughter is unbridled as we:

                                                           

DISSOLVE TO:

EXT. VIRGINIA CITY – DAY –

WIDE ANGLE

This is primarily an ESTABLISHING SHOT, but we can see Laura’s buckboard pulled up before the stage office.  Will is unloading some boxes off the buckboard and placing them on the boardwalk.  Lil can be seen crossing the street and entering a store.

CLOSER ANGLE

Will is struggling with a heavy wooden case, just as Adam emerges from the bank and starts down the boardwalk.  Will spots him.

WILL

Can you give me a hand here, Adam?

Adam, who has been

preoccupied, recognizes Will for the first time.  The look he gives Will is none too friendly.  He is still smarting from the evening at Laura’s house.

ADAM

I’m surprised an ingenious fellow like yourself couldn’t figure out some way to handle that.

Will smiles and waits, knowing what is eating Adam, who finally moves forward and takes the other side of the crate.  CAMERA PANS them as they carry it to the boardwalk and set it down.

ADAM (Continuing; straightening)

You sure are making yourself handy these days.

WILL

Just helping Laura get her things ready to ship to San Francisco.

REV. 2/19/64

ANGLE – LAURA

as she emerges from the stage office tucking some papers in her purse.  She has overheard this last remark of Adam’s.

LAURA

I’d have called on you for help, too, Adam, but I knew you were busy finishing up your cattle sale.

ADAM

(coolly)

I see.

WILL

(to Adam)

Did the Bonner Brothers move them out yet?

ADAM

I’m not sure they can move themselves.  They’ve been in the saloon all morning.

WILL

Well, it’s not your worry any more.

This remark seems to apply to Adam’s relationship with Laura also.  There is an awkward silence.

ADAM

(reserved)

I’ll see you before you go.  I have a little something for Peggy.

LAURA

she’ll want to say goodbye.  It’ll be a few days before we leave so I’m sure you’ll have time.

ADAM

I’m sure I will.

Adam touches his hat and moves on down the boardwalk turning in at the saloon.

ANOTHER ANGLE

Laura stares after him a moment, lost in her thoughts.  Will notices this.

WILL

(softly)

A lot of men would give their right arm to have you looking at them like that.

This brings Laura quickly out of her reverie.  She looks at Will and smiles her thanks.  Will glances off toward the saloon.

WILL (continuing)

If I’ve ever seen a picture of a jealous man, that was it — so I guess your plan worked to some extent, anyway.

The smile freezes on Laura’s face, as she wonders how much Will knows.

LAURA

What do you mean — what plan?

WILL

I knew what you and Aunt Lil were up to five minutes after we got to your place.  That’s why I embellished the story of the holdup a little.

LAURA

(protesting)

But I really enjoyed your story…

WILL

And I enjoyed helping out — though the truth is, the only other passenger on that stage was a salesman from the east.

Laura is still embarrassed, but she gives up the pretense.

LAURA

Oh, Will, I’m sorry.

WILL

Don’t apologize.  It was very pleasant telling it – I enjoyed it — all of it.

Laura lowers her eyes, knowing Will refers to the hand-holding bit.

LAURA

(an understatement)

So did I.  I mean, we all did.

Will glances off toward the saloon.

WILL

Except Adam —

Rev. 2/20/64

INT. SALOON

It is pretty well deserted at this hour.  Adam is at the bar, glumly downing a beer.  We HEAR the coarse laughter of Jeff Bonner.  Adam, who does not know which way to direct his turbulent feelings, glances over toward the laughter.  His jaw is clenched.  Sam, the bartender, polishes glassware nervously.

ANGLE – THE TABLE

The Bonner brothers are slouched in their chairs, both pretty drunk.  Rick holds up a shot glass of whiskey and inspects it.

RICK

Jeff, you sure this stuff’s good for the heat?

JEFF

Better’n a wind off a snow bank.  ‘Sides, Rick, we’re already medicated in case’n we gets snake bit on the trail.

Both brothers are highly amused at this crude humor.

ANGLE – ADAM

He addresses the Bonner brothers through the mirror.

ADAM

Maybe you’d better stop worrying about snakes and start worrying about the herd.

THE SCENE

RICK

Don’t you go worryin’ your head about our cattle, Adam.

JEFF

He’s got problems enough what with that good lookin’ Will Cartwright rustlin’ his sweetie.

Both Bonner brothers burst out laughing at this and Adam turns and faces them.

ADAM

(hard)

Anything more out of you and neither of you are going to be able to move that herd.

JEFF

(sobering)

What’s wrong with you?  You ought to be glad you got that ring out of your nose.

Adam starts for them, but Sam stops him.

SAM

Adam, cool off —

(to Bonner brothers)

Why don’t you two boys get going —

There is a tense moment as we wonder which way the Bonner brothers are going to move.  Both are glaring at Adam.  Finally Jeff, his eyes still on Adam, polishes off his drink and rises.

JEFF

Come on, Rick.  Let’s ride.  This stuff tastes watered anyway.

Both men give Sam a cocky look and stalk out, turning to the right up the boardwalk.  The tension eases.  Adam returns to his beer.

SAM

With that many whiskeys in ’em they’ll ride out of here like a couple of Comanches on the warpath — you watch.

Adam, preoccupied with his own thoughts, finishes off the beer without comment.  He puts a coin on the bar and exits, turning to the left, the opposite direction taken by the Bonner brothers.

EXT. BOARDWALK

as Adam walks along toward the stage depot, where Laura’s wagon stands.  From this ANGLE we can also see Lil on the opposite side of the street, as she emerges from a store, her arms full of packages.  In the b.g., the Bonner brothers are seen mounting their horses.

Rev. 2/19/64

ANOTHER ANGLE

as Laura sees her Aunt Lil and starts across the street to help her.

LAURA

(calling)

Aunt Lil — let me help you!

SHOT OF BONNER BROTHERS

as they whirl their horses and start down the street at a fast gallop.

FULL SHOT

showing the galloping Bonner brothers descending on Laura who has reached the middle of the street.  She tries to dodge them — but dodges right into one of the horses.  She is knocked down and lies still.  Adam, Lil and Will — who has just emerged from the stage depot — all react and run toward her.

MED.  ANGLE – LAURA

who lies unconscious in the street.  Adam reaches her first, then Lil — spilling her packages — then Will.  Adam starts to pick her up.

ANOTHER ANGLE

showing Bonner brothers whirling and coming back towards group.

ANGLE ON GROUP

as Adam, with Laura in his arms, starts for the hotel, followed by Lil.  The Bonners ride up.

JEFF

Weren’t our fault — she hadn’t ought to be so stupid as to run out in front of —

Will reaches up, yanks him from his horse, belts him.  Rick dives for Will from his horse.  In b.g., Adam proceeds to hotel still followed by Lil.

MED. SHOT – WILL AND BONNER BROTHERS

Will now belts Rick to the ground.

Rev. 2/21/64

WILL

Now get on your horses — and walk ’em out of here.  If anything is seriously wrong with Mrs. Dayton… we’ll come after you.

FULL SHOT

showing Adam and Lil entering hotel with Laura.  The Bonners mount up and move off.  After a beat, Will moves towards the hotel.                                                        

DISSOLVE:

INT. HOTEL – DAY – ADAM, WILL AND LIL

all showing their tenseness — are seated in the lobby.  The clerk turns back from the door where he has pulled down the blind to keep out the curious.  He smiles and crosses to his desk.  Then from behind the alcove the DOCTOR appears.  Adam, Will and Lil rise.

MED. SHOT

as the Doctor reaches them.

LIL

Doctor…

DOCTOR

She’ll be all right.

They all show their relief.

DOCTOR

(continuing)

Outside a few scratches, a slight concussion seems to be the extent of her injuries.

LIL

Thank the Good Lord —

DOCTOR

Yes.  She was very lucky.  A few days rest and she will be back to normal.

Adam turns to the Doctor.

ADAM

Doctor… may I see her?

DOCTOR

I don’t see why not, Adam —

ADAM

Thanks.

He moves toward the alcove.

ALCOVE – DAY

Laura is lying on a sofa.  She opens her eyes as Adam appears.

MED. SHOT

as he joins her, pulls up a chair beside her.

ADAM

The Doctor says you’re going to be all right.

LAURA

Yes.

(beat)

I’m sorry I gave everyone such a fright.

ADAM

Laura — now that I know you’re all right, well maybe it was just as well it happened —

LAURA

I don’t understand, Adam — what do you mean?

ADAM

Waiting out there… for the Doctor to tell us whether you were seriously hurt — I realized what it would be like if you went away.

She looks at him, waiting.

ADAM

(continuing)

I realized how much… how very much… I need you.

(beat)

Don’t go away, Laura.  Marry me.

They look at each other a long minute.  Then Laura…

LAURA

Oh, Adam… Adam —

He reaches down and takes her in his arms.

LIL (o.s.)

Welll…! (sic)

They look off.

P.O.V.

Lil and Will, at entrance to alcove, looking at them.

LIL

(continuing)

Your recovery seems to be very complete, Laura.

LAURA

Oh it is, Aunt Lil, it is!  Adam and I are going to get married.

MED. SHOT

As Doctor appears behind Lil and Will.

DOCTOR

Not until you’ve had that rest I prescribed, young lady.  Adam, she’s your responsibility now — so get her home right away, but drive slowly — no bumps.

ADAM

(smiles)

I’ll get the rig — and I promise no more bumps.

Adam exits.

DOCTOR

I’ll look in on you tomorrow, Laura — And congratulations.

LAURA

Thank you, Doctor.

Doctor exits.  Will moves over and looks down at Laura.

WILL

I guess you won’t be needing me anymore — I’ll move along.

LAURA

Thank you, Will… for everything.

WILL

It was a… pleasure… Laura.

He turns and exits.

ANOTHER ANGLE

as Lil moves to Laura.

LIL

Well, honey, it finally worked, didn’t it?

LAURA

(innocently)

Aunt Lil… what worked?

LIL

Why, my pressure game!  He proposed, didn’t he?

LAURA

(laughs)

I suppose you arranged for those Bonner brothers to run me down like that…

LIL

It was using Will to make him jealous that did the trick, and you know it. Yes, sir… all you have to do is use the right bait in the trap — that’s something I learned a long time ago.

As Lil goes on, Laura is attracted by something out the window.

SHOT – WILL

riding slowly down the street alone.

INT. ALCOVE – CLOSE SHOT –

LAURA

as she reacts to sight of Will.

LAURA

(slowly)

The trouble with traps… is that the bait always gets hurt.

FULL SHOT – ALCOVE

LIL

What are you talking about, baby?

Instead of answering, Laura

continues to stare out the window.  Lil, curious, joins her.  Both women then look at one another, as Adam appears in doorway.

ADAM

Your carriage awaits, ma’am.

He moves to couch and starts to pick her up.

LAURA

I can walk, Adam…

ADAM

All right — but not alone.

He takes her arm and they exit.  Lil looks after them.

LIL

We set the trap, all right — But I wonder if we caught the right man?

She gazes up into CAMERA a moment, then shrugs and heaves a mighty sigh.

                                                           

FADE OUT.

                                   

THE END

****************************************************************************

The following is the final

page of script, taken from the original, unfilmed ending to “The Pressure

Game.”

BEN

(to Laura, softly, sincerely)

I’m glad it’s you.

Laura’s expression reveals

that she is really touched by the compliment.  She turns and climbs up into the buggy and Adam goes around and gets in the other side.

ANOTHER ANGLE

ADAM

Sorry we can’t stay for the reception, but we’ve got a long way to go.

Laura looks at Adam and he realizes that his words have significance beyond their original intent.

ADAM

(continuing; to Laura)

A long, long way to go.

Adam flicks the horse into motion and the buggy starts out.  Hop Sing and the others who have been holding their hands behind them, during all this, now start showering the bride and groom with handfuls of rice.

WIDE ANGLE

The buggy moves off with Laura and Adam waving and the wedding party ad libbing goodbyes.  And then they are gone.

CLOSE SHOT – BEN AND AUNT LIL

BEN

Aunt Lil, will you do me the honor of cutting the wedding cake?

Lil daubs at her eyes with her handkerchief.

LIL

If you don’t mind soggy wedding cake, I’d be proud to.

The others laugh and all start drifting back into the house for the reception.

                                                               

FADE OUT.

                               

THE END