Satan McAllister's Heir
[Screenplay by C. Gardner Sullivan and Thomas H. Ince for a two-reel western
shot in one week in 1914 and released on March 11, 1915.]
1. CLOSE UP ON BAR IN WESTERN SALOON
A group of good Western types of the early period are drinking at the
bar and talking idly -- much good fellowship prevails and every man
feels at ease with his neighbor -- one of them glances off the picture
and the smile fades from his face to be replaced by a strained look of
worry -- the others notice the change and follow his gaze -- their
faces reflect his own emotions -- be sure to get over a sharp contrast
between the easy good nature that had prevailed and the unnatural,
strained silence that follows -- as they look, cut --
2. CLOSE UP ON SATAN AT HITCHING RAIL BEFORE WESTERN SALOON
TITLE: "SATAN" McALLISTER, THE RICHEST, MEANEST AND MOST HATED RANCHER
IN THE WYOMING VALLEY
Satan is tieing his horse to the rail -- he finishes and looks brazenly
about him -- Satan is all that his name implies -- he is a sinister
gun-fighter, a man-killer and despite the fact that he is without fear,
a bully of the worst type -- he delights in hurting and abusing people
and dogs, and the more forlorn appearing they are, the greater his
delight in tormenting them -- everybody is afraid of him and hates him
-- he knows this and revels in it -- he exits, looking for trouble at
every step --
3. CLOSE UP ON BAR: SAME AS 1.
Flash back to the men at the bar -- they show Satan is coming and wait
uneasily, none of them knowing but that he will be singled out for
Satan's abuse --
4. EXTERIOR SALOON: WESTERN
Satan comes on from the sideline with a sneer -- have a lonesome
looking dog sitting before the saloon door -- Satan boots him off the
picture and smiles cruelly as he hears the dog yelp -- he looks about
for something else to abuse but finding nothing, exits into the
saloon --
5. CLOSE UP ON BAR
Cut back to the men waiting -- they force smiles now and say with an
effort at cordiality: "hello Satan" -- Satan comes on -- he takes them
all in, in a contemptuous glance and ignoring their greeting, demands
that the bartender wait on him -- the latter hastens to comply -- Satan
dislodges a half soused cow puncher from the bar with a heavy blow on
the head and throws him out of the picture -- the others show how they
hate him and would like to get him but he has them completely cowed --
Satan drinks off a glass of whiskey and sets it down -- he gazes about
him to see if he can catch anyone staring at him and then centers his
gaze off one sideline with an air of interest -- PANORAM TO A TABLE IN
THE CORNER OF THE SALOON WHERE A BEARDED DRUNK IS SLEEPING PEACEFULLY,
THE DRUNK IS OF THE HOBO TYPE--
6. CLOSE UP ON BAR SCENE
Cut back to Satan watching -- he sees the drunk and a cruel smile comes
over his face -- the others watch him silently -- Satan orders the
bartender to draw him a huge and heavy glass schooner of beer -- the
bartender obeys -- Satan takes it in his hand and again looks off the
picture--
7. CLOSE UP ON TABLE: SALOON CORNER
Flash of drunk asleep --
8. CLOSE UP ON BAR
Cut back to Satan -- he takes a deliberate aim and hurls the schooner
of beer off the picture in the direction he is gazing, with all the
force he can muster --
9. CLOSE UP ON TABLE: SALOON CORNER
Cut back to the drunk asleep -- have someone throw a schooner of beer
so that it hits the wall directly over his head and splatters all over
him -- get over the idea of the glass landing with awful force -- if it
will break without damaging anyone, so much the better -- the drunk
awakens with a frightened start, the beer streaming over him, he gazes
off the picture and then seeing who it is, forces a sickly smile --
10. CLOSE UP ON BAR
Cut back to Satan -- he is a little disappointed that he missed the
drunk but the sight of the latter covered with beer compensates him for
this -- he turns and orders himself another drink, utterly ignoring the
others who stand eyeing him furtively -- if one of them would take the
lead they would murder him on the spot but no one is willing to take
the chance --
11. CLOSE UP ON FRONT SEAT OF MOVING PRAIRIE SCHOONER
TITLE: FROM EAST OF THE MISSOURI, BOB ELLIS AND HIS WIFE, HATTIE.
Bob Ellis and his wife, Hattie, are seated together, gazing about them
eagerly and talking as Bob drives -- they are not of the far West types
but farmers from the middle West -- Bob is a good looking, hard working
young chap and his wife is a pretty farmer's daughter -- they are very
happy with each other and are full of enthusiasm and hope over settling
in the new country --
12. PRAIRIE
The schooner driven by Bob comes on past the camera and starts into the
background -- two horses are hitched to the schooner and a third is
tied behind -- a string of cattle, roped together by the horns are also
tied to the back of the wagon -- show seven or eight steers if we have
them -- use whatever cattle there are at the camp -- as the wagon works
along into the background sideline, it stops --
13. CLOSE UP ON DOLLY IN PRAIRIE SCHOONER
TITLE: THEIR SIX-YEAR-OLD DAUGHTER, DOLLY
Dolly, about six years old and a bright pretty little girl, is sitting
near the end opening of the wagon, gazing straight ahead of her at
something in the wagon -- her eyes are sparkling with gaiety and she is
pursing her lips as she whistles and calls:: "come on Rags. Come on" --
she whistles again and snaps her fingers --
14. CLOSE UP ON PILE OF BLANKETS ON FLOOR OF SCHOONER
TITLE: "RAGS"
There is nothing to be seen but the blankets at first and then a puppy
shoves his way from beneath them -- this puppy ought to be a wonder --
get the most disreputable looking little dog you can find -- in his
way, he should be a character -- he comes out from among the blankets
whisking his tail and yelping excitedly and runs to Dolly -- PANORAM TO
DOLLY AS RAGS RUNS TO HER -- she seizes him and squeezes him to her --
she worships the dog -- register this clearly -- as she plays with him
get over the idea of the wagon starting again --
15. CLOSE UP ON SCHOONER IN PRAIRIE
It is moving off the sideline and into the background followed by the
horse and cattle --
16. GRASSY VALLEY OR PRAIRIE
TITLE: UNAWARE OF McALLISTER'S DEEP HATRED OF "NESTERS" ELLIS DECIDES
TO LOCATE IN THE VALLEY ADJOINING THE McALLISTER RANCH
The schooner has been driven into the foreground as the picture goes on
-- Bob and his wife have jumped off the seat and are standing gazing
about in delight at the country -- Dolly comes on frisking with Rags
from the back of the schooner -- she runs about them playfully and they
smile at her and stop a moment to play tag with her -- register the
idea of a peaceful, simple little family -- Bob and Hattie get over the
idea of the sub-title and he turns to unhitch his horses -- show the
cattle still tied to the end of the schooner.
17. EXTERIOR SALOON: SAME AS 4
Satan comes on from the door -- a couple Indians who are standing
before the saloon, exit quietly off the sideline -- he gazes after them
with a bitter smile and then, going to the hitching rail, mounts his
horse and rides off the picture--
18. HILL SKYLINE: PRETTY SHOT
TITLE: AN HOUR LATER
Shooting along the skyline -- McAllister rides on into the camera -- he
is coming at a trot but halts as he nears the camera and turning in the
saddle, gazes with angry surprise off the picture --
19. PRAIRIE
Flash of Bob's cattle grazing about the schooner -- the horses are also
picketed out and cropping the grass contentedly -- a fire is burning
before the schooner and Hattie is preparing a meal -- Bob is
constructing a lean-to nearby out of canvas and sticks -- Dolly is
playing with Rags --
20. CLOSE UP ON SATAN: HILL SKYLINE
Satan is staring off the sideline in deep anger -- he says savagely
"another one of them damn nesters. I'll get rid of him quick" -- he
wheels his horse and rides quickly off the sideline --
21. CLOSE UP ON SCHOONER AND FIRE
Cut back to Hattie getting the meal -- Dolly comes on and stands
watching her -- Hattie picks up a canteen and starts for water but
Dolly begs to go and her mother yields -- Dolly exits with the canteen
and Rags --
22. PRAIRIE
Bob's camp shows in the background -- Satan rides on aggressively past
the camera and starts into the background -- show Dolly in the
background beyond the camp with the dog and heading away from the
camera --
23. CLOSE UP ON SCHOONER: ALLOW FOR ACTION
Cut back to Hattie getting the meal -- Bob comes on and sniffs at the
fire hungrily -- he says "I'm starved" -- they both turn quickly and
look off the picture -- Bob's face expands into a smile and he says
with the air of a man who is glad to see another of his kind "Howdy
mister. How are you" -- he and Hattie look up in friendly greeting as
Satan rides on but their faces change as he makes no response but
scowls at them fiercely -- he dismounts with deliberation and comes up
to them, eyeing them both with an evil sneer -- he says: "who invited
you to make yourself so much to home?" -- Bob says uneasily: "why
nobody, we thought we'd----" -- Satan interrupts him savagely -- he
says "never mind what you thought. Shut up and listen to me" --
24. BANK OF SMALL CREEK
Dolly comes on romping with Rags and starts to fill the canteen --
25. CLOSE UP ON SATAN, BOB AND HATTIE AT SCHOONER
Satan is coldly telling them they will have to get out -- they look at
him and at each other apprehensively -- he speaks -- INSERT TITLE --
"I AIN'T WHAT YOU MIGHT CALL A SOCIABLE CUSS AND I AIN'T ENCOURAGIN'
NEIGHBORS."
BACK TO ACTION -- Satan continues to gaze at Bob with a deadly contempt
-- the latter looks at him but says nothing --
26. CLOSE UP ON DOLLY AT CREEK BANK
She has filled her canteen and is leaning over drinking from the creek
-- Rags is fussing about her and she cups her hands and fills them with
water that he may drink -- see if he won't drink -- make a cute scene
of it --
27. CLOSE UP ON SATAN, BOB AND HATTIE AT SCHOONER
Cut back to Satan ordering them to leave -- Bob starts to speak but
Satan interrupts him and says -- INSERT TITLE --
"WHEN THEY DON'T TAKE THE HINT AND MOVE ON, I ANNOY THEM PLUM
SCANDALOUS"
BACK TO ACTION -- he drops his hands suggestively on the handles of his
pistols and holds the pose for the moral effect on them -- they stare
at him and show they are frightened and discouraged by his attitude --
28. BANK OF SMALL CREEK
Flash of Dolly leaving with Rags and the filled canteen --
29. CLOSE UP ON SCHOONER. ALLOW FOR ACTION
Satan, having delivered his speech is now ready to leave -- he turns
calmly and mounts his horse, ignoring Bob and Hattie as though they
were a couple of sticks -- he rides off the picture and they stand
looking after him in dejected silence as Hattie clings to Bob's arm --
Bob slowly recovers from the shock -- his eyes flash and his face
hardens -- he thrusts out his chin and says "I'm damned if I'm going to
let that man drive me out of here like that. He doesn't own this land
any more than I do" -- she is frightened and says "But he is such a
terrible man" --
30. CLOSE UP ON OTHER SIDE OF SCHOONER
Dolly comes on gaily with the canteen and followed by Rags --
31. CLOSE UP ON SCHOONER
Cut back to Bob and Hattie -- he says "He may be a terrible man but he
don't own the earth and I'm going to stay for a while any way" -- he
talks on angrily when Hattie, showing she hears Dolly, puts her finger
to her lips in caution -- he stops talking and Dolly comes around the
end of the schooner with the canteen -- her parents conceal their worry
from her --
32. CLOSE UP ON SATAN ON HORSE ON HILLTOP
TITLE: LATER. McALLISTER FINDS HIS WARNING HAS BEEN IGNORED.
Satan is sitting tensely in his saddle [looking] off the picture --
33. EXTERIOR ROUGH SHACK IN PRAIRIE
REGISTER THE IDEA OF THE SHACK HAVING BEEN JUST BUILT -- Bob is just
finishing nailing on the hinges of the door -- Hattie comes on from the
inside, her apron filled with shavings -- she dumps them in a pile near
the house and she and Bob stand back and look it over -- they are very
proud of their new home --
34. CLOSE UP ON SATAN ON HORSE ON HILLTOP
Cut back to Satan watching -- he turns slowly in the saddle and facing
the camera, says, "His ideas of movin' and mine aint exactly alike, but
I aim to teach him my way" -- he carefully inspects his pistols and
rides out of the scene down over the top of the hill --
35. CLOSE UP ON REAR OF SHACK
Dolly is seated on the ground leaning against the shack and seeking to
fit an old waist of her mother's upon Rags -- she is extremely busy --
36. EXTERIOR SHACK
Cut back to Bob and Hattie -- she is suggesting some little change as
to the door and he is listening to her -- she looks up quickly with a
suppressed shriek and Satan rides on -- Bob, who is unarmed, turns and
stares at him -- Satan, keeping his eyes on both of them, dismounts and
strides up to Bob -- his manner is slow and sinister -- Bob and Hattie
wait for him to speak -- he looks them both over and grins
sarcastically -- nobody says a word but they stand staring at each
other --
37. CLOSE UP ON REAR OF SHACK
Flash back to Dolly trying to get the waist on Rags --
38. CLOSE UP ON SATAN, BOB AND HATTIE AT SHACK
Bob and Hattie, standing close together, are still gazing at Satan who
is enjoying their evident fear of him -- he speaks -- INSERT TITLE --
"SEEMS TO ME YOU ARE HANDLIN' YOUR LIFE MIGHTY CARELESSLIKE."
Back to action -- Satan addresses this remark with deadly insult to Bob
-- Bob flushes and stiffens but his gaze falls on Satan's guns and he
subsides -- he says "It aint no crime to try to make an honest livin'"
-- Satan says "Mebbe not, but it IS a crime to get gay with me" --
39. CLOSE UP ON DOLLY. REAR OF SHACK
She has tied the waist about Rags after a fashion and is surveying him
with admiration when she shows she hears voices -- she knows some one
is talking to her father and rises with interest and exits, followed by
Rags --
40. EXTERIOR SHACK
Cut back to Satan abusing Bob and Hattie and telling them to get out at
once -- Bob, pale but determined, does not reply but looks at Satan,
half fearfully, half defiantly -- Dolly followed by Rags, comes on from
around the corner of the shack -- she sees Satan, hears him cursing and
reviling her father and stops in surprise and looks at him carefully --
41. CLOSE UP ON DOLLY AT SHACK
She is gazing off the picture with a wondering expression which
gradually changes to sympathy for her father -- she is deeply hurt that
he should be abused -- Rags, who is standing at her feet, sees a
stranger and exits, wagging his tail in welcome -- be sure he wags his
tail as he leaves this scene -- Dolly doesn't notice he is gone as she
gazes at the strange man who is so mean --
42. CLOSE UP ON SATAN, BOB AND HATTIE AT SHACK. ALLOW FOR ACT
Cut back to Satan giving Bob his last warning "I ain't caring about
repeatin' and I'm givin' you the last line of talk I intend to" -- he
says -- as he talks, Rags comes on wagging his tail and runs up to
Satan in boisterous puppy welcome -- Satan sees him and taking a step
forward kicks him off the picture -- have him get his foot under Rags
and lift him up into the air --
43. CLOSE UP ON DOLLY AT SHACK
Cut back to Dolly listening in sorrow -- she suddenly starts and then
her eyes flame with anger -- she shows she sees Satan kick Rags -- Rags
comes on, his tail between his legs and whining for sympathy -- Dolly
is enraged beyond measure -- that her puppy should be kicked inflames
her against Satan and she reaches down and picks up a rock -- she takes
a quick careful aim and throws it off the picture with all her might--
44. CLOSE UP ON SATAN, BOB AND HATTIE
Cut back to Satan repeating his threats -- he suddenly claps his hands
over one eye and staggers back with a cry of pain -- have him have the
rock in his hands and as he puts them over his eye, show it fall to the
ground -- he is blinded by the pain for the second and reels -- Bob and
Hattie are stricken with terror--
45. CLOSE UP ON DOLLY
She is standing, her eyes flashing as she watches off the picture --
she says, "There you nasty man, how do you like to be hurt?" -- still
fighting mad, she walks up to Satan -- PANORAM TO SATAN AND BOB AND
HATTIE AS DOLLY WALKS -- Satan has by this time recovered himself
somewhat and turns and glares about him like a wild man as he bellows
"Who did that?" Dolly steps squarely in front of him and, her chin
thrust out, says "I did, you bad, bad man" -- her temper is fully
aroused and she confronts him fearlessly and ready to go on with the
battle -- he glares at her as she answers him and then rubbing his
injured eye, bends down slightly and takes a better look at her --
46. CLOSE UP ON SATAN
He is staring off the picture as though he couldn't believe his own
senses -- his eye hurts him deeply and his temper is flaring but in
spite of this, gradual look of wonder comes over him and this slowly
gives way to a reluctant admiration -- INSERT TITLE --
THE FIRST PERSON HE EVER MET WHO WASN'T AFRAID OF HIM.
BACK TO ACTION -- Satan registers this idea and tries to hide a grim
smile -- he advances slowly off the picture --
47. CLOSE UP ON DOLLY
She is waiting defiantly -- her eyes blaze anew and Satan comes on
slowly -- he stoops down and stares into her face with a strange
expression -- she returns the look and they gaze straight into each
other's eyes -- her hands clench at her side as she looks at Satan and
he notices this --
48. CLOSE UP ON BOB AND HATTIE
They are both staring off the picture in fear and waiting to see what
will happen -- Bob, half fearing that Satan will punish Dolly, seeks to
free himself from Hattie, and attack the bully but Hattie holds onto
him -- she has great faith in Dolly's years being a protection --
49. CLOSE UP ON SATAN AND DOLLY
Cut back to them staring into each other's eyes -- Dolly does not yield
an inch and so bitter a look of hate flashes over her that Satan smiles
-- gazing at her -- he puts up one hand and ruefully rubs his damaged
eye -- the other eye he slowly winks at her -- she tosses up her head
disdainfully --
50. CLOSE UP ON BOB AND HATTIE
Cut back to them watching -- they both smile in a relieved way -- Bob
thinks that Dolly has softened Satan and feels much relieved --
51. EXTERIOR SHACK
Bob and Hattie, smiling, are watching as he straightens up from over
Dolly continues to regard him with unabated hostility -- Satan gazes
about him and sees Bob and Hattie smiling at him -- His face settles
into a hard expression and turning his back on them he walks slowly to
his horse -- on his way he passes Rags -- he lifts his foot to kick the
puppy and then turns and looks at Dolly who is still eyeing him
threateningly -- he rubs his eye again and with a grim smile mounts his
horse and rides off -- Bob and Hattie and Dolly all stand silently
watching him, the little girl still nursing her wrath and her parents
wondering what to expect now -- register the fact that Satan's
friendship does not extend beyond Dolly --
52. CLOSE UP ON SATAN ON HORSE. PRAIRIE
He is riding slowly along thinking -- he frowns deeply and then in
spite of himself a broad grin crosses his face as he says "The little
fire eater, damned if she didn't bust open my eye" --
53. CLOSE UP ON LITTLE CREEK
TITLE: THE DRY SPELL
Pick out a location as much like SCENE 24 as possible but register the
idea of title -- just a little muddy water should show here and there
-- Bob's cattle are wandering up and down this creek -- Bob rides on and
drives them off past the camera -- he follows despondently -- have some
one on the sidelines do a lot of shouting at the cattle so that they
appear very nervous -- BE SURE TO REGISTER THE FACT THAT THEY HAVE
DRAINED THE CREEK ABOUT DRY --
54. SANDY BASIN
TITLE: CRAZED BY THIRST, THE CATTLE WANDER AFAR, AND THE EFFORTS OF
BOTH ELLIS AND HIS WIFE ARE REQUIRED TO TRACE THEM.
Show two or three steers moving rapidly along -- chase them into the
picture and get over the idea of their being wild from thirst and in
search of water --
55. ROCKY HILLSIDE
Flash of a few more steers or cows -- same idea as in previous scene --
56. EXTERIOR SHACK
Hattie is ready to mount her pony -- Bob, tightening the saddle girth
on his horse, is about ready to join her -- both are pale worn out and
utterly discouraged although they try to keep up -- Dolly, wearing a
long apron that comes down to the floor, comes on in the doorway to
wave them goodbye -- her sleeves are rolled up and she has a dish rag
in her hand -- both Bob and Hattie go to the door --
57. CLOSE UP ON SHACK DOORWAY
Dolly is standing in the doorway -- Bob and Hattie come on and kiss her
goodbye -- they are heartbroken at being obliged to leave her alone but
she takes it bravely and tells them not to worry -- they show they must
leave and kissing her again, exit --
58. EXTERIOR SHACK
Dolly is standing in the doorway as Bob and Hattie come down to their
horses in the foreground -- they mount -- as they do, Rags rushes on
from the doorway and starts to follow them -- Dolly calls and Bob
orders him back but he is minded to go along. Bob dismounts and calling
Rags to him, picks him up and carries him to the doorway -- he reaches
inside the doorway and takes down a coil of rope --
59. ROCKY RAVINE
Flash of two or three steers trotting along --
60. EXTERIOR SHACK
Cut back to Bob and the rest -- Bob is finishing tieing Rags to the
cabin, he leaves him quite a little rope -- Bob mounts again and he and
Hattie ride off waving back at Dolly -- she turns rather forlornly as
they exit and then consoling Rags over his fate, exits back into the
doorway --
61. SHACK KITCHEN
IDEA OF NEWNESS AND ROUGHNESS -- nothing but boards -- a bench has been
built against one wall and is used as a table -- it is covered with tin
dishes -- Dolly comes on and resumes washing these dishes -- show
quite a pile of them -- a small window shows and a fireplace -- pegs
are about the walls with various articles and pieces of clothing
hanging from them -- Dolly is very lonesome and down cast but forces
herself to cheer up and starts to whistle --
62. PRAIRIE
Bob and Hattie ride on past the camera and then separate -- he
instructs her as she rides away from him and they exit off opposite
sidelines--
63. CLOSE UP ON RAGS AT SIDE OF SHACK
He has the rope in his mouth and is chewing on it vigorously --
64. SHACK KITCHEN
Cut back to Dolly -- she has finished washing the dishes and is
arranging them in a neat pile on the bench --
65. CLOSE UP ON RAGS AT SIDE OF SHACK
Cut back to Rags chewing on the rope -- cut it so that only a thin
strand holds it -- have some one call him so that he bounds forward and
breaks this strand -- cut picture before he gets out of the scene--
66. SHACK KITCHEN
Cut back to Dolly -- she is wiping off the bench with her dish rag --
she is through now and takes off her apron and exits gladly --
67. EXTERIOR SHACK
Have Rags with a piece of rope hanging about his neck waiting before
the door -- Dolly comes on from the door -- she sees he is free and
says "you naughty dog. How did you do that?" -- she seeks to grab him
but he frisks about her and runs off the picture -- get him excited in
this scene so that he jumps about and does a lot of barking -- she
follows him off calling to him to stop --
68. PRAIRIE
Rags runs on followed by Dolly -- he will not let her catch him and
they both exit --
69. CLOSE UP ON CACTUS IN SAND
TITLE: AN HOUR LATER
THE SURRENDER
Rags comes on and stops -- he looks off the picture and wags his tail
--if possible have him tired out from playing when you take this scene
-- Dolly comes on slowly -- she is tired out from the long chase and
sinks in the sand beside Rags and putting her arm about his neck scolds
him solemnly for running away -- she is so tired she leans against him
as she talks to him --
70. ROCKY RAVINE
Flash of Bob driving a few cattle ahead of him as he rides into the
camera --
71. CLOSE UP ON CACTUS IN SAND
Cut back to Dolly and Rags -- she realizes she must be starting back
and although she is far from rested, gets up -- she exits holding onto
the piece of rope which is tied about Rags' neck --
72. SAND
Dolly and Rags come on uncertainly -- they wander aimlessly across the
sand and finally exit --
73. SAND
TITLE: LOST
Dolly and Rags come on slowly into the camera -- they stop close to it
and Dolly gets over the idea of the title -- she does not know which
way to turn and her eyes fill with tears -- if you can make him do it,
have Rags sit down and look up at her -- she turns to him and says:
"Oh, you needn't look at me. It's all your fault. Come on now and help
me" -- she tugs on his rope and they exit past the camera --
74. SANDY BASIN
Flash of Hattie rounding up a couple steers -- have them running
rapidly as she chases them and seeks to turn them back--
75. SAND
Dolly and Rags come on, trudging wearily -- they cross the picture and
exit as Dolly seeks in vain to sight some familiar mark --
76. EXTERIOR SHACK
TITLE: LATE THAT AFTERNOON
Hattie, covered with dust and exhausted, rides on -- she dismounts
stiffly and goes up to the door calling to Dolly -- there is no answer
and she exits into the house --
77. SHACK KITCHEN
It is as Dolly left it -- Hattie comes on and calls: "Dolly, where are
you?" -- there is no answer and she begins to grow alarmed -- she calls
again loudly --
78. PRAIRIE: SHACK IN BACKGROUND SCENE
Bob rides on driving most of his cattle ahead of him -- he leaves them
and rides into the background for the shack --
79. SHACK KITCHEN
Cut back to Hattie calling Dolly -- she is extremely frightened now --
she opens a sideline door and looks in, but showing Dolly is not there,
exits in a panic --
80. EXTERIOR SHACK
Bob rides on and dismounts -- as he does, Hattie rushes from the shack,
wild-eyed and hysterical -- she runs to Bob crying: "Dolly is gone" --
he cries: "What?" -- she says: "Yes, she is nowhere to be found. I've
searched the house" -- he says: "She must be about somewhere" -- he is
badly frightened but tries to be calm -- he goes up to the shack and
then notices Rags is missing -- he picks up the piece of rope and looks
at it --
INSERT END OF CHEWED ROPE
BACK TO ACTION -- the rope enlightens Bob as to why Dolly is not there
-- he says excitedly: "Rags got away and she followed him, God knows
where" -- Hattie starts to cry but he rallies her saying: "She is
simply wandering on the prairie somewhere. We'll find her" --
81. SAND
Flash of Dolly, all in and hardly able to walk, slowly dragging herself
along and pulling Rags after her --
82. EXTERIOR SHACK
TITLE: FRANTIC, ELLIS DETERMINES TO APPEAL TO McALLISTER TO AID IN THE
SEARCH FOR DOLLY.
FOREGROUND ACTION -- cut back to Bob seeking to rally Hattie but he
himself is crazed with fear and grief -- he registers the idea of the
title and telling her to search the adjacent prairie, helps her into
the saddle -- he jumps onto his horse and they both ride off rapidly --
83. SAND
Dolly and Rags come on past the camera -- both are exhausted -- if you
can do it, have Rags lie down in the sand -- Dolly seeks to arouse him
and then, refusing to desert him picks him up and carries him off the
scene -- if he is too heavy, have her drag him off the sideline close
to the camera -- get a pathetic little scene here--
84. PRAIRIE
Hattie rides on looking about her in all directions and calling
continually for Dolly --
85. RANCH YARD
TITLE: THE McALLISTER RANCH
SHOW A COUPLE LONG WATERING TROUGHS -- have as many cattle as is
possible crowded about these troughs and drinking -- McAllister is
standing by a trough in the foreground watching his men water the
cattle -- show several cowboys among whom are quite a sprinkling of
Mexicans -- McAllister is the same as ever and his men are all afraid
of him -- suggest a fence about the yard -- there is a stir among the
men and McAllister looks up and off the picture --
86. GATE OF RANCH YARD
Bob rides on up to the gate and through it at a wild pace --
87. CLOSE UP WATERING TROUGH RANCH YARD ALLOW FOR ACTION
McAllister is waiting in anger and wonder -- he steps back slightly,
his hands on the handles of his guns -- Bob rides on and wheels up his
horse in a cloud of dust -- McAllister says "What the hell do you mean
by comin' over here? Why you damned--" Bob interrupts him and says --
INSERT TITLE --
"MY BABY IS LOST. WILL YOU HELP ME FIND HER?"
BACK TO ACTION -- Bob leans from his horse and watches Satan
desperately -- Satan starts and says "The little girl? Lost?" -- Bob
says "Yes, she wandered away with her dog" -- Satan stands there hating
to aid his enemy and seeking to make up his mind --
88. CLOSE UP ON SATAN
His natural mercilessness and cruelty and the chance to get back at Bob
are strongly urging him to have nothing to do with the search for Dolly
but memory of the little girl comes back to him and he cannot fight it
off -- as he stands there DISSOLVE BACK TO SCENE 49 WHERE DOLLY DEFIES
SATAN AND HE WINKS AT HER -- DISSOLVE BACK TO SATAN AT THE WATERING
TROUGH -- the recollection of the only being he ever felt a spark of
feeling for, softens his face -- he seeks to hide it but a fear for the
little girl has come over him -- he straightens up and looks off the
picture --
89. CLOSE UP ON WATERING TROUGH
Cut back to Bob in an agony of suspense awaiting Satan's answer --
Satan looks at him and says -- INSERT TITLE --
"NOT FOR YOUR SAKE, BUT FOR HERS, I'LL HELP YOU."
BACK TO ACTION -- Bob starts to thank him but Satan turns and yells off
the picture -- a couple cowboys run on and he orders them to turn out
everybody on the ranch -- he runs off the picture after them --
90. SAND
Flash of Dolly staggering along carrying Rags in her arms --
91. RANCH YARD
Satan, Bob and a bunch of cowboys are riding out through the gate --
lots of action, speed and dust--
92. ROCKY GULLY
FOREGROUND ACTION -- Dolly comes on carrying Rags -- she sinks down
helplessly and then feeling she must go on, gets a new hold on Rags and
exits with him, carrying him --
93. PRAIRIE. LONG SHOT
Satan and Bob and the others ride on in the middle background -- where
they separate on both sides into a huge fan and ride on widening out as
they go -- Satan on the extreme left end of the fan, passes close to
the camera, his face showing his great anxiety -- it is the first time
he has felt a worry over any human being and it hits him hard --
94. CLOSE UP ON BIG ROCK
Dolly reels on with Rags in her arms and plumps down by the rock -- she
simply cannot go any further -- she holds Rags tightly to her and
buries her face against him as she sobs and tells him they are lost --
she is so tired that even her fear and sorrow cannot keep her awake,
and she leans heavily against him in her drowsiness --
95. DISTANCE SHOT OF PRAIRIE AND BACKGROUND HILLS
Flash of the cowboys, Bob and Satan riding away from the camera in a
wide half circle -- get over the idea of great distance here --
96. CLOSE UP ON DOLLY AND RAGS AT BIG ROCK
TAKE LOTS OF PAINS HERE AND GET A PRETTY PICTURE -- Dolly, her arms
about Rags and her head nestled on him, is sound asleep -- Rags should
also be asleep or pretending to be -- have them both covered with dirt
and sand --
97. SAND. DAWN
TITLE: THE DAWN FINDS McALLISTER WIDELY SEPARATED FROM THE REST OF THE
SEARCHING PARTY.
McAllister, tired and heavy-eyed, rides on looking about him and
calling loudly "Dolly, are you here?" -- he exits past the camera --
98. CLOSE UP ON DOLLY AND RAGS AT BIG ROCK. DAWN
Flash of them sleeping together --
99. ROCKY GULLY
McAllister rides on into the background, looking about him on all sides
-- he rides into the foreground and stops, about discouraged -- he
takes off his hat and runs his hand over his forehead wearily -- he is
about to turn and ride back when something ahead of him catches his eye
and he bends forward with a start --
100. CLOSE UP ON DOLLY AND RAGS AT BIG ROCK
Flash back to them asleep--
101. CLOSE UP ON SATAN ON HORSE IN GULLY
He is staring off the picture and he utters a whoop of delight which he
quickly suppresses as he says "Shut up you damn fool, do you want to
scare her to death" -- he rides forward slowly--
102. CLOSE UP ON BIG ROCK. ALLOW FOR ACTION
Cut back to Dolly asleep with Rags -- Satan rides on and dismounts --
he goes softly to Dolly and bends down over her -- just the head of the
horse should show in the picture --
103. CLOSE UP ON SATAN. DOLLY AND RAGS AT ROCK
Satan is bending down over Dolly and he touches her tangled hair
reverently -- this arouses Rags and he sits up and looks at Satan --
Dolly, feeling Rags move, also awakens, she reaches out sleepily and
then sits up -- as she does she sees Satan gazing at her -- she
remembers him and her old feeling of enmity for him comes back -- she
grabs Rags as though to protect him and regards Satan with flashing
eyes -- he smiles rather wistfully and then speaks -- INSERT TITLE --
"DON'T BE MAD AT ME. I'VE COME TO TAKE YOU HOME."
Back to action -- Satan says this so gently that it surprises himself
-- Dolly sees that she has not to deal with a different person [sic]
-- she looks at him a moment and then believing him implicitly, throws
her arms about his neck and kisses him in her great relief and
gratitude -- he returns the kiss awkwardly and nervously pats her head
-- all past strife is forgotten by her and she now gravely presents
Rags to be kissed -- Satan hesitates a second and then yields -- he is
kneeling beside her and drawing her to him, he asks her to tell him how
she wandered so far -- she starts to talk -- get a fine heart interest
scene here --
104. HILLSIDE
TITLE: A WANDERING BAND OF CHEYENNES, AFTER AN ALL-NIGHT CAROUSAL OVER
A STOLEN BARREL OF WHISKEY, START AN INCIPIENT UPRISING.
A bunch of drunken Indians are whooping and dancing around a barrel,
the top of which has been broken in -- it is empty and they kick it
disgustedly down the hill -- their ponies show in the background -- the
Indians are all crazed with booze and are brandishing their weapons and
telling what great men they are --
105. CLOSE UP ON BIG ROCK
Cut back to Satan with Dolly and Rags -- he tells her they must be
starting back -- he leads the horse fully into the picture and lifts
her on -- she starts to mount behind but she looks at Rags who is
watching the proceedings and holds out her arms appealingly -- he
chuckles and hands Rags to her -- he mounts and they ride off --
106. HILLSIDE. SHOOT THE OTHER WAY
Cut back to the Indians in their frenzy -- they begin to mount and ride
off the picture down the hill, shooting their rifles and yelling --
have them do some good riding here --
107. PRAIRIE
Bob, exhausted and torn with grief, is sitting on his horse near the
camera and waiting -- Hattie, about to collapse from her saddle, rides
on -- as she asks him if there is any news she sways weakly -- he leaps
from his horse and runs to her just in time to catch her as she faints
-- he lays her on the ground and fans her with his hat --
108. ROCKY GULLY. SHARP BEND IN FOREGROUND.
Satan, with Dolly and Rags, rides on and heads for the bend -- as he
does, he stops his horse abruptly and listens with a look of surprise
and deep fear--
109. ANOTHER ANGLE OF GULLY
Flash of the Indians riding into the camera shooting and whooping.
110. ROCKY GULLY. SAME AS 108
Cut back to Satan with Dolly and Rags -- he says "Indians or I'm a
fool" -- he listens again and then wheels and rides rapidly back into
the gully -- before he can exit, the Indians ride on around the bend --
they sight him and with wild whoops of joy start in pursuit.
111. ROCKY RAVINE. LONG SHOT
Satan, with Dolly and Rags, rides on from the background hotly chased
by the Indians -- he is going faster than they are and gains on them
before he passes the camera -- get a good exciting chase scene here
with lots of speed -- TURN CAMERA SLOWLY -- as the Indians begin to
ride past the camera -- CUT --
112. PRAIRIE
Flash of cowboys assembling in the foreground from all directions and
reporting no success --
113. NARROW PASSAGE IN ROCKS
Satan rides on with Dolly and Rags -- he stops the horse and leaps from
it -- grabbing a lariat from the saddle horn he rapidly starts to
uncoil it, listening all the while tensely -- Dolly, frightened, but
having great confidence in Satan, watches him silently as she clings to
Rags--
114. ANY ROCKY PASS
Flash of Indians riding in hot pursuit --
115. CLOSE UP ON SATAN'S HORSE. NARROW PASSAGE IN ROCKS
TITLE: THE SACRIFICE FOR THE BABY WHO STONED HIM
Satan, working deftly and with great speed, is binding Dolly and Rags
securely into the saddle -- Dolly realizes that he intends to remain
behind and objects hotly -- she holds out her arms to him and begs to
stay with him -- he seeks to quiet her and completes tieing her to the
saddle --
116. ANOTHER ANGLE OF ROCKY PASS
Flash of Indians riding rapidly across the picture --
117. CLOSE UP ON SATAN'S HORSE. SAME AS 115
Cut back to Satan and Dolly and Rags -- she begs him not to stay behind
but he tells her he will be all right -- he bids her goodbye with a
smile and she leans forward to kiss him -- he kisses her tenderly,
grips her convulsively by the shoulder in farewell then strikes the
horse a sharp blow on the flank -- the horse dashes off -- Satan stands
a moment with dimmed eyes gazing after it and then whipping out both
his pistols runs off the scene in the opposite direction -- get an
affecting scene where Dolly and Satan bid each other goodbye.
118. RAVINE
The horse bearing Dolly and Rags gallops on -- TURN CAMERA SLOWLY --
and exits --
119. CLOSE UP ON ROCKY RIDGE
Satan is standing back of the rocks firing with both pistols off the
scene -- he retreats slowly past the camera, firing and re-loading --
120. ROCKY SLOPE
The Indians, some of them dismounting, others already on foot, are
firing hotly up the slope and slowly making their way up it -- show
puffs of smoke coming from the background -- use plenty of smoke and
make the picture look businesslike -- show a couple Indians killed --
121. MOUTH OF ROCKY CAVE
TITLE: AN HOUR LATER, HIS LAST CARTRIDGE
Satan, torn and disheveled and bleeding from a wound across his
forehead, runs on -- he has but one pistol now -- he shows he has
eluded the Indians for the moment -- he stops at the mouth of the cave
and listening tensely, takes out his last cartridge and puts it in the
pistol -- still listening, he exits cautiously into the mouth of the
cave --
122. INTERIOR CAVE
GET A GOOD LIGHT EFFECT HERE -- IDEA OF SUNLIGHT STRIKING AN ANGLE OF
THE INTERIOR FROM THE OUTSIDE -- Satan comes on and leans against the
wall of the cave weakly --
123. ROCKY LEDGE
Flash of Indians scattered out and searching for Satan -- they have
lost him and are yelling with rage and disappointment --
124. CLOSE UP ON SATAN IN CAVE
SAME LIGHT IDEA AS IN SCENE 122 -- Satan is standing breathing heavily
as he clutches his pistol -- he shows he hears the Indians searching
and a grim smile flickers over his face -- have his face bloody and
smeared with dust --
125. SIDE OF ROCKY CAVE
BE SURE THIS IS READILY IDENTIFIED AS THE SAME CAVE IN WHICH SATAN IS
HIDING -- an armed Indian comes on -- he listens and then starts to
climb up the rocks to the roof of the cave -- PANORAM AS HE GOES -- on
the roof of the cave, the Indian bends down -- he then drops on his
knees and flattens his face against chink in the rock --
126. CLOSE UP ON SATAN IN CAVE AS SEEN THROUGH HOLE IN ROOF
GET OVER THE EFFECT OF THE SHAFT OF LIGHT FROM THE ROOF STRIKING SATAN
AND BRINGING HIM OUT IN BOLD RELIEF -- he is still standing, pressed
against the wall of the cave and facing the mouth as he listens --
127. CLOSE UP ON INDIAN ON ROOF OF CAVE
The Indian is peering through the opening -- he shows he sees Satan and
smiles in cruel triumph -- he aims his rifle carefully through the
opening and fires --
128. CLOSE UP ON SATAN IN CAVE
Cut back to Satan hiding -- he hears the pursuit still going on and
again smiles grimly as he thinks that after all he may get away with
his life -- show a puff of smoke spurt into the picture from the top --
Satan spins about violently shot in the back -- he staggers and then
collapses in a heap --
129. CLOSE UP ON INDIAN ON ROOF OF CAVE
Cut back to the Indian -- he is holding his rifle and listening
intently -- he feels sure his shot went home --
130. CLOSE UP ON SATAN ON FLOOR OF CAVE
GOOD LIGHT OVER HIM -- Satan is lying face downward -- he slowly and
painfully rises on his hands and looks up at the roof -- he realizes
how he was shot -- the old devilish spirit comes over him and he snarls
like a wolf as he stares at the roof -- he has but one idea, to get the
Indian who shot him -- he picks up his pistol from the floor and
gripping it with difficulty, waits, his eyes fixed on the roof --
131. CLOSE UP ON INDIAN ON ROOF OF CAVE
Cut back to the Indian listening -- he hears nothing and, clutching his
rifle in one hand, leans over the opening and peers through --
132. CLOSE UP ON SATAN ON FLOOR OF CAVE
GOOD LIGHT OVER HIM -- cut back to Satan watching the roof -- he
suddenly whips his pistol over his head and with a wild yell of hate
and revenge fires upward--
133. CLOSE UP ON INDIAN ON TOP OF CAVE
Cut back to Indian peering through the opening -- he jumps backward
wildly, regains his feet then reeling drops his rifle and flattens out
across the rocks dead --
134. ANOTHER ANGLE OF ROCKY LEDGE OR ROCKS
The rest of the Indians are still searching for Satan -- they stop and
all show they hear the shots in the distance -- they begin to whoop
afresh and start to exit on the run --
135. CLOSE UP ON SATAN ON FLOOR OF CAVE
TITLE: HIS LAST WISH.
SAME GOOD LIGHT EFFECT -- cut back to Satan -- he is dying fast and can
hardly muster enough strength to hold on -- he registers the idea of
having a last wish to record -- he picks up a piece of pointed rock
with which the floor of the cave is littered and crawls painfully to
the wall of the cave -- PANORAM AS HE GOES -- he only goes a few feet
as he was supposed to be close to the wall when shot -- have this wall
a very smooth piece of stone -- Satan crawls to it and propping himself
up starts to scratch a message on it with the pointed stone -- his hand
drops a couple of times but he forces it back and continues to write --
136. ROOF OF CAVE
The Indians come on over the roof from the back -- they find the dead
body of their comrade and with many yells of hate and vengeance begin
to exit down the side--
137. CLOSE UP ON SATAN AT WALL OF CAVE
BEAUTIFUL LIGHT EFFECT -- Cut back to Satan writing -- he finishes and
his arm drops limply -- he has completed his task and is ready for the
end -- he succeeds in forcing himself up so he can read what he has
written -- a tender sad smile comes over his face and he sinks gently
back onto the floor, his head pillowed on one arm, and passes out -- an
Indian's head comes on and regards him intently -- as the Indian stares
at him, close slowly with an iris lens --
138. PRAIRIE
OPEN SLOWLY WITH IRIS LENS -- the horse bearing Dolly and Rags comes on
from the far background as the picture begins to open -- show him come
in all the way to the foreground and exit past the camera -- TURN
CAMERA SLOWLY AND REGISTER SPEED --
139. PRAIRIE
Bob is standing in the foreground supporting Hattie who is leaning
against her horse and weeping bitterly -- the cowboys are clustered
about, sympathetic, and not knowing what to say -- one of them glances
off the picture and then turns to the rest excitedly as he says "Looka
over there" -- they all look --
140. PRAIRIE
Cut back to the horse galloping along with Dolly and Rags --
141. PRAIRIE
Cut back to Bob, Hattie and the cowboys -- they all see the horse -- it
revives them like a flash -- the cowboys, with yells of joy, gallop
off -- Bob helps Hattie on her horse and they both ride off after the
rest --
142. PRAIRIE SCENE
The horse bearing Dolly and Rags comes on from the background pursued
by Bob, his wife and the cowboys -- as they near the foreground the
horse is overtaken and caught by cowboys who ride in on either side of
his head -- they halt in the foreground and Hattie and Bob leap from
their horses and rush to Dolly's side, hysterically embracing her and
trying to untie her and Rags --
143. INTERIOR CAVE
GREAT LIGHT EFFECT -- flash of the Indians inspecting Satan and the
interior of the cave -- they grunt to each other and begin to exit --
144. CLOSE UP ON DOLLY, BOB, HATTIE AND GROUP OF COWBOYS: ALLOW FOR ACTION
Dolly, covered with dust and tear-stained, has one arm about her
mother's neck and the other about her father's -- she is sobbing and
says "My big, good man stayed up there to fight the Indians" -- her
words electrify the rest -- they cry "Indians" -- she says: "yes, lots
of them, too" -- they start to rush off the scene -- Bob turns Dolly
over to her mother and rushes with them -- PANORAM TO THE HORSES -- Bob
and the cowboys rush on, mount and ride off like the wind --
145. CLOSE UP ON DOLLY AND HER MOTHER
Hattie, kneeling by her horse, has her arms about Dolly and is holding
her tightly and seeking to console her -- Rags is hanging around
anxiously -- Hattie picks Dolly up and helps her onto the horse -- she
leads it off the picture in the opposite direction taken by the cowboys
-- Rags follows her off --
146. ROCKY PASS SAME AS 114
TITLE: THE RECKONING
Bob and the cowboys ride into the picture -- they halt abruptly in the
foreground and point off past the camera excitedly --
147. MOUTH OF CAVE
Flash of Indians dancing about and celebrating their victory over
Satan --
148. ROCKY PASS
Cut back to Bob and the cowboys -- they pull out their guns and opening
fire at a lively rate, dash off past the camera --
149. MOUTH OF CAVE
Cut back to the Indians dancing -- get over the idea of a sudden hail
of shot -- several of the Indians fall -- the others make a rush to
escape, shooting back as they go -- FAST ACTION -- the cowboys rush on,
some afoot, the others mounted -- a hot skirmish follows in which the
Indians flee, leaving most of their number dead or wounded -- the
cowboys chase them --
150. ROCKY PASS
The Indians, only a few of them, run on past the camera, closely
pursued by the cowboys who are shooting them down -- show enough of
this to register the idea of a slaughter and then cut --
151. MOUTH OF CAVE
Bob and one of the cowboys are standing looking into the mouth of the
cave -- they get over the idea of blood stains on the rocks and exit
into the cave as they trace them --
152. CLOSE UP ON SATAN AT WALL OF CAVE
BEAUTIFUL LIGHT EFFECT -- Satan is lying dead close to the wall -- Bob
and the cowboy come on -- they discover him and bend down over him --
they see he is dead -- Bob rises sadly and is about to direct the
cowboy to help him remove the body when the cowboy notices the writing
on the wall -- he points to it in wonder and he and Bob bend over it to
get a better view -- INSERT CLOSE UP OF WRITING SCRATCHED IN WHITE
AGAINST A BLACK BACKGROUND, WITH THE IDEA OF THE BACKGROUND BEING A
ROCK -- THE WRITING SHOULD BE SCRAWLY BUT PLAIN, IT READS:
I, SATAN McALLISTER, DYING AND KNOWING WHAT I AM DOING,
HEREBY WILL MY RANCH AND EVERYTHING I OWN TO THE BEST
ENEMY AND TRUEST FRIEND I EVER HAD, DOLLY ELLIS, SIX YEARS
OLD. THIS GOES.
BACK TO ACTION -- Cut back to Bob and the cowboy reading the writing --
they turn silently and gaze at each other -- Bob chokes and bows his
head and the cowboy, after looking at him a moment, exits softly --
153. MOUTH OF CAVE
Other cowboys are coming into the picture and clustering about the cave
-- the cowboy who was with Bob comes on from the cave -- they see him
and start forward but he gently pushes them back as he says "Not yet,
boys, wait a minute, wait a minute" -- they stop and look at him for an
explanation --
154. CLOSE UP ON BOB AND SATAN AT WALL OF CAVE
BEAUTIFUL LIGHT EFFECT -- Bob is standing gazing down at the body of
Satan -- his features are rigid -- he slowly drops to one knee beside
the body and reaching for one of Satan's hands, takes it in his own --
he grips it tightly as he looks into Satan's face -- then he says
brokenly: "Old man, forgive me. I had you all wrong" -- as he holds the
pose, CLOSE THE PICTURE VERY SLOWLY WITH AN IRIS LENS--
THE END
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