HARD-BOILED

STORY BY SHANNON FIFE

SCENARIO BY CHARLES DARNTON.

FADE IN
SCENE 1

OPEN COUNTRY - LONG SHOT - DAY SEQUENCE

In the middleground is discerned a whirling, swiftly advancing cloud of dust which completely obscures the two riders who are causing it. Far in the rear against the horizon is another and smaller dust cloud, the distance making it seem a more puff. Hold long enough to create the suspense of a desperate, mysterious chase.

SCENE 2

FULL SHOT

Now only the first dust cloud is seen, growing larger, coming nearer along a sun-baked road which leads towards a railway track. This track runs directly into the camera.

SCENE 3

EXT. RAILROAD WAITING SHED - MEDIUM CLOSE SHOT

On the shed is a sign reading,

STAGE FOR BOILING SPRINGS STOPS HERE.

At one side grow a few wild flowers. Seated on the bench are two Easter tenderfeet, Dr. Blake, a rather pompous individual in a Prince Albert coat and Fedora hat, and his assistant, a timid looking fellow wearing a cutaway suit and black derby. Their traveling bags lie at their feet, while beside the doctor on the bench is a long black bag containing his professional implements. Both stare curiously at the approaching riders out of scene.

SCENE 4

EXT. RAILROAD WAITING SHED - FULL SHOT

Jeff and "Handy" emerge from a cloud of dust and are disclosed as cowpunchers. Jeff wears a broad-striped shirt which is strikingly distinctive. Although unarmed, both have a reckless, dare-devil look and are covered with dust. Jeff is clean-shaven, but his elder companion, who is about 45, has a three-days' growth of beard to give him a thoroughly disreputable aspect. They show agreeable surprise at seeing the doctor and his assistant, and abruptly pulling up their horses scrutinize the strangers with keen

CONTINUED

### SCENE 4

interest. The objects of this scrutiny betray some uneasiness, the assistant moving along the bench closer to the doctor. Jeff seems suddenly to make up his mind to something and quietly remarks to "Handy", "They're our meat." "Handy" nods eager assent. Jeff swings down from his saddle and smilingly strides towards the strangers, who eye him nervously and get to their feet. "Handy" dismounts and follows a short distance behind. Both seem to be taking the measure of the tenderfeet. Jeff stops and concentrates on the doctor with a delighted expression.

### SUBTITLE

JEFF BOYDEN HAS NEVER HAD TIME - NOR ANY DESIRE - TO "SETTLE DOWN".

### SCENE 5

CLOSEUP OF JEFF

With a happy, devil-may-care air, he sizes up the doctor out of scene, not as though reckoning a possible adversary, but with a wholly impersonal air. He is not interested in the man, but in his clothes.

### SCENE 6

ALL

The doctor haughtily faces Jeff, who blandly continues his inspection. "Handy" briskly steps up closer to the assistant like a prospective purchaser intent upon deciding whether he has found a good bargain.

### SUBTITLE

WITH "HANDY" DUCKSERRY LIFE IS JUST ONE MOVE AFTER ANOTHER -- USUALLY QUICK ONES.

### SCENE 7

CLOSEUP OF "HANDY"

His mild blue eyes flicker up and down the doctor's assistant out of scene. He is a gentle, harmless rascal who can't keep his hands off other people's belongings, even when they are of no earthly use to him. Now he cocks one eye appreciatively and seems to be satisfied at what he sees.

## SCENE 8 ALL

Jeff pleasantly informs the doctor and assistant:

## TITLE

"GENTLEMAN, YOU WON'T FEEL AT HOME HERE IN THOSE CLOTHES --"

BACK. He is interrupted by the doctor testily demanding, "What business of yours is it?" Jeff continues, ingratiatingly:

## TITLE

"-- SO WE'RE GOING TO TRADE --
AND GIVE EACH OF YOU A MONTH'S
WAGES TO BOOT."

Back. The doctor blusters, "Why, you --!" But Jeff's steady gaze stops him. "Handy" frowns fiercely at the frightened assistant. Jeff now smilingly draws a small roll of bills from his pocket. The indignant doctor is about to refuse disdainfully, but again that eye stops him. Jeff thrusts the money into the doctor's hand, then glances at "Handy" and with a gesture orders him to do likewise with the assistant. "Handy" gives Jeff an exploring look, then finding it in vain shells out with an agonized expression. The assistant grabs the money. Jeff, winking at "Handy", orders the strangers to go around to the back of the shed. They reluctantly start, with Jeff and "Handy" hurrying them along.

## SCENE 9 OPEN COUNTRY - LONG SHOT

A sheriff's posse of half a dozen men gallops at full speed towards the railroad shed out of scene.

## SCENE 10 EXT. RAILROAD - WAITING SHED - CLOSE SHOT

"Handy" tumbles out from one side at the back of the shed, having lost his balance while pulling on the assistant's pants. He struggles to his feet, jerks up the half-mast pants, and dodges back behind the shed.

## SCENE 11 OPEN COUNTRY - MEDIUM SHOT

The sheriff's posse gallops nearer.

## SCENE 17 EXT. RAILROAD WAITING SHED - CLOSE SHOT

The doctor and his assistant stare with alarm at the posse out of scene, fearing new danger of being pounced upon by another and larger band of desperadoes. They turn hastily to their travelling bagg. believing their only safety lies in flight.

## SCENE 18 ROAD - MEDIUM SHOT

Jeff and "Handy" ride at a loping gait towards a clump of trees skirting a turn of the road. As they come to it they turn their heads and glance back laughingly towards the railroad shed out of scene, then disappear around the bend.

## SCENE 19 EXT. RAILROAD WAITING SHED - LONG SHOT.

The scared doctor and his assistant start running away as the posse gallops near. Seeing them, the sheriff pulls up, then recognizes Jeff's shirt, points and shouts, "There they are!" and dashes on at the head of his men in hot pursuit.

## SCENE 20 - ROAD - LONG SHOT

Now that they are out of sight, Jeff and "Handy" are riding fast, Jeff a length or two in the lead.

## SCENE 21 EXT. RAILROAD WAITING SHED - MEDIUM SHOT.

The posse thunders up behind the fugitives. The sheriff leans from his saddle and ropes the doctor, jerking him off his feet, while a deputy does the same with the assistant. All the posse jump from their horses. The two victims are yanked to their feet.

## SCENE 22 SHERIFF AND DOCTOR.

The sheriff, with his badge showing, glares at the Doctor and angrily tells him, "You won't get any further!" The doctor is terrified until he notices the sheriff's badge. Then he looks somewhat relieved, and with a gesture in the direction taken by Jeff and "Handy", says hopefully: "The men you're after rode off down there!" The sheriff pulls at the doctor's shirt and sarcastically

## SCENE 22 (Continued)

replies:

TITLE "DON'T TRY TO FOOL ME -- I KNOW THIS SHIRT!"

Back. He pulls it partly out of the doctor's pants. Stuffing it back in a desperate attempt to save his dignity, the doctor insists, with another gesture, "Those outlaws made us change clothes with them!" The sheriff laughs scornfully and with a jerk of the rope, says "Come on!" The doctor declares, imploringly:

TITLE "I'M DR. BLAKE OF NEW YORK -- AND CAN PROVE IT BY MY BAG BACK THERE!"

BACK. He gestures violently towards the shed out of scene. The sheriff, still unconvinced, turns, but keeps hold of the rope.

## SCENE 23 EXT. RAILROAD WAITING SHED - FULL SHOT.

The posse, with its roped prisoners, goes back towards the shed. Reaching it, the doctor hastily begins opening his bag, while his assistant stands by almost collapsed with fear.

## SCENE 24. EXT. RAILROAD WAITING SHED - MEDIUM CLOSE SHOT.

The doctor takes letters and credentials from his bag and hands them to the sheriff, who carefully scrutinizes them, then hands them back, sore but satisfied. He slips the rope off the doctor and motions to the deputy to do the same with the assistant. The doctor masters up his former pompous air and indignantly announces:

TITLE "I CAME WEST WITH MY ASSISTANT TO BE MEDICAL SUPERINTENDENT OF BOILING SERINGS -- BUT I'LL WAIT RIGHT HERE FOR THE NEXT TRAIN BACK EAST!"

BACK. All the members of the posse eye the doctor and his assistant with bitter disappointment, then one of them asks the sheriff, "Think there's any use goin' on?" He gestures down the road taken by Jeff and "Handy". The sheriff disgustedly shakes his head and turns towards his horse.

SCENE 25 EXT. RAILROAD WAITING SHED - FULL SHOT.

In the foreground the doctor, standing slightly behind his thankful assistant, watches the posse mount and ride slowly back the way they had come. Then the doctor notices the sunflower stuck in the back of his assistant's pants. He angrily pulls it out and flings it away. Then both sink down resignedly on the bench.

FADE OUT

FADE IN
SCENE 26 MOUNTAIN ROAD - FULL SHOT

Jeff and "Handy" ride swiftly around a rocky curve and pull up beside a small stream (or pool). Jeff swings lightly from his saddle and flings himself down on the grass to enjoy a grateful rest. He stretches himself on his back, his hands beneath his head, gazing up happily at the sky. "Handy" dismounts more deliberately, even carefully, with the doctor's medical bag, unnoticed by Jeff. Then he seats himself, with the bag behind him, beside his companion, and thrusts a hand down inside his coat.

SCENE 27 MOUNTAIN ROAD - CLOSE SHOT.

"Handy" draws out a medium sized cuckoo clock and studies it intently. Jeff, with his eyes lifted dreamily to the sky, does not see the clock. After a moment of deep, frowning mental calculation, "Handy" announces:

TITLE "WE MADE THAT LAST MILE IN TWO MINUTES FLAT."

BACK. He continues to study the clock, while Jeff keeps his eyes skyward, paying no attention to the words nor the speaker. "Handy" holds the clock off, proudly admiring it.

INSERT CLOSE UP OF DUCKOO CLOCK HELD IN "HANDY'S" HAND. THE LITTLE DOOR AT THE TOP FLIES OPEN AND THE CUCKOO POPS OUT AND CHIRPS ITS NOTES.

BACK. Jeff jerks up his head in amazement. Then, in a sitting position, he narrows his eyes on "Handy" and says, severely: "And you said you didn't steal anything from that place." "Handy" protests:

TITLE "I DIDN'T STEAL ANYTHING FROM THAT RANCH -- JUST BROUGHT AWAY A LITTLE KEEPSAKE."

BACK. Jeff angrily springs to his feet.

## SCENE 28 MOUNTAIN ROAD - MEDIUM CLOSE SHOT.

As Jeff frowns down accusingly at "Handy", his eye falls on the medical bag behind the culprit, and he demands, "what's that?" Clasping the cuckoo clock protectingly, "Handy" glance innocently over his shoulder at the bag and rising with it in his other hand holds it out to Jeff and replies, with a look of mild reproof:

TITLE "JUST A LI'L' PRESENT FOR YOU -- I THOUGHT IT WOULD GO NICE WITH YOUR NEW SUIT."

BACK. Inpatiently, Jeff snatches the bag and begins opening it.

INSERT: CLOSEUP OF MEDICAL BAG HELD IN JEFF'S HAND AND FILLED WITH SURGICAL INSTRUMENTS.

BACK. Closing the bag and banging it down on the ground, Jeff shows that he is now mad clear through, declaring, "I won't put up with you and your stealing any longer!" With a sorely grieved expression, "Handy" gently reminds his denunciatory companion:

TITLE "REMEMBER - I KEP' YOU OUTA HORSEPITAL THAT TIME YOU GOT YOUR LAIG HURTED."

BACK. Jeff hotly retorts:

TITLE "YES -- AND EVER SINCE I'VE BEEN KEEPING YOU OUT OF JAIL!"

BACK. "Handy" is out to the soul. This is more than he can bear - to be so misunderstood, so harshly and unjustly condemned. His lip quivers - he turns away his head. Jeff smiles, then claps a hand fondly on his palf shoulder. That incorrigible thief turns around and grins.

## SCENE 29 MOUNTAIN ROAD - MEDIUM SHOT.

With his arm about "Handy's" shoulder, Jeff steps to the stream (or pool) and proposes, "We'll take a wash!" But "Handy" draws back. He can be led to water, but he cannot be made to wash. On that point he is firm. After all, a man has some rights which must be respected! Jeff laughs, then bends down and vigorously bathes his own face, while "Handy" looks on indulgently. Jeff suddenly reaches up and douses his face into the water.

## SCENE 30 MOUNTAIN ROAD - MEDIUM CLOSE SHOT.

With a handkerchief Jeff dries his face, while the sputtering "Handy" violently dashes a sleeve across his out-raged countenance. Jeff turns laughingly towards his horse.

SCENE 48

INT. RANCH HOUSE - MEDIUM CLOSE SHOT

With her eyes flashing first at the cook, then at the
hostler, and finally at the porter, she angrily declares:

TITLE

"YOU MAKE BULLETS FOR BISCUITS --
YOU KEEP EVERYBODY WAITING FOR
HORSES -- AND YOU CAN'T EVEN WAKE
UP YOURSELF!"

BACK. She glares at the three, who shift uneasily,
avoiding her eyes.

SCENE 49

EXT. RANCH HOUSE - FULL SHOT

Jeff, Emmy and "Handy" ride up. Jeff leaps out of his
saddle and lifts down Emmy, who stares at the place, a
bit awed now that she is there. "Handy" gets down from
his horse and gives the medical bag to Jeff, saying:
"You better take it." He follows Jeff and Emmy towards
the house, the little girl holding the hand of her new-
found friend.

SCENE 50

INT. RANCH HOUSE - MEDIUM SHOT

With a sweep of her arms towards the cringing employes,
Miss Green angrily cries:

TITLE

"YOU'RE FIRED -- ALL OF
YOU!"

BACK. She shouts, "Get out!" The hostler musters
enough courage to protest, "You can't turn us out like
this!" With added fury, Miss Green demands:

TITLE

"I CAN'T TURN YOU OUT, EH?
THEN I'LL THROW YOU OUT!"

BACK. -She charges toward the frightened three.

SCENE 51

EXT. RANCH HOUSE - MEDIUM SHOT

Jeff and Emmy, with "Handy" just behind them, are going up
the porch when the hostler is flung violently through the
door. To save the little girl, Jeff draws quickly to one
side with her. The flying body hits "Handy", knocking him
down. But he manages to hang to the cuckoo clock. He is
just picking himself up, when the cook is thrown out,
flattening him a second time. Once more he is struggling
to his feet when the porter's body shoots out, again
laying him low.

## SCENE 52

### EXT. RANCH HOUSE - FULL SHOT

As Miss Gregg appears in the doorway, brushing her hands with the satisfaction of a job well done, the ousted employee scramble to their feet and run off as though the devil were after them. Jeff steps forward with Emily, raising his hat to Miss Gregg, while "Handy" gets up and anxiously hods the cuckoo clock to his ear see if it is still going. Miss Gregg comes eagerly towards Jeff.

## SCENE 53

### EXT. RANCH HOUSE - PORCH - MEDIUM CLOSE SHOT

Miss Gregg seizes Jeff's hand, yanking him away from Emily and exclaiming:

"YOU'RE JUST IN TIME, DOCTOR -
I CAN'T RUN THIS PLACE ALONE --
I'M NOT STRONG ENOUGH!"

BACK. Jeff tries to explain, but Miss Gregg pulls him through the door. Emily and "Handy" pause in doubt, then venture inside.

TITLE

### SCENE 54.

INT. RANCH HOUSE - MEDIUM CLOSE SHOT.

In a brisk, businesslike way, Miss Gregg stops beside her desk and glancing at Jeff's medical bag, says, "I see you've come fully equipped." She thrusts a hand towards his bag. Jeff draws back near "Handy" and Emmy, and apologetically explains: "But I'm not a doctor." Astonished and then with signs of her temper rising again, Miss Gregg exclaims, "What!? "Handy" steps up as though in defense of his pal, and stoutly informs Miss Gregg:

### TITLE

"DON'T YOU BELIEVE HE AIN'T A DOCTOR -
HE'S THE BEST HORSE DOCTOR IN WYOMING!"

BACK: Jeff looks as though he could cheerfully kill "Handy" on the spot. Miss Gregg's expression gradually changes to a thoughtful look, as though an idea were occurring to her. Then her eyes fasten with speculative interest on Jeff.

### SCENE 55.

MISS GREGG AND JEFF.

She sizes up Jeff physically, rather than professionally. Here's a good-looking, able-bodied man to her liking. With quick decision, she says:

### TITLE

"I'LL NOT WAIT ANY LONGER FOR THE
DOCTOR I EXPECTED - YOU'LL DO -
WHAT'S YOUR NAME?"

BACK: Jeff tells her, but edges away, shaking his head and protesting, "I can't take the job." Testily, Miss Gregg demands "Why not?" Before he can say anything more, she pauses and abruptly turns her head towards the door out of scene.

### SCENE 56.

EXT. RANCH HOUSE - FULL SHOT.

The stage from the railroad station pulls up in front of the porch. It is filled inside and on top with Easterners. There are also two or three private motor cars bringing up the rear. The visitors begin to unload. They include a dozen flappers and half as many sappy youths of the cake-eater variety. There is one very fat, middle-aged man, with a thin, wiry little wife. Squeezing out of the stage, just behind them, are an enormously fat woman and her short, thin, dyspeptic-looking husband. They have two young children, a boy and a girl, who fight to see which will get

### SCENE 59. CLOSE UP OF ANDREWS.

He is well-groomed and sophisticated-looking. But his true character is suggested by the expression of his face as he scowls at Jeff. Ordinarily, he seems a plausible, agreeable man of the world. He is rather handsome in a self-conscious way and of athletic build.

### SCENE 60. INT. RANCH HOUSE - MEDIUM SHOT.

Andrews stoops down and picks up his bag, while Jeff eyes him blandly, a slight smile on his lips. Andrews turns towards the two women at the desk. The older one starts registering.

### INSERT

CLOSEUP OF WOMAN'S HAND AS IT WRITES IN THE REGISTER:

MRS SARAH MORTON, NEW YORK.

BACK: She raises her head from the register.

### SCENE 61. CLOSEUP OF MRS MORTON.

She is genteel-looking, slightly gray, and her clothes are in good taste. Yet there is a certain worldly air about her, suggesting that she is a woman of experience, though no one would suspect her of being a notorious "fence". She hands the pen to the younger woman out of scene.

### SCENE 62. MRS. MORTON, JUSTINE AND MISS GREGG.

The sharp eyes of Miss Gregg give these two guests the "once over" as Justine now leans down to register.

### INSERT

CLOSEUP OF JUSTINE'S HAND AS IT WRITES IN THE REGISTER:

MISS JUSTINE MORTON, NEW YORK.

## SCENE 66 CLOSEUP OF MRS. BLAKE

She is a rely-poly, good-natured, friendly soul of about 50, with no airs, a double chin and lots of money. She lifts a beaming grateful face to Jeff out of scene.

## SCENE 67 INT. RANCH HOUSE - MEDIUM SHOT

Mrs. Blake, smiling back at Jeff, turns towards the stairs with her daughter. Jeff's eyes follow Marjorie.

## SCENE 68 CLOSEUP OF JEFF

His eyes, as they are turned on Marjorie out of scene, glow with a new light - something more than admiration - as well as pleasure at the discovery that the girl who has charmed him so completely is a guest here. To be near her, he decides at once to take the job.

## SCENE 69 JEFF, EMILY AND MISS GREGG

As Miss Gregg resumes her argument with him, Jeff tells her:

TITLE "AFTER THINKING IT OVER, I'LL DO MY BEST TO FILL THE JOB."

BACK. Miss Gregg jerks her head with satisfaction. Emmy tugs shyly at Jeff's coat. He leans down to the little girl, who anxiously whispers in his ear:

TITLE "PLEASE TELL THE LADY THAT I'M A GOOD WORKER."

BACK. He nods reassuringly to Emmy, then turns to Miss Gregg and says, by way of correcting his earlier statement:

TITLE "I MEAN I'LL STAY IF YOU'LL GIVE MY LITTLE FRIEND A PLACE -- SOMETHING EASY."

BACK. He rests his hand on Emmy's head. Miss Gregg regards the child critically, and replies, "All right, she can stay." Emmy clutches Jeff's hand delightedly. Miss Gregg levels her eye at "Handy" out of scene.

## SCENE 80 SAP ON CHAIR

In trying to lift down the heavy saddle he loses his balance and tries to save himself by grabbing at the bowie knives. He dislodges the knives, then tumbles to the floor.

## SCENE 81 MARJORIE AND ANDREWS

Marjorie, startled, glances towards the fallen sap out of scene. Andrews darts an eye upward and sees one of the bowie knives slipping and about to fall point downward. Alarmed, he steps quickly aside, leaving Marjorie directly under the dislodged knife.

## SCENE 82 JEFF AND MRS. BLAKE

He sees the knife out of scene, and springing up darts towards it.

## SCENE 83 CLOSEUP OF MARJORIE

The knife is falling, its point aiming directly at Marjorie's head. Just as it touches her hair, Jeff's hand flies into scene and catches it.

## SCENE 84 JEFF AND MARJORIE

She doesn't realize what has happened until Jeff's hand, holding the knife, brushes down past her cheek. Then, with a sudden flash of fear at the close call she has had, she turns and looks gratefully at Jeff, who passes it off lightly in an effort to reassure her.

## SCENE 85 MEDIUM SHOT

Andrews steps up to Marjorie with a deprecatory smile, and offers his arm. She quietly ignores him and turns to her mother, who puffs excitedly into scene. Andrews bows and walks out of scene. Finding that her daughter is unhurt, Mrs. Blake declares to Marjorie:

TITLE

"I'M GOING UPSTAIRS -- YOU CAN STAY IF YOU LIKEM -- AND THANK HEAVEN YOU'RE IN SAFE COMPANY!"

CONTINUED

SCENE 85

BACK. She smiles up at Jeff and moves away.

SCENE 86

FULL SHOT

Jeff asks Marjorie to dance and she smilingly accepts. As they whirl off among the other dancers, Andrews watches them a moment with a bitter look, then goes over to Justine and Mrs. Morton. The women rise and ask him to take them upstairs. The three go together to the stairs and start up.

SCENE 87

JEFF AND MARJORIE

They dance well together and she seems glad to be with him. He is dancing on air, happier than ever before in his life. They speak a word or two and she smiles up at him.

SCENE 88

INT. RANCH HOUSE - MRS. MORTON'S ROOM - FULL SHOT

Andrews, Mrs. Morton and Justine enter through the door from the verandah, closing the door behind them. The room is plainly furnished, and a trunk or two are standing about. The three throw themselves into chairs without any of the society manners they had affected downstairs. There is a free-and-easy air of familiarity in their attitude toward one another. Mrs. Morton takes a cigarette from a box on the table and lights it.

SCENE 89

MRS. MORTON

Leaning back, she blows a cloud of smoke into the air, then remarks, as her face hardens:

TITLE

"WELL -- AFTER LOOKING 'EM OVER,
I'LL SAY THEY'RE EASY PICKING."

BACK. She peers shrewdly through the smoke at the others out of scene.

### SCENE 91

INT. RANCH HOUSE - LIVING ROOM - FULL SHOT

As their dance ends, Jeff and Marjorie move towards the door to the porch, Marjorie pausing at the chair where she had been seated to pick up an evening wrap. Jeff thoughtfully places it about her shoulders. As they go on, several of the guests glance admiringly at the fine looking couple. Hearing the door, Jeff pauses and draws Marjorie's attention to a window at one side of the door. Through the glass can be seen a vague outline of Emmy's face.

### SCENE 92

CLOSEUP OF WINDOW

Emmy's face is pressed close to the pane on the outside, her eyes wide with interest and wonder at what she sees out of scene. Her face now brightens with glad recognition as she catches sight of Jeff and Marjorie.

### SCENE 93

INT. RANCH HOUSE - LIVING ROOM - MEDIUM SHOT

Jeff and Marjorie start on smilingly and go through the door

### SCENE 94

PORCH - MEDIUM CLOSE SHOT

Emmy, dressed as before and barefoot, turns from the window a bit shyly as Jeff and Marjorie come up to her. Then solemnly she looks from Jeff to Marjorie and says to her, as though having weighed the matter thoroughly,

TITLE

"YOU GOT THE BEST -- AND THE
BEST LOOKIN' -- MAN IN THE
WHOLE ROOM."

BACK. This unexpected pronouncement takes its hearers by surprise and they both look a trifle selfconscious as well as amused, Jeff makes as though to put his hand over the child's mouth, but Emmy stoutly insists, "It's true," with a determined bob of the head. To keep her from saying more, Jeff feels it necessary to elap his hand over her mouth, laughing as he does so.

SCENE 97 INT. RANCH HOUSE - MRS. MORTON'S ROOM - MEDIUM CLOSE SHOT

Mrs. Morton looks up from the telegram in her hand and says warningly to Andrews and Justine:

TITLE "KEEP YOUR EYE ON THE LANDLADY -- SEEMS TO ME I'VE SEEN THAT OLD BATTLEAXE SOMEWHERE BEFORE."

BACK. Justine glances sharply at the speaker, as though she, too, had this impression. Andrews, with a careless gesture, scoffs, "Nonsense!"

SCENE 98 PORCH - MEDIUM SHOT

Leaving Marjorie outside, Jeff picks up Emmy, completely enveloped in the wrap, and carries her through the door.

SCENE 99 INT. RANCH HOUSE - LIVING ROOM - MEDIUM CLOSE SHOT

Jeff deposits Emmy in a chair near the door. She looks like a pretty little daughter of the rich. Jeff smiles at her admiringly, then slips out through the door.

SCENE 100 PORCH - CLOSE SHOT

Jeff comes up to Marjorie, who stands at the rail gazing out on the moonlit scene. She turns her head and noticing that he is again somewhat self-conscious over the remark made by Emmy, says, with a mischievous twinkle in her eye:

TITLE "CHILDREN SOMETIMES HAVE AN EM-BARRASSING WAY OF SPEAKING THE TRUTH."

BACK. To her secret surprise, Jeff's rather diffident attitude changes instantly. With bold and/or he looks into her eyes, leans his face near her and with all the assurance of a great lover, says:

TITLE "I'D GIVE EVERYTHING IN THE WORLD IF YOUR OPINION OF ME WAS THE SAME AS THE LITTLE GIRL'S."

BACK. This is too fast for her. She is taken off her guard - but she quickly recovers her poise and passes it off lightly by remarking, "Really?" Before he can go on she turns as though about to move away.

### SCENE 101 INT. RANCH HOUSE - LIVING ROOM - FULL SHOT

In the b.g. Emmy, wrapped from neck to foot in Marjorie's beautiful cloak, is watching the dancers, as entranced as Alice in Wonderland. "Handy", bearing his tray of punch cups, scuffle along towards her. He doesn't recognize Emmy until he gets right up to her, when he halts and stares at her in astonishment. Then he bends low with the grandest manner he can put on and offers her a cup of punch.

### SCENE 102 EMMY AND "HANDY"

With her best company manners, Emmy daintily takes the cup and saying "Thank you," places it to her lips, while "Handy" stands waiting, all attention.

### SCENE 103 WINDOW - CLOSEUP

The smiling faces of Jeff and Marjorie are pressed close together against the window looking in at Emmy and "Handy" out of scene. Their eyes not turn to each other and show the pleasure they feel at having brought a little happiness to the poor waif.

FADE OUT

### SUBTITLE

EARLY NEXT MORNING THE GUESTS ARE PLACED ON A STRICT ROUTINE.

### SCENE 103-A EXT. RANCH HOUSE - UPPER MERANDAH - CLOSEUP OF TONY'S HEAD - DAY SEQUENCE.

With his nose, Tony unlatches the door of Marjorie's room, then pushes it open.

### SCENE 103-B INT. MARJORIE'S ROOM - MEDIUM SHOT

Marjorie, in bed, wakes suddenly, then looks in smiling surprise at Tony standing in the doorway. The horse withdraws its head and moves out of scene. Follow with one or two other shots showing delighted flappers or scared woman as Tony thrusts his head through door.

### SCENE 104 EXT. REAR OF RANCH HOUSE - FULL SHOT

Jeff, in riding breeches, shirt and sombrero, lines up all the guests on a level stretch of field, preparatory to putting them through their setting-up exercises. Miss Gregg stands off at one side to watch the maneuvers with the air of a field marshall.
CONTINUED.

## SCENE 105

## SETTING-UP EXERCISES

Jeff first goes through the movements himself, from swinging his arms to bending over and touching his toes with his hands.

All the women gaze at Jeff admiringly and watch every move of his supple body. The flappers eye him adoringly, especially a cute trick named Bertie, who looks like a young Venus and is eager to give a good account of herself.

The first movement starts, with Jeff setting the example. Marjorie and Justine perform it to perfection, and so do the flappers, but some of the others are awful to behold.

The double-time footwork is a terrible strain on the wind of the older ones, who puff and blow like whales.

But the worst is yet to come. In the desperate effort to touch their toes with their hands, two or three of the fat men and women fall flat on their faces. Jeff helps them to their feet and starts them at it again.

Though doing the stunts easily and well, Marjorie doesn't like being told what she is to do. Accordingly, she suddenly makes up her mind she has had enough, and starts to leave the line. Jeff promptly stops her. She is indignant, defiant, rebellious, but he quietly presses her back into line. Andrews makes a show of protesting in her behalf against this discipline. Without a word, Jeff pushes him back into line, and then returns to his place in the front, near Mrs. Blake, who is enjoying it all immensely.

Mrs. Blake edges up close to Jeff and whispers to him:

TITLE

"MARJORIE'S ALWAYS BOSSING ME --
YOU KEEP ON BOSSING HER -- GIVE
IT TO HER GOOD!"

BACK. Jeff smiles quietly. Anyway, he has the mother on his side!

When the toe-touching exercise is tried again, only one fat man falls down. But he absolutely refuses to get up, so Jeff decides this will conclude that portion of the program.

Several pairs of boxing gloves are brought out. The flappers are strong for them, and there are two or three lively bouts. Bertie has a "go" with Jeff himself. The kid's clever, and she's delighted when he compliments her.

Andrews prides himself on his skill as a boxer. After sizing up Jeff, who has only been playing, Andrews feels sure he will be able to show him up and have his revenge. Jeff takes him on and doesn't try to hurt him. But when his head is turned to watch some of the others, Jeff gets a dirty, vicious jab from Andrews. He thereupon soaks him in the jaw, knocking him out.

Miss Gregg steps in and announces that it is now time for the baths. There is a general movement in the direction of the springs, led by the eager flappers.

## SCENE 106 THE BATHS

The flappers disport themselves riotously.

Two fat women flop into the pool and cause a tidal wave which sweeps a thin little man off his feet at the brink and washes him into the pool.

The two wrangling kids of the fat mother besiege her, the boy yelling:

## TITLE

"GIVE US A MUD BATH MA -- WE WANT TO BE GOOD AND DIRTY!"

To shut them up, the mother hustles the pair into the mud baths and leaves them plastering each other like two little fiends.

Through the vapors of the boiling springs, women of all ages and conditions vision Jeff in various romantic guises.

To Berite, the flapper, he appears as a two-gun fighting cowboy, blazing away at a band of highwaymen.

An enormously fat woman sees him as Romeo and herself as Juliet on a flower-hung balcony. The balcony collapses under her weight.

Marjorie visions him as a drawingroom lover in evening clothes bringing her beautiful flowers. Then suddenly he is transformed into a Roman tyrant.

Halting in a fanciful moment as she supervises the baths, Miss Cregg peers dreamily through the mists and beholds him as a cave man, clad only in a leopard-skin and carrying a heavy club.

Emmy, paddling her feet in the pool, visions him as a big brother coming home from work at the mill, his sleeves still rolled up, a dinner pail in one hand, and an old slouch hat on the back of his head. He puts the pail on the table she has already set for supper, catches her up in his arms, kisses her, and fondly asks:

## TITLE

"HAS LITTLE SISTER BEEN DONELY?"

She shakes her head, bravely, then wraps her arms about his neck and delightedly hugs him.

The fat mother of the quarrelsome kids returns to the mud baths and sees only the little girl sitting there. Alarmed, she asks, "Where's your brother?" With a air of a victor the girl points downward. The mother snatches her up and stares distractedly at the mud in which her angel child has been squatting. It begins to move. The mother thrusts in her hand and hauls out her half-dead, unrecognizable son and heir.

FADE OUT

SUBTITLE

THE NEXT NUMBER ON THE PROGRAM --

FADE IN
SCENE 107

RIDING LESSONS

All the flappers, nattily dressed in riding togs, are the first on the field when several ranch hands bring out the horses and Jeff rides from the corral on Tony. The flappers beg Jeff to show them a few riding stunts. They are clamorously surrounding him when Marjorie, Justine and Andrews, all in riding suits, come from the ranch house. Other guests - the fat, the lean and the stiff - trail along. Mrs. Blake waddles into view clad in a hiking suit.

Jeff good-naturedly complies with the flappers' requests by doing some fancy riding which rouses their enthusiasm. Watching him, Andrews scornfully remarks to Marjorie:

TITLE

"THE EMINENT DOCTOR EVIDENTLY SPECIALIZES IN YOUNG PATIENTS."

Marjorie doesn't say anything, but she does a lot of thinking along the same line. She is particularly attentive when Jeff lets Bertie do a few stunts with Tony and the flapper is praised by her instructor for her skill.

Jeff considerably and conscientiously corrects Marjorie in one or two details - her too tight rein and the way she sits her saddle - and she doesn't like it. Therefore when he asks her to ride with him after the lesson, she replies, coolly:

TITLE

"THANK YOU -- BUT I'M GOING TO RIDE WITH MR. ANDREWS."

"Handy" is disgustedly trying to get a fat woman on a horse. The man refuses to have anything to do with this form of exercise, whereupon his thin, wiry little wife, who carries an ear-trumpet, summons Jeff, who takes the violent objector in hand. Seeing no other chance of escape, the fat man suddenly presses his hand to his side and begins groaning. He explains to his wife, "I'm in terrible pain!" She promptly replies:

TITLE

"IT'S YOUR APPENDIX AGAIN -- I TOLD YOU TO HAVE AN OPERATION -- AND I WONT LET YOU PUT IT OFF ANY LONGER!"

He vigorously protests, but his wife pays no attention to him. Instead, she asks, "Can you perform the operation at once?" Believing the fat man to be shamming, Jeff senses the fun of the situation and gravely tells her, "I will have my assistant make the necessary preparations." Summoning "Handy", he directs him, "Take the patient to the bunk-house and undress him." "Handy" leads off the wildly protesting man, who is followed by his determined wife.

CONTINUED.

CONTINUED

SCENE 107

Jeff concludes his instructions to those who are going horseback riding, and regretfully watches Marjorie ride off with Andrews. Mrs. Blake comes up to him and says:

TITLE

"I'D LIKE TO GO HIKING -- ALONE."

Jeff smilingly tells her that she may, and after thanking him she starts off. He goes slowly towards the bunk-house.

SCENE 108

EXT. RANCH HOUSE KITCHEN - FULL SHOT

Mrs. Blake sneaks cautiously around the corner of the kitchen and hikes through the door.

SCENE 109

INT. KITCHEN - MEDIUM SHOT

A fat woman cook looks up from the stove as Mrs. Blake bustles in. They are kindred souls. Mrs. Blake says, appealingly:

TITLE

"MY DAUGHTER WON'T LET ME EAT ANYTHING SWEET -- AND I'M STARVING TO DEATH!"

BACK. She glances laughingly at a pie and a pudding standing on the table, then dig into her pocket and brings out a banknote. The cook smiles sympathetically, takes the bill, and motions her visitor into a chair at the table in front of the coveted pie and pudding. Mrs. Blake's face beams as though she were saying, "This is heaven!"

SCENE 110

INT. BUNK-HOUSE - FULL SHOT

The fat man, wrapped in a sheet, is lying on a table near an open window. "Handy" is tucking the sheet around the man while the determined little wife looks on grimly. Jeff enters briskly and approaches the patient with a professional manner. Then he turns to "Handy".

## SCENE 111 JEFF AND "HANDY"

With a slight wink, Jeff says to "Handy":

## TITLE

"HAST MY INSTRUMENTS -- AND
THE EXTRA THINGS I'LL NEED."

BACK. He begins to unbutton the cuffs of his shirt, as "Handy" turns to obey the order.

## SCENE 112 INT. KITCHEN - MEDIUM CLOSE SHOT

Mrs. Blake sits before a plate of pie and a dish of pudding. She takes a bite of one, then a spoonful of the other, while the cook stands by urging her, "Eat as much as you like - there's plenty." Mrs. Blake smiles up at her gratefully. She's having a beautiful time.

## SCENE 113 INT. BUNK-HOUSE - MEDIUM SHOT

"Handy" comes in with the medical bag in one hand and an armful of "extra things" which include a butcher knife, a bowie knife, a whetstone and a large pair of tree-pruning shears. The little wife glances at this strange collection with a bit of surprise, but makes no comment. Jeff nod approval and tells "Handy" to put the things on a table near the one where the fat man lies. "Handy" opens the bag and dumps out all its surgical instruments, then drops the knives and other things onto the table with a terrible crash. The startled patient sits bolt upright.

## SCENE 114 FAT MAN

Glatching the sheet about him, stares in fearful amazement at the collection.

## SCENE 115 CLOSEUP OF IMPLEMENTS

The various instruments of torture are piled on the table.

### SCENE 120

MEDIUM SHOT

Dropping her ear-trumpet, the wife rushes through the door. Grinning at the result, Jeff watches her go. "Handy", with Jeff's back turned, grabs the ear-trumpet and sticks it up the back of his coat.

FADE OUT

### SUBTITLE

MEANWHILE FUEL IS ADDED TO THE SMOLDERING FIRES OF JEALOUSY.

### FADE IN
### SCENE 121

EXT. RANCH HOUSE - PORCH - FULL SHOT - DAY SEQUENCE

Justine is sitting on the porch when Andrews and Marjorie return from their ride. She sees them approaching and, rising abruptly, is about to go inside when Jeff comes through the door. Merely out of pique and to show that she has a man to pay her attention, Justine puts on her best smile and speaks to Jeff, saying, "You didn't go riding with the others?" He pleasantly replies, "No, I had something to keep me busy here." Andrews and Marjorie leave their horses at the corral and walk towards the porch.

### SCENE 122

PORCH - MEDIUM SHOT

Marjorie is chatting with bright animation as Andrews and Marjorie start up the porch. Then, with a coquettish glance, which Marjorie is quick to see, Justine slips away from Jeff as though having had a clandestine meeting with him and disappears inside. Jeff turns with eyes only for Marjorie and intent upon speaking to her. He steps forward in such a way as to separate her neatly from Andrews, of whom he takes no notice. He also holds out his hand to Marjorie so unexpectedly that she takes it before she quite knows she has done so. There is nothing left for Andrews to do but raise his hat and go on through the door, hiding his chagrin.

### SCENE 123 JEFF AND MARJORIE

He tells her, "I'm sorry you wouldn't let me ride with you." She replies with a flash of her independent spirit:

TITLE "I ENJOY RIDING IN MY OWN WAY -- WITHOUT BEING TOLD."

BACK. This is a biff in the eye for him, and before he can recover from it she brushes past him through the door. But he takes it like a good sport, smiling at his own expense as he prepares to go down the porch steps.

### SCENE 124 UPPER VERANDAH - FULL SHOT

Justine stands outside the door of her room waiting for Andrews to come along so that she may have it out with him. Her eyes fasten sullenly on him as he appears. But he assumes a debonair manner, coming up to her as though not aware of her moods.

### SCENE 125 JUSTINE AND ANDREWS

With jealous anger flashing from her eyes, she declares, "If you think you can go chasing around with that society dame and leave me here, you're mistaken!" He protests that he's simply paving the way to steal her jewels. She retorts:

TITLE "DON'T TRY TO FOOL ME -- IT'S HERSELF -- NOT HER JEWELS -- YOU'RE AFTER!"

BACK. He claps a hand over her mouth, and with an ugly look that does even more to silence her, snaps, "Shut up!" Then, after glancing cautiously about, he takes another tack and pretending to admire her, says:

TITLE "KEEP ON STRINGING THAT DOCTOR AND WE'LL GET RID OF HIM -- HE'S TOO DANGEROUS TO HAVE AROUND."

BACK. He is thoughtful a moment, then tells her:

TITLE "HE MAKES THE ROUNDS OF THIS VERANDAH AT MIDNIGHT LIKE A POLICEMAN."

CONTINUED.

CONTINUED

TITLE

**SCENE 125**

BACK. He goes on hurriedly, "Get him into your room somehow, then make a yell." He adds, vengefully:

"-- AND IF THE LANDLADY DOESN'T FIRE HIM, I MISS MY GUESS."

BACK. He puts her cheek smilingly, and her gradually changing expression shows that he has won her over to his scheme.

FADE OUT

SUBTITLE

AT THE WITCHING HOUR --

FADE IN

**SCENE 126**

UPPER VERANDAH - LONG SHOT - NIGHT SEQUENCE

As Jeff comes along the moonlit verandah, Justine, barefooted and in a filmy low-necked nightrobe, steps falteringly to the open door of her unlighted room in the f.g. She leans weakly against it as though ill and in need of air. As Jeff nears the door, she reels forward, about to fall. He springs to her side, catches her, glances at her face in surprise, then carries her through the open door.

SCENE 127

INT. JUSTINE'S ROOM - MEDIUM CLOSE SHOT

Jeff places Justine on her bed, the covers of which are turned back. She instantly opens her eyes in pretended light and screams. Dumbfounded he tries to quiet her, thinking her ill. She continues her outries. Andrews, with a lounging robe over his pajamas, rushes in from the verandah.

SCENE 128

INT. JUSTINE'S ROOM - FULL SHOT

Andrews switches on the light and glares at Jeff-from a safe distance. Justine, in alluring disarray, stares up in wide-eyed alarm at the speechless, bewildered Jeff. The doorway fills with other rapidly arriving, shocked guests in nightclothes, the excited flappers pajama-clad and Bertie heading the bunch. Marjorie and her mother, with kimonas hastily thrown on, appear in the doorway. They are crowded into the room by those behind them. Miss Gregg, an appalling sight in nightgown and nightcap, pushes through the crowd into the room and wrathfully demands, "What does this mean?"

## SCENE 129

JUSTINE, JEFF, ANDREWS AND MISS GREGG

Sitting up in bed, Justine points at Jeff and flies hysterically:

## TITLE

"SOMETHING WOKE ME -- SUDDENLY --
AND I SAW -- HIM!"

BACK. She sinks back, shuddering. Andrews glares at Jeff and Miss Gregg eyes him piercingly. His face is white and set. He starts helplessly to explain, but Miss Gregg stops him sharply by interjecting, "Not here!" With a gesture for him to follow, she turns towards the door and out of scene.

## SCENE 130

FULL SHOT

The crowd scatters before Miss Gregg as she plods towards the door, but the flappers struggle to hold their ground, gazing admiringly at Jeff and not at all shocked. Bertie squirm to his side and seizes his hand.

## SCENE 131

BERTIE AND JEFF

She checks him momentarily and looking up with sparkling eyes assures him:

## TITLE

"WHETHER YOU'RE IN WRONG OR
RIGHT, DOG, YOU'VE HANDED ME
THE ONLY THRILL I'VE HAD SINCE
I WAS TURNED OUT TO PASTURE HERE!"

BACK. Jeff tries to scare up an appreciative grin, but can't manage it. He turns his head to go on.

## SCENE 132

VERANDAH - FULL SHOT

Miss Gregg bursts out of Justine's room with Jeff and strikes along the verandah. As the crowd stares after them, the two disappear through the entrance to the stairway.

### SCENE 133

INT. RANCH HOUSE - OFFICE - FULL SHOT

Miss Gregg, overwrought, leads the way to her desk and confronting Jeff demands an explanation. He protests, "I saw her fall and carried her in - that's all." As he goes on with his story, Mrs. Blake hurries in.

### SCENE 134

OFFICE - MEDIUM CLOSE SHOT

Mrs. Blake bustles up and warmly declares to Miss Gregg:

#### TITLE

"I'D BELIEVE THE DOCTOR IN
SPITE OF ANYTHING THAT
ANYBODY SAID!"

BACK. To prove her confidence in Jeff she shakes his hand. He thanks her, deeply grateful for her belief in him. Miss Gregg, too, is now convinced, but she drily advises Jeff:

#### TITLE

"BUT SEE ME FIRST, DOCTOR, BEFORE
MAKING ANY MORE EMERGENCY CALLS."

back. He smiles, and so does Mrs. Blake as she moves contentedly out of scene.

### SCENE 135

OFFICE - MEDIUM SHOT

Miss Gregg walks with Jeff to the open door leading to the porch. She pauses on the threshold as he steps through the door.

### SCENE 136

EXT. RANCH HOUSE - PORCH - CLOSE SHOT

As Jeff stands on the porch about to say goodnight, Miss Gregg in the doorway, gazes sentimentally into the moonlight, then glances softly at Jeff and sighs:

#### TITLE

"ISN'T IT A LOVELY NIGHT!"

BACK. He represses a smile of amusement, replies, "Yes, beautiful," lifts his hat, and turns to go on.

FADE OUT.

SUBTITLE

BUT A WEEK PASSES WITHOUT
WORKING ANY CHANGE IN MARJORIE.

PADE IN
SCENE 137

INT. RANCH HOUSE - OFFICE - FULL SHOT - DAY SEQUENCE

Miss Gregg is at her desk. Marjorie, wearing a smart hat, comes from the porch with a paste-board box containing a dress she has just bought for Emmy at the neighboring town of Flat Rock. She stops at the desk. Miss Gregg rises. Marjorie shows her the box, saying, "It's a little dress for Emmy."

SCENE 138

OFFICE - CLOSE SHOT

Miss Gregg glances from the box to Marjorie and tells her, with an expression of serious concern:

TITLE

"EMMY'S VERY SICK -- JEFF SAT UP WITH HER ALL NIGHT -- HE'S SENT 'HANDY' OVER TO PLAT ROCK FOR THE DOCTOR."

BACK. With quick sympathy, Marjorie anxiously asks, "May I go to her?" Miss Gregg nods, saying, "Yes, if you like." Putting the box under her arm, Marjorie turns.

SCENE 139

OFFICE - FULL SHOT

As Marjorie hurries to the stairs she passes Mrs. Morton and Justine coming down. Exchanging curt nods they walk towards the desk, Marjorie hastening up the stairs.

SCENE 140

OFFICE - MEDIUM CLOSE SHOT

While Justine remains silent, Mrs. Morton asks Miss Gregg with a little flutter of excitement:

TITLE

"IS THE TRAIN ON TIME? I CAN HARDLY WAIT TO SEE MY DEAR BOYS!"

BACK. Miss Gregg nods in reply, then sits down at her desk.

### SCENE 144

JEFF

He is helping Justine on to a horse and she smiles to him. Before she steps on the stirrup, she stands close to him. He looks around and sees Marjorie coming up. She is already mounted.

### SCENE 145

MARJORIE

Mounted on a horse and looking coldly ahead of her. She doesn't see Jeff apparently.

### SCENE 146

JEFF AND JUSTINE

He helps her on to the saddle feeling very uncomfortable and when she sees the direction his eyes are turned, she frowns just a moment and redoubles her efforts to look friendly. The women suddenly come into the scene, leading horses and clamoring for help to get into the saddle. Bill enters the scene and starts helping mount a few ladies. Jeff leaps to his horse and dashes out. Justine looks after him. Bill is having the hardest time with one woman.

### SCENE 147

MARJORIE

She is riding along, when Jeff rides into the scene. He takes his place beside her. She keeps her eyes ahead. He pleads with her.

TITLE

"WON'T YOU RIDE WITH ME AND LET ME EXPLAIN?"

He insists that he can explain everything away. She turns to him and with a sweet smile says:

TITLE

"THANK YOU, DOCTOR WILKINS - DON'T LET ME TAKE YOU AWAY FROM YOUR - PATIENTS."

He is insistent upon explaining, but at this point they turn to see another approaching and Cyril Morton enters on his horse. He smiles and raises his hat and tells her it will be a fine day for riding. Jeff stands and looks daggers at Cyril who doesn't mind Jeff at all.

## SCENE 148

### EDDIE

He looks off at this scene and is sorry for Jeff next to him in his dog with the little bandage on his leg.

## SCENE 149

### JEFF AND OTHERS

Marjorie rides off with Cyril, and Jeff turns away sadly. He is immediately beset by the ladies again, who clamor for his instruction. His eyes and attention are on Marjorie.

## SCENE 150

### EDDIE

Marjorie and Cyril ride by him and Eddie looks at him with hate. The dog barks and both turn to go into the hotel.

## SCENE 151

### JEFF AND WOMEN

All are mounted and Jeff rides off at the head of the awkward squad, feeling anything but happy. Justine rides up beside him.

## SCENE 152

### CORRAL

The other two Mortons are having a tough time; also Abner and finally they call quits and pick themselves up painfully.

## SCENE 153

### LOBBY

Eddie had taken the gun off the rack and is ramming some nails and slugs into the muzzle. He intends firing that gun some time and is going to make it good. Into the lobby limp the two Mortons and Abner who is being supported by Mrs. Morton. They stop for the key and Eddie grins maliciously to see their suffering.

FADE OUT.

SCENE 160 INT. RANCH HOUSE - MRS. MORTON'S ROOM - MEDIUM SHOT

Mrs. Morton, Justine and the "boys" are idly talking and smoking cigarettes. The door opens and Andrews hurriedly enters with an air of suppressed excitement. Quickly he tells them what he has heard, adding:

TITLE "--- AND THE ONLY MAN OF THE RANCH WILL BE THAT SAP 'HANDY' - IT'S EASY!"

BACK. All his hearers are excited by the news. The "boys" jump up and move about restlessly.

SCENE 161 EXT. RANCH HOUSE - KITCHEN - MEDIUM SHOT

Mrs. Blake comes around the corner of the kitchen and is greeted at the open door by the cook, who welcomes her in and closes the door.

SCENE 162 INT. MRS. MORTON'S ROOM - MEDIUM SHOT

While the others stand about talking excitedly, Andrews goes to a window. He looks out and raises a triumphant finger.

SCENE 163 EXT. RANCH HOUSE - FULL SHOT

Jeff, carrying a medical bag, trots off on Tony - taking his time.

SCENE 164 INT. MRS. MORTON'S ROOM - FULL SHOT

Andrews turns from the window, saying, "He's gone!" Two or three of the "boys" take guns from their hip pockets, examine them and above them back into their pockets. Andrews orders them, "First of all go down and take care of the landlady and "Handy'." All five "boys" go to the door and pass quietly through it.

### SCENE 165 OFFICE - FULL SHOT

The "boys" stroll down the stairs and glance about. They see only Miss Gregg, at the desk, "Handy" having left the room. They saunter up to the desk and suddenly two of them grab Miss Gregg. She cries out. A hand is clapped over her mouth. A door in the rear of the room towards which the gunmen's backs are turned is now partly opened.

### SCENE 166 CLOSE SHOT BY DOOR

"Handy" peers through it - pop-eyed with fright. He quickly, but gently closes the door.

### SCENE 167 EXT. RANCH HOUSE - REAR - LONG SHOT

"Handy" bursts out of a rear door and runs madly towards the corral.

### SCENE 168 INT. RANCH HOUSE - MEDIUM SHOT

The gunmen leave Miss Gregg gagged and bound in her chair and run towards the stairs.

### SCENE 169 CORRAL - FULL SHOT

"Handy" jumps on a horse and carefully rides in the direction taken by Jeff, but gives the ranch house a wide berth.

### SCENE 170 THE ROBBERY

The gunmen dart into various rooms.

In Mrs. Morton's room she, Juntine and Andrews wait tensely. Andrews steps to the door, partly opens it and nervously listens.

As the door of her room snaps shut, a terrified fat woman flops over on her bed in a dead faint.

CONTINUED.

CONTINUED
SCENE 170

One of the gunmen pauses outside the door and stuffs a necklace into his pocket.

A small, terror-stricken man is down on his knees in his room praying for mercy as a gunman disappears through the door.

Andrews slips out of Mrs. Morton's room.

Andrews bursts into Marjorie's room. She screams. He claps a hand over her mouth.

A long shot of two or three gunmen coming out of rooms and thrusting jewels into their pockets. Terrified, screaming guests rush out, then rush back inside.

SCENE 171

OPEN COUNTRY - LONG SHOT

"Handy" gallops up to Jeff and wildly tells him, "That gang's raiding the ranch!" Jeff wheels Tony about and starts dashing back, quickly outdistancing "Handy".

SCENE 172

INT. RANCH HOUSE - MARJORIE'S ROOM - MEDIUM CLOSE SHOT

She is in a chair, bound hand-and-foot.

SCENE 173

Mrs. Blake sits at the cook's table blissfully eating pastry.

SCENE 174

OPEN COUNTRY - FULL SHOT

Jeff is riding like mad towards the ranch house.

SCENE 175 EXT. RANCH HOUSE - GARAGE - MEDIUM SHOT
Andrews is driving the big touring car out of the garage.

SCENE 176 INT. RANCH HOUSE - MRS. MORTON'S ROOM - MEDIUM CLOSE SHOT
Mrs. Morton and Justine are hastily thrusting handful of stolen jewels into a travelling bag.

SCENE 177 EXT. RANCH HOUSE - FULL SHOT
Andrews drives the touring car to a point below Marjorie's window, leaps out and rushes into the house.

SCENE 178 INT. RANCH HOUSE - HALLWAY - LONG SHOT
The gunmen dart in and out of rooms stuffing loot into their pockets.

SCENE 179 EXT. RANCH HOUSE - FULL SHOT
Jeff gallops up, leaps from Tony's back and rushes inside. Tony stands just below the edge of the roof.

SCENE 180 INT. RANCH HOUSE - OFFICE - FULL SHOT
Jeff rushes to Miss Gregg and pulls the gag out of her mouth. She cries, "The robbers are up there!" She points towards the stairs. Jeff dashes in that direction.

## SCENE 181. INT. MRS. MORTON'S ROOM - FULL SHOT

Andrews rushes in and grabs the bag of jewels that Mrs. Morton and Justine are packing. They struggle with him for its possession.

## SCENE 182. THE FIGHT

Jeff dashes into the hallway and smashes down a gunman who is on the point of firing.

Jeff tries to make his way to Marjorie's door, but the other four gunmen block him.

Two more are knocked cold. The third leaps on Jeff's back. Jeff swings him over his head through a door opening on the verandah.

As the gunman lands on the verandah, he pulls his gun. Jeff jumps out on top of him and finishes the fellow. Jeff turns to face the last remaining gunman who has his weapon levelled.

There is a struggle for the gun. Jeff wrests it from the fellow. It drops over the rail of the verandah. The gunman climbs to the roof, Jeff after him.

On the roof a desperate struggle goes on until Jeff knocks the gunman senseless. He topples over into the chimney.

Into the fireplace downstairs crashes the unconscious gunman.

Andrews locks Mrs. Morton and Justine in Mrs. Morton's room and runs with the bag of jewels to the door of Marjorie's room, darting inside.

Miss Gregg, still bound in her chair, puts in her time yelling.

Jeff is scrambling from the roof when he sees Andrews throw the bound Marjorie into the touring car and drive off. Jeff leaps from the roof to Tony's back and dashes in pursuit.

"Handy" gallops up to the ranch house and sliding from his horse goes cautiously towards the door.

In the office "Handy" releases Miss Gregg and they start to gather up the unconscious gunmen.

## SCENE 183

## THE CHASE

Thrill shots of cross-country ride by Jeff to head off the touring car racing towards the railroad station.

Shot of fast express train nearing station.

Jeff sends Tony leaping over such obstacles as the location may offer.

Jeff rides Tony to the brink of a precipice over-looking the roadway where it curves sharply.

As the touring car slackens its speed to make the turn, Jeff leaps from Tony's back into the car, landing in the driver's seat beside Andrews.

Long shot from curve of road showing train pulling into the station.

Jeff grapples with Andrews and succeeds in stopping the car. Andrews pulls a gun and Marjorie screams in terror.

The sheriff alights from the train and sees the men struggling in the car. He starts for it on the run.

Jeff knocks the gun out of Andrews' hand, but Andrews gets him by the throat. They go down in a rough-and-tumble fight.

Jeff finishes Andrews in a sensational fight just as the sheriff runs up.

Jeff springs into the car and releases Marjorie's bonds. She breaks down under the long strain and, weeping hysterically, flings her arms about his neck. He comforts her.

Tony trots down from the embankment and stands beside the car.

Jeff lifts Marjorie, now brushing away her tears, from the car and places her on his house.

Jeff and the sheriff load the unconscious Andrews into the car. The sheriff takes the wheel, turns the car around and starts driving it back towards the ranch.

Jeff gets up behind Marjorie on Tony. She glances back at him with a grateful smile. He kisses her. They start riding after the car.

FADE OUT

FADE IN
SCENE 184

All the now conscious gunmen and Mrs. Morton and Justine sit in a row of chairs neatly tied hand-and-foot. "Handy" and Miss Gregg are surveying their job with pride and satisfaction when they see Jeff, Marjorie, the sheriff, and the shackled Andrews coming through the door.

SCENE 185

MEDIUM CLOSE SHOT

The sheriff steps up and tells the prisoners, "I'll take care of you." Cyril indignantly cries:

TITLE

"WE'VE BEEN ROBbed!"

BACK. He looks accusingly at "Handy". Jeff goes suspiciously towards his incorrigible pal.

SCENE 186

JEFF AND "HANDY"

Jeff goes through the pockets of the pained, long-suffering looking "Handy" and brings out watches, stick-pins, money - and an ear-trumpet! "Handy" innocently assures Jeff:

TITLE

"I WAS JUST KEEPIN' 'EM FOR YOU."

BACK. He looks terribly hurt.

SCENE 187

MEDIUM SHOT

Jeff hands the valuables to the sheriff and gives Miss Gregg the ear-trumpet. The sheriff starts taking the ropes off the prisoners' feet.

SCENE 188

FULL SHOT

The sheriff marches his prisoners through the front door. Jeff and Marjorie go towards the stairs, his arm about her. Miss Gregg, with "Handy" beside her, watches with sentimental longing.

### SCENE 189 MISS GREGG AND "HANDY"

She regards him critically, and then says, severely:

TITLE
"I THINK I'LL MARRY YOU -
WHAT'S YOUR NAME?"

BACK. Gazing up at her like a sick calf, he replies:

TITLE
"HANNIBAL DUCKSWORTH -- BUT
CALL ME DUCKIE!"

BACK. She bends down and kisses him murderously.

### SCENE 190 UPPER VERANDAH - MEDIUM SHOT

Jeff and Marjorie, his arm still about her, stand looking at each other with a world of happiness in their eyes when Emmy, in her new dress and shoes and stockings, pops out of a door and runs happily towards them.

### SCENE 191 FULL-FIGURE CLOSEUP OF EMMY

She stands smilingly, lifting her dress a trifle as she says, "Isn't it pretty?" She looks charming and makes a dainty curtsey.

### SCENE 192 MEDIUM SHOT

Marjorie leans down and kisses Emmy. Then Jeff pats her head affectionately and sends her along. She vanishes around a corner of the verandah.

### SCENE 193
INT. KITCHEN - MEDIUM CLOSE SHOT

Mrs. Blake, with pie, cookies and pudding before her, continues to eat serenely. She is blissfully unaware that anything has happened.

### SCENE 194
VERANDAH - MEDIUM CLOSE SHOT

Marjorie looks at Jeff with glowing eyes and says:

### TITLE
"I'VE BEEN A FOOT -- BUT YOU'VE BEEN WONDERFUL!"

BACK. He smiles at her fondly, then looks troubled.

### SCENE 195
VERANDAH - CLOSE SHOT

With a guilty expression, he says:

### TITLE
"THERE'S SOMETHING I HAVEN'T TOLD YOU."

BACK. She asks, "You mean about that night?" He shakes his head gravely and replies, "No - something true - something worse." Anxiously, pressingly, she asks with starred eyes, "What is it - tell me!" He seems unable to speak, then with a desperate look he makes the revelation:

### TITLE
"I'M NOT A REGULAR DOCTOR - JUST A HORSE DOCTOR."

BACK. With all her love in the sweetness of her smile, she replies, whimsically:

### TITLE
"NEVER MIND, DEAREST - YOU'VE GOT A HORSE."

BACK. He laughs and snatches her into his arms.

### THE END.