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By Ed Spielman (creator) |
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STATIONMISTRESS:
The scene between the Kid and Lou is shot and edited pretty much the way it was written, except for a few lines. Even the scene where the boys talk about following Scarface's gang was left alone. But the montage where the boys ride out in search of Scarface and his gang seems different to me. I'm not sure if the ABC version had the boys finding the letters by the road, or even if the Odyssey version has that. The Family version -- the one that I have -- doesn't have this scene, so I'm marking it in color. |
ACT III
EXT. THE WAY STATION -- DAY The Kid has set one of the station's small storage buildings on fire. There is heavy smoke, a signal. The Kid returns inside the way station. INT. THE WAY STATION -- THE
CABIN -- SAME SCENE -- DAY
THE KID
Lou doesn't respond. He awkwardly continues. THE KID
LOU
(A beat) THE KID
LOU
THE KID
LOU
Angry, fearful for her future, Lou now speaks as if not having made her true feelings known for a long time. LOU
THE KID
LOU
ANOTHER ANGLE THE KID
LOU
THE KID
LOU
THE KID
ANOTHER ANGLE LOU
THE
KID
LOU
CLOSEUP -- THE KID
THE
KID
LOU
THE
KID
LOU
ANOTHER ANGLE
Before Lou can respond, OFF SCREEN, WE HEAR THE SOUND of approaching riders outside. The Kid rises and leaves the cabin. EXT. THE WAY STATION -- LATER
-- DAY
HICKOK
THE KID
ANOTHER ANGLE
BUCK
CODY
HICKOK
BUCK
ANOTHER ANGLE HICKOK
THE KID
HICKOK
CLOSEUP -- THE KID
ANOTHER ANGLE
CODY
LOU (O.S.)
ANOTHER ANGLE
THE KID
LOU
THE KID
HICKOK
THE KID
CODY
ANOTHER ANGLE
THE KID
LOU
HICKOK
ANOTHER ANGLE
BUCK
THE KID
Ike shakes his head angrily, intent on not being left behind. The Kid reasons with his arm around his friend. Ike calms himself and listens intently. EXT. SAME SCENE -- DAY
ANOTHER ANGLE
EXT. THE PLAINS -- THE BOYS
IN PURSUIT -- DAY
EXT.
A ROCK AREA -- LATER -- DAY
BUCK
ANOTHER
ANGLE
CLOSEUP
-- THE KID
EXT.
A RIVER -- DAY
ANOTHER
ANGLE
EXT.
THE PLAINS -- LATER -- DAY
The SOUND OF APPROACHING HOOFBEATS OFF SCREEN ... and a boy's hand reaches into the FRAME and snatches it up while at full gallop. CODY
(O.S.)
CLOSEUPS
-- OTHER LETTERS
OTHER
ANGLES
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Kid makes an observation
about Scarface's guns, that the gangleader is carrying so much firepower
because he's probably afraid of everything.
This line is not entirely missing from the episode, it was merely uttered by another character -- Marshall Sam Cain. Remember, when he saw Scarface and his gang in town? Jimmy asked Sam how he knew the bad man was going to back down and Sam referred to Scarface having a lot of guns and ammunition on him. I just wanted to point this out. When Hickok makes the suggestion to "rush 'em," Buck reacts and says "He's crazier that we thought." I thought it was a really funny line (sorry Jimmyholics) and very telling. It means the other boys have been talking about Hickok's "craziness" among themselves! At least, that's my reading of that line ;-) |
EXT.
THE PLAINS -- LATER -- DAY
Tracking, Buck signals the boys to stop; he points over a nearby ridge. BUCK
The boys look at him, incredulous. CODY
BUCK
The Kid and the others dismount. EXT. THE RIDGE -- SCARFACE'S
CAMP -- DAY
ANOTHER ANGLE
ANOTHER ANGLE
LOU
Cody surveys the marauders. CODY
CLOSEUP --
ANOTHER ANGLE BUCK
The Kid offers a hint of encouraging smile. THE
KID
ANOTHER ANGLE HICKOK
Bucks looks askance at Hickok and his suicidal suggestion. BUCK
The boys consider the situation. LOU
Cody is not optimistic. CODY
HICKOK
Cody meets his gaze. The time for boyish posturing has ended. CODY
HICKOK
The insult is too much for Cody; he loses his temper and goes for Hickok. The Kid moves between them; pushes Cody back. THE KID
The point has scored. Hickok and Cody withdraw in silence. ANOTHER ANGLE LOU
The Kid looks back to the trail over which they have come. THE KID
HICKOK
THE KID
In a huff, Hickok moves away from the top of the ridge, kicks the dirt and paces. HICKOK
EXT. THE RIDGE -- LATER --
DAY
BUCK
CODY
LOU
ANOTHER ANGLE
BUCK
CODY
THE KID
CLOSEUP -- THE KID
ANOTHER ANGLE HICKOK
The Kid will stall for time; he will talk to. The boys draw their guns and lie prone, backing him up. EXT. THE RIDGE -- DAY
CLOSEUP --
SCARFACE
THE
KID
Scarface's men walk over and look at the boy on the ridge. Slowly, one by one, the other boys stand up beside the Kid. CLOSEUPS -- & LOU
ANOTHER ANGLE -- WE PAN SCARFACE'S WILD ONES. SCARFACE
SCARFACE stands holding his cup of coffee. He speaks to the Kid with finality. SCARFACE
THERE IS A RIFLE SHOT, as one of Scarface's men impulsively pegs a shot at the Kid. It kicks up the dirt in front of him. ANOTHER ANGLE
ANOTHER ANGLE
HICKOK
CODY
None are forthcoming. THE KID
HICKOK
His options gone, in a matter of seconds, the Kid will have to go with them. He takes a last look back to the trail, strains his eyes. |
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What's missing is the scene after this when Scarface and his gang are already in the Sweetwater jail. | ANOTHER ANGLE
Sensing something, Buck also turns back and looks to the horizon behind them. For a moment, there is nothing. There is a faint cloud of dust which grows more visible. The Kid smiles with relief. It is Ike, leading a pack mule. EXT. THE RIDGE -- DAY
THE KID
CLOSEUPS -- HICKOK &
IKE
ANOTHER ANGLE
EXT. THE RIDGE -- DAY
THE KID
Scarface looks at the Kid standing on the ridge. Scarface is amused. SCARFACE
Scarface tosses his coffee cup down. He and his heavily armed men begin walking towards the boys ... EXT. SAME SCENE -- DAY
ANOTHER ANGLE
ANOTHER ANGLE
THE KID
Hickok replies with a disdainful smile, aims and ... ANOTHER ANGLE
ANOTHER ANGLE
ANOTHER ANGLE THE KID
CLOSEUP - CODY'S VOLLEY GUN THE KID
Cody FIRES. Seven shots of fifty caliber lead slam in with the effect of an artillery shell. The top section of a wagon flies apart. ANOTHER ANGLE
SCARFACE (O.S.)
The Kid ignores him. The other boys excitedly, give each other 'thumbs up'. Hickok scrambles back to the line and reloads. THE KID
Lou braces herself, the butt of the Beckwith against a saddle ... and FIRES. Another chunk of wagon explodes as if hit by a field gun, a wheel flies apart. ANOTHER ANGLE -- IKE'S VOLLEY GUN THE KID
Round after round, despite the calls from under the wagons and the RIFLE SHOTS RETURNED. The boys load their Beckwith guns with single-minded purpose. The Kid stands in front of them like a general directing cannonade. The boys load and fire like men at war. ANOTHER ANGLE -- BUCK'S VOLLEY GUN THE KID
EXT. SCARFACE'S WAGONS --
SAME SCENE -- DAY
WESLEY
OUTLAW #2
ANOTHER ANGLE
CLOSEUP -- SCARFACE
ANOTHER ANGLE
CODY
WE PAN THE BOYS
ANOTHER ANGLE
HICKOK
ANOTHER ANGLE -- THE BOYS
CLOSEUP -- SCARFACE'S MEN
WESLEY
HICKOK is matter-of-factly preparing a noose in a rope. THE KID
HICKOK
THE KID
HICKOK
THE KID
HICKOK
WESLEY
Hickok is unmoved. He motions to Scarface. HICKOK
THE KID
LOU
CLOSEUP -- THE KID
ANOTHER ANGLE
ANOTHER ANGLE HICKOK
Hickok looks to the other boys; they have sided with the Kid and Lou. Reluctantly, still brooding, Hickok recoils the rope, defers. HICKOK
ANOTHER ANGLE
The Kid swings into the saddle. Wesley tearfully clutches at his pants leg. WESLEY
Cody looks down at him from horseback. Then, he expertly spits a squirt of tobacco juice onto the man's shirt. CODY
EXT. SAME SCENE -- LATER
- DAY
THE KID
Cody slaps Buck's horse on the flank, and with a wave, and a group 'WAAAHOOO', Buck is off to deliver the pouch. ANOTHER ANGLE
CLOSEUPS -- SCARFACE/THE
KID
ANOTHER ANGLE
SCARFACE
CLOSEUP -- SCARFACE
CLOSEUP -- THE KID
END OF ACT III |
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I was told that
the scene on the right appears in some form in the ABC and Odyssey versions
of The Young Riders. I hope so, the part where Hickok and Ike pull a fast
one, literally, on Cody is funny :-)
Speaking of fast ones, the original draft on the right doesn't mention anything about Kid moving his face so he could catch Lou's kiss on his lips. Interesting development there, don't you think? Also, we see Kid and Lou's scene near the end of the episode, not in the middle of ACT IV as it is placed here. |
ACT
IV
EXT.
EMMA'S WAY STATION -- NIGHT
There is a silent acknowledgment of this between Emma and the Kid. She smiles her approval at him and returns to her cooking. ANOTHER
ANGLE
EMMA
For Hickok, the words are a novelty. HICKOK
Cody leans back in his chair. Hickok and Ike are seated on either side of him. Hickok winks at Ike, the two kick Cody's chair out from under him. Cody keels backward, hat flying. ANOTHER
ANGLE
HICKOK
ANOTHER
ANGLE
BUCK
Lou and Kid make eye contact ... and smile. LOU
ANOTHER
ANGLE
EMMA
Only Cody is not finished. CLOSEUP
-- CODY
ANOTHER
ANGLE
THE
KID
EMMA
CODY
THE
KID
Emma and the boys smile and shake their heads with wonderment. EXT. EMMA'S WAY STATION -- DAY LOU
THE KID
LOU
THE KID
LOU
THE KID
Lou looks around to ensure that they are alone. She leans over and softly kisses him on the cheek, an expression of her thanks and respect. CLOSEUP -- THE KID
THE KID
LOU
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Just a few minor
thing before the HUGE MISSING SCENE: Kid wasn't ambushed anywhere
near tall grasses. The place looked kidna rocky and full of trees, not
grasses to me. Aside from that, the scene was pretty much shot the way
it was written.
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EXT. EMMA'S WAY STATION
-- LATER -- DUSK
As the orange and red sun sets over Emma's place, the Kid and Teaspoon are waiting by the corral. THE KID
TEASPOON
THE KID
TEASPOON
The Kid listens intently. TEASPOON
THE KID
TEASPOON
THE
KID
TEASPOON
ANOTHER ANGLE
TEASPOON
Katy is saddled and waiting. The Kid springs into the saddle as the bag is tossed to him. He and Katy race into the sunset. EXT. THE PLAINS -- LATER
-- NIGHT
ANOTHER ANGLE
Another bushwhacker appears behind him, WESLEY, who had so pitifully begged for his life. SCARFACE
The Kid puts his hands in the air, his front and back clear targets. THE KID
SCARFACE
WESLEY
THE KID
SCARFACE
WESLEY
SCARFACE
There is a moment of eye contact between them. Wesley holds a revolver aimed at Kid's head. The Kid lowers one hand to the saddle horn as if to dismount. Then, before either of them can react, with one sudden motion he spurs Katy forward, quick draws his .44 Remington and FIRES. Wesley is shot dead out of the saddle as the Kid bursts past. ANOTHER ANGLE
ANOTHER ANGLE --
ANOTHER ANGLE -- THE KID
CLOSEUP --
CLOSEUP -- THE KID
ANOTHER ANGLE
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HUGE MISSING SCENE:
Josh Kane, one of the producers of The Young Riders, once said that when
he finds the time he'll share with us fans the reason the character of
the DOG MAN was dropped and MARSHALL SAM CAIN was added instead. Unfortunately,
he's gotten a bit busy. Bad for us, but good for him.
Anyway, I can't say I would have loved the DOG MAN. He seems eccentric, and we already have Teaspoon for that. I'd have to say I agree with whoever pushed for Sam's character. |
EXT. THE SAME SCENE
-- LATER -- NIGHT
The Kid has lit a campfire to keep Katy warm. She lies on her side breathing heavily from the bullet in her flank. The Kid is frantic. at a loss for what to do, he strokes her nose. THE KID
She whinnies and struggles; she cannot rise. THE KID
The animal thrashes out in pain. THE KID
Tears streaming down his face, he takes the .44 pulls back the hammer and point it at her. THE KID
O.S. There is an ODD JINGLING SOUND. ANOTHER
ANGLE
The sight is all the more chilling because the creature is led by an animal vanguard, a pack of dogs, slinking furry shapes with shining yellow eyes which peer out of the blackness. The Kid aims his revolver at the DOG MAN. A voice stays is hand. DOG
MAN
The DOG MAN comes into view. It is indeed a man, dressed mostly in a bearskin with the head and teeth still attached and perched atop his own head. Under the bearskin, he wears an all-purpose blanket poncho. His face is smeared with bear grease and Indian paint which shines in the firelight and his necklace of animal claws and feathers make a weird CLINKING SOUND. He is not a big man, but lean like the dogs that follow after him, a dozen large and small mixed breeds with tails wagging. ANOTHER
ANGLE -- THE KID
DOG
MAN
THE
KID
DOG
MAN
He looks up at a sky of endless stars and shouts at the top of his lungs. DOG
MAN
ANOTHER
ANGLE
DOG
MAN
The Kid is unsure if he should allow the man any closer though he is seemingly unarmed. DOG
MAN
He approaches the fallen animal while motioning to his dogs to stay back. He kneels beside Katy who WHINNIES nervously, startled by his smell and JINGLING SOUND, but she is quickly soothed by the touch of his hands. The Kid watches warily, uncertain as to what to make of him. DOG
MAN
THE
KID
It is an appropriate question. The Dog Man answers in all seriousness. DOG
MAN
Still unsure, the Kid examines the Dog Man's face, then reluctantly leaves the campsite. The Dog Man produces a long sharp knife from under his poncho. He runs his thumb down the edge and smiles wickedly. The dogs gather about. DISSOLVE TO: EXT.
SAME SCENE -- LATER -- NIGHT
ANOTHER
ANGLE
ANOTHER
ANGLE
DOG
MAN
He fingers the tip of his knife. DOG
MAN
The Kid peers through the flames at the man chewing who knows what for dinner. THE
KID
DOG
MAN
THE
KID
DOG
MAN
THE
KID
DOG
MAN
THE
KID
DOG
MAN
THE
KID
He smiles in answer and pats the animals beside him. DOG
MAN
He shakes his head with resignation. DOG
MAN
THE
KID
Several of the dogs trot over to the Kid, nuzzle his hand for an introduction, and rest beside him. EXT.
SAME SCENE -- DAWN
He motions to two mounds of earth and rocks nearby. DOG
MAN
THE
KID
The Dog Man nods his understanding and looks off into the distance, ready to take his leave. THE
KID
DOG
MAN
He surveys the wilderness around them as far as the eye can see. s DOG
MAN
It is a prophecy with eyes burning from an inner fire, the vision of a mystic or a madman, or both. THE
KID
DOG
MAN
THE
KID
The Dog Man smiles his good-bye, the civilized man in him now most evident. He recedes into the distance, journeying toward the far mountains with his dogs at his heels. |
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EXT. EMMA'S WAY STATION
-- DAY
Teaspoon and the boys are together just as they were that first day. They are seated on the ground, relaxing for a moment. ANOTHER ANGLE
TEASPOON
Ike, seated, slightly behind Teaspoon, wrinkles his face at this unlikely snack. He silently 'signs' to Buck; both laugh at the joke. Teaspoon 'double-takes' to Ike and reprimands him with a mock scowl. TEASPOON
ANOTHER ANGLE TEASPOON
CODY
TEASPOON
CODY
Teaspoon takes another bite of the onion, hides his true feelings. TEASPOON
The boys all parrot him in unison as if they have heard him say it a hundred times before. THE BOYS
TEASPOON
He takes another hefty bite out of the onion, spraying acrid juice. He swallows and shakes his head as if having imbibed hundred proof whiskey. TEASPOON
ANOTHER ANGLE
TEASPOON
ANOTHER ANGLE
WE HEAR THE VOICE OF THE OLD MAN, resonant and very much alive despite his age and trials. THE VOICE is that of the Kid as an Old Man. THE
KID (V.O.)
CLOSING CREDITS OVER BIG SCORE EXT. THE KID & KATY ON THE GREAT PLAINS -- DAY FADE
OUT
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