shooting past graham.
featuring buckboard. helen and marcia start along the road past the buckboard. helen stops and looks at its cargo in horror. she grabs marcia's arm. the girls look at each other and hurry after the surrey which has stopped below the buckboard.
as clay starts away, steve follows him. clay doesn't cross to the blacksmith shop. he goes along the sidewalk toward the general store. steve hurries to catch up with him.
featuring trunk and wagon. clay swings out of his saddle, starts tossing the clothes back in the trunk. steve jumps down.
clay gallops forward to pull up near the surrey. in the b.g. steve drives the wagon around the bend. clay dismounts.
on rear of surrey. in the b.g. steve pulls the wagon to a stop, jumps off, and comes running over.
on rear of surrey. in the b.g. steve pulls the wagon to a stop, jumps off, and comes running over. elaine stands for a moment, searching the ground with her eyes.
mary and helen come around the end of the surrey to where elaine lies. mary bends beside the sick girl and lifts the cloth from the girl's forehead.
on road. the man, now seen clearly for the first time, stops. he is jim clayton, a man in his twenties, chunky, round-faced, stolid and not too imaginative. he wears the well-worn jeans and blue shirt of the farmer. clay and steve come out of the willows toward him. both have their rifles ready.
featuring marcia and jim. in the b.g. mary comes after them.
steve, holding elaine's arm, scrambles up the bank and through the brush.
clay, in the b.g., comes down the hill. the horsemen, seven of them, with sheriff gardner in the lead, followed by a deputy, carrying elaine in front of him, file past camera. steve, hands in his pockets, walks dejectedly in the dust cloud kicked up by the horses.
steve is driving the horses back into the road. clay rides up to help him. the horses fall in behind the wagon. steve takes up his position in the rear. clay rides over beside him.
one of the horses strays out of line and clay rides out and gets the animal back in the road. then he returns to steve.
rain. clay vaults out of the wagon and mounts his horse. mary rises and climbs back into the seat. she lashes the mules with the reins. the wagon jolts forward.
as lednov and peters start for the house, mrs. wyatt, a woman of about fifty, small, plump, browned from the sun and hard from work, comes out on the porch. she has taken off her apron and holds it in her hand. she smiles at the two men.
steve approaches from the barn.
steve approaches from the barn.
helen is seated at the table. mary stands with her back to the window near the sink.
shooting toward elaine's bedroom door. helen crosses to mary.
clay comes toward the wagon. helen stands on the porch.
clay's horse stands saddled at the fence. he vaults into the saddle, turns the horse.
clay stares down at mary. she does not look at him. she is aware of his presence, but she doesn't show it. in the soft light of dusk she is very lovely. clay is conscious of her lovliness. he would like to drop down beside her.
clay tightens the cinch. mary moves up to stand beside him.
mary, in the f.g., is staring after clay. helen is watching her. steve has risen and walks up behind her. he smiles at her.
helen looks up from her card game, takes the plate with a smile.
clay rides into the shot, his rifle ready. the wagon follows. then the remuda with steve bringing up the rear. steve also holds his rifle ready. both men are wary, watchful, apprehensive.
steve has come into scene and is looking at them. he smiles with pleasure and surprise.
clay in the f.g. in front of clay stretches the meadow with the river beyond. the horses are grazing in the meadow. fowler can be seen hurrying toward the aspens and alders that screen the river.
fowler and helen. they stare at each other.
they break. she lies looking up. he half lies, half sits beside her.
clay enters the scene and goes over to pick up his saddle bags.
steve has entered the camp and is standing looking at them open-mouthed. mary moves over to fowler and holds out her hand.
mary in f.g. the mulos stand in their traces, waiting. mary makes up her mind what to do. climbing into the bed, she heaves out pack saddles, bed rolls, ropes, etc. clay and stove can be seen in b.g. riding down toward where the horses graze.
the wagon, pulled by the galloping mules, is disappearing in a cloud of dust.
clay swims his horse toward mary who is floundering in the stream.
clay's horse, with the double burden, fights her way out of the stream and scrambles up the bank to stop on level ground.
clay and mary in f.g. steve swims his horse across and rides up the bank to dismount near them.
to include wagon in river. clay, suddenly furious, points to the wagon.
the two others have turned and are watching him. he rides up to them, holding out one of mary's undergarments.
fowler in the f.g. lednov, rifle in hand, stands just inside the camp on the meadow side.
helen, back to camera, is in immediate f.g. through the trees can be seen the camp and the flickering fire. she turns, and then fright comes into her expression.
shooting toward steve and clay past mary. she is asleep.
to include all three. the brothers still don't see mary.
the stage has speeded up and is coming fast down the road. mary looks up at clay hurt and shocked by his sudden sharpness. she had hoped he wouldn't let her go.
on back of stage. the driver opens the boot and clay hands him mary's belongings. he starts stowing them in the boot.
below clay, steve lies in a cut in the rocks, watching the camp. clay motions toward the hill. steve nods.
below is the camp. lednov motions.
his position commands the meadow, where the horses are corralled, and the camp.
lednov crumples forward as his echoing voice fades out. clay moves over to him to stand looking down.