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THE SEARCHERS

                                     "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 knitting. Ethan is standing near 
               the mantel.

                                     ETHAN
                         ...an' then it snowed and we lost 
                         the trail... No need to tell ya all 
                         the places we went... Fort Richardson, 
                         Fort Wingate an' Cobb... the Anadarko 
                         Agency... Trouble is we don't even 
                         know which band that war party 
                         belonged to...

               Mrs. Jorgensen looks up from her darning.

                                     MRS. JORGENSEN
                         Well, you did all a body could, Ethan.

                                     ETHAN
                         I got your boy killed.

                                     MRS. JORGENSEN
                              (gently)
                         Don't go blamin' yourself...

                                     JORGENSEN
                              (angrily)
                         It's this country killed my boy!... 
                         Yes, by golly!

               Mrs. Jorgensen stands.

                                     MRS. JORGENSEN
                         Now Lars!... It so happens we be 
                         Texicans... We took a reachin' hold, 
                         way far out, past where any man has 
                         right or reason to hold on... Or if 
                         we didn't, our folks did... So we 
                         can't leave off without makin' them 
                         out to be fools, wastin' their lives 
                         'n wasted in the way they died... A 
                         Texican's nothin' but a human man 
                         out on a limb... This year an' next 
                         and maybe for a hundred more.  But I 
                         don't think it'll be forever.  Someday 
                         this country will be a fine good 
                         place to be... Maybe it needs our 
                         bones in the ground before that time 
                         can come...

               The speech impresses everyone but Laurie, who probably hasn't 
               heard a word of it.

                                     LAURIE
                         Ma!... Martie's drawers is a sight!  
                         Ain't fit for rags!... Would it be 
                         all right if we gave him some of 
                         Brad's things?

               There is just the briefest hesitation...

                                     MRS. JORGENSEN
                         Why...'course it would! They're in 
                         the chest...

               And she leads the way briskly, with Laurie following, to a 
               big chest at the far end of the room.

                                     JORGENSEN
                              (rising excitedly)
                         By golly, the letter... In the chest, 
                         mama... It came for you, Ethan...  
                         last winter...

               Ethan and Jorgensen cross together to where Mrs. Jorgensen 
               is raising the top of a huge dower chest. She extracts a 
               letter, wrapped in oilskin against moths.

                                     JORGENSEN
                              (continuing)
                         Joab Wilkes of the Rangers brought 
                         it...

               Ethan takes the letter and studies it very carefully before 
               venturing to open it. Jorgensen is quite curious, but trying 
               not to seem nosy. The women remain at the chest -- pulling 
               out various folded garments, etc. Finally Ethan carefully 
               opens it and takes out a letter -- dirty as to paper, crudely 
               printed in pencil and with a horseshoe nail pinning a two-
               inch square snip of calico to the bottom of the sheet. He 
               reads the letter with the habitual difficulty of a man unused 
               to words and then he turns the letter, removes the nail and 
               looks at the snip of cloth.

                                     ETHAN
                              (quietly)
                         Mrs. Jorgensen...

               She comes to him, her arms piled with clothing; and

               Laurie a step behind her, holding up a new pair of long-
               handled underwear -- measuring it with her eyes for holes, 
               etc.

                                     ETHAN
                         Will you look at this?

               He holds out the snip of calico.

                                     MRS. JORGENSEN
                         Why it's just a snip of calico...

                                     ETHAN
                         You ever see it before... like mebbe 
                         on a dress Debbie wore?

                                     MRS. JORGENSEN
                         Yes!... Yes, I remember!... Have 
                         they found her, Ethan?

                                     ETHAN
                         No... not yet...

               He takes the calico snip, places it within the letter and 
               carefully pockets it. He looks broodingly into the fire.

                                     ETHAN
                              (continuing)
                         ...not yet...

               Laurie's face is troubled as she turns from him and heads 
               for the grandmother room, carrying the armful of clothes.

               INT. THE SPARE BEDROOM - FULL SHOT - NIGHT

               Martin is sitting sulkily on a cot, wrapped in a blanket.

               He glares up as Laurie enters. His feet are in his boots.

                                     MARTIN
                         Might at least have left me my pants!

                                     LAURIE
                         Shush!... Time for bed anyway...
                              (putting clothes near 
                              him)
                         Likely these'll need some takin' 
                         in... Oh, Martie, you're that gaunted! 
                         ...Ma's havin' a turkey for dinner 
                         tomorrow and...

                                     JORGENSEN'S VOICE
                              (calling)
                         Laurie!... Come... come!

               Ethan opens the door, enters.

                                     LAURIE
                         Yes, Pa!... Good night, Martie...  
                         good night, Mr. Edwards...

               She wants to kiss Martie but is shy in Ethan's presence and 
               hurries out.

                                     MARTIN
                         Good night... Laurie...

                                     ETHAN
                         Good night...

               Martin stoops to remove his boots. Ethan studies him and 
               looks thoughtfully after the girl and at Martin.

               He takes the letter out of his pocket -- as though he meant 
               to read it -- and then he puts it back decisively.

               He starts to undress. Martin lies back on his bunk.

                                     ETHAN
                         Jorgensen's been runnin' his cattle 
                         with my own...

                                     MARTIN
                              (staring)
                         YOUR cattle?... DEBBIE'S cattle!

               Ethan returns the stare without any change of expression.

                                     ETHAN
                         He's agreed to take you on and share 
                         the increase from my herd while I'm 
                         gone... I'll be pushin' on tomorrow...

                                     MARTIN
                         I ain't stayin'... I set out lookin' 
                         for Debbie... I aim to keep on...

                                     ETHAN
                         Why?

                                     MARTIN
                         Because she's my... my...

                                     ETHAN
                         She's your nothin'... She's no kin 
                         to you at all!

                                     MARTIN
                         I always felt like she was... Her 
                         folks takin' me in, raisin' me like 
                         one of their own...

                                     ETHAN
                         That don't make 'em kin...

                                     MARTIN
                         All right... I ain't got no kin...  
                         I'm goin' to keep lookin' that's 
                         all.

                                     ETHAN
                         How? You got any horses, or money to 
                         buy 'em... You ain't even got money 
                         to buy cartridges... Jorgensen's 
                         offering you a good livin' here...

               Martin throws himself back, turns his face to the wall.

               Ethan looks soberly at him -- and is sorry for the brutality 
               of his words.

                                     ETHAN
                         Martin... I want you to know 
                         somethin'...

                                     MARTIN
                              (turning -- mad as 
                              hell)
                         Yeah... you want me to know I ain't 
                         got no kin -- no money -- no horses -- 
                         nothing but a dead man's clothes to 
                         wear!... You tole me that already...  
                         Now shut your head!

                                     ETHAN
                         Good night.

                                                               DISSOLVE TO:

               EXT. THE JORGENSEN HOME - WIDE ANGLE - DAWN LIGHT

               It is a still scene, with the first light of day in the sky, 
               a thin plume of smoke rising from the chimney.

               INT. THE JORGENSEN KEEPING ROOM - MED. CLOSE SHOT - LAURIE - 
               DAWN LIGHT

               She is in a robe made of an Indian blanket, belted snugly 
               around her waist. She wears moccasins for slippers. Her 
               flannel nightgown is high at the collar and almost trails 
               the floor. She is at the stove, frying bacon and eggs; a 
               coffee pot is on the boil. Beyond her the door to the 
               grandmother room opens and Martin comes in -- dressed in 
               Brad's clothes. His eyes whip around the room. Laurie doesn't 
               turn as he slowly approaches.

                                     LAURIE
                              (quietly)
                         Ethan rode on... an hour ago.

               The starch goes out of him. He walks heavily to the table 
               and sits, slumped. She looks at him compassionately.

                                     LAURIE
                         I don't know what you can do about 
                         finding Debbie that he can't...

               He just shakes his head, not looking at her. She lifts the 
               food from the skillet onto a plate and sets it before him.

                                     LAURIE
                         He'll find her now, Martie... Please 
                         believe me... I know.

               He shakes his head. She crosses to the stove for the coffee 
               pot.

                                     MARTIN
                         That's what scares me -- him findin' 
                         her.

               Now it is her turn to stare.

                                     MARTIN
                         Laurie, I've seen his eyes when he 
                         so much as hears the word 'Comanche' 
                         ...I've seen him take his knife an' 
                         ...never mind... But he's a man can 
                         go crazy wild... It might come on 
                         him when it was the worst thing could 
                         be... What I counted on, I hoped to 
                         be there to stop him, if such thing 
                         come.

               Laurie has poured his coffee. Now he sips it. She sits at 
               the table with him.

                                     LAURIE
                              (slowly)
                         I hoped I could hold you here... But 
                         I guess I knew... So I stole this 
                         for you...

               She takes Ethan's letter from her breast and hands it to 
               him. He takes it, puzzled, and slowly reads it aloud.

                                     MARTIN
                         'I bought a small size dress off a 
                         Injun... If this here is a piece of 
                         yr chiles dress bring reward. I know 
                         where they gone... Jerem Futterman.'

               Martin is on his feet.

                                     MARTIN
                              (excited)
                         Futterman!... He's got a little 
                         tradin' post on the South Fork o' 
                         the Brazos... Laurie, I just got to 
                         get me a good horse! Think yer pa 
                         would...

                                     LAURIE
                         Finish your breakfast...

                                     MARTIN
                         I gotta catch up with him, Laurie!

                                     LAURIE
                              (almost in tears -- 
                              but angry)
                         Go on then! Pa's in the barn saddlin' 
                         the Fort Worth stud... an' you can 
                         take the light gelding with the 
                         blaze...

                                     MARTIN
                         But that's Sweet-face -- your own 
                         good horse.

               Laurie goes to the front door and throws it wide.

                                     LAURIE
                              (hysterically)
                         Take it and welcome... but don't 
                         count on finding me here when you 
                         get back... I've been dallying around 
                         this god-forsaken wind-scour almost 
                         two long years waitin' for you... I 
                         ain't cut out to be an old maid!

                                     MARTIN
                              (miserably)
                         I can't help it, Laurie... I just 
                         gotta catch up with Ethan...

               He runs out and she slams the door, then rests her head 
               against it.

               113-A

               INT. JORGENSEN KEEPING ROOM - FULL SHOT - EARLY MORNING

               Mrs. Jorgensen quietly enters the room and sees Laurie with 
               head pressed against the door. She wants to offer some word 
               of sympathy, but doesn't know what to say. She crosses to 
               the stove to pour herself a cup of coffee. Then we hear the 
               drum of horses' hooves, the sound of Martin riding away.  
               Laurie flings open the door, almost as though to call him 
               back.

               113-B

               EXT. PLAINS COUNTRY AND LAKE BEFORE JORGENSEN HOUSE - EARLY 
               MORNING

               ANGLING from behind Laurie in the doorway as Martin, riding 
               one horse, leading another, goes galloping away.

               EXT. FUTTERMAN'S TRADING POST - WIDE ANGLE - DAY

               Low, squat adobe structure, with a crudely lettered sign-
               board proclaiming it:

                                'JEREM. FUTTERMAN, TRADER'

               There are adjacent outbuildings and corral. Four horses are 
               tied outside, two being pack animals. A surly-looking white 
               man or breed sits in a stool tilted back near the door, 
               whittling with a long-bladed knife, eyeing the horses 
               covetously. He glances aside and glares as a squaw shuffles 
               along bearing a clumsy load of faggots on her bowed back.

                                     MAN
                         Andale! Andale!

               Fearfully she quickens her step. The man gets up, shoves 
               knife into belt and heads into the post.

               INT. FUTTERMAN'S TRADING POST - FULL SHOT - DAY

               It is a grimy establishment with some dusty trade goods on 
               shelves; a counter which serves as a bar; a few plank tables 
               and benches.

               The breed seen outside enters and crosses to a side table 
               where another mean-looking hombre sits preparing to play a 
               game of solitaire with a deck of limp cards.

               Ethan and Martin are at a table in the center of the room, 
               examining a dirty, rumpled child's dress -- Debbie's.

               Martin nods soberly in answer to Ethan's inquiring look; 
               yes, it's hers. Both look up as FUTTERMAN crosses from the 
               bar, carrying a whisky jug and two dirty glasses -- his 
               fingers thrust inside the glasses. Futterman is a squaw man 
               and a killer -- dead eyes in a white face.

                                     FUTTERMAN
                         Drink?

               He sets the jug down, picks up one of the glasses -- so grey 
               and thumb-printed it is almost opaque. Both Ethan and Martin 
               regard it with disgust. Futterman gives a slight shrug, takes 
               the dress and starts to wipe the dirty glass with it. Martin 
               snatches it out of his hand.

                                     ETHAN
                              (harshly)
                         How'd you come by this?

                                     FUTTERMAN
                         You said there'd be a thousand dollar 
                         reward.

                                     ETHAN
                         That's what I said.

                                     FUTTERMAN
                         You got it with you?

               Ethan looks at him and beyond toward the two men.

               INT. FUTTERMAN'S - CLOSE SHOT - THE TWO PLUG-UGLIES

               The solitaire player has a card in mid-air -- frozen, 
               watching. The other man has the same buzzard-watchful look.

               INT. FUTTERMAN'S - FULL SHOT - THE GROUP AS BEFORE

                                     ETHAN
                         Reward'll be paid when I find her -- 
                         an' if she's alive...

               Futterman uncorks the jug, prepares to drink.

                                     FUTTERMAN
                         Man's got a right to expect some 
                         kind o' payment... I laid out for 
                         the dress an' sendin' you the 
                         writin'...

               He tilts the jug to his mouth as Ethan reaches for his heavy 
               leather pouch. Futterman watches greedily as Ethan lets a 
               gold piece slide out. He tosses it onto the table.

                                     ETHAN
                         Twenty Yankee dollars.

               Futterman puts the jug down. His hand inches -- as though 
               pulled by a magnet -- toward the gold piece.

                                     FUTTERMAN
                         ...an' a man's time is worth 
                         somethin'...

               Ethan's big hand clamps over Futterman's and he starts 
               squeezing as a man would squeeze a lemon. Futterman's lips 
               whiten.

                                     ETHAN
                         Talk!

                                     FUTTERMAN
                         A young buck fetched it in late last 
                         summer...
                              (Ethan eases the grip)
                         Said it belonged to a captive chile 
                         of Chief Scar...

                                     ETHAN
                         Scar? Never heard of any Chief Scar.

                                     FUTTERMAN
                         Me neither... But this buck claimed 
                         he was a big war chief with the 
                         Nawyecky Comanches.

                                     ETHAN
                         Keep talking.

                                     FUTTERMAN
                         Scar's band was headin' north... to 
                         winter in at Fort Wingate... eatin' 
                         agency beef. That's what this buck 
                         said... Maybe he lied.

                                     ETHAN
                         And maybe you lie...

                                     FUTTERMAN
                         In that case you won't find her --
                         and I won't get my thousand dollars.

               Ethan stands. Martin follows. Martin takes the dress and 
               folds it carefully.

                                     FUTTERMAN
                              (too casually)
                         Stay the night if you want...
                              (Ethan shakes his 
                              head)
                         Cards?... A jug?... If you'd like 
                         some company, we got a few squaws on 
                         the place...

               Ethan and Martin head for the door.

                                     ETHAN
                         No thanks.

               The two plug-uglies stand -- mean ready to do their master's 
               bidding.

                                     FUTTERMAN
                         Don't forget to come back with my 
                         thousand dollars.

                                     ETHAN
                         Ain't yours yet.

               They leave. The CAMERA holds on Futterman as he slowly rubs 
               his bruised hand. His henchmen drift toward him.

                                     FUTTERMAN
                              (slight smile)
                         Bad manners... He shoulda said 'good-
                         bye.'

                                                               DISSOLVE TO:

               EXT. HILLY COUNTRY - MED. SHOT - ETHAN - NIGHT

               They have set up camp near a cluster of cottonwoods to which 
               the horses have been tied. One of the horses is restless, 
               possibly nickering. Ethan strokes its neck, looking out 
               thoughtfully into the night -- listening.

                                     MARTIN'S VOICE
                         Acts like somethin's out there.

                                     ETHAN
                              (heading toward 
                              campfire)
                         Smells a change in the weather...

               CAMERA PANS him to where Martin is spreading his blanket 
               some little distance from the small fire.

                                     ETHAN
                         Wouldn't surprise me if we didn't 
                         have a frost 'fore mornin'... Here...
                              (he picks up a saddle 
                              and puts it close to 
                              fire)
                         Whyn't you bed down closer to the 
                         fire, boy?

               Martin is a bit surprised as Ethan takes the blanket and 
               spreads it near the saddle -- making the saddle serve as a 
               pillow. Then Ethan tosses a few more heavy pieces of dry 
               wood on the fire, making it blaze up.

                                     MARTIN
                         Hey! What's the idea...?

                                     ETHAN
                         Maybe I'm gettin' like Mose Harper -- 
                         my bones is cold tonight...

               He spreads his own blanket as Martin wraps into his bedroll, 
               and when Martin turns, he casually arranges the blanket to 
               suggest it is over the figure of a man. During this:

                                     MARTIN
                         Funny... When we passed through Fort 
                         Wingate last winter, we didn't hear 
                         mention of any Nawyecky Comanche 
                         there...

               Ethan steps back -- and studies the "dummy."

                                     ETHAN
                         Not so funny... if you recollect 
                         what 'Nawyecka' means...

                                     MARTIN
                         What's that?

               Ethan studies Martin's back -- the light on him -- and looks 
               around figuring the range of fire.

                                     ETHAN
                         Sorta like 'roundabout' -- like a 
                         man says he's goin' one place when 
                         he means to go just the reverse...

                                     MARTIN
                              (drowsily)
                         Oh...

                                     ETHAN
                         You all settled an' comfortable now?

               Martin just grunts and snugs deeper into his blanket. Ethan 
               nods his satisfaction -- sure Martin isn't going to change 
               positions. Then he takes off his hat and boots and uses them 
               to complete the dummy. He picks up his rifle then and quietly 
               walks out of the camp.

                                                                    CUT TO:

               EXT. HILLY COUNTRY - A RAVINE OR ARROYO - FULL SHOT - THREE 
               MEN - NIGHT

               Three shadowy figures -- Futterman and his two henchmen -- 
               are quietly dismounting, taking rifles from saddle scabbards.

               At a hand signal from Futterman, they quietly fan out afoot.

               EXT. NIGHT CAMP - MED. CLOSE SHOT - MARTIN

               still snug in his blankets, sound asleep; the fire burning a 
               little lower but still shedding plenty of light on him.

               EXT. HILLY COUNTRY - FULL SHOT - FROM BEHIND FUTTERMAN AND 
               HIS HENCHMEN

               At a crouch or crawling, the three worm their way among some 
               rocks until they reach a slight rise looking down into the 
               camp. Martin is asleep and next to him is Ethan's dummy, hat 
               over its face, and the fire still burning. The two henchmen 
               snake their rifles up to a firing position. A shot cracks... 
               and one man is knocked flat on his face.

               The other whirls in the direction of the shot, his rifle 
               swinging in search of a target. A second shot splits the 
               night and the breed falls as though hit by a giant fist...

               Martin is sitting up now, staring wildly around. Futterman 
               starts to run down-slope, away from the hidden marksman, 
               dodging between the rocks. A third shot catches him in the 
               back and he spins and falls and rolls down the slope into 
               the firepit camp area. Martin is on his feet now.

               EXT. NIGHT CAMP - FULL SHOT - MARTIN

               He is staring at Futterman, face down and almost at his feet. 
               He looks around in fear at someone approaching -- hand going 
               to his gun. Then he relaxes as Ethan casually enters the 
               camp, bareheaded, carrying his rifle.

                                     ETHAN
                         Thanks... you did just fine...

               Ethan kneels beside Futterman, turns him over, reaches into 
               his pockets -- first one, then another.

                                     MARTIN
                              (dazed)
                         Futterman?

                                     ETHAN
                         He just couldn't wait...

                                     MARTIN
                              (watching him go 
                              through pockets)
                         Whatchu doin'?...

               Ethan grins satisfiedly as he straightens and spins the gold 
               piece in the air, catches it and pockets it.

                                     ETHAN
                         Even got my twenty dollars back...
                         We did all right.

               And now Martin is getting the whole picture... and he's mad.

                                     MARTIN
                         WE?... You just used me for bait --
                         staked me out like a... buildin' up 
                         the fire... fixin' it so's... I coulda 
                         had my brains blowed out!

               Ethan is just grinning at him -- completely unruffled, denying 
               none of it.

                                     MARTIN
                              (explosively)
                         Suppose you'd missed!

               Ethan sobers a little, seems honestly surprised.

                                     ETHAN
                         Never occurred to me...

                                                               DISSOLVE TO:

               EXT. THE JORGENSEN HOME - WIDE ANGLE - DAY

               It is a day in early winter. Charlie MacCorry, short-coated, 
               is galloping across the yard as Jorgensen crosses it -- 
               carrying a load of firewood.

                                     CHARLIE
                              (calling it)
                         Howdy, Mister Jorgensen...

                                     JORGENSEN
                         Charlie...

               MacCorry swings off his saddle near the porch, as the door 
               opens and Mrs. Jorgensen comes out -- shawled against the 
               cold.

                                     CHARLIE
                         Got a letter here...

               Jorgensen lets the cordwood drop...

                                     JORGENSEN
                         By golly! A letter?

                                     CHARLIE
                         For Miss Laurie...

                                     MRS. JORGENSEN
                         Come in, Charlie, come in...
                              (calling inside)
                         LAURIE!... My land!... Two letters 
                         in the one year!...

               INT. JORGENSEN KEEPING ROOM - FULL SHOT

               as Charlie enters, following Mrs. Jorgensen. Jorgensen 
               excitedly enters and closes the door. Laurie comes in from 
               another room. Charlie smiles and bows clumsily.

                                     MRS. JORGENSEN
                              (to Laurie)
                         A letter for you, Laurie...

                                     CHARLIE
                         Yes'm... Figgered it might be the 
                         news you been waitin' for... so...

               He hands the letter to Laurie who comes over eagerly, takes 
               it and studies the wrapper before opening it.

                                     MRS. JORGENSEN
                         Real good o' you to ride all the way 
                         over, Charlie... Might at least say 
                         your thank you's, Laurie... Declare!

                                     CHARLIE
                         No need to...

               But Laurie has no interest in anything but the letter which 
               she is reading skimmingly.

                                     MRS. JORGENSEN
                         Well?

                                     JORGENSEN
                              (expectantly)
                         Yah?

                                     MRS. JORGENSEN
                         Laurie! Don't keep a body just 
                         standin'!

               Laurie looks up then.

                                     LAURIE
                              (impatiently)
                         I was just readin' to see if... 
                         Anyway, it's MY letter!

                                     MRS. JORGENSEN
                              (agreeably)
                         'Course it is. Now let's all get 
                         comfortable an' set so's we can listen 
                         while Laurie reads her letter...

                                     CHARLIE
                              (turning as if to go)
                         Maybe I'd better be goin'...

                                     JORGENSEN
                         You stay, Charlie... After all, 
                         Charlie brought the letter, Laurie... 
                         He got a right to listen too!

               Mrs. Jorgensen has been pulling and pushing chairs around 
               and now they all take places. Jorgensen automatically reaches 
               for his glasses on the mantel and puts them on -- even though 
               he isn't going to read the letter. Laurie has been sneaking 
               looks at some of the other pages.

                                     LAURIE
                              (surrendering)
                         Oh, all right!  Well... Martin says...

                                     JORGENSEN
                         From the beginning...

                                     LAURIE
                         'Dear Miss Laury'... He spells it 
                         with a Y instead of an I... E... 
                         Wouldn't you think he'd know...

                                     JORGENSEN
                         Who cares what he spells it? Read 
                         the letter.

                                     LAURIE
                         Dear Miss Laury... I take pen in 
                         hand to let you know Ethan and me 
                         still are trying to catch up with 
                         them Comanches the late Mister 
                         Futterman told us about...

               She breaks off, looks up -- puzzled.

                                     LAURIE
                         The late Mister Futterman?

                                     JORGENSEN
                         That means Mister Futterman is dead, 
                         by golly.

                                     MRS. JORGENSEN
                         Wonder what happened to the poor 
                         man.  Go on, Laurie.

                                     LAURIE
                              (resuming the letter)
                         We cut north through Indian territory 
                         and...
                              (her voice fades)

                                                               DISSOLVE TO:

               EXT. OPEN COUNTRY - LATE SUMMER OR FALL - ETHAN AND MARTIN

               (SILENT)

               leading their pack animals. Martin's voice picks up the 
               narration.

                                     MARTIN'S VOICE
                         Soon we was meeting up with Kiowas 
                         an' Wichitas an' even some Comanches 
                         camped by one of the agencies...

                                                                   WIPE TO:

               WIDE ANGLE - A COMANCHE ENCAMPMENT - ETHAN AND MARTIN - DAY

               FALL WEATHER (SILENT)

               The camp is on the outskirts of a trading post. Indians watch 
               unsmilingly from tepees, or in little clusters afoot; a few 
               mounted braves ride on parallel courses as Ethan and Martin 
               ride through camp toward the post.

                                     MARTIN'S VOICE
                         But none of them was Nawyecky's nor 
                         claimed to know a war chief named 
                         Scar... He's the one the late Mister 
                         Futterman said had Debbie...

                                                                   WIPE TO:

               INT. APPLEBY'S TRADING POST - MED. SHOT (SILENT) - DAY

               This trading post is in marked contrast to Futterman's -- 
               being well-stocked, clean and presided over by HIRAM APPLEBY, 
               a resolute, clean-looking man of middle years.

               Ethan and Martin -- in winter garb -- are being shown a 
               variety of trade goods, including a shoebox full of ornate 
               ribbon rosettes, such as are awarded animals at stock fairs. 
               Appleby is solemnly affirming the trade value of these, as 
               well as sleeve garters, etc.

                                     MARTIN'S VOICE
                         At one o' the agencies we outfitted 
                         with all kind an' manner of trade 
                         goods... figgerin' that'd make it 
                         easier for us to come an' go... You'd 
                         laugh if I told you what was our 
                         biggest seller...

                                                                   WIPE TO:

               EXT. INDIAN ENCAMPMENT - MED. CLOSE SHOT - ETHAN AND FAT 
               INDIAN - EARLY WINTER OR FALL DAY

               Ethan is ceremoniously pinning something on the stern-faced 
               buck. It is one of the rosettes seen in the shoebox.

               CAMERA MOVES to an extreme CLOSEUP of the rosette. On it, in 
               gold letters, is:

                                       FIRST AWARD

                                      LARD TYPE HOG

               EXT. INDIAN ENCAMPMENT - FULL SHOT - EARLY FALL OR WINTER 
               DAY

               As the Indian proudly steps back, we see beyond him a half 
               dozen other braves -- all rosetted. Ethan looks them over 
               complacently while Martin -- to hide the smile that threatens 
               to split his face -- bends to pick up a huge bundle of furs.

                                                                   WIPE TO:

               INT. JORGENSEN KEEPING ROOM - FULL SHOT - THE GROUP

               FAVORING LAURIE

               reading the letter. She is at the bottom of a page.

                                     LAURIE
                         'There is one other thing I got to 
                         tell you before you hear it from 
                         Ethan... How I got myself a wife'...

               She stops and stares.

                                     LAURIE
                         A WIFE?

               She looks at them - dazed.

                                     CHARLIE
                              (delightedly)
                         He did?

                                     JORGENSEN
                              (smacking his knee -- 
                              very happy indeed)
                         Good! A young man should get married 
                         early in life. Right, mama?

               Mrs. Jorgensen, full of sympathy for Laurie, just glares at 
               her husband.

                                     JORGENSEN
                         Every young man should at least 
                         once...Go on, Laurie! Read!

                                     LAURIE
                              (haltingly)
                         A little Comanche squaw - SQUAW!

               And with that she crumples the letter and throws it into the 
               fire.

                                     MRS. JORGENSEN
                              (aghast)
                         Laurie!

               Jorgensen is out of his chair and scrambling in the fireplace 
               to recover the letter. He fetches it out, beating the sparks 
               out. The letter is basically undamaged.

                                     JORGENSEN
                              (sternly)
                         Is no way to treat a letter, Laurie 
                         ...Mama maybe you better read it...
                              (to Charlie, proudly)
                         My wife was a school teacher, Charlie 
                         ...She reads good.

               Laurie snatches the letter back.

                                     LAURIE
                         I'll read it...

               Charlie crosses the room, picks up a guitar.

                                     CHARLIE
                              (smugly)
                         So he married a Comanche squaw... 
                         Haw haw haw!

               Laurie glares at him. He begins chording the guitar.

                                                                   WIPE TO:

               EXT. INDIAN ENCAMPMENT - MED. CLOSE SHOT - MARTIN AND "LOOK" - 
               FALL OR EARLY WINTER - DAY

               "LOOK" is somewhat under five feet tall, pigeon-toed, platter-
               faced and wide-eyed. Over her arm is a very handsome blanket. 
               She is coming forward shyly toward Martin, propelled by a 
               Comanche -- her father. Martin, with an armful of trade goods -- 
               a few yards of bright calico, a couple of AGED SOW rosettes 
               and some trinkets -- is indicating the blanket. Look glances 
               shyly at her father.

               He shakes his head negatively. Look is disappointed.

               The father points to Martin's pile of trade goods. Martin 
               bends and picks up the indicated object: it is a battered 
               high-crowned beaver hat. The Indian grunts his approval and 
               puts it on. Look looks relieved. Martin reaches for the 
               blanket. Look takes a quick step backward and holds up one 
               finger: wait! Then she runs back through the other Comanches 
               now crowding forward.

               EXT. INDIAN ENCAMPMENT - ANOTHER ANGLE - FULL SHOT - 
               INCLUDING ETHAN

               who rides in slowly, leading their pack horse and Martin's 
               horse.

                                     ETHAN
                              (quietly)
                         Let's go... I think I stumbled onto 
                         somethin'...

                                     MARTIN
                              (eagerly)
                         Scar?

               The name registers with some of the nearer braves. There is 
               a quick interchange of glances, frowning, hostile.

                                     ETHAN
                              (angrily)
                         When are you goin' to learn to keep 
                         your mouth shut! Come on.  Let's get 
                         out of here.

                                     MARTIN
                         But I just bought a good blanket.

                                     ETHAN
                              (curtly)
                         Forget it...

               Martin mounts and the two ride out. The Comanches stare after 
               them suspiciously, resentfully.

               EXT. OPEN COUNTRY - FULL SHOT - ETHAN AND MARTIN - MOVING 
               SHOT - EARLY WINTER DAY

               They are riding down a slight grade beyond which (we can 
               assume) is the Comanche camp.

                                     ETHAN
                         What I heard back there was that a 
                         band o' hostile Nawyeckas came through 
                         this way less'n two weeks ago...

                                     MARTIN
                              (excitedly)
                         Think it might be...?

               He breaks and both turn as Look rides over the hill on a 
               little spotted Indian pony, with her squaw-bag slung up behind 
               her and her blanket over the saddle. She closes the gap 
               between them.

                                     ETHAN
                         What's she followin' for?

               Look smiles shyly at Martin.

                                     MARTIN
                         Look, I changed my mind... You can 
                         keep your blanket.

               He gestures for her to go back.

                                     MARTIN
                         Go on back...

               She stares and then dutifully wheels her horse. Martin and 
               Ethan face front again. Look wheels her horse again and is 
               right with them. Martin stops - exasperated.

                                     MARTIN
                         Look... you don't understand...
                              (he waves her away)
                         I don't want it.

               Look just sits.

                                     ETHAN
                              (explosively)
                         YOU don't understand, ya chunkhead!  
                         You didn't buy any blanket! Ya bought 
                         her!

                                     MARTIN
                              (aghast)
                         What?

                                     ETHAN
                         You got yourself a wife, sonny!

                                     MARTIN
                              (a wail)
                         Oh no! Tell her she's got to go 
                         back...

                                     ETHAN
                         And have her whole family after our 
                         scalps for floutin' one o' their 
                         women?... No sir! Come on, Mrs. 
                         Pauley...

               Look smiles and sets her horse in motion as Ethan moves ahead. 
               Martin's face is a mask of comic despair as he gives up. He 
               is mouthing the words --

                                     MARTIN
                         Mrs... Pauley?

               And Ethan suddenly breaks into song; to the tune of "Skip To 
               My Lou:"

                                     ETHAN
                              (singing)
                         I got another gal purtier'n you.  I 
                         got another gal purtier'n you.  I 
                         got another gal purtier'n you.  Skip 
                         to my Lou, my darlin'.

                                                               DISSOLVE TO:

               EXT. NIGHT CAMP - OPEN COUNTRY - CLOSE SHOT - ETHAN - NIGHT

               Ethan is wrapped in his blanket roll, head propped by an 
               elbow, grinning sardonically as he watches a strange ritual 
               in the camp. The score is softly reprising "Skip to my Lou."

               EXT. NIGHT CAMP - FULL SHOT - PAST ETHAN - NIGHT

               Look is standing with her blanket folded over one arm, her 
               head shyly downcast, not far from where Martin (back to her) 
               is spreading his own bed roll. He sits on it then and begins 
               pulling off his boots. He is very conscious of Ethan's 
               watchful scrutiny. Finally he is ready. He lies back on his 
               blanket. At once Look is at his side to spread her own 
               blanket. Martin sits bolt upright and tugs his blanket free 
               and wraps it protectively around him. She stares at him, 
               puzzled.

                                     MARTIN
                         Water!...
                              (in Comanche)
                         Pah!

               She nods her understanding, hurries off to fetch a canteen.

               Martin glares at Ethan.

                                     ETHAN
                         That's the way to train 'em. Looks 
                         like Mrs. Pauley's goin' to make you 
                         a fine beautiful wife...

                                     MARTIN
                         Cut it out, will ya...

               Look returns with the canteen, hands it to Martin and kneels 
               beside him. He looks at her sympathetically.

                                     MARTIN
                         Look... I wish I could explain to 
                         you.

               And now Look speaks for the first time. She indicates herself.

                                     LOOK
                         Look?...

               Now she jabbers in Comanche and, at the appropriate time, 
               will point to the sky and imitate a bird flying.

                                     LOOK
                         Nay tzare T'sala-ta-komal-ta-name...  
                         unt kang-yah Look.
                              (which means)
                         (My father calls me Wild Goose Flying 
                         in the Night Sky... but you call me 
                         'Look').

               Martin looks blank, but Ethan chuckles.

                                     ETHAN
                         Says her name's Wild Goose Flying in 
                         the Night Sky... but she'll answer 
                         to Look since it pleases ya...

                                     MARTIN
                              (blankly)
                         Look?

               She nods and smiles and quickly settles alongside him and 
               spreads her blanket over them both. Martin recoils, plants 
               his foot in the small of her back and sends her sprawling.

               Ethan busts a gut laughing. Martin jumps to his feet, angrily.

                                     MARTIN
                              (hotly)
                         I don't think it's so funny... If 
                         you want to do some good, whyn't you 
                         ask her where Scar is?

               Ethan stares at the girl. Her face is suddenly impassive as 
               she looks from Martin to the ground.

                                     ETHAN
                              (grimly)
                         She heard ya-all right... An' she 
                         knows...

               He gets to his feet and he crosses to stand before her. So 
               does Martin.

                                     ETHAN
                         Unt osupanet cah-nay Scar?
                              (meaning)
                              (You know where Scar 
                              is?)

               She stares sullenly, not answering.

                                     ETHAN
                         You ask her!

                                     MARTIN
                         Look!
                              (she faces him)
                         Scar?...
                              (sign talk)
                         Do you know where he went? And if he 
                         has a girl with him... a white girl -- 
                         nai-bist pabo taibo...

               She stands... She indicates Martin. She indicates herself.

                                     LOOK
                         Mah nee-koo-ur?
                              (meaning)
                              (Your woman?)

                                     MARTIN
                              (shaking head)
                         No... not my wife... My...
                              (to Ethan)
                         How do you say sister?

                                     ETHAN
                              (in Comanche)
                         Nami.

               She looks gravely from Ethan to Martin. Then, with impassive 
               face, she bends swiftly, picks up her blanket and walks away 
               from them to choose her own sleeping place. The two men don't 
               know what to make of it.

                                                               DISSOLVE TO:

               EXT. CAMP - OPEN COUNTRY - FULL SHOT - ETHAN AND MARTIN -

               MORNING

               It is the same scene the following morning. The men are 
               standing above where Look had bedded for the night, looking 
               at the ground. Clearly marked on the hard ground is a crudely 
               drawn arrow.

                                     MARTIN
                         Beats me how she could get that pony 
                         out o' camp without neither of us 
                         hearin' a thing...

                                     ETHAN
                         She ain't goin' back to her family, 
                         that's certain... not if she took 
                         off where the arrow points.

                                     MARTIN
                         Think she means for us to follow?

                                     ETHAN
                         How should I know... She's YOUR wife!

               He walks toward their horses, starts to saddle up.

               Martin follows.

                                     MARTIN
                         I think maybe we oughta...

                                     ETHAN
                              (hiding a grin)
                         Yeah, I kinda figgered you'd say 
                         that... Bein' a new husband and all...

               And Ethan starts singing "Skip to My Lou" half under his 
               breath. Martin gives him a sour side-glance and continues 
               saddling.

                                                               DISSOLVE TO:

               INT. JORGENSEN HOME - GROUP AS BEFORE - LAURIE READING - DAY

               Mrs. Jorgensen is bringing a lighted lamp over to the table 
               where Laurie is reading against the fading light of day. 
               Jorgensen's pipe has gone out and he lights it.

                                     LAURIE
                         Maybe she left other signs for us to 
                         follow but we'll never know -- 'cause 
                         it snowed all day and all the next 
                         week... We were heading north, through 
                         the buffalo country when something 
                         happened that I ain't got straight 
                         in my own mind yet...
                              (her voice fades)

               137-A

               EXT. SNOW COUNTRY - WIDE ANGLE SHOT - TWO RIDERS (COLORADO 
               FOOTAGE)

               The two men are picking their way through a snow-mantled 
               grove. Martin's voice resumes the narration.

                                     MARTIN'S VOICE
                         Ethan's always been throwing it up 
                         to me that I'm a quarter-breed... I 
                         never figgered it made much 
                         difference...

               137-B

               EXT. BUFFALO HERD - WIDE ANGLE SHOT - DAY (COLO. FOOTAGE)

                                     MARTIN'S VOICE
                         But this day we came on a small herd. 
                         We needed some meat so we circled 
                         'round...

               137-C

               EXT. THE HERD - ANOTHER ANGLE (COLO. FOOTAGE)

                                     MARTIN'S VOICE
                         ...and came up on 'em afoot...  They 
                         hadn't been hunted, so it was no 
                         trick workin' in close.

               137-D

               EXT. THE HERD - MARTIN AND ETHAN - DAY (COLO. FOOTAGE)

               The two men walk from behind CAMERA. Ethan aims, fires and 
               brings down a bull.

                                     MARTIN'S VOICE
                         Ethan got a nice one on his first 
                         shot, but then he began killing one 
                         after another -- cows as well as 
                         bulls -- fast as he could fire and 
                         load... It was just a slaughter... 
                         no sense to it...

               137-E

               EXT. THE HERD BEGINNING TO RUN (COLO. FOOTAGE)

               Shots cracking out -- the terrified bawling of the bulls -- 
               the beginning of the stampede.

               137-F

               EXT. MED. CLOSE SHOT - ETHAN AND MARTIN (PROCESS)

               Martin strides across to where Ethan is firing.

                                     MARTIN
                         Ethan, quit it!

                                     ETHAN
                              (firing again)
                         Nine...
                              (another shot)
                         Ten!

                                     MARTIN
                         What's the sense in it!

               Ethan turns and swings a backhand blow which catches Martin 
               by surprise and fells him.

                                     ETHAN
                              (in a fury)
                         Hunger! -- Empty bellies! That's the 
                         sense in it, you Cherokee!...

               He swings up his gun and fires again -- and again... as Martin 
               stares at him from the ground.

               137-G

               EXT. THE HERD - LONG SHOT - THE STAMPEDE (COLO. FOOTAGE)

               Fear-maddened animals are swinging into full stampede fleeing 
               the deadly marksman. Rifle shots keep cracking out.

               137-H

               EXT. MED. CLOSE SHOT - ETHAN AND MARTIN AS BEFORE (PROCESS)

               The thunder of the hooves is receding and Ethan grimly lowers 
               his rifle. Martin picks himself up -- still staring at Ethan 
               as though at a madman. Ethan turns and looks at him.

                                     ETHAN
                         Least, THEY won't feed any Comanches 
                         this winter... Killin' buffalo's as 
                         good as killin' Injuns in this 
                         country.

                                     MARTIN
                         Peaceful tribes depend on the buffalo, 
                         too....

                                     ETHAN
                         Ain't that too bad... If you feel 
                         that sorry for your kinfolk, I'm 
                         surprised you didn't take up with 
                         that squaw wife of yours...

               He whips out his shinning knife and strides toward the dead 
               buffalo o.s. Martin looks after him with troubled expression. 
               Suddenly he hears something, borne faint by the wind.

                                     MARTIN
                         ETHAN!

               Ethan turns. Now faintly, little more than a shred of sound, 
               is the distant blowing of a bugle.

                                     MARTIN
                         Listen!... Hear it?... There! Ain't 
                         that a bugle... and firing?

               Ethan stares -- and then the bugle sound repeats and the 
               distant crack of shots, from long miles off.

                                     ETHAN
                              (grimly)
                         Just hope we ain't too late...

               And the two break and run for their horses.

                                                               DISSOLVE TO:

               OMITTED

               EXT. A RIVER - WIDE ANGLE - CAVALRY CROSSING WITH PRISONERS - 
               DAY

                                     MARTIN'S VOICE
                              (as narrator)
                         It was all over long before we got 
                         there and the soldiers was high-
                         tailin' it back to the agency with 
                         their prisoners -- squaws mostly -- 
                         by the time Ethan and me reached the 
                         camp...

               EXT. SNOW SLOPE - WIDE ANGLE - ETHAN AND MARTIN

               Horses and riders plunge downslope through breast-high snow.

                                     MARTIN'S VOICE
                         It was the Nawyecky Comanches all 
                         right -- the ones we'd been looking 
                         for all this time...

               EXT. BURNING INDIAN VILLAGE - WIDE ANGLE - ETHAN AND MARTIN - 
               DAY

               as they ride in, passing dead horses, a few bodies of men.

                                     MARTIN'S VOICE
                         Trouble of it was that the soldiers 
                         had hit when most of the fightin' 
                         men was away -- huntin' maybe... So 
                         most of the dead was old men and 
                         women an' kids... And it was in one 
                         of the tepees Ethan found her -- the 
                         little squaw who wanted me to call 
                         her Look...

               Ethan has dismounted in front of one of the tepees, heads 
               inside.

               INT. TEPEE - FULL SHOT - DAY

               as Ethan enters. A body -- Look's -- is sprawled on the 
               ground. He crosses, turns her over. Martin enters behind 
               him.

                                     ETHAN
                         Well, you're a widower now...

                                     MARTIN
                              (angrily)
                         What'd the soldiers have to kill her 
                         for!...

               He sees something clutched in her hand. He stoops quickly.

                                     MARTIN
                         Ethan!

               Ethan, who has turned indifferently to leave, pauses.

               Martin shows him what Look had been clutching -- Debbie's 
               rag doll.

                                     MARTIN
                         Look! It's hers, Debbie's...

               Ethan snatches it, stares at it. Then he turns and runs from 
               the tepee. Martin stares at Look's body, then covers it with 
               a robe.

                                     MARTIN'S VOICE
                         So we knew Debbie had been in the 
                         village... What Look was doing there -- 
                         whether she'd come to warn them, or 
                         maybe to find Debbie for me... there's 
                         no way of knowing...

               He turns and then slowly heads out.

               EXT. THE TEPEE - ETHAN AND MARTIN

               Ethan stands there, his expression bleak, looking at the 
               scene. Martin joins him.

                                     MARTIN
                         We gotta catch up with them yellow 
                         legs... Maybe they got her with them.

               Ethan isn't thinking of that at all.

                                     ETHAN
                              (harshly)
                         And maybe they got Scar!

               They start away -- fast.

                                                               DISSOLVE TO:

               EXT. SNOW COUNTRY - WIDE ANGLE - THE CAVALRY AND PRISONERS - 
               DAY

               A long line stretching across the landscape -- women falling 
               and being prodded along by their captors. From behind CAMERA 
               ride Ethan and Martin and move to intercept the column.

               EXT. THE COLUMN - FULL SHOT - DAY

               as Ethan and Martin come closer and look at the shawled 
               prisoners stumbling along.

               EXT. OPEN COUNTRY - FULL SHOT - ETHAN AND MARTIN - DAY

               as a young OFFICER spurs out of the column and rides toward 
               them.

                                     OFFICER
                              (inquiringly)
                         Yes?

                                     ETHAN
                         We're looking for a girl -- a white 
                         girl...

                                     MARTIN
                         She'd be about thirteen now...

                                     OFFICER
                         We got two around that age...

                                     MARTIN
                              (eagerly)
                         Where?

                                     OFFICER
                         You'll have to wait until we reach 
                         the agency... Fall in behind the 
                         column...

                                     MARTIN
                              (protestingly)
                         But couldn't you...?

                                     OFFICER
                         Sorry...
                              (shouting it)
                         Keep the column moving!... Close 
                         ranks there!

               The officer spurs out to rejoin the column. Martin looks at 
               Ethan, his face alive with hope. But Ethan is just looking 
               stonily along the line of passing prisoners.

                                                                   WIPE TO:

               EXT. THE NOKONI AGENCY - WIDE ANGLE - DAY

               The column of cavalry and prisoners enters the agency 
               (COLORADO FOOTAGE). We see the dead and wounded on travois; 
               the agency Indians watching stoically; the prisoners -- some 
               of them -- being herded into a chapel.

               INT. OFFICE OF NOKONI AGENCY - FULL SHOT - DAY

               The office has been set up as a temporary army headquarters. 
               The GENERAL is being interviewed by two Eastern newspaper 
               CORRESPONDENTS. At a table beyond is a telegrapher, sending 
               out a report of the victory.

               A pot-bellied stove supplies heat and the General is warming 
               his hands at it, intermittently. An adjutant is rather wearily 
               filling out a long official form.

               The General, for all his mudded boots remains a beau sabreur 
               and is loosely modeled upon a certain other well-known glory 
               hunter of the Indian wars. He wears a colonel's straps, but 
               insists upon his brevet rank.

                                     GENERAL
                         And it was clear to me the hostiles 
                         outnumbered us four to one... with 
                         all the advantage of terrain...

                                     CORRESPONDENT
                         Four to one! What did you do, general?

               Ethan and Martin enter, stand in the doorway.

                                     GENERAL
                              (impressively)
                         Sir -- we charged!... Gentlemen -- 
                         and I hope you will quote me -- I 
                         cannot say too much for the courage 
                         of the men who followed me into that 
                         Cheyenne camp...

                                     ETHAN
                              (blurting it)
                         Cheyenne! What Cheyenne?

                                     GENERAL
                              (turning and staring)
                         I beg your pardon?

                                     ETHAN
                         That camp you hit was Nawyecka 
                         Comanche... Chief Scar's bunch...

                                     CORRESPONDENT
                              (fascinated)
                         Scar? What a wonderful name!...

                                     GENERAL
                              (to his aide)
                         Are you getting this, Keefer?

                                     CORRESPONDENT
                              (to Ethan)
                         How do you spell that word -- 
                         Nawyecka?

               Ethan ignores him, still facing the General.

                                     ETHAN
                         My name's Edwards... I'm looking for 
                         my niece... she was in that camp 
                         when you attacked...

                                     GENERAL
                              (uncertain)
                         Well... I know there were some 
                         captives recovered...

                                     MARTIN
                              (bitterly)
                         Four of 'em dead... so we were told...

                                     GENERAL
                              (uncomfortably)
                         Unfortunately, the hostiles murdered 
                         them as we developed the village...

                                     ETHAN
                         Are you sure they didn't die of 
                         carbine shots fired by a bunch o' 
                         Yank bluebellies so scared they 
                         couldn't tell the difference between 
                         a Cheyenne and a Comanche?

                                     GENERAL
                         Keefer!... Put this man under arrest!

                                     ETHAN
                         That'll be the day...
                              (scornfully)
                         'As we developed the village'... 
                         Next time you develop a village, hit 
                         it where the fightin' men are...  
                         You won't get any headlines for 
                         killin' squaws.

               Keefer coughs.

                                     KEEFER
                         Shall I show him the captives, sir?

                                     GENERAL
                         Just get him out of here!

                                     KEEFER
                         Yes sir...
                              (he crosses to Ethan)
                         This way...

               INT. THE CHAPEL - MED. CLOSE SHOT - ANGLING TO DOOR -
               AFTERNOON

               The door is opened by a guard and Ethan takes a step into 
               the room -- then stops in manifest shock. Martin

               is at his heels, eager and expectant. Beyond them stands 
               Keefer, grave and compassionate. There is a keening sound in 
               the room -- almost an animal sound.

               INT. THE CHAPEL - REVERSE SHOT - FULL

               It is a simple log-sided room with plank benches without 
               backs. Up front is a small box-like pulpit, no altar.

               Across the front of the room, set up either on benches or on 
               boards over saw-horses are four blanket-covered figures -- 
               at least two being the bodies of children.

               Squatting on the floor near them is an elderly white woman 
               with hair hanging loosely down her back and clad in Indian 
               robes. Standing, facing the newcomers, is a woman who may be 
               no more than in her mid-thirties.

               She is mad -- wild-eyed, frightened, with matted, unbrushed 
               golden hair, torn garments. It is she who has been making 
               the keening sound, the animal moans. Now she crouches at the 
               sight of them and looks desperately for a means of escape. 
               Two girls are asleep, heads together and backs to the door. 
               One has light hair, like Debbie's; the other brown hair. The 
               afternoon sun coming through a high window touches the light 
               hair.

                                     MARTIN
                         Debbie?... DEBBIE?

               He has seen the light hair and starts crossing the room.

               Now the madwoman begins her screaming, running from side to 
               side like a trapped animal. Ethan follows Martin into the 
               room, Keefer behind him. Martin comes to a stop, realizing 
               the woman is afraid of him. The two sleeping girls stir, but 
               do not turn.

                                     MARTIN
                         Don't be scared, ma'am...

               The madwoman crouches behind one of the benches, looking at 
               them with frightened eyes.

                                     KEEFER
                         Just don't pay any attention to her...

               Martin swallows and nods and crosses to the light-haired 
               girl. He reaches a hand gingerly to touch her shoulder.

                                     MARTIN
                              (softly)
                         Debbie?

               At the touch, the girl is on her feet, crouching -- one hand, 
               like a claw, drawn back to rake his face. She is unmistakably 
               a white girl, but she is painted like a Comanche woman --her 
               ears red inside, streaks of paint accenting the savagery of 
               her face. Her eyes are frightened, yet full of hate.

                                     GIRL
                         Pabo-taibo!
                              (White man!)
                         The other girl has risen almost in 
                         the same instant -- but more out of 
                         fear. She is younger, but painted 
                         like the other. She moves to stand 
                         behind the savage one.

                                     MARTIN
                              (slowly)
                         No... She's not...

                                     ETHAN
                         I ain't sure... Where's that doll?

               Martin stares at him, then realizes what he has in mind.

               He fishes the rag doll from under his coat and holds it out 
               to the girl. She looks at it... and we may almost suspect it 
               is rekindling a memory -- but then she spits at it. The other 
               girl laughs. Martin turns away and he's sick.

                                     KEEFER
                         Was your niece about their age?

                                     ETHAN
                         Not far from it...

                                     KEEFER
                         Hard to realize they're white, isn't 
                         it...

                                     ETHAN
                              (grimly)
                         They're not white any more -- they're 
                         Comanche!... Let's see the bodies...

               Martin nerves himself for the ordeal, turns to follow.

                                     ETHAN
                         I don't need you...

               Ethan and Keefer move away. As they do, the madwoman -- eyes 
               fixed on the rag doll in Martin's hand -- begins creeping up 
               behind him. Martin is torturedly watching Ethan and Keefer 
               as first one blanket then another is raised -- we will never 
               see the dead. During this:

                                     KEEFER
                              (the dispassionate 
                              pro)
                         I'd like you to see them all... It 
                         might help us identify them... Shot 
                         in the head -- flash-burn range... 
                         The boy got his skull cracked... 
                         Here's the girl...

               Martin stiffens, waiting.

                                     ETHAN
                         No...

               Martin relaxes... and in that instant the madwoman has the 
               doll in her hands. She cradles it and she croons.

               Martin reaches to take it away. But she calmly sits, cradling 
               the doll, and rocks to and fro, humming a lullaby. He can't 
               take it. Ethan returns.

                                     ETHAN
                         Well, we only got the one lead --
                         Scar... And where we begin to look, 
                         I don't know...

                                     KEEFER
                         There's one thing. We recovered a 
                         bushel of trinkets in that camp... 
                         cheap stuff... trade goods... Couldn't 
                         help noticing that most of it was 
                         Mexican... Maybe if you could talk 
                         to some of those Mexican traders 
                         along the border... What do they 
                         call themselves?

                                     ETHAN
                         Comancheros...

                                     KEEFER
                         That's the breed... Course it might 
                         take time.

                                     ETHAN
                         Time's running out... But I'm obliged 
                         to you.

               They leave.

                                                                    CUT TO:

               INT. JORGENSEN KEEPING ROOM - FULL SHOT - THE GROUP - 
               EVENING

               Laurie has reached the last page of the letter, reading it 
               by the lamp on the table. Jorgensen is knocking out the dead 
               ashes of his pipe.  Charlie is in the shadows, a guitar in 
               his hands -- not playing it, but occasionally softly picking 
               a note or chord. Mrs. Jorgensen is dabbing moist eyes with a 
               corner of her apron.

                                     LAURIE
                         ...so we're setting out for New Mexico 
                         Territory in the morning... I am 
                         sorry I won't be back for Christmas 
                         again this year...

               She swallows hard, pauses a moment in her reading.

                                     MRS. JORGENSEN
                              (quick sympathy)
                         And you knittin' that muffler...

                                     LAURIE
                              (impatiently)
                         What's the difference!

                                     MRS. JORGENSEN
                         Well, I just thought it would be a 
                         sin and a shame not to let SOMEONE 
                         get some good of it...

               She looks almost too obviously at Charlie, which annoys 
               Laurie. Laurie resumes her letter reading:

                                     LAURIE
                              (peering closely)
                         There's a word crossed out... It 
                         looks like 'I wish' or 'I will'...
                              (she gives up)
                         Anyway... 'I set pen aside in the 
                         hope you are enjoying good health 
                         and your folks the same... I remain, 
                         respectfully...
                              (forlornly)
                         yours truly, Martin Paulie.'

               That's all there is. Not a cross on it. Laurie just looks at 
               it. Jorgensen stands, pocketing his pipe, easing the crick 
               in his back. He ceremoniously removes the spectacles and 
               replaces them on the mantel.

                                     JORGENSEN
                         They never find that girl.

                                     LAURIE
                              (half to herself)
                         Yours truly...
                              (hotly)
                         And he even has to write his full 
                         name... Martin Pauley... not even 
                         just Martie!...
                              (she stands)
                         I don't care if he never comes back!

               She heads for the front door.

                                     MRS. JORGENSEN
                              (rising -- saying it 
                              without conviction)
                         Now, Laurie!...

               Charlie hits the guitar a little stronger. Mrs. Jorgensen 
               looks at him -- and the matchmaker is at work.

                                     MRS. JORGENSEN
                         Charlie, you'll stay for supper?...  
                         Now I won't take no for an answer.

                                     CHARLIE
                         Thought of saying 'no' never crossed 
                         my mind, Miz Jorgensen... No place 
                         I'd rather be than right here, right 
                         now.

               Mrs. Jorgensen smiles and moves about her duties. Laurie has 
               opened the door and is staring out wistfully... and Charlie 
               begins playing and singing a verse from "Skip to My Lou."

                                     CHARLIE
                              (singing)
                         One old boot and a button shoe One 
                         old boot and a button shoe...

                                                                   FADE OUT

               FADE IN

               EXT. DESERT COUNTRY - WIDE ANGLE - ETHAN AND MARTIN RIDING - 
               DAY

               The search theme is heard again as the two riders, with single 
               pack horse, are heading south through New Mexico.

               It is hot country.

               EXT. DESERT COUNTRY - CLOSE MOVING SHOT - ETHAN AND MARTIN -
               DAY

               Their faces are sun-tanned, burned dark and dry. Gone are 
               the heavy coats and clothing of their northern days. They do 
               not speak, just ride -- and there is the same bleak, fanatic, 
               hard look about them both. The music theme segues into 
               something livelier and Mexican as we -

                                                               DISSOLVE TO:

               EXT. A MEXICAN VILLAGE - FULL SHOT - ETHAN AND MARTIN - DAY

               It is a small place -- a single dirt street, a few adobe 
               houses; a few racks of dried meat; a burro with a load of 
               faggots on its back being driven along by a small boy; the 
               music coming from a little cantina in the middle of the 
               street. Before the cantina is a bone rack of a horse, without 
               a saddle -- only a blanket pad. There is something familiar 
               about the horse and Ethan is staring at it as they ride in.

               EXT. THE CANTINA - FULL SHOT - DAY

               The two men dismount, beating dust out of their clothes.

               Ethan takes another look at the sorry old nag tied outside.

               Martin pauses beside Ethan.

                                     ETHAN
                         Recognize it?

               Martin shakes his head. They start toward the cantina.

                                     ETHAN
                         There couldn't be two like that in 
                         all the world...

               INT. THE CANTINA - FULL SHOT - DAY

               as Ethan and Martin enter. It is a dirt-floored room with a 
               small bar near the door, chairs and benches along the walls. 
               A pair of guitar players are at the far end of the room. A 
               couple of Mexicans are playing a noisy game of dominoes, 
               slapping the dominoes down hard... EMILIO FIGUEROA, back to 
               the door, spurred boots across one of the tables, is sipping 
               a drink. Emilio is a cynical, middle-aged, aristocratic-
               looking man in modified charro costume. Watching the domino 
               game is ESTRELLA, lithe, sensuous, smoking a brown-paper 
               cigarette; she is barefoot. Behind the bar is the proprietor, 
               dozing on his stool. Ethan takes a step into the room.

                                     ETHAN
                              (loudly)
                         MOSE!.... MOSE HARPER?

               The proprietor awakens. The domino game is suspended in mid-
               play. Estrella turns... and from beside Emilio, previously 
               obscured by the man's back and the big charro hat, pokes the 
               head of old Mose. Emilio turns then to look at the newcomers.

                                     MOSE
                         Ay-eh...?

               He is on his feet and advancing to meet them. As he recognizes 
               them a wide, foolish grin splits his face and his mouth opens 
               and closes in words that won't come out. He grabs and shakes 
               Ethan's arm, then Martin's.

                                     ETHAN
                         Leggo my arm... You look mangier 'n 
                         ever.

                                     MOSE
                         Ain't been too good... No sir, not 
                         too good... Gettin' old, Ethan...

                                     ETHAN
                         You were born old...

                                     PROPRIETOR
                              (all smiles - as they 
                              head for the bar)
                         Bienvenidos, senores... Pulque?...  
                         tequila?... mescal?... huiskey?

                                     ETHAN
                         Tequila...

                                     MARTIN
                         Lo mismo.

                                     PROPRIETOR
                              (beaming)
                         Y' par' el Viejo -- el vino del 
                         pais... tequila tambien!

               Martin puts his back to the bar, leans elbows on it and looks 
               around.

               158A

               INT. THE CANTINA - ANGLING PAST MARTIN TOWARD ESTRELLA

               She is giving him an appraising once-over, then signals the 
               musicians to play. She rests her buttocks against a table 
               and waits, her eyes challenging Martin to make a move. Emilio 
               is watching Estrella and Martin with something akin to bored 
               amusement.

               158B

               INT. THE CANTINA - ANGLE AT BAR

               Ethan has poured a drink for Mose, now one for himself --
               leaving Martin's glass empty.

                                     MOSE
                         I been helpin' ye, Ethan... I been 
                         lookin' all the time...

               Martin turns back to the bar to take his glass. He finds it 
               empty.

                                     MARTIN
                              (to Ethan's back)
                         Thanks for nothin'...

               He angrily throws a coin on the counter, appropriates the 
               bottle and his glass and heads for a table closer to Estrella. 
               Neither Ethan nor Mose seems aware of his going.

                                     ETHAN
                         Well, the reward still stands...

                                     MOSE
                         Don't want no money, Ethan... jus' a 
                         place -- a roof over m' head... a 
                         little grub... a bunk to sleep in... 
                         an' a rockin' chair by the fire...  
                         my own rockin' chair by a fire...

                                     ETHAN
                         You help me find her, you got your 
                         rockin' chair...

                                     MOSE
                         Swear it, Ethan?... Given word?

                                     ETHAN
                              (impatiently)
                         Told ya, didn't I?

                                     MOSE
                              (impressively)
                         Ethan... I found a man's seen her...  
                         knows where little Debbie is!

               Ethan stares at him. Mose nods his reaffirmation of it.

               Then Ethan's hand locks on the old man's shoulder.

                                     ETHAN
                         Who? Where is he... this man?

               Mose winces under the grip. He can't speak, but he looks 
               past Ethan and he points. Ethan turns. Emilio swings his 
               boots off the table and slowly crosses to them. He lets 
               cigarette smoke curl out of his mouth. Then he smiles.

                                     EMILIO
                         I am this man, senor... Emilio Gabriel 
                         Fernandez y Figueroa... at your 
                         service...
                              (afterthought)
                         ...for a price...
                              (he smiles)
                         ...Always for a price...

               As the men study each other, Estrella begins her dance --  
               and the rhythmic click of the castanets will beat like a 
               metronome. Emilio looks at the bottle on the bar, disdainfully 
               pushes it away and imperiously signals the proprietor to 
               bring something better.

                                     EMILIO
                         Un otra!

               INT. THE CANTINA - ANGLING PAST MARTIN TO ESTRELLA

               He is knocking off his tequila and looking at the girl 
               hungrily. She is doing her swaying dance, playing up to him 
               and with unmistakable effect. He sloshes another drink into 
               his glass and, never taking his eyes off her, downs it.

               INT. THE CANTINA - FULL SHOT - ANOTHER ANGLE - THE DANCE

               Beyond Estrella we see Ethan, Emilio, and Mose at the bar --
               gestures, headshakes, the entire pantomime of an inaudible 
               conversation. Then Ethan takes out his pouch and begins 
               dropping gold pieces into Emilio's hand. Meanwhile, dance 
               and dancer are achieving their purpose with Martin. And the 
               tequila is working. He gets to his feet, a little groggily. 
               Estrella's smile deepens and there is a clear invitation in 
               her eyes... Ethan turns then, his deal with Emilio concluded, 
               and he sees what is going on. He starts for Martin's table 
               just as Martin moves out to take the girl.

                                     ETHAN
                              (tolerantly)
                         Come on, Don Juan... We're on our 
                         way...

               Martin tries to push him away, his eyes still on the girl.

                                     MARTIN
                              (thickly)
                         Lemme alone...

                                     ETHAN
                              (taking his arm)
                         You breeds are all alike -- two drinks 
                         an'...

               Martin breaks free and squares off.

                                     MARTIN
                         Take yer hands off'n me... This lady 
                         an' me got some things to talk over!

               Estrella ranges herself alongside of Martin and slips an arm 
               possessively through his.

                                     ETHAN
                              (a shrug)
                         Suit yourself... While you're enjoyin' 
                         your little conversation, I'll be 
                         ridin' out with Senor Fernandez 
                         here...  The Comanch' medicine country 
                         ain't far... there's one camp with a 
                         chief named Cicatriz.

                                     MARTIN
                         Never heard of him...

                                     ETHAN
                         Cicatriz is Mex for Scar... an' he 
                         has a white girl in his tepee... Be 
                         seein' you...

               He turns and heads out. Emilio, who has come up behind him, 
               gives Estrella a slight smile and bow.

                                     EMILIO
                         Buena suerte, Estrella... Hasta la 
                         vista.

               He follows Ethan. Estrella swings her body close to Martin 
               and lets her arms slide around his neck.

                                     ESTRELLA
                              (softly)
                         Tu quieres...?

               Martin blinks to clear away the fog of tequila and desire.

                                     MARTIN
                              (a bitter laugh)
                         Sure... sure... Only not this year...

               He pulls her arms away and goes lurching after the others.

               Mose catches his arm.

                                     MOSE
                         'Mind Ethan 'bout my rockin' chair!

               Martin continues out and Mose stands there -- his head rockin' 
               as though he already were in his chair.

                                                               DISSOLVE TO:

               EXT. (APPROACH TO THE NEEDLES MONUMENT) - A BROAD CANYON -
               FULL SHOT - DAY

               A small pack train (nine or ten horses, six or seven men) 
               winds through a canyon behind which we can see huge needles 
               of rock: majestic, savage country. At the head of the column 
               ride Ethan, Emilio, and Martin. Behind them come Emilio's 
               cargadores -- lean, hard-bitten wiry little Mexicans. One 
               leads a handsome palomino. The SOUND of the CASTANETS ECHOES 
               in the musical theme.

               EXT. CANYON - MED. SHOT - HEAD OF COLUMN - MOVING - DAY

               Ethan is looking around with grim interest.

                                     ETHAN
                         Medicine country, huh?

                                     EMILIO
                              (slight smile)
                         Medicine so strong they believe the 
                         feather of an eagle found here can 
                         guard a man against bullets...

                                     MARTIN
                              (looking ahead)
                         If you got one handy, now's the 
                         time...

               Ethan and Emilio both look in the direction of his glance.

               EXT. CANYON - FULL SHOT - REVERSE ANGLE - FROM BEHIND RIDERS - 
               DAY

               They are turning a bend and now, ahead, we see a cordon of 
               Comanches -- all armed, all quiet, all very menacing as they 
               watch the approaching column. Emilio calls a greeting in 
               Comanche. It gets no answer.

               EXT. CANYON - MOVING SHOT - THE COMANCHE FACES - DAY

               The CAMERA PICKS UP the faces in turn, as from the white 
               men's viewpoint, as they ride slowly by.

               EXT. COMANCHE ENCAMPMENT - FULL SHOT - DAY

               One tepee stands apart from the other's -- Scar's. Beyond it 
               are other tepees, the gathering of braves and some squaws, 
               the drying racks for meat, etc. Emilio leads the way toward 
               the central tepee. They dismount nearby and Emilio inclines 
               his head toward the one tepee. Ethan and Martin brace 
               themselves and wait. The flap of the tepee is closed.

                                     MARTIN
                              (gruffly)
                         What are we waiting for?

               Emilio cautions him with a hand gesture.

               EXT. THE TEPEE - MED. CLOSE SHOT - DAY

               The flap is thrust aside and SCAR steps out -- the same 
               Comanche we had seen at the grave when Debbie was captured.

               He stands tall, arrogant, eyeing the white men with hard, 
               implacable eyes. He has a robe gathered about him. Across 
               his face is a scar.

                                     EMILIO'S VOICE
                         Senores! This is Cicatriz!

               EXT. INDIAN ENCAMPMENT - CLOSE SHOT - ETHAN AND MARTIN - DAY

               The white men's eyes are as hard as the Comanche's: this is 
               the man they have long sought, the killer, the raper.

               They cannot mask the hatred they feel.

                                     ETHAN
                              (slowly... at last)
                         Scar... It's plain to see where you 
                         got your name.

               Scar's hand moves to the scar on his face, and a finger runs 
               along it.

                                     SCAR
                         Your name - Big Shoulders... His 
                         name - He Who Follows.

                                     ETHAN
                         You speak pretty good American for a 
                         Comanche... Someone teach you?

               It is a leading question and Scar knows it. He looks long at 
               Ethan and the suggestion of a smile touches his lips.

               But he makes no direct answer. He looks instead to Emilio.

                                     SCAR
                              (in Comanche)
                         Ah-we pabbo-tie-bo ee-kee-tay?
                              (Why did you bring 
                              the gringos here?)

                                     EMILIO
                              (a shrug -- in Comanche)
                         Pabbo-tie-bo kim te-moo-er.
                              (The gringos want to 
                              trade.)

                                     ETHAN
                         That's right... We come to trade... 
                         Only not out here...
                              (with sign language 
                              accompaniment)
                         I don't stand talkin' in the wind.

               Emilio quickly turns and calls to one of his men. Emilio is 
               worried.

                                     EMILIO
                              (sharply)
                         Miguel... caballo -- aca!

               One of the Mexicans comes on the trot, leading in the 
               palomino. Emilio makes a gesture -- giving it to Scar.

                                     EMILIO
                         Co-bay tabitz-chat.
                              (meaning)
                              (Very fine horse.)

               Scar looks at it greedily, then nods. He'll accept it.

               He looks at Ethan. Again that faintly contemptuous smile.

               He signals them to enter his tepee.

                                     ETHAN
                              (to Martin)
                         Stay out here.

                                     MARTIN
                         Not likely.

               He follows Ethan into the tepee... and a worried Emilio goes 
               along.

               INT. THE TEPEE - FULL SHOT

               A small fire burns in the center of the lodge and a shaft of 
               sunlight strikes in from the smoke flap at the peak.

               Two chunky squaws, who have been tending the fire or grinding 
               corn in a rock pestle, scuttle to a side of the tepee. Two 
               others, one half-grown and the other slightly taller, sit 
               with their backs to the fire, huddled over some leather work 
               or stitching. Both are shawled. As Scar enters, he barks a 
               word to the squaws near the fire.

                                     SCAR
                         Pie-kay! (Clear out!)
                              (then he turns to the 
                              white men)
                         IH-CARD!
                              (Sit!)

               He sits on some robes, signs for them to sit opposite.

               Slowly they look around them.

               INT. THE TEPEE - REVERSE ANGLE - AS FROM THEIR VIEWPOINT -
               TTE TWO OLDER SQUAWS

               They are sitting with heads averted, slightly profiled -- 
               but clearly Indian women, broad-faced, dark of hair and skin.

                                     EMILIO'S VOICE
                         His sons are dead... So his wives 
                         sit on the honor side of his lodge.

               INT. THE TEPEE - ANGLING PAST ETHAN TOWARD THE TWO YOUNG 
               ONES

                                     ETHAN
                              (glancing at them)
                         Are those his wives too?

               One of the squaws turns -- and even in the shadows we see it 
               is another Indian face. The other does not turn.

               Scar leans in, blocking the view.

                                     SCAR
                         Two sons -- killed by white men... 
                         For each son, I take many scalps...
                              (in Comanche)
                         Mayah-kay zee-eh!...
                              (Bring the lance!)

               The slightly smaller of the young squaws stiffens but doesn't 
               move. Scar glares.

                                     SCAR
                              (louder)
                         MAYAH-KAY ZEE-EH!

               The girl gets to her feet. Ethan and Martin watch as, still 
               with averted face, she crosses to where a lance hangs from 
               the tepee wall. It has several scalps on it, including one 
               with light red hair. Slowly she carries it back. Scar never 
               takes his eyes from the faces of the white men, savoring 
               every moment of it. The girl extends the lance between them, 
               so that it is like a bare blade separating two duelists. 
               Neither Ethan nor Martin dares at first look at more than 
               the scalp pole... Then slowly their eyes lift... and the 
               CAMERA MOVES IN and RAISES TO:

               INT. THE TEPEE - EXTREME CLOSE SHOT - DEBBIE

               As the shawl slips back to reveal her light hair, the slant 
               green eyes looking at them from a tanned, but still white 
               and very beautiful face. (NOTE TO MUSIC: The SEARCH THEME 
               should cover all the foregoing action -- but at the first 
               clear view of DEBBIE, it ends dramatically.)

               Debbie's eyes hold theirs -- and then Scar's voice is heard:

                                     SCAR
                              (in Comanche)
                         Pie-kay!
                              (Go!)

               Swiftly she straightens, takes away the scalp pole and goes 
               back to her former place.

               INT. THE TEPEE - MED. CLOSE SHOT - THE GROUP AS BEFORE

               Scar is watching the white men like a hawk. Martin's eyes 
               are wide and his breathing seems suspended. But Ethan is 
               playing it like a poker player.

                                     ETHAN
                              (his voice controlled)
                         I've seen scalps before...

               Scar's eyes are mocking. He lets his robe slip back from his 
               shoulders, revealing a bare bronzed chest on which -- glinting 
               in the reflected firelight -- is the medallion that Ethan 
               had given Debbie. It is suspended by a chain or rawhide 
               string. Scar touches it.

                                     SCAR
                         This before?

               Ethan smiles -- and he's still playing poker. He stands...  
               and the others follow. Scar is puzzled.

                                     ETHAN
                              (to Emilio)
                         I came to trade, not to admire his 
                         collection... Tell him we're going 
                         to pitch camp across the crick... 
                         Maybe we can talk trade tomorrow.

               Scar hasn't understood all of it. He scowls and looks at 
               Emilio.

                                     SCAR
                              (in Comanche)
                         Ee-sap! Pabbo-tie-bo ee-sap!
                              (He lies! The gringo 
                              lies!)

                                     EMILIO
                              (placatingly)
                         Tomorrow -- manana -- 'puetze.'

               Scar looks at Ethan and at Martin. He smiles slightly, and 
               he nods his agreement.

                                     SCAR
                         Puetze!

               Martin and Ethan turn to go. Only then does Debbie look 
               swiftly at them and as swiftly away. Martin can't help but 
               pause, but Ethan prods him toward the tepee flap.

               EXT. THE TEPEE - MED. CLOSE SHOT - MOVING - THE THREE MEN

               They emerge from the tepee and begin to walk away -- not 
               fast, not slow, and without a side glance. Scar emerges and 
               looks after them -- glowering. A few other Comanches begin 
               to gather near his tepee.

                                     EMILIO
                              (urgently)
                         Walk with dignity!
                              (after a moment; lips 
                              hardly moving)
                         If you gringo heretics have any 
                         prayers, say them...

                                     MARTIN
                              (transfigured)
                         She's alive... Can you believe it, 
                         she's alive... alive... An' we found 
                         her...

                                     EMILIO
                              (fervently)
                         Please!... I, too, am alive... I 
                         wish to stay that way.

               They reach the waiting cargadores and the pack train, 
               surrounded by suspicious Comanches.

                                     EMILIO
                              (to his men)
                         Vamanos!

               They mount and ride out.

                                                                   WIPE TO:

               EXT. SAND DUNES NEAR NEEDLES (MONUMENT) - FULL SHOT - LATE 
               AFTERNOON

               Emilio is standing near his horse, talking to Ethan and 
               Martin.

                                     EMILIO
                         You understand, senores... It is not 
                         that I am cobarde... cowardly...

                                     ETHAN
                         Don't apologize... You did your job...

               Emilio nods and mounts.

                                     EMILIO
                         He knows you -- who you are -- and 
                         why you are here... This I did not 
                         understand... or I would not... even 
                         for gold, senores... have led you 
                         here.

               He fumbles for a pouch, holds it out to Ethan.

                                     EMILIO
                         Take it. I do not want blood money. 
                         Vaya con Dios!

               He digs spurs and rides out. Ethan turns and looks soberly 
               at Martin. We hear the rest of the riders moving away.

               Ethan and Martin cross the sand and go down slope toward the 
               creek where their horses are waiting.

               174-A

               EXT. SAND CREEK (MONUMENT) - FULL SHOT - THE TWO - DAY

                                     MARTIN
                         You figger Scar means to kill us?

                                     ETHAN
                         He's got to... All these years, 
                         runnin', dodgin', knowin' we were 
                         after him... Now we caught up... 
                         It's him or us.

                                     MARTIN
                         Why didn't he make his move back 
                         there?

                                     ETHAN
                         I don't know... Somethin' tied his 
                         hands... maybe hospitality...

               He breaks and both wheel as sand slides from the top of the 
               dunes. They look up.

               174-B

               EXT. SAND DUNE - DAY

               Debbie is silhouetted atop the dune, looking down at them.

                                     MARTIN
                              (barely breathing the 
                              name)
                         Debbie...?

               She slides down the dune to stand across the creek from them.

               174-C

               EXT. SAND CREEK - FULL SHOT - THE THREE - DAY

               Her hand cautions them to silence and against coming any 
               closer.

                                     DEBBIE
                              (in Comanche)
                         Unnt-meah!
                              (Go away!)
                         Both men move closer. She takes a 
                         frightened step back, as if to run.

                                     MARTIN
                         Debbie... Don't you remember me? I'm 
                         Martin.

               She hesitates. She looks long at him.

                                     DEBBIE
                              (in Comanche)
                         Unnt-meah!

                                     MARTIN
                              (softly)
                         We ain't goin'! We ain't goin' without 
                         you, Debbie... Ethan, get the 
                         horses... I'll try to keep her 
                         talkin'...

                                     ETHAN
                              (harshly)
                         How? She's even forgot her own 
                         language!

                                     MARTIN
                         Debbie, you're comin' with us!  Hear 
                         me?

                                     DEBBIE
                         No... not now... not ever.

               These have been her first words in English... and they bring 
               new hope to Martin.

                                     MARTIN
                         I don't care what they've done to 
                         you... what happened...

                                     DEBBIE
                              (angrily)
                         They have done... nothing... They 
                         are my people...

                                     ETHAN
                         Your people? They murdered your 
                         family!

                                     DEBBIE
                              (reverting to Comanche)
                         Ee-sap!
                              (furiously)
                         White men killed them - to steal 
                         cows! I was... little... I ran away... 
                         They find me... take care of me.

                                     MARTIN
                         No Debbie! That ain't what happened!  
                         They been lyin' to you...

                                     DEBBIE
                         You lie! All white men lie... and 
                         kill...

                                     MARTIN
                         Debbie, think back! I'm Martin...  
                         remember? Remember how I used to let 
                         you ride my horse? Tell you stories?  
                         Don't you remember me, Debbie?

                                     DEBBIE
                         I remember... from always... At first 
                         I prayed to you... come and get me... 
                         take me home... You didn't come...

                                     MARTIN
                         I've come now...

                                     DEBBIE
                         These are my people...
                              (in Comanche)
                         Unnt-meah! Go! Go! Please!

                                     ETHAN
                              (grimly)
                         Stand aside, boy...

               Martin turns as Ethan slowly reaches for his gun. It takes 
               Martin a moment to realize what he is about to do.

                                     MARTIN
                         Ethan -- NO!

               He moves quickly then to put himself between Ethan and the 
               girl and in that instant there is the crack of a rifle.

               Ethan is hit in the leg. It goes out from under him. Martin 
               swings and his gun is out and firing.

               174-D

               EXT. SAND CREEK - FULL SHOT - INCLUDING THE DUNES - DAY

               A mounted Comanche is on the crest of the dune above them --
               rifle raised. Martin's first shot brings him down the dune 
               in a spectacular horse-and-man fall. Debbie goes running 
               like a deer up the creek, away from Martin; in the same 
               instant we hear the angry yells of distant Comanches charging 
               from the far left. Martin turns to see Debbie running away.

                                     MARTIN
                         Debbie! WAIT!

               Ethan is on his feet now and limping frantically toward their 
               horses. He shoves Martin ahead of him.

                                     ETHAN
                              (angrily)
                         Never mind her! MOVE!

               They mount and take off, just as the vanguard of the attacking 
               Comanches swings around a point of rock and comes charging 
               toward the creek.

               EXT. DESERT COUNTRY - WIDE ANGLE - LATE AFTERNOON

               as Ethan and Martin race their horses from the creek area 
               and down a long incline, as -- from the heights above -- a 
               dozen or more Comanches, led by Scar, come tearing after 
               them.

               175-A

               EXT. DESERT COUNTRY - MED. CLOSE SHOT - ETHAN - MOVING - DAY

               Ethan is swaying in his saddle, just barely hanging on, as 
               Martin races up behind him -- driving Ethan's horse along.

               They swing past a huge outcrop of rock and go tearing along 
               a vaulting wall of stone. Their hoofbeats and those of the 
               pursuers bounce and echo off the canyon walls, and bullets 
               whine and ricochet.

               175-B

               EXT. CANYON COUNTRY - FULL MOVING SHOT - ETHAN AND MARTIN -
               DAY

               They swing around giant boulders, up-ended like pancakes.

               Ethan is lurching almost out of the saddle, barely conscious.

               Martin spots the cave -- ahead -- and drives his mount and 
               Ethan's toward it.

               175-C

               EXT. THE CAVE (MONUMENT) - FULL SHOT - THE TWO - DAY

               Martin pulls his horse in and swings off just as Ethan slides 
               from his saddle. He runs toward one of the huge boulders, 
               crouches and starts firing.

               175-D

               EXT. CANYON COUNTRY - WIDE ANGLE ON THE COMANCHES - DAY

               The Comanches are spread out but coming on fast. One goes 
               down under Martin's fire.... another is hit in the arm. He 
               pulls up and the other Comanches wheel away from the hidden 
               marksman.

               175-E

               EXT. THE CAVE - FULL SHOT - MARTIN AND ETHAN

               Martin runs back from his firing post toward where Ethan has 
               fallen.

                                     ETHAN
                              (angrily)
                         Go on! Get out of here while you 
                         can...

                                     MARTIN
                              (pointing to the cave)
                         Over there!

               Ethan turns and sees what he means. He starts dragging himself 
               to the cave as Martin grabs the rifles from their saddle 
               scabbards, yanks off the water canteens and then drives their 
               horses away. Then he too runs for the shelter of the cave.

               175-F

               EXT. THE CANYON - ANGLING FROM BEHIND MARTIN AND ETHAN

               Both men are crouching, rifles ready. In the distance we see 
               their horses running off -- pursued by some yelling Comanches. 
               Four or six others come into sight, heading for the cave -- 
               moving cautiously, uncertainly -- not seeing their quarry. 
               Then the white men open fire and the Comanches bend low over 
               their horses' necks and clear out of there. Ethan looks grimly 
               at Martin.

                                     ETHAN
                         They'll be back...

                                     MARTIN
                         We won't be here... Come on!

               He gets an arm under Ethan and hauls him to his feet.

                                                               DISSOLVE TO:

               175-G

               EXT. THE GAP IN THE CLIFF - PANNING SHOT - SUNSET

               CAMERA PANS from the top of the rock chimney to where Martin 
               is snaking his way through, carrying newly-filled water 
               canteens. He stands there, listening and looking back the 
               way he has come; and then, satisfied there has been no 
               pursuit, he continues away.

               OMITTED

               INT. THE CAVE - MED. SHOT - ETHAN - HALF-LIGHT

               Ethan is lying on the hard earth, perhaps cushioned with 
               some boughs. He is half delirious. A small fire is burning.

               Martin enters carrying the canteens. He looks 
               unsympathetically toward Ethan, then continues to the fire, 
               takes a knife and starts to sterilize it. Ethan gasps, mumbles 
               and then a word comes clear.

                                     ETHAN
                         Martha... Martha!

               Martin stares at him -- and now, perhaps for the first time, 
               he is fitting pieces into the jig-saw puzzle. He shifts closer 
               to Ethan and we see he is preparing to dig out the bullet. 
               Ethan opens his eyes and looks at him.

                                     MARTIN
                         I gotta open that leg and let the 
                         poison out...

               He poises the knife.

                                     ETHAN
                         Wait...

               He fumbles in his shirt pocket, brings out a greasy folded 
               piece of paper.

                                     ETHAN
                         Just in case... Read it.

               Martin sets the knife down, takes the paper, opens it and 
               slowly reads:

                                     MARTIN
                         'I, Ethan Edwards, being of sound 
                         mind and without any blood kin, do 
                         hereby bequeath all my property of 
                         any kind to Martin Pauley...'
                              (he stares, then)
                         I don't want your property.... 'Sides, 
                         what do you mean no 'blood kin?' 
                         Debbie's your blood kin...

                                     ETHAN
                         Not no more.

                                     MARTIN
                              (angrily)
                         You can keep your will!
                              (he thrusts it back 
                              into Ethan's shirt)
                         I ain't forgettin' you was all set 
                         to shoot her yourself... What kind 
                         o' man are you, anyway.

                                     ETHAN
                              (sitting up -- eyes 
                              blazing)
                         She's been with the bucks! She's 
                         nothin' now but a...

               Martin shoves him back onto the ground.

                                     MARTIN
                              (a shout)
                         Shut your dirty mouth!

               He gets to his feet, trembling, and stands looking down at 
               Ethan, his fists clenched at his sides and murder in his 
               eyes. Then his eyes rove to the knife lying on the blanket.

               He picks it up and he looks again at the wounded man.

                                     MARTIN
                              (slowly)
                         I hope you die!

               And he kneels again to open the wound.

                                                               DISSOLVE TO:

               EXT. DESERT COUNTRY - FULL SHOT - ETHAN AND MARTIN - DAY

               Martin is hauling an improvised travois over the ground in 
               which, lashed by vines and some clothing, is the unconscious 
               figure of Ethan.

               CLOSE SHOT - MOVING - MARTIN - DAY

               Eyes shadowed, whiskered, drawn -- he is an implacable figure 
               as he drags the weary miles home. He hears a groan from Ethan 
               o.s. He barely lets his eyes drift to the sound. He doesn't 
               stop.

               CLOSE SHOT - MOVING - ETHAN IN THE TRAVOIS - DAY

               We see he is delirious, lips parched, strapped to the poles.

               The travois jolts over the ground. As he passes out of frame, 
               the CAMERA HOLDS on the marks of the travois poles scraping 
               across the desert.

                                                                   FADE OUT

               OMITTED

               FADE IN

               INT. JORGENSEN KEEPING ROOM - FULL SHOT - NIGHT

               A party is in progress. Fiddler and banjo-player are playing 
               a lively square dance for one or two sets of dancers -- 
               ranchers, their wives and daughters. Laurie is not in 
               evidence. At the far end of the room is a table with a punch 
               bowl set up and a cluster of men and women about.

               Jorgensen is at the door boisterously welcoming some new 
               arrivals. Leading them into the room is Captain the Reverend 
               Sam Clayton, with a bulky oil-skin package under his arm. 
               With him is Charlie MacCorry, dressed in his best black suit 
               and scrubbed until he looks raw.

               Behind them come three or four other competent-looking men -- 
               Rangers all of them.

                                     JORGENSEN
                              (shouting)
                         They're here, mama... Come in, come 
                         in...

               INT. JORGENSEN HOME - FULL SHOT - FAVORING GROUP AT DOOR

               Clayton waits for Charlie to come abreast, then hits him on 
               the back and drives him inside.

                                     CLAYTON
                         Here he is, Lars... Combed, curried 
                         'n washed behind the ears!

               Mrs. Jorgensen hurries over, beaming, to admire Charlie.

                                     MRS. JORGENSEN
                         Why, Charlie, you look real handsome!

                                     CHARLIE
                              (grinning)
                         Yes'm... scarcely reck'nize myself... 
                         Where's Laurie?

               Mrs. Jorgensen smiles and playfully pushes him toward the 
               guests.

                                     MRS. JORGENSEN
                         You'll see her soon enough...

               Clayton -- and the other Rangers -- have been hanging gunbelts 
               on pegs along the wall. Now he shakes out his parcel -- 
               disclosing a green-black frock coat.

                                     CLAYTON
                              (nodding to the music)
                         Say, that music sounds so good it 
                         must be sinful...

                                     MRS. JORGENSEN
                         Grab a partner, reverend!

                                     CLAYTON
                         Well, now, a man of my age just can't 
                         haul off and dance in cold blood... 
                         but if there's any of that wild cherry 
                         brandy of yours, Lars...

                                     JORGENSEN
                              (suddenly sober)
                         Nooo...
                              (change of heart)
                         Yah, by golly... One jug left... I 
                         get it!

               Mrs. Jorgensen glares as he heads out.

                                     MRS. JORGENSEN
                         Last winter that man swore up and 
                         down there wasn't a drop left -- and 
                         me with pneumoney!... Reverend, you'd 
                         better start clergyin' again!

               EXT. JORGENSEN HOME - FULL SHOT - NIGHT

               Horses, wagons fill the yard. We can hear the lively music 
               of the square dance. As Jorgensen opens the door and sets 
               out toward the barn, a battered dusty trap drives in -- and 
               on it are Martin and Ethan. Jorgensen at first doesn't 
               recognize them.

                                     JORGENSEN
                              (hailing them)
                         Hi!... You're late... hurry...

               And then he sees who they are, and his jaw drops.

                                     JORGENSEN
                              (staring)
                         Ethan... Martie... No, don't get 
                         down! ...You can't come in!

               They stare at him.

                                     JORGENSEN
                         The Rangers are here!

               He says it as though that explains everything.

                                     ETHAN
                         What's that got to do with us?

                                     MARTIN
                              (eyeing the house)
                         What's goin' on?

                                     JORGENSEN
                              (who's forgotten they 
                              wouldn't know)
                         Why, my Laurie's getting married...

               Martin throws the reins aside and jumps out. Jorgensen grabs 
               his arm.

                                     JORGENSEN
                         Wait! Don't you hear me! The 
                         Rangers...

                                     MARTIN
                         So what?

                                     JORGENSEN
                         You been posted for murder... both 
                         of you... That trader fella, the 
                         late Mister Futterman...

               Martin tries to break free.

                                     MARTIN
                         I gotta see Laurie!

                                     JORGENSEN
                              (desperately)
                         Go around the side... the 
                         grandmother's room... I'll tell her... 
                         PLEASE!

                                     MARTIN
                         You better!

               He heads around the side. Ethan meanwhile has climbed stiffly 
               down, slightly favoring his leg.

                                     JORGENSEN
                         Quick... hide in the barn, Ethan...

                                     ETHAN
                         Hide? Why would I?

               He brushes past the little man and heads for the door.

               INT. THE JORGENSEN HOUSE - ANGLING FROM BEHIND ETHAN

               as he enters, with Jorgensen at his heels. For a moment, as 
               he stands there, the party breezes on. Then first one, then 
               another sees him. They gape, and the music falters and stops. 
               Sam Clayton crosses to confront him across the width of the 
               room. Jorgensen tries to be the easy, smiling host--and makes 
               a very bad job of it.

                                     JORGENSEN
                         Look everybody... Look who's...

               He can't even finish it but stands there making flapping 
               gestures.

               INT. JORGENSEN ROOM - FULL SHOT - ETHAN AND SAM

               -- others gaping. During the opening lines, Jorgensen will 
               covertly back toward the door to the inner room -- Laurie's 
               room.

                                     ETHAN
                              (to all)
                         Evenin'... evenin' Reverend... or do 
                         I call you 'Captain'...?

                                     CLAYTON
                         Came here for a wedding, Ethan... 
                         Until that's over, I reckon 'reverend' 
                         will do...

                                     MRS. JORGENSEN
                              (coming forward)
                         And news of our little girl, Ethan?

               His face contorts and his smile is twisted.

                                     ETHAN
                         She's not a little girl any more.

                                     MRS. JORGENSEN
                              (eyes wide)
                         You've seen her!... She's alive?

                                     ETHAN
                         I've seen her... and she's alive.

               Mrs. Jorgensen throws herself against his chest, sobbing.

               Ethan looks past her at Clayton. And the faces of both men 
               are grim.

                                                                    CUT TO:

               INT. THE GRANDMOTHER ROOM - FULL SHOT

               The room is dark. Martin is pacing, eyes constantly turning 
               to the inside door. And then it opens and Laurie is inside, 
               holding a lamp. She is in her bridal gown and very obviously 
               trying to keep from betraying the stress she is under.

                                     LAURIE
                              (quietly)
                         Hello, Martie....

               He just stares at her -- very lovely, strangely remote.

               He suddenly is conscious of his dirty hands, his dusty, worn 
               clothing.

                                     MARTIN
                         I... I wrote you a letter... Reckon 
                         you didn't get it...

                                     LAURIE
                              (setting the lamp 
                              down)
                         One letter in five years... I read 
                         it till the paper dried up and the 
                         writing faded out...

                                     MARTIN
                         It wasn't much of a letter...

                                     LAURIE
                         No, it wasn't... You mighta said you 
                         loved me... You mighta asked me to 
                         wait... At least that'd have been 
                         something...

                                     MARTIN
                         But I allus loved you... You know 
                         that, without my sayin' it... I 
                         couldn't bring myself to ask you to 
                         wait... the little I had... not 
                         knowin' how much longer until we 
                         found Debbie...

                                     LAURIE
                              (breaking)
                         It isn't fair...

               She sinks onto the bench.

                                     LAURIE
                              (sobbing)
                         It isn't fair, Martin Pauley, and 
                         you know it!

               She begins to cry, very softly. He is beside her and his arm 
               goes around her shoulder comfortingly.

                                     MARTIN
                         Don't cry, Laurie... I understand 
                         how it is... I'll just go 'way...

                                     LAURIE
                              (spinning on him)
                         You do and I'll die, Martie... I 
                         will! I'll just die!

               And they are kissing through her tears when the outer door 
               is flung open by Charlie MacCorry. They part as he glares.

                                     CHARLIE
                         I'll thank you to leave the room, 
                         Laurie.

               Martin stares at him, then at her.

                                     MARTIN
                              (incredulous)
                         Charlie MacCorry!... You weren't 
                         fixin' to marry HIM??

                                     CHARLIE
                         She sure is!... An' don't think your 
                         comin' back is goin' to change it!

                                     MARTIN
                         As to that, I don't know, Charlie... 
                         We hadn't got around to talkin' 
                         marriage...

                                     CHARLIE
                         What right you got to be talkin' 
                         marriage to any decent woman...

                                     MARTIN
                              (angrily)
                         If you're talkin' about that crazy 
                         murder charge...

                                     CHARLIE
                         AND other things... Mebbe you thought 
                         you was gettin' away with being 
                         comical about that Indian wife you 
                         took... I bet she wasn't the first 
                         squaw you...

               Martin swings wildly but Charlie is a wily fighter. He side-
               steps and chops Martin in the jaw and drives him against the 
               wall. Laurie runs between them.

                                     LAURIE
                         Stop it! Both of you... I won't have 
                         any fighting in this house.

               Martin gently brushes her aside.

                                     MARTIN
                         It's all right... Charlie, let's 
                         move outside.

                                     CHARLIE
                         I ain't wearing no gun.

               Martin nods and unbuckles his gunbelt. The men head outside 
               as Laurie runs to get help.

               EXT. THE JORGENSEN HOME - BREEZEWAY

               Charlie waits assuredly as Martin follows him outside.

               Martin makes a wild run, swings. The blow is neatly guarded 
               by Charlie's left and countered with a crisp right that puts 
               Martin down. Martin gets to his feet, more cautiously this 
               time, and comes in at a crouch; he's fighting like an Indian, 
               not a white man. The men from the wedding party come out now 
               at a run.

                                     CLAYTON
                              (yelling)
                         Sergeant MacCorry!

               Charlie turns slightly and in that instant Martin springs 
               and drives a straight right at his face -- almost as though 
               there were a knife in the hand. MacCorry stumbles back into 
               Clayton's arms.

                                     CLAYTON
                         Is this in the line of duty, sergeant?

                                     CHARLIE
                              (regaining his balance)
                         No sir... pleasure.

                                     CLAYTON
                         In that case, give the boys room...

               Martin waits at a crouch as Charlie comes in, feints his 
               right and crosses his left. It is a hard blow but Martin 
               recovers and waits... Charlie circles and starts to repeat. 
               He feints his right but this time Martin springs in, ducks 
               and -- as the left shoots out -- he grabs the wrist and throws 
               Charlie over his head. What we are looking at, in effect, is 
               a wrestler against a boxer.

                                     CLAYTON
                         Fight fair, son... Use your fists!

                                     ETHAN
                              (drily)
                         Comanches don't use their fists, 
                         reverend... Let 'em alone...

               Charlie is on his feet and warily starts circling -- now 
               trying to imitate Martin's crouch. Suddenly Martin feints a 
               right swing and connects with a solid left -- reversing the 
               order of business. Charlie staggers and Martin follows up 
               with a wrestling hold, leaping behind Charlie, locking both 
               legs around him and driving his arms upward behind his back 
               so that his face is in the dirt and so he could -- under 
               other circumstances -- be neatly and expeditiously scalped. 
               With the hands locked, Martin then calmly draws a knife. He 
               looks innocently into the aghast faces of the crowd.

                                     MARTIN
                         Could scalp him... but I'll just 
                         count coup!

               With that he releases the paralyzed arms just long enough to 
               grab a lock of Charlie's hair and neatly snip it off.

               He stands then and laughs as Charlie lamely gets to his feet -- 
               easing the tortured arms. Clayton goes to Charlie's side. 
               Laurie moves to Martin's side.

                                     CLAYTON
                         You all right, sergeant?

                                     CHARLIE
                         Dunno... Seems so.

                                     CLAYTON
                         Well, go get cleaned up and we'll 
                         proceed with the weddin'...

               Charlie frowns and looks off at where Laurie and Martin are 
               standing.

                                     CHARLIE
                         Ain't goin' to be any weddin' -- not 
                         till we get a few things cleared up 
                         'round here...

               He walks rather unsteadily away leaving a thunderstruck 
               assembly, murmurous with surprise.

                                                                   WIPE TO:

               INT. JORGENSEN KEEPING ROOM - LATER THAT NIGHT

               The last of the wedding guests is leaving: Ed Nesby carrying 
               his bull fiddle and with his wife and daughter and two smaller 
               children preceding him out the door.

               The Jorgensens stand by -- trying to put a good face on the 
               wedding debacle. Charlie MacCorry is sitting dejectedly, 
               studying a spot on the floor. Ethan is at the mantel. Laurie 
               is in her room -- presumably changing out of her wedding 
               gown. Martin is at a sink, bathing a cut on his lip. Clayton, 
               still in his clerical coat, is near the door.

                                     NESBY
                              (a grin)
                         Well... it was a nice weddin' party...  
                         considerin' no one got married... 
                         'Night.

                                     JORGENSEN
                         Good night, Ed...

               Mrs. Jorgensen puts her handkerchief to her eyes -- letting 
               down now that the guests have gone. Jorgensen crosses to 
               her, pats her sympathetically.

                                     JORGENSEN
                         Now, mamma!...

               He leads her away. Clayton faces Ethan.

                                     CLAYTON
                         I got to ask you and Martin to ride 
                         to the State Capitol with me, Ethan.

                                     ETHAN
                         This an invite to a necktie party, 
                         Reverend?

                                     CLAYTON
                         Captain... Nope, wouldn't say that... 
                         Likely you had your reasons for 
                         killin' Futterman... Probably needed 
                         killin'... I'm speaking as a ranger 
                         now, not as a reverend... Fact that 
                         all three was shot in the back is 
                         the only thing that's raised some 
                         question -- that and a missin' gold 
                         piece known to have been on him just 
                         prior to his demise.

               Ethan casually reaches into his pocket, takes out a gold 
               coin and spins it.

                                     ETHAN
                              (casually)
                         That so?

               Martin crosses to confront Clayton.

                                     MARTIN
                         I ain't goin' to Austin, Reverend.

               Charlie gets to his feet and he has his gun in his hand.

                                     CHARLIE
                         You're goin' if the captain says 
                         you're goin'...

                                     CLAYTON
                         Now, now... let's not grow 
                         disputatious...

               Fast hoofbeats sound o.s. -- signalling the approach of a 
               four-man cavalry detail.

                                     CLAYTON
                              (turning)
                         What's that? More company?

               He and Jorgensen head for the door.

                                     CLAYTON
                         Kinda late getting here, aren't they?

               A voice hails from outside.

                                     LIEUTENANT'S VOICE
                         Hello there! Captain Clayton?

               INT. - EXT. JORGENSEN HOUSE - ANGLE AT DOOR - NIGHT

               Clayton stands in the opened doorway, Jorgensen behind him, 
               looking out. Drawn up outside is the four-man cavalry detail, 
               led by a young and very crisp LIEUTENANT. We may or may not 
               see the sixth man, slouched over his horse. The Lieutenant 
               swings off and crosses.

                                     LIEUTENANT
                         Is Captain Clayton here, Reverend?

                                     CLAYTON
                         I'm Clayton.

               The Lieutenant gapes at Clayton's ministerial coat.

                                     LIEUTENANT
                              (doubtfully)
                         You're Captain Clayton?...

               Ethan chuckles, to Clayton's very obvious annoyance.

                                     LIEUTENANT
                              (recovering, he salutes)
                         Colonel Greenhill's compliments, 
                         sir.

               The Colonel wishes to know how soon you could put a company 
               of Rangers in the field, fully armed and...

                                     CLAYTON
                         Hold on, son... Who's this Colonel 
                         Greenhill you're talking about?

                                     LIEUTENANT
                         Why Colonel Greenhill is Colonel 
                         Greenhill, sir... Commanding Officer, 
                         Fifth U.S. Cavalry... I'm Lieutenant 
                         Greenhill, sir.

                                     CLAYTON
                         Oh... Now what's this your pa wants 
                         to know?

                                     LIEUTENANT
                         My pa wants to know... Colonel 
                         Greenhill wants to know how soon you 
                         could put a company of your Rangers 
                         in the field, fully armed and 
                         equipped, for joint punitive action 
                         against the Comanches.

                                     CLAYTON
                         JOINT action?

                                     LIEUTENANT
                         Yes sir... We've received information 
                         about a band of Comanches under a 
                         chief named Scar...

                                     ETHAN
                         What information?

                                     LIEUTENANT
                         That maybe he's not far from here --
                         holed up somewhere, waiting his chance 
                         to get back over the border... He 
                         raided north about a month ago... 
                         ran into more army than he bargained 
                         for... Now he's running for cover, 
                         for keeps this time...

                                     CLAYTON
                         And what makes you think he's in 
                         this territory?

                                     LIEUTENANT
                         Yesterday, one of our patrols picked 
                         up a man claims he was a prisoner 
                         with Scar till only two days ago... 
                         He talks crazy but I brought him 
                         along... Says he lives here... keeps 
                         mentioning a rocking chair.

                                     ETHAN
                              (half to himself)
                         Mose...

               And then he is striding to the door, calling it:

                                     ETHAN
                         MOSE!

                                     MOSE'S VOICE
                         Ay-he?... Ay-eh?...

               And the old man totters in, half-supported by a trooper --
               hollow-eyed, weak, almost delirious.

                                     MOSE
                         Come f'r my rockin' chai'... ole 
                         Mose.

                                     ETHAN
                              (shouting it)
                         Where's Scar, Mose... SCAR?

                                     MARTIN
                         Ask him about Debbie!... Is she all 
                         right, Mose?

                                     MOSE
                         My rockin' chai'...

                                     MRS. JORGENSEN
                              (bustling over)
                         Leave the poor man be! Can't you see 
                         he's out of his mind...

               She tries to lead him away, but Ethan shoves her aside and 
               grips the old man by his arms.

                                     ETHAN
                         Mose... try to remember!... You were 
                         in Scar's camp...

                                     MOSE
                         Ay-he... Made out I was crazy...
                              (he giggles foolishly)
                         Ate dirt... chewed grass... I fooled 
                         'em, Ethan!... an' I got away...

                                     ETHAN
                         Scar! Where's he holed in?

                                     MOSE
                         Seven Fingers... ay-he... Seven...

               He staggers and this time Mrs. Jorgensen won't be denied.

                                     MRS. JORGENSEN
                         Now that's enough!  Here... by the 
                         fire... What you need's a good bowl 
                         of soup...

               She leads him away, at last to his rocker by the fire.

               During this, Ethan and Clayton have been mulling Mose's 
               answer.

                                     ETHAN
                              (blankly)
                         Seven Fingers?

                                     LIEUTENANT
                         That's what he told us... but there's 
                         no such place on the maps.

                                     MARTIN
                         Wait a minute! Isn't that the Caddo 
                         name for where all those canyons 
                         branch on the Malapai?

                                     MOSE
                              (from his rocker)
                         Caddo or Kiowa... ay-he... ay-eh...

               Sam Clayton wheels on the Lieutenant.

                                     CLAYTON
                         You tell your pa a company of Rangers -- 
                         all fourteen of 'em -- fully armed 
                         an' equipped will be in the field by 
                         daylight... headin' for the south 
                         end of the Malapai. If he can catch 
                         up with us, well an' good...

                                     LIEUTENANT
                         But... but captain, we can't possibly 
                         take the field tomorrow... for your 
                         own protection...

                                     CLAYTON
                         Sonny, yonder's a passel of murderers, 
                         complete with Texican scalps an' 
                         white girl captive... You want to 
                         protect us, you just get out of our 
                         way... Now skedaddle!

               The lieutenant skedaddles. Sam whirls on Martin and Ethan.

                                     CLAYTON
                         Ethan, you an' Martin are hereby 
                         appointed civilian scouts -- without 
                         pay... Charlie, hightail it to 
                         headquarters an' spread the word...

                                     CHARLIE
                         Yes sir...

               He leaves. Martin's hands go to his side -- recalling where 
               he left his guns.

                                     MARTIN
                         My guns...

               He heads for the inner door to the grandmother room.

               INT. THE GRANDMOTHER ROOM - FULL SHOT

               as Martin enters and crosses to where he had dropped his 
               gunbelt. Even before he reaches it, Laurie is in the room -- 
               closing the door after her.

                                     LAURIE
                         Martie... don't go! Not this time.

                                     MARTIN
                              (staring)
                         You crazy?

                                     LAURIE
                         It's too late... She's a woman grown 
                         now...

                                     MARTIN
                         I got to fetch her home...

                                     LAURIE
                         Fetch what home?... The leavin's of 
                         Comanche bucks -- sold time an' again 
                         to the highest bidder?... With savage 
                         brats of her own, most like?...

                                     MARTIN
                              (shouting it)
                         Laurie! Shut your mouth!

                                     LAURIE
                         Do you know what Ethan will do if he 
                         has a chance?... He'll put a bullet 
                         in her brain! And I tell you Martha 
                         would want him to!

                                     MARTIN
                         Only if I'm dead!

               He strides out past her.

               INT. THE KEEPING ROOM - FULL SHOT

               as Martin re-enters. Ethan and Sam are waiting. Martin looks 
               hard at Ethan.

                                     CLAYTON
                         You ready?

                                     MARTIN
                              (eyes never leaving 
                              Ethan's face)
                         I'm ready.

               As they stride out,

                                                                    CUT TO:

               204-A

               INT. JORGENSEN HOUSE - GRANDMOTHER ROOM - CLOSE SHOT - 
               LAURIE - NIGHT

               as she stands at the window, in her bridal gown, and sadly 
               watches Martin again going away. Softly the score reprises -- 
               sadly now -- "Skip to My Lou."

                                                               DISSOLVE TO:

               EXT. MESA COUNTRY - LONG SHOT - THE RANGERS - DAWN LIGHT

               A file of eighteen men and horses -- Rangers -- is walking 
               under the shoulder of a mesa, keeping well below the skyline.

               FULL SHOT - THE FILE OF RANGERS - DAWN LIGHT

               They pass CAMERA one by one -- Sam Clayton in the lead, Martin 
               behind him leading two horses, then the others -- grim-
               looking, capable men of varying ages; some with long drooping 
               mustaches, some in need of shaves, some chawing tobacco.

               CLOSE SHOT - ETHAN - AT RIM OF A MESA - DAWN LIGHT

               He is lying prone, his hat off, squinting down into a long 
               reach of desert canyon at the Comanche encampment -- with 
               tepees set up, a thin wisp of smoke rising from a fire, the 
               horse herd penned in a draw cut off by an improvised corral 
               of rawhide ropes.

               EXT. THE COMANCHE ENCAMPMENT - WIDE ANGLE SHOT - DAWN LIGHT

               The camp is sleeping. A dog yaps shrilly. One of the tepee 
               flaps opens and Scar steps out. He picks up a stone or a 
               chunk of wood and throws it. The dog yelps and runs off. 
               Scar's air is troubled, suspicious. He heads for the horse 
               herd. The camp sleeps on.

               CLOSE SHOT - ETHAN - AT RIM OF A MESA - DAWN LIGHT

               His face betrays a bitter inner satisfaction. He looks back 
               along the trail as faintly we hear the approach of the Ranger 
               company. Then he squirms back, retrieving his hat.

               FULL SHOT - HEAD OF RANGER COLUMN - DAWN LIGHT

               Sam, seeing Ethan in the near distance, raises his hand in a 
               signal for halt and waits. Ethan scrambles down the trail to 
               join him. He takes the reins of his horse from Martin.

                                     ETHAN
                         We can get within 500 yards... there's 
                         a hogback to the south.

                                     CLAYTON
                         How many, would you say?

                                     ETHAN
                              (drily)
                         Enough to go around... I'd say about 
                         a dozen apiece... Mount 'em up!

               He moves as though to mount, but Martin steps forward.

                                     MARTIN
                         Wait! We go chargin' in, they'll 
                         kill her... and you know it.

                                     ETHAN
                              (calmly)
                         It's what I'm countin' on.

               Sam stares at him, but Martin isn't surprised.

                                     MARTIN
                         I know you are... Only it ain't goin' 
                         to be that way... she's alive...

                                     ETHAN
                         Livin' with Comanches ain't bein' 
                         alive...

                                     MARTIN
                              (same tone)
                         She's alive... Better she's alive 
                         and livin' with Comanches than her 
                         brains bashed out...

                                     CLAYTON
                         Now son, it's a bitter thing to say, 
                         but there's more than your sister at 
                         stake here.

                                     ETHAN
                         There sure is! I'm going to tell you 
                         somethin'... I wasn't going to speak 
                         of it... But I'll tell you now.  Did 
                         you notice them scalps strung on 
                         Scar's lance?

                                     (MARTIN NODS)
                         Did you see the third scalp from the 
                         point of the lance? Long... wavy 
                         hair...

                                     MARTIN
                         I saw it... And don't try to tell me 
                         it was Aunt Martha's or Lucy's...

                                     ETHAN
                         You don't remember it, but I remember. 
                         That was your mother's scalp!

               Martin stares, quick disbelief in his eyes. But Ethan's eyes 
               hold his and there is no doubting the truth in them.

                                     ETHAN
                         I didn't want to tell you... but 
                         maybe it's your right to know.

                                     CLAYTON
                              (quietly)
                         Now mount up, son...

               Sam puts his hand on Martin's elbow -- as though to turn him 
               to his duty. But Martin jerks the arm away.

                                     MARTIN
                         It don't change it... All I'm askin' 
                         is a chance to sneak in there... an' 
                         try to get her out before you come 
                         chargin' in.

                                     CLAYTON
                         What if you're caught?

                                     MARTIN
                         It won't tell 'em anything, will it! 
                         Just a man alone...

                                     ETHAN
                         I say NO!

                                     CLAYTON
                         Go ahead, son... But at the first 
                         alarm, we're comin' in -- and we 
                         ain't goin' to have time to pick and 
                         choose our targets when we do...

               Ethan looks long and hard at Martin, then reaches into his 
               shirt for the folded, dirty, dog-eared paper that was his 
               will. Slowly he tears it into shreds.

                                     ETHAN
                         It's your funeral...

               Martin squats and starts pulling off his boots. He glances 
               up as Charlie MacCorry comes over, an Indian blanket in his 
               hands. He tosses it onto Martin's shoulder.

                                     CHARLIE
                         Here... you fight like a Comanch... 
                         Maybe this'll help ya pass as one.

               Then he grins and extends his hand. Martin takes it -- and 
               they shake as Charlie pulls him to his feet. Martin drops 
               his hat, and then -- at a crouching run -- he heads for the 
               distant Comanche camp.

               FULL SHOT - FROM BEHIND CLAYTON AND ETHAN, TOWARD MARTIN

               as he runs downslope under the shelter of the hogback toward 
               the unseen camp. Clayton waves an arm at his men and starts 
               leading out -- in a somewhat different direction.

               FULL SHOT - THE RANGERS, FAVORING CLAYTON AND ETHAN

               They are leading their horses down the slope, still under 
               the lee of the butte, when two riders are seen approaching 
               at a fast gallop -- Lt. Greenhill and his courier. (The latter 
               is a bugler).

                                     CLAYTON
                         What in...?

                                     GREENHILL
                              (calling -- still 
                              distant)
                         Captain Clayton... Captain!

               Sam whips off his hat and makes frantic signals to Greenhill 
               to shut up. Greenhill pulls to a canter, puzzled, and rides 
               in.

                                     CLAYTON
                              (exploding)
                         Go on! Whyn't you have your bugler 
                         sound the charge while you're at 
                         it??

                                     GREENHILL
                              (blankly)
                         Sir?

                                     CLAYTON
                         Never mind... Your pa know you're 
                         out here?

                                     GREENHILL
                         Yes, sir... Troop's about ten miles 
                         back... The Colonel sent me looking 
                         for you...

                                     CLAYTON
                              (dismissing him)
                         Well you found me... Good work, son... 
                         Good work.

               He starts away. Greenhill follows.

                                     GREENHILL
                         If there's anything I can do, sir...

                                     CLAYTON
                              (under his breath)
                         God forbid... No, son, you flog on 
                         back and tell your pa where we're 
                         at... and where he's at...

                                     GREENHILL
                         But he knows THAT, sir... Can't I 
                         stay, sir?

                                     CLAYTON
                              (reluctantly)
                         All right... But keep your eye on 
                         me, boy... I'm the hard case you're 
                         up against here -- not these childish 
                         savages... If you don't hear me first 
                         time I holler, you better read my 
                         mind... I don't aim to raise no two 
                         hollers on any subject at hand...

                                     GREENHILL
                         Yes, sir...

               He whips out his sabre -- to the imminent peril of Captain 
               Sam who quickly shifts out of the way.

                                     CLAYTON
                         Watch that knife, boy!

               Then Sam continues away and the Rangers after him.

               EXT. OUTSKIRTS OF COMANCHE CAMP - FULL SHOT - DAWN LIGHT

               Martin runs from behind CAMERA and dodges behind a rock. The 
               camp is still asleep, very quiet. Martin runs out from behind 
               the rock and makes another short dash toward the camp, 
               dropping behind a pile of blankets or other impedimenta. A 
               dog runs out of one of the tepees, begins barking.

               EXT. THE HORSE HERD - MED. CLOSE SHOT - SCAR

               He stands with another Comanche -- inspecting the horse lines. 
               In the near distance the dog's barking is heard -- shrill, 
               insistent. Scar, almost like an animal, sniffs the air 
               suspiciously. The other Comanche laughs.

                                     COMANCHE
                         Tahbo.
                              (A rabbit.)

               Scar isn't satisfied but returns to his work.

               EXT. THE COMANCHE CAMP - ANGLE FAVORING SCAR'S TEPEE PAST 
               MARTIN

               He is staring at it -- remembering it from certain distinct 
               decorations. The lower part of the tepee is rolled up, for 
               better air circulation. Martin wraps Charlie's blanket around 
               him and begins walking to the tepee.

               EXT. THE LEE OF THE HOGBACK OR RISE - FULL SHOT - THE 
               RANGERS

               The line is drawn up, dismounted, the men checking their 
               sidearms, tightening cinches, etc. Sam moves briskly along 
               the line of men, then mounts his horse.

                                     CLAYTON
                         The State of Texas is payin' you 
                         boys $12 a month. Here's your chance 
                         to earn it... Now I don't want any 
                         foolin' around after scalps. We ain't 
                         got the time... Yankee cavalry's on 
                         its way here to set those Comanches 
                         free... We gotta beat 'em to it -- 
                         our way... Now mount an' guide center 
                         on young Greenhill here. Son, you 
                         just follow me... And WATCH THAT 
                         KNIFE!

               The last comes as Greenhill tries to mount, simultaneously 
               flailing out his sabre perilously close to Clayton.

               EXT. SCAR'S TEPEE - MED. CLOSE SHOT - MARTIN

               Martin has gained the tepee, takes one quick look around, 
               then strides in.

               INT. SCAR'S TEPEE

               as Martin enters. One robe, tossed back, shows where Scar 
               has slept. Against one wall lie the huddled figures of two 
               squaws. Two other figures -- one being Debbie's -- sleep in 
               robes. Martin's eyes go to Scar's place and then rove slowly 
               and hold on:

               INT. TEPEE - MED. CLOSE SHOT - DEBBIE

               She moves slightly so that the light strikes her fair hair. 
               Martin kneels close to her and gently touches her shoulder, 
               to awaken her. Her eyes open, then widen in fear. Martin 
               quickly claps a hand over his mouth.

               Silently she fights him, trying to pull the hand away.

                                     MARTIN
                              (a hoarse whisper)
                         Debbie... don't!

               And then her fingernails rake his hand. He winces and lets 
               go. She screams and tries to leap up. He grabs her. The other 
               squaws wake -- begin squawking.

                                     MARTIN
                              (grimly)
                         I'm takin' you whether you want to 
                         or not...

               Debbie sees something beyond him. Her eyes widen.

                                     DEBBIE
                              (a scream)
                         MARTIN!

               INT. TEPEE - SHOOTING FROM EXTREME LOW ANGLE, AS FROM HER 
               P.O.V. - SCAR

               He looms in the flap of the tepee much as he had over the 
               grave when he first kidnapped her. He has a scalping knife 
               in his hand. Scar whips his arm back. Behind him we see the 
               other Comanche -- the one from the horse herd.

               INT. TEPEE - FULL SHOT

               Martin spins and his gun is out. He fans the trigger hammer 
               twice -- and both slugs hit Scar. As the other Comanche leaps 
               in, Martin's gun speaks again. And then he is on his feet, 
               catching Debbie by the arm -- unresisting now -- and pulling 
               her after him through the camp. Shouts and cries bespeak the 
               awakening of the camp.

               EXT. THE HOGBACK - FULL SHOT - THE RANGER GROUP

               They are mounted and in line. The echo of a shot comes 
               bouncing back. Clayton is facing the men. He solemnly doffs 
               his hat and bows his head.

                                     CLAYTON
                         For these Thy gifts which we are 
                         about to receive...
                              (donning his hat, he 
                              turns to the bugler)
                         Sound that horn, son, and Leave Us 
                         Go Amongst Them...YA-HEE!

               And shouting the rebel yell, he leads the charge. The yell 
               is picked up by every man and the bugler sounds the charge 
               as though he had a regiment at his back. Lt. Greenhill -- a 
               West Point beau sabreur in strange company -- has his sabre 
               at the "charge."

               FULL MOVING SHOT - ON THE CHARGE

               In the swamp of men and horses, we just have time to notice 
               that Sam is darting a somewhat worried look at Greenhill's 
               saber ominously close to his back. The charge is sounding, 
               the hooves are drumming and the men are yelling the way they 
               did when they rode with Bedford Forrest -- reins in their 
               teeth, guns in their fists.

               EXT. THE ENCAMPMENT - FULL SHOT - AS THE RANGERS HIT

               Comanches are running from the tepees, trying to reach their 
               horse herd as the file of Rangers knifes in.  The bark of 
               hand guns is a steady sound now -- and the Comanches have 
               never been up against such marksmen. One charging Ranger 
               rides down a tepee. Another, with two guns drawn, scores a 
               running double on two Indians racing toward him from opposite 
               sides of his fast-running horse. A dodging Comanche screams 
               as a barrel-chested roan hits him broadside and sends him 
               sprawling into the embers of the campfire.

               EXT. SCAR'S TEPEE - FULL SHOT - ETHAN

               He yanks his horse back to its haunches, firing at a Comanche 
               crouched near the tepee. The charge races past him. Ethan 
               swings off and runs to the tepee flap, whips it open and 
               glares. A squaw comes running out at him, knife upraised, 
               but he knocks her sprawling with a full arm sweep. He turns 
               and his face is a mask of frustration -- and then he freezes, 
               seeing what he has been looking for:

               EXT. THE INDIAN ENCAMPMENT - LONG SHOT - ETHAN'S P.O.V.

               Martin is running with Debbie, trying to pull her along, 
               while she kicks and claws and tries to break free. (They are 
               about thirty yards from the camp proper.) Riderless horses 
               are milling, circling. O.s. we can hear the firing, the yells.

               EXT. SCAR'S TEPEE - FULL SHOT

               Ethan remounts and heads around the side of Scar's tepee.

               In the distance we see Martin and Debbie. The Rangers, 
               regrouping, are charging back through the camp, driving the 
               Comanche horse herd.

               EXT. OPEN COUNTRY - MED. CLOSE SHOT - MARTIN AND DEBBIE

               Martin hears Ethan's horse riding down at them; he turns, 
               and Debbie pulls free and starts to run away.

                                     MARTIN
                         No, Ethan! NO!

               He goes running into the path of Ethan's horse.

               EXT. OPEN COUNTRY - MOVING SHOT - ETHAN

               as Martin runs and grabs hold of his stirrup, trying to fight 
               the horse to a stop. Ethan swings on him -- once, twice -- 
               and Martin is knocked sprawling. Ethan rides on, relentlessly.

               EXT. OPEN COUNTRY - FULL SHOT - DEBBIE AND ETHAN

               She is running and dodging, trying to escape the horseman.

               Ethan has his gun drawn. She ducks to one side and the horse 
               goes past. Both figures are almost obscured in the dust. 
               Ethan spins his mount and charges after her. She runs and 
               then falls -- and he is off his horse and striding toward 
               her.

               EXT. OPEN COUNTRY - ETHAN AND DEBBIE

               Ethan is at the left of CAMERA and slightly closer to the 
               foreground, with Debbie at the right, supine on the ground 
               and the dust swirling around her. Ethan draws and raises his 
               gun. The hammer goes back.

                                     ETHAN
                              (quietly)
                         I'm sorry, girl... Shut your eyes...

               The dust clears. The CAMERA MOVES slightly forward along the 
               gun arm and HOLDS on Debbie's face -- the eyes gazing 
               fearlessly, innocently into Ethan's. We HOLD for a long moment 
               and then the gun lowers. Ethan slowly holsters it and walks 
               over to her.

               EXT. OPEN COUNTRY - CLOSE SHOT - ETHAN

               He looks down at her.

                                     ETHAN
                              (softly)
                         You sure favor your mother...

               EXT. OPEN COUNTRY - MED. CLOSE SHOT - THE TWO

               He extends his hand to her. She takes it and he helps her to 
               her feet. And then she is against his chest and his arm goes 
               protectingly about her. They are standing that way when Martin 
               stumbles up -- and stares.

                                                                   WIPE TO:

               233-A

               EXT. COMANCHE CAMP - WIDE ANGLE - DAY

               The line of Rangers is afoot now, each man near his horse, 
               each man with rifle out, pumping shot after shot at the 
               fleeting remnant of Comanches riding down the long valley 
               with their scattered horse herd milling and criss-crossing 
               in mid-ground... And then as the firing slackens, from afar 
               we can hear the blare of a cavalry bugle sounding the charge: 
               sign of the approach of Greenhill's troop.

                                                               DISSOLVE TO:

               EXT. THE INDIAN ENCAMPMENT - FULL SHOT - FAVORING CLAYTON

               It is perhaps half an hour later. Clayton is very grim of 
               face and occasionally wincing. His trousers are down over 
               his ankles, his shirt-tails flapping over his long-handled 
               red underwear. Behind him Charlie MacCorry is kneeling, 
               applying some crude first aid to Sam's rump. Beyond them 
               some of the Rangers are readying for the move-out. Sam looks 
               up angrily as COLONEL GREENHILL, a guidon bearer, and bugler 
               ride in. Greenhill is a choleric man.

                                     COLONEL
                         Clayton, if you were in my command 
                         I'd have you courtmartialed for this!

                                     CLAYTON
                              (angrily, to MacCorry)
                         Hurry it up!

                                     COLONEL
                         What's the matter, sir... You wounded?  
                         What is it, Sergeant -- a bullet or 
                         an arrow?

               Charlie just gapes, but Clayton -- grim-lipped -- bends a 
               meaningful glare on someone off. Greenhill looks that way.

               EXT. THE INDIAN ENCAMPMENT - CLOSE SHOT - LT. GREENHILL

               He is standing with his sabre at salute -- looking as 
               miserable as any shavetail would look when in disgrace. It 
               could be that the end of the sabre has a pronounced bend.

               EXT. THE INDIAN ENCAMPMENT - FULL SHOT - THE GROUP

               Sam suddenly slaps MacCorry's hand away and grabs for his 
               pants and pulls them up -- and around a tepee come three 
               figures -- Ethan, Debbie, and Martin -- with Ethan holding 
               Debbie's hand. And Sam's face is split by a grin as he tucks 
               his shirt-tails in and goes to meet them.

                                                               DISSOLVE TO:

               EXT. THE JORGENSEN HOUSE - CLOSE SHOT - MOSE HARPER -
               AFTERNOON

               He is in a rocker on the porch. Suddenly he stares out and 
               stops rocking. Faint in the distance, but coming closer, the 
               clop-clop of two horses, moving at a walk. A moment later 
               Jorgensen emerges and comes to stand beside Mose, shading 
               his eyes and squinting against the sun, still not recognizing 
               the distant horsemen.  He is joined by Mrs. Jorgensen. And 
               then Laurie comes out and she too stares, frowning at first, 
               then with dawning realization.

               Lars and Mrs. Jorgensen also begin to guess... to suspect...  
               and then to know. And Laurie starts to run.

               CLOSE SHOT - MOVING WITH LAURIE

               The CAMERA MOVES ahead of her as she runs blindly over the 
               hard-packed ground, running as hard as she can toward the 
               still unseen but nearing horsemen.

               FULL SHOT - THE GROUP

               Ethan has Debbie on the pommel of his saddle, his arm 
               supporting her, and she is asleep. Martin is riding beside 
               them. Laurie comes running up to stare at Ethan and at the 
               girl. He smiles and puts a finger to his lips -- cautioning 
               her against waking Debbie -- and then he rides by. Laurie 
               looks then at Martin. He doesn't know whether to smile or 
               not; he just waits. And then she is beside him and she steps 
               onto his stirruped foot and vaults up beside him, and she 
               kisses him just as she had on the day he left the graves to 
               take up the search. And still holding her beside him, he 
               rides slowly after Ethan and Debbie toward the house.

                                                                   FADE OUT

                                         THE END





Searchers, The



Writers :   Frank Nugent
Genres :   Drama  Western


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