Bonanza
(For more detailed information on BONANZA, visit the fantastic "Bonanza World" page at: http://bonanzaworld.net.)
Before being cast as Adam Cartwright's fiancé, Laura Dayton, Kathie Browne had already appeared on BONANZA twice - once as Hoss's love interest!
Second Season
Episode
54
"Tax
Collector"
February 18,
1961
Good-for-nothing Jock Henry, a
neighbor
of the Cartwrights, finally lets himself
be
talked into going to work as the local
tax
collector. The job goes to Jock's head
when
he realizes he has the ultimate authority
on
how much taxpayers are
assessed.
CAST
Eddie
Firestone
Kathie Browne
Russ
Conway
Charles
Watts
Third
Season
Episode 82
"The Tall
Stranger"
January 7,
1962
Hoss Cartwright is interested in
Margie
Owens, the banker's daughter, but he has a
formidable rival on Mark Connor. Margie,
who has a bad case of wonderlust, is
captivated by Connor's stories of his travels.
CAST
Kathie Browne
Sean McClory
Jacqueline Scott
Russell Thorso
*******************************************************************************
"Ponderosa Bride"
by David Dortort,
Producer, BONANZA
(Exclusive to TV Times, September 11, 1963)
We've made some changes on the Ponderosa, and Ben Cartwright and his three sons - Adam, Hoss and Little Joe - are all for them. We hope the viewer will be as happy.
First off, we've decided that it might be nice to hear wedding bells on the ranch. This would enable the show to move in new, fresh directions, and, incidentally, answer the wishes of many of the audience. So, we're thinking in terms of Adam getting married.
Why Adam? I was the one responsible for this decision, and
I believe that it is Adam who is most ready for marriage for three reasons:
First, he's the oldest son. Second, he has a greater maturity than either Little Joe or Hoss. An adult, true love is the kind I feel that the show needs. Third, Adam is the leading man type, ready for a mature love story, not the mere flirtation.
We've already picked Adam's bride, and she's worked in several episodes. She's actress Kathie Browne, a rare girl, and so far she's done an excellent job.
I interviewed Kathie first for the role, and she read extremely well. Then I listened to readings by six other top actresses. Kathie stood out among all of them.
Kathie has worked on BONANZA twice in the past. On one show, she played in a comedy episode. She was very expert, and I remembered this, for to be good at comedy is most important - it shows an understanding of timing.
The other BONANZA Kathie did was a dramatic tale in which she had a love situation very similar to the one we envision for her. However, in that one, Adam was not the man involved.
Briefly, the way we see Kathie's character of Laura Dayton is a true pioneer woman.
Complex woman 
She must be able to convey the strength and courage of the pioneer. Kathie is all this.
But don't think this will be the usual love affair.
In this case, the concept of Laura is as a girl with deep psychological problems. Loving her must not be one of those uncomplicated things that one sees on most series. Adam must be confronted with the need to help her and, in doing so, finds a deeper love.
This is why she was made a widow with a seven-year-old girl. The child also has problems. But in spite of her problems, Laura Dayton is a character with exceptional warmth and deep human feeling.
The character of Laura will evolve in stages. One writer will pick up where another left off. Each time a new writer is doing a show, he or she will have to carefully review what has been done before him. So far, four writers have worked in succession on presenting the character. As yet, we have not found the right child for the role of her daughter.
But that's not the only news from the Ponderosa: We've also decided to bring in a brother for Father Ben. We've picked Guy Williams to play the part of Ben's brother. We think Guy will fit into the Cartwright family just right. He's already played in one Western series - The Mark of Zorro - and he's a fine actor. He'll be the big boy of the family - Guy stands 6 foot, 3 inches.
He'll be about 15 years younger than Ben, and in appearance, he'll seem close to Adam's age. He'll be as different from Ben as brothers can be. He'll be a seafaring man who's been most anywhere in the world. He will not have seen Ben in many years and now comes to the Ponderosa out of a great feeling of loneliness and desire to become part of a family, to sink roots.
He's a good man, but a troubled man with a great need for help. He's a "loner" and because of his confusion and problems, we'll be able to tell more powerful stories.
We won't rush Adam into a marriage with Laura. Their
romance will take time. They'll discover each other's strengths and
weaknesses naturally, so that when marriage comes, it will be right and real.
(The editors would like to thank Kathy E. for supplying us with this
article.)
*******************************************
5th Season
5th Season
Episode
144
Episode 153
December 8,
1963
February 9, 1964
Adam is attracted to pretty
Laura A
stranger tells Laura Dayton that she will
Dayton, a recently widowed mother
receive a large sum from her late husband's
who won't tell her daughter that
her insurance.
father is dead.
Kathie Browne
Kathie Browne
Katie
Sweet
Katie Sweet
Jacqueline
Lougherty
Peter Breck
Wayde Preston
Bill Quinn
Episode
166
Episode 167
"The Pressure
Game"
"Triangle"
May 10,
1964
May 17, 1964
Adam's romance with widow Laura Will
Cartwright finds himself falling in
Dayton has reached the
serious
love with widow Laura Dayton, Adam's
stage, and Laura's Aunt Lil
thinks fiancée.
that Adam should hurry up and
propose.
Kathie Browne
Kathie Browne
Joan
Blondell
Guy Williams
Katie
Sweet
Katie Sweet
Guy
Williams
Grandon Rhodes
Robert Karnes
Charles
Bateman *****************************************************
"KATHIE and the Bonanza Four"
by Rose Perlberg
A lucky girl is Kathie Browne, whose job includes being spoiled by the Cartwrights of TV fame.
Kathie Browne has to get up at 4:30 in the morning and words until 7:30 or 8:00 p.m. She often doesn't have time to go on a date for weeks at a stretch. But she still wouldn't trade places with any other girl she knows. The reason is, quite possibly, because a big part of Miss Browne's job includes being spoiled by four of the most popular men in Hollywood!
She is the lucky lass who was chosen last spring out of 700 eager aspirants to invade the heretofore strictly male domain of "Bonanza's" Ponderosa. According to the master plan devised by brains behind (one of) TV's favorite Westerns, she is destined eventually to topple ol' Pernell Roberts right off his high horse and down on one knee, a-beggin' for her hand in marriage.
But they're not galloping Pernell to the alter. "Bonanza" has been, for too long, the only Western where the girl rides off into the sunset and it may take fans a little while to get used to the idea of some permanent feminine finery around the Cartwright quarters. Kathie's courtship will be a slow one, and naturally, the whole Cartwright clan is going to have a hand in it. Which is just A-Okay with Kathie. She can't think of anything more delightful.
The prospect is, no doubt, equally attractive to the heroes involved. Kathie is a soft-voiced blonde with deep, sea-green eyes and a smile like a shy sun. She is the type who naturally inspires and red-blooded male's protective instincts - and the Bonanza brood has responded true to form. Miss Browne, in turn, is a young lady who fully appreciates such chivalry.
One day early last fall, Kathie met me for coffee and described some of her feelings about her co-workers.
"When I first found out last spring that I'd gotten the part," she said, "I was a little leery. I mean, I was plugging headfirst into a situation that could be a bit sticky. The show had already been completely accepted without a steady girl character. The personalities of the Cartwrights had long since been established - they'd clashed and resolved and the smoke had drifted away and everything was comfortable and settled. Then I am injected and I have to be able to prove that I can fit in, too.
"I'll admit I was nervous," she said candidly. "But from the very beginning, everyone made me feel so much at home that I just sailed right into it. They could have made it tough for me, you know. After all, I was in a position to steal a little of their thunder, and a sense of competition is part of any actor's make-up. But I never once felt it with any of the boys. They're kind and thoughtful and such perfect gentlemen. Each of them, in his special way, is so masculine that I feel utterly feminine around them, if you know what I mean.
"What has impressed me most is that, while they make such a perfect team on the show, each of them is very much an individual."
"Take Pernell. There's been an awful lot written about how difficult and rebellious he's supposed to be. Well, that's ridiculous! Pernell is anything but hard to work with.
"When they signed me for the part, Pernell and I met with the producers of the show and he couldn't have been more eager to cooperate. He was already in the office when I got there - and I'm never late. They explained what they had in mind for us and he listened very intently, nodding like he was making mental notes. When they finished, he was all business. 'Well, now' he said briskly, 'I think that Kathie and I should get together and discuss this first script.' Which is exactly what we did.
"I discovered immediately that Pernell is extremely serious about his work; he's a real perfectionist. We hashed over that script for hours, down to the smallest nuance. He's the same on the set. He's very analytical: everything is always well planned. He knows his lines perfectly and he's very patient about re-doing scenes if something goes wrong. I've never seen him lose his temper.
"I've heard that he doesn't like the show and he's itching to leave, but let's face it, most actors on a series say that at one time or another. It's a quirk with people in our business: they scream for security, but the minute they have it, they insist they're being misused. Of course, while they're hollering, they're still there, and, really, they have no intention of quitting. Look," she added with a bemused shrug, "if Pernell really wanted out that much, he could just take a walk - right?"
She punctuated it with a decisive nod that closed the subject and continued with a few more revelations about the enigmatic Mr. Roberts.
"This may surprise you, but Pernell has a wonderful sense of humor. It's not the explosive type like Dan Blocker's but more of a dry sort of wit. Pernell has a very quick mind and he's always tossing off a flip comment, the kind that hits you only after a few seconds, then breaks you up.
"Another thing, he's quite a musician. He keeps his guitar on the set and, between scenes, he goes off to his dressing room or to a quiet corner of the set and plays and sings. He has a very nice voice and a lot of talent. If he wasn't so set on being a serious actor, he could be an excellent singer.
"He's basically a serious, intelligent person. We've had some long discussions - which usually start with a script and then branch off into other topics. Pernell is very versed on just about anything, from show business to sports. He's also very outdoorsy. He adores camping trips, for example. He often rides his bicycle to the studio and he keeps himself in wonderful physical shape.
"He feels very strongly about keeping his personal life private - which probably inspires much of the criticism about him. For instance, he wouldn't be sitting here talking to you, as I am. He doesn't discuss his home life with anybody. You just get the impression that he's very happy at home and that's all.
"Otherwise, he's quite cooperative about publicity. He once spent a whole free afternoon riding me around the studio on the handlebars of his bike so they could get some pictures. He volunteered to do it and he was in a marvelous mood - laughing and carrying on and doing everything they asked him to."
"Dan Blocker is the opposite in temperament. If you see a crowd and hear a lot of loud laughter, you immediately know that Dan's at the center of it!" She shook her head, grinning. "This man is unbelievable. He has the most marvelous gift for telling stories and the wildest sense of humor since they invented it. I think that Dan could make a trip to a supermarket sound like a Great Adventure!
"None of his gregariousness is put on: Dan is a complete extrovert. The bigger the audience, the better he performs - I mean off-stage. One of his biggest delights is faking fights with Mike (Landon). Dan, as you know, is a huge man, while Mike is no puny weakling, he still looks little next to Dan. They usually start it by Dan striding up to Mike with a ferocious look on his face and growling something. Mike snaps back at him like he's really bugged, and Dan glowers some more and raises his hand in a threatening gesture.
"Mike challenges him and Dan takes a poke at Mike. Mike returns it and they go at each other fiercely. The tourists - and believe me, the set is always jammed - don't know what to think. They just stand there and stare!
"If it doesn't break up with the director yelling for both of them to get on stage, Mike hollers 'Uncle,' and Dan reluctantly lets him go, and turns on one of the ladies and, with a charming smile, makes up a fantastic story about how the whole 'argument' began. The tourists love it.
"from the way he carries on," Kathie said, suppressing a few reminiscent giggles, "you'd think Dan was just a big, overgrown kid out for laughter. That's what I thought at first. But he has a very serious side. Dan is an excellent actor. He works hard and he has a good business mind. I doubt if there are many people who could pull anything shabby on him.
"Mike is a sharp guy, that way, too. He likes to kid around and all, but when it comes to dollars and cents, he knows what's going on. He and Dan and Loren have some pretty big business deals working.
"Mike is probably the sweetest, most gentle man I've ever met. He adores children. If there's a kid on the set, you can count on Mike to make a special point of going over and making friends. The kids immediately dig him, and, of course, the mothers are completely captivated. It's no politician's bit - Mike's for real. You can't talk to him for five minutes without him fishing out the pictures of his own kids - Mark, Josh, Jason and baby Leslie.
"He's the typical proud father: he'll chew you ear off for hours about how great those kids are. when he says that his family comes first, he means it. I've never met his wife, Lynn, but from the way he talks about her, she must be quite a gal."
Kathie broke off, her eyes shining. After a few seconds, she continued again, her tone casual and the subject was Loren Greene.
He's on a slightly different plateau than the other boys. He's older, of course, and he appears to be more sophisticated. I don't mean stuffy," she added with a quick little frown, "because he certainly isn't. But he does have a certain air of..." she gestured gropingly, "of the matinee idol, the grand actor, which I, personally, find delightful. Loren kids around with Dan and Mike, but it's more like a gracious joining in.
"He's the type of person whom I always visualize as sitting by a fireplace in a velvet smoking jacket, reading a book and puffing on a pipe, although I don't know if he actually does. I could also see him sitting around the dinner table with a small group of politicians and writers and carrying on intellectual conversations. He's a very warm, friendly person - but he's hard to get to know."
Kathie was born in San Luis Obispo, Calif., a small town north of Los Angeles on Sept. 19 of a year she steadfastly refuses to divulge. On "Bonanza," she plays a girl in her early twenties and she doesn't look much older. She's an only child. Her parents, May and Joe Browne were divorced. When, she won't say, but we gathered it was sometime during her early teen years.
She grew up "pretty much of a loner. I was in and out of a number of schools none of which I was interested in. I didn't understand the children or the teachers. I never felt like I belonged. It was probably my fault in a way, because I never made any special effort to try and fit in. I just kind of kept to myself. I guess I still do. I read a lot and I enjoyed writing. I still do that, too. I devour novels and biographies and I write little sketches of impressions, usually in free verse. I also keep a collection of notes that one day I might turn into a novel."
Her main source of pleasure was going to the movies. She can't remember when she didn't have a crush on Cary Grant or when Katherine Hepburn wasn't her idol. "I used to spend all day Saturday and Sunday at the movies. I literally lived in a celluloid dream world. It was a marvelous escape."
She made her own show business debut at six in a school play. "I was a fairy," she laughs, "and I was scared to death! I didn't act again until high school." But the bug stayed, and when she graduated from San Luis Obispo High, she moved to Los Angeles, stayed with an aunt and dove into little theatre work.
A TV director and some casting agents saw her in the lead of "Cat on a Hot Tin Roof," auditions followed and Kathie was soon playing top roles on major TV shows like GUNSMOKE, "Have Gun, Will Travel," and "Bonanza." She made her first appearance with the Cartwrights two years ago and became the only girl invited back a second time. "We got along great," she says modestly, "and they seemed to like my work."
By then everyone in the business seemed to like her work. She was doing a TV show a week until the spring of 1962 when she took a break to make her first movie, "The Brass Bottle," with Tony Randall. That fall she took another TV sabbatical, to accept a trip to Europe as a guest of honor at a foreign film festival.
She briefly toured Europe and the Middle East and by the time she got back to Hollywood, the TV offers were stacked high. When the "Bonanza" bosses corralled her last May to dangle the plum part of Laura in front of her, she floored them by seriously hesitating. They finally made the offer irresistible with a deal generous enough to cause mutiny on any lot: she had a one-year contract with complete freedom to do any other TV show or movie!
Her main extravagance is clothes. She has a custom-made wardrobe along simple, straight Chanel lines and on Saturdays she "suffers through endless hours of fittings. But it's worth it, because I do so enjoy clothes. I'm a bug about how people dress. I judge a person's appearance on the same aesthetic place as I would a house. Wearing things that don't match is like putting clashing periods of furniture in the same room."
Saturday is the one night in the week she goes out. "I have a lot of boy friends but only one or two men I date," she says careful to make the distinction. "Most of the men I meet are connected with some phase show business, but I'm not attracted to any particular type. I look for a sense of humor in a man, and most importantly, someone who has something interesting to say about things other than show business."
Somewhere in the not-too-distant past she was married briefly and divorced. It is a subject which she adamantly refuses to discuss. "Let's just say," she tightly insists, "that I was married once... very unhappily... and that now I'm single again and that's the end of it!"
As for her current romantic plans, she shrugs. "I don't have any particularly strong feelings one way or the other. I'm not dying to get married, or trying hard to avoid it. I imagine that I shall eventually get married. I do like children and I think I could be a good mother. I think I'd be interested enough in them to be able to giver and care. That's very important, you know."
Would she have time, with her kind of schedule? She doesn't hesitate. "I would definitely give up my career," she says decisively. "I don't believe that two careers in a family can work." She breaks off abruptly and there is a pensive pause. "Of course, that's something I don't have to worry about now," she adds.
At the moment, Kathie is a full-time career woman. She's up before the sun, gets in her little black Peugeot and is at the studio by 6 a.m. for two hours of hairdressing and make-up before the cameras roll. Filming from 8 a.m. until 12 or 12:30, when she gets a one-hour lunch break which shrinks considerably by the time she crawls out of the corsets and petticoats of the period costume. "I have to get out of those lacings," she says wryly, "or I wouldn't have room for lunch!" She admits she has the "appetite of a large horse," but nervous energy and "a lot of running around" keep her five-foot-five figure a trim 110 pounds.
She finishes at the studio " hopefully at seven or eight, and then I dash home and try and answer 20 phone calls in 15 minutes and grab something to eat that goes down easy, like Metrecal, so I have time to go over the next day's script before I have to go to bed. Four-thirty in the morning comes awfully early!" She functions best on eight hours of sleep, but during the working week rarely gets more than six.
Sundays are her "one day to myself. I treasure them avariciously." Once a month she joins a group for a day of deep-sea fishing, her favorite sport. The others are spent catching up on sleep, correspondence and reading books and fan mail. She gets about 100 letters a week, answers all of them personally. Her favorite to date came from an 11-year old boy who had apparently read an article in which she said she didn't like horses or riding. He indignantly wrote, "Dear Horse-Hater: If you hate horses, I hate you. You won't be happy on the Ponderosa. Go back to the City. (Signed) A Horse Lover."
Kathie claims that she actually told the author of the story, "I don't like to ride because I'm afraid of horses and they always know it!" but she didn't mind the misquote and the letter it drew because "it taught me an important lesson: your fans do read what's written about you. Since then, I've been very careful about how I phrase things."
Sunday, and any other day that she has a few minutes, is introspection time for Kathie. She studies herself in the same intently analytical way that she tackles a script and she is brutally honest.
"My biggest problem is still letting go. I'm a very emotional person, but I keep everything inside; I don't have any outlets, like kicking the cat! You extend this further and it becomes my struggle to extend myself with other people. I'm gradually overcoming this, I think. I'm still very shy when it comes to meeting someone, but all the personal appearance tours I have to do are helping.
"I've also found in the last year that I enjoy being with people much more than I ever thought I could. On the "Bonanza" set, I feel almost like one of the family. When I go back for a second or a third time on another show, it's like old home week - everyone from the crew to the cast makes me feel I really belong. That's something I've missed up to this point.
"I'm beginning to find people, in general, fascinating. Which is great, because I find out about other people. what I have to learn, more than anything, is how to really be natural and be myself around people. It's hard because I'm not quite sure of what I really am. I don't understand myself, really; I suspect I shall spend my whole life trying to understand myself... but that's the way it probably should be.
"There's only one thing I do regret,"
she softly reflects. "I wish that, somehow, I could have speeded up
my life, not wasted so much time getting to where I am now - because now
I'm just beginning to realize what it is to be a whole, full, wonderful
person. I think that now, for the first time in my life, I can truly say I
know how it feels to be
happy.************************************************************
(The editors would like to thank Kathy E. again, for sharing this article from
her collection.)
The following is the complete script for "The Pressure Game," including revision dates. Additionally, the original, unfilmed ending to the script, revealing that Adam and Laura have married and are leaving on their honeymoon, follows the text.
BONANZA
"The Pressure Game"
Written by Don Tait
Prod. No. B-226
(also registered as #31531)
September 19. 1963
FADE IN:
EXT. VIRGINIA CITY - DAY
It is an extremely hot day and few people are out in the blazing
sun. Some men are draping a flag out in front of one of the stores in
honor of the pending Fourth of July celebration.
EXT. GENERAL STORE - PEGGY
DAYTON
She is standing near the entrance studying a crude poster which
reads: ANNUAL INDEPENDENCE DAY PICNIC - JULY 4TH - DONNEVAN FLATS -
FIREWORKS - SPEECHES - STAY ALL DAY. ADMISSION ONE DOLLAR, KIDS FIFTY
CENTS - ALL PROCEEDS GO TO MINER' WIDOW FUND. ANGLE WIDENS as LAURA DAYTON
followed by ADAM and the STOREKEEPER emerge from the store. Both Adam and
the Storekeeper are carrying parcels. CAMERA PANS them across the
boardwalk to the waiting wagon. Peggy falls into step with them as CAMERA
PANS the group to the waiting wagon. Over this:
PEGGY
Mommy, can we go to the picnic?
LAURA
(stalling)
We'll see.
Adam and the Storekeeper start loading the goods into the back of the wagon. Peggy gets into the back of the wagon, but keeps at her mother.
PEGGY
Please, Mommy. Billy Hammermill is going.
LAURA
(a little impatient)
We'll see, Peggy. Now get up in the wagon, we have a long way
to go.
Peggy obeys, but is crestfallen by this stall. Adam winks at her.
ADAM
If you'll be my partner in the sack race, I'll take you -- and your mother, too.
PEGGY
(so grateful)
Oh, will you? Will you, really, Adam?
ADAM
A promise.
ANGLE
Laura climbs up into the wagon with Adam's help.
LAURA
(to Storekeeper)
Will you put that on my account, Mr. Evers?
Mr. Evers nods. Adam mounts the wagon and is unwrapping the reins when two middle-aged BIDDIES with parasols enter the scene and stop. Adam touches his hat, but he is not anxious to get in conversation with these two.
ADAM
(a greeting)
Ladies.
1ST LADY
Afternoon, Mrs. Dayton, Mr. Cartwright.
2ND LADY
Thought we'd be hearing an announcement from you two before this.
TWO SHOT - ADAM AND LAURA
Laura is embarrassed. Adam parries the remark with an announcement
about the weather.
ADAM
Hottest summer on record, but that's not official - just what they're saying.
He touches his hat again and flicks the reins. ANGLE WIDENS as the wagon starts off down the street.
CLOSE TWO SHOT - THE LADIES
1ST LADY
They're not fooling me any. There goes the next Mrs. Cartwright.
2ND LADY
I should hope so! That young man has certainly been monopolizing all her
time since her husband died.
1ST LADY
I wonder which one is doing all the hesitating.
2ND LADY
It's probably the man, my dear -- as usual!
FADE OUT.
COMMERCIAL INSERT
ACT ONE
FADE IN:
EXT. OPEN COUNTRY - DAY - LONG
SHOT - WAGON
moving along road in open country.
CLOSE SHOT - WAGON (PROCESS)
Adam and Laura as we last saw them, but Peggy cannot be seen. Adam
looks at the lack of the wagon.
ANGLE - PEGGY
She is asleep in the back of the wagon, her head pillowed by some of the
supplies.
ADAM
Looks like I'm going to have an extra bundle to carry in.
LAURA
Thank you, Adam -- (beat) Though I suppose you shouldn't come in at all.
Laura avoids Adam's look.
ADAM
I know -- A woman in your position -- is very vulnerable to gossip....
especially if she's seen keeping company with one man too long.
LAURA
I'm afraid it's something we both have to think about - not to please those
silly gossips, but to decide these things for ourselves --
ADAM
(a smile)
I assure you my intentions are strictly honorable, Ma'am.
LAURA
(laugh)
So are mine.
Adam reacts to something he sees ahead.
ADAM
There's someone in your house.
POV - LAURA'S HOUSE
A thin trail of smoke comes out of the chimney.
BACK TO SCENE
Laura looks off, concern showing on her face.
ANGLE
The wagon pulls to a halt in front of the house. Adam starts to climb
down, his eyes studying the house.
ADAM (continuing)
Stay here.
CAMERA PANS him past the wagon and towards the house.
ANGLE - THE HOUSE
The door swings open and the figure of a woman is silhouetted in the door
frame.
LIL
(calling)
Don't shoot unless you want to lose your favorite Aunt.
ANGLE - THE WAGON
Laura reacts strongly to the sound of this woman's voice.
LAURA
Aunt Lil!
She jumps down from the wagon and CAMERA PANS her past Adam and into the arms of Lil, who has moved forward to meet her.
ANGLE - LAURA AND LIL
They embrace enthusiastically, ad libbing greetings choked with emotion.
LAURA
What a wonderful surprise!
WIDER ANGLE
as Adam watches, Peggy who has been awakened by the new SOUNDS, runs past
him and into the arms of Lil. Lil sweeps her up and hugs her and puts her
down. Laura now turns to Adam who has moved toward the group.
LAURA (continuing)
Adam, I'd like you to meet my Aunt Lil.
Lil extends her hand and she and Adam shake hands, al lib greetings.
LIL
Just call me Lil. Aunt Lil sounds like someone standing over a hot stove
stirring pea soup.
LAURA
Actually, she's my fairy Godmother. She's always turning up at the right
time.
Impulsively she hugs Lil again.
LIL
You've got to stop polishing those lamps, honey. (a beat) Well, come on in, and
make yourself to home.
ANGLE
Lil and Adam exchange a look which does not get past Lil.
(NOTE: The line should have read: Laura and Adam exchange a look....)
ADAM
(an excuse)
I'd best get back and see if the ranch is still there. Nice meeting
you -- Lil.
LIL
Same here.
Adam turns to Laura.
ADAM
Can I give you a hand with the things?
LAURA
Thanks. We'll manage fine.
PEGGY
(to Adam)
Don't forget about the picnic.
ADAM
I won't.
He nods to the two ladies, turns and walks out of scene to where his own horse is tethered. He mounts and rides off. CAMERA HOLDS on Laura, Lil and Peggy as they enter house.
INT. DAYTON HOUSE
as group enter.
LIL
(to Peggy)
If you go up and look in your room I'll bet you find something that wasn't
there this morning.
ANGLE SHOOTING PAST Laura and Lil as Peggy runs excitedly up the stairs. The two older women watch her disappear into her room.
CLOSE SHOT - LIL AND LAURA
as they face each other.
LIL (continuing; indicating
door)
So that's the balky critter?
LAURA
(evasively)
I'll get some coffee started.
She starts away toward the kitchen, but Lil stops her.
LIL
Never mind that, just tell me what's wrong.
Laura looks at Lil with feigned innocence.
LAURA
Wrong? Whatever gave you that idea?
LIL
Your last letter. Little things I read between those brave little lines.
LAURA
Peggy and I are getting along fine.
LIL
Laura, this is your Aunt Lil, and I've come a long way.
LAURA
(coming off it a bit)
I know, and I'm so glad you're here -- Maybe the ranch is getting me down.
LIL
It's a rough job for a woman. (beat) Especially when she has to
work with her heart on her sleeve.
LAURA
Now, Lil --
LIL
Don't you now Lil me! --
(takes her by the arm)
Come on, honey. Tell your Aunt Lil the truth. He's sure a
good-looking young fellow, but believe me, I've seen 'em all from Chicago to San
Francisco and there ain't none worth a single hair on your head.
Laura feels obliged to say something in Adam's defense and she turns away from Lil's arms. Lil smiles wryly.
LIL (continuing)
You do have your heart set on him, don't you?
LAURA
Adam is a very fine man. He's honest and kind -- and he's been wonderful
to me and Peggy -- I guess he's made me really happy for the first time in my
life.
LIL
But he likes to keep his hat near the door where he can get at it.
Laura nods.
LAURA
Don't all men? (Don't they all?)
LIL
(seriously)
Do you really love him?
Putting it in so many words kind of shocks Laura.
LAURA
Lil -- that's something personal between Adam and myself.
LIL
Well, really! -- You forgetting who I am, honey? I'm your Aunt Lil, not
some stranger.
LAURA
I know -- but all this talk about marriage and all -- Well, don't you see, first
we have to be sure we love one another -- then we'll know what to do.
LIL
That's fine, but what I say is, get them to marry you first, then fall in love
later!
LAURA
Lil - you stop that.
ANGLE
as Peggy comes running down the stairs. A new raggedy-Anne-type doll
hangs in her hand.
PEGGY
Oh, I love her, Aunt Lil -- I love her! Thank you, thank you!
LIL
(tousles Peggy's hair)
You're welcome, darling -- (looking at Laura) Now that your fairy
Godmother's here, everything is going to be wonderful!
As CAMERA COMES UP to Laura's face:
DISSOLVE TO:
31531 - Rev. 2/14/64
INT. CARTWRIGHT LIVING ROOM -
NIGHT - BEN
He stands staring thoughtfully out the window into the blackness -- his
hands shoved into his hip pockets. As he turns away from the window and
walks back into the center of the room CAMERA PULLS BACK and ANGLE WIDENS
revealing others -- HOSS, WILL. They are seated in various chairs about
the room. The mood is one of dejection. Ben pauses a moment in the
room before he speaks to Hoss.
BEN
How many we lost so far?
HOSS
Dozen, or so, maybe. Trouble is, it's not going to get any better.
WILL
What about this summer range you talked about? There's grass up there,
isn't there?
HOSS
Along with plenty of cows to eat it.
BEN
It we put too many beeves up there, it gets over-grazed. Then it's years
before the grass comes back.
HOSS
We gotta do something with these down here, 'cause any that squeaks through the
summer sure ain't gonna last the winter.
ANGLE
The door opens and Adam enters.
HOSS
Howdy, stranger.
Adam nods to the group but ignores Hoss's sarcasm.
ADAM
Looks like a wake.
HOSS
As a participating member of this ranch I think you ought to know that we're
liable to lose over five hundred head of cattle in the very near future.
BEN
Hoss says they're already starting to eat cactus and loco weed.
ADAM
(well aware of all this)
I know. I had a look at them the other day -- I think we better try
and unload them. Little Joe's in San Francisco. Why not wire him and
see what price they're offering down there?
BEN
I thought of that -- but we don't have the hands to get them there, no matter
what the price.
ADAM
Then what about the Bonner brothers?
The reaction of the other Cartwrights is not good.
BEN
If I can help it, I'd just as soon not do business with those two cut-throats.
ADAM
But I don't see how you can help it -- They're the only drovers working through
here this time of year.
There is a pause as Ben considers this alternative.
BEN
(to Adam)
You used to chase around with them before you got better sense. You
want to talk to them?
ADAM
Maybe I can catch them in town. I'm picking Laura and Peggy at the hotel
anyway to take them to the Fourth of July picnic.
WILL
When you going to bring that gal around here so I can get a look at her.
HOSS
Or better yet marry her so's you can spend a little time around here yourself.
ADAM
(bridling)
That's the third time today I've been prodded in the same spot and it's getting
pretty sore.
HOSS
Sorry.
There follows an awkward silence for a beat until Will speaks.
WILL
(to Adam)
I persuaded Hoss to leave some of that venison. It's in the cooler.
ADAM
Thanks, Will. I'm not hungry.
He turns and goes up the stairs.
ANGLE
as Will rises and moves over beside Ben, who is looking after Adam,
concerned.
WILL
Heat'll do that.
BEN
Yeah -- maybe.
Ben nods as he continues to look up the stairs after Adam, but it is plain he does not think it is the heat that is bothering his eldest son.
DISSOLVE TO:
EXT. VIRGINIA CITY - DAY
We are CLOSE on a rusty, upturned tin can. A firecracker fuse
SPUTTERS under the rim of the can. It EXPLODES, driving the can upward and
out of frame.
ANGLE - THE CAN
as it sails in the air and falls back to the street in front of the
Virginia City Hotel.
INT. HOTEL LOBBY
A Clerk is behind the desk.
ANGLE
The sofa on which Laura and Lil are seated. Both are decked out in
light, attractive summer dresses and hats. On the floor nearby is a picnic
basket. Peggy turns away from a window where she has been keeping vigil.
PEGGY
We're going to miss all the fun if we have to sit here all day!
Laura and Lil smile, acknowledging Peggy's concern.
LIL
You're quite rite (sic) dear -- Isn't it a shame we have to depend on men
for most of our fun?
PEGGY
Where is Adam, Mommy?
LAURA
I don't know, honey. He said he would meet us here.
Lil gets to her feet.
LIL
Well, I've got a pretty good idea where he is. I've had some experience in
these matters.
LAURA
Where are you going?
LIL
(ducking the question)
Never you mind -- I'll be right back.
CAMERA PANS Lil to the door and outside. Through the plate glass window we see her sweep down the boardwalk in grand fashion.
EXT. STREET
The three young boys are lighting another firecracker. One of them
spots Lil and his eyes widen. He nudges the boy lighting the
firecracker. They all three look up at Lil. What a perfect target.
ANGLE - LIL
She sees them and stops, well aware of their plan. We see a steely
side of Lil and realize that she is able to cope with these boys on their own
terms.
LIL
(she means it)
You do... and I'll throw you all in the horse through -- in one ugly lump.
WIDE ANGLE
The chastened boys decide not to take the chance and Lil, reassured she
has made her point, resumes her role as Grand Lady and sweeps on down the
boardwalk, nodding graciously to a PASSING PEDESTRIAN.
ANGLE - THE BOYS
watching her in awe. The one holding the firecracker suddenly
becomes aware that the fuse is burning and he flings it away.
INT. SILVER DOLLAR SALOON -
CLOSE SHOT - WHISKEY BOTTLE
as the BARTENDER pulls the cork out. It gives a loud POP. He
fills the three shot glasses on a tray. CAMERA PANS him and ANGLE WIDENS
as he carries the order around the corner of the bar. We see that the
Silver Dollar is generously populated with MINERS and COWHANDS, celebrating
Independence Day. CAMERA CONTINUES TO PAN Bartender as he carries the tray
to a table occupied by Adam and the two BONNER brothers. (JEFF and RICK).
ANGLE - THE GROUP
as the Bartender sets the tray down and starts placing the drinks before
the men. Adam signals to the Bartender that the drinks are on him and the
Bartender retires. Adam is doing the selling here and hence the
entertaining.
JEFF
(downing half the shot)
Trouble is, Adam, the market's way down at rail head -- even for good
cattle.
ADAM
You'll come out all right -- you always do.
RICK
This is different. That's a big herd -- over five hundred head.
Hungry cattle don't drive easy and we'd have to take on extra men.
JEFF
The whole deal could wind up costin' us money.
ADAM
That I'd have to see... All right, we'll make it twenty-five dollars a head --
but that's as low as we can go.
ANGLE - BATWING DOORS
Lil is standing outside, looking over the crowd for Adam. His back
is to her and she can't see him. Nor can he see her.
ANGLE - SAM (THE BARTENDER)
He sees Lil and reacts hugely.
SAM
Lil!
He comes swiftly around the bar and heads for the door.
ANGLE - LIL
Her face falls. She is about to take to her heels when Sam pulls open
the doors and drags her inside. It's old home week, as far as he is
concerned, and he grabs her in a bear hug and whirls her around. Finally
he puts her down.
SAM
If you ain't a sight for sore eyes. When'd you hit Virginia City?
Lil straightens her hat and tries to regain her dignity.
LIL
(the Grand Duchess)
I'm visiting relatives here. Nice to see you again, Sam.
Lil smiles and looks around the room, trying to spot Adam. But Sam holds her at arm's length, looking her over fondly and professionally.
SAM
Can you still sing? You picked up a pound or two here and there, but
you're still a lot of woman, Lil.
He puts across his point with a pat we HEAR but don't see.
LIL
Sam, please! I'm a lady of means, now. Mrs. Lillian Manfred of San
Francisco.
SAM
So you and the Moose finally got hitched? Wonderful!
LIL
Charlie was killed in a mine accident two weeks after the nuptials.
SAM
(sincerely sorry)
Oh, that's too bad.
LIL
Not all bad. The cave-in exposed a silver shelf big as that bar.
It suddenly registers what all this adds up to. Lil is indeed wealthy. He looks her over again and his tone is more deferential.
SAM
Oh.
LIL
Oh, is right.
(The Grand Duchess)
I'm seeking Mr. Adam Cartwright. Is he a patron here?
(Revised 2/17/64)
SAM
Yeah, sure, Lil -- Mrs. Manfred. He's right over there.
He leads the way toward the table where Adam and the Bonner brothers sit.
ANGLE - THE TABLE
The Bonner brothers react to the approaching Lil, and Adam follows their
gaze. As soon as he recognizes Lil, he scrambles to his feet. The
Bonner brothers remain seated. Lil enters shot.
ADAM
Lil!
LIL
Excuse me, Adam. Laura and Peggy were wondering if you still planned to
attend the picnic.
Adam glances uncomfortably off at the clock and then back at Lil.
ADAM
I didn't realize it was so late. Why don't you ladies go on and I'll join
you as soon as I finish up here.
Lil glances down at the drinks on the table and then at the Bonner brothers. Adam takes Lil by the elbow and guides her toward the swinging doors.
ANGLE
We are SHOOTING PAST the Bonner brothers, TOWARD the door where we see Adam
hand Lil several tickets he has pulled from his breast pocket. We cannot
hear what Adam and Lil are saying from this distance, but the Bonner brothers
are smirking at Adam's discomfort. By this time, most of the people in the
saloon are watching Adam and Lil.
ANGLE - THE DOOR - ADAM AND LIL
ADAM
Please explain and tell Laura and Peggy I'm very sorry.
He holds the door open and Lil exits.
JEFF
(calling to Adam)
You better run along, Adam, before you get yourself in real trouble.
This gets a HEARTY LAUGH from those within earshot and a grim look from Adam.
RICK
(calling)
'Pears like that Laura Dayton's got a ring in your nose even before she's
got you hog tied.
Adam heads back to the table amid further LAUGHTER.
CLOSER ANGLE
as he arrives at the table and remains standing.
ADAM
(he's sore)
I came here to talk about cattle--
RICK
(stalling)
Sure, Adam... maybe you could take us out there and give us a look at them
beeves. We'd hate to buy a cow in a poke, so to speak.
Adam hesitates. He doesn't know whether these two are finally ready to do business or not. He'd like to close the dead. Again, he glances up at the clock.
ADAM
You can find them, can't you?
JEFF
In a week we could, but we're due up in Aurora tomorrow.
Adam grabs his hat off the chair.
ADAM
Let's go.
He starts out. The Bonner brothers exchange a look of satisfaction and follow him out.
DISSOLVE TO:
EXT. A CLEARING BACKED BY
TREES AND BUSHES - DAY
A ball rolls swiftly along the grass coming to a halt at the hooves of a
horse. In the b.g. we can HEAR high pitched voices of people at
play. A man's boots come into the scene as he dismounts and recovers the
ball.
WIDER ANGLE - WILL
He holds the ball and looks off in the direction from which it
came. He smiles at what he sees.
ANOTHER ANGLE
Peggy comes running around a clump of bushes, obviously seeking the
ball. She stops short as she sees Will. Quickly he puts the ball
behind him and looks innocent. But Peggy has seen this maneuver.
PEGGY
That's my ball!
REVISED 2/14/64
WILL
(mock seriousness)
Oh. What shape is it?
PEGGY
Round.
Will takes the ball out and examines it closely.
PEGGY (continuing)
My Aunt gave it to me. You can ask her.
WILL
You better learn to catch better. Winners keepers -- losers weepers.
PEGGY
(getting alarmed)
It wasn't my fault. Aunt Lil can't throw too good.
Will reacts to the name.
LIL'S VOICE (o.s.)
Ladies aren't supposed to be able to throw good.
ANGLE - LIL
She has come around the same clump of bushes to help Peggy find the
ball. She reacts at the sight of Will, pleased with what she sees.
She corrects her English.
LIL (continuing)
I mean -- too well.
MED. SHOT
as Will smiles and gives the ball to Peggy.
WILL
Well, since you've made positive identification, I guess I'll have to give it
back.
PEGGY
I'm sorry... would you like to play with us?
WILL
Do you need an extra player?
LIL
I'll offer you a deal. You play ball with Peggy here -- and we'll share
our picnic basket with you. (beat) That is -- if you're alone.
WILL
I'm alone. I just dropped by to take some chances on the raffle.
LIL
Good. Come along.
They begin to exit, Lil leading.
ANGLE ON TABLE
showing Laura setting out the picnic lunch. She looks up as Lil,
Peggy and Will approach.
ANOTHER ANGLE
as they reach the table.
LIL
I've found someone to play ball with Peggy -- one who can throw better that I
can, I hope.
PEGGY
And we're going to give him some of our picnic lunch.
Laura looks at Will, likes what she sees, smiles.
WILL
A neck'll be good enough for me.
LAURA
I think we can do better than that -- if you want to take your chances.
WILL
(looking at her)
I think I'm doing much better right now than anything I could have won at
the raffle.
REVISED 2/17/64
LIL
(dryly)
I hope you can throw a ball as well as you do a line.
WILL
(mock serious)
Why ma'am, I was speaking the truth -- the pure truth.
PEGGY
(impatiently)
Come on, let's play ball, mister... mister... What's your name?
WILL
Will... Will Cartwright.
There is a silence as they all look at him.
WILL (continuing)
Did I say something wrong?
LAURA
Forgive us. I'm Laura Dayton. This is my daughter, Peggy, and my
Aunt Lil.
WILL
(slowly)
Laura... Oh, you're Adam's girl.
LAURA
Not exactly. (beat) As you can see.
WILL
Where is Adam? I remember him saying he was taking you to the picnic.
LAURA
I think he's attending to some important business. But you're welcome all
the same -- Isn't it strange that we haven't met?
WILL
I stick pretty much to the ranch. But I've sure heard a lot about you from
Adam.
LAURA
Oh? -- Nice things, I hope.
LIL
(interrupting)
Laura... let's fix lunch. We've lost one Cartwright and found another,
so things are sorta even.
PEGGY
That's right, Mommy. Finders keepers, losers weepers.
There is a brief silence, then Will takes Peggy's hand.
WILL
Come along, young lady. I've got to earn my chicken.
They move off. Laura looks after them. Then, suddenly conscious that Lil is watching her, she busies herself with the lunch. Lil smiles and starts to help her as we:
DISSOLVE TO:
EXT. DAYTON HOUSE - NIGHT
The lights are on downstairs.
INT. PEGGY'S BEDROOM - LAURA
AND PEGGY
Laura is seated on the bed beside Peggy. She is trying to get the
child to sleep. The room is quite dark, the only light coming from the
door which has been left ajar. Peggy's eyes are wet and her cheeks tear
stained. Laura uses a corner of the sheet to daub a tear away and then
folds it back neatly as she tucks Peggy in.
LAURA
It's nothing to cry about. You had a good time with Will, didn't you?
Peggy
(nods)
Yes, but Adam promised. Maybe he got hurt or something.
LAURA
Oh, I don't think so. Now don't you worry -- just close your eyes and
tomorrow will be a lovely new day.
She leans over and kisses Peggy's cheek and rises.
Laura (continuing)
Goodnight, sweet.
Laura looks down at her daughter, lovingly, protectingly, then she turns and CAMERA PANS her to the door, where she exits quietly.
INT. DAYTON LIVING ROOM
as Laura comes down the stairs, shutting the door quietly behind
her. Lil is also visible in the shot. She is seated on the sofa, the
picnic basket at her feet. She is finishing a chicken leg. Laura
crosses over to her.
LIL
She finally give up?
Laura nods.
LIL (continuing)
Want some twice-baked chicken?
Laura has to smile, but she shakes her head 'no.' Lil discards the chicken bone, licks a couple of fingers and then wipes her hands on a napkin. Over this:
LAURA
I don't understand it. It's not like Adam -- At least he could have
sent some sort of message. That's the part that makes me angry.
LIL
It's like all of them. Believe me.
Laura shakes her head; she knows this isn't Adam.
LIL (continuing)
He'll be full of apologies and you might start feeling sorry for him -- so don't
see him. I learned that the hard way.
There is a KNOCK on the door and the two women look at each other. Laura gets to her feet and starts for the door, but Lil hurries after her and eases her off to the side so she cannot be seen.
ANGLE
as Lil moves to the door and opens it. Adam is standing there, hat
in hand.
LIL
(feigned surprise)
Oh, Adam. Good evening.
But she makes no move to step aside and let Adam enter. Adam is a little surprised.
ADAM
Is Laura in?
LIL
She's retired for the evening. I'll tell her you called.
ADAM
Please extend my apologies to her and Peggy. I was unable to get away.
ANGLE
Laura enters scene and pulls the door open wider, facing Adam. She's
angry. Lil sighs in despair.
LAURA
Hello, Adam --
ADAM
(he's had a hard day)
Laura, I'm sorry -- It was business that wouldn't wait.
LAURA
Sometimes promises can't wait, either -- It was very rude of you to keep us
waiting in that hotel lobby -- Peggy was bitterly disappointed.
CLOSE SHOT - LIL
She rolls her eyes heavenward. This is getting out of hand.
BACK TO SCENE
ADAM
I don't think that disappointing a child when it's unavoidable is the end of the
world... I hope to make it up to Peggy.
LAURA
I hope you can.
Laura and Adam stand there, glaring at each other. Lil moves away from the door and flops down in a chair. Laura's blown the whole thing sky high.
ADAM
(controlled)
Once again, I apologize. Good night.
He turns and disappears out of the shot. Laura slams the door heavily and goes to the window. Lil looks at her and shakes her head, sadly, back and forth.
LIL
Baby, baby, baby. Don't ever let 'em know you've got a temper --
'specially at this stage of the game.
She rises and goes to Laura to comfort her.
LAURA
Aunt Lil -- Really!
EXT. DAYTON HOUSE
Adam mounts and rides out.
INT. LIVING ROOM - LAURA AND
LIL
They stand at the window, looking out. Obviously, they have just
seen Adam ride off.
LIL
(consolingly)
Don't worry, they usually come back, hat in hand, and feeling very contrite.
Lil turns away from the window and starts back into the room. As she PASSES CAMERA:
LIL
(continuing; not sure)
Usually.
CAMERA MOVES IN on Laura's face. Tears have started to form in her eyes.
FADE OUT.
END OF ACT ONE
ACT TWO
FADE IN:
EXT. DAYTON RANCH - DAY - LAURA AND LIL
They are trying to chase a steer out of the yard. Both are dressed in
everyday clothes and Laura wears an apron and carries a dish towel. She
waves the dish towel at the street, trying to chse it off. She sounds like
she knows what she's doing.
LAURA
Hiiyah... git!
She SNAPS the towel. Lil picks up a clod and flings it at the steer, hitting it in the rump. Over this:
LIL
Skeedaddle, shoo!
The steer trots off in the direction from which it came.
TWO SHOT - LIL AND LAURA
watching the street take off. The enemy vanquished, Laura sighs in
despair.
LAURA
The garden's ruined. everything!
LIL
It's a Cartwright cow. Let them make it good.
LAURA
(a sigh)
We're supposed to maintain that stretch of wire. (her voice rises in
frustration) And I can't fix a fence myself, I've tried.
LIL
And you wouldn't think of asking handsome to come over and help out...
LAURA
(emphatic)
No, I wouldn't. And besides...
She is interrupted by the sound of a distant explosion. Both women look off in that direction.
LAURA
(continuing)
It's on the Ponderosa. They're probably trying to open up some springs
-- find some fresh water for the cattle.
Lil considers this for a moment. The wheels are starting to turn.
LIL
You know it's such a hot day. I think a little drive will cool me
off. I've never seen the Ponderosa -- maybe I'll drive by there.
Come along?
LAURA
No thanks. But you go ahead. If you want.
Laura has no intention of going onto the Ponderosa and she turns and heads for the house. CAMERA HOLDS on Lil looking off in the distance.
LIL
(softly)
And while I'm at it, I just might to a little fence-mending myself.
DISSOLVE TO:
EXT. PONDEROSA BARN - DAY
Ben is busy loading some crates of dynamite onto the buckboard when he HEARS
the sound of an approaching horse and looks up.
POV SHOT - LIL
driving toward him in Laura's buckboard.
MED. SHOT
as she pulls up and stops near Ben who moves to her buckboard.
Simultaneously, they react to SOUND of another explosion.
LIL
With all those explosions going on, I hope it isn't too dangerous -- for a lady.
BEN
(smiles)
My sons are doing some dynamiting several miles away.
(indicates work clothes)
I was just on the way to bring them a fresh load of explosives --
(beat)
So I assure you, you're quite safe.
LIL
(coyly
I'm not so sure -- I can see now where Adam got his good looks from.
BEN
(laughs)
You must be Laura's Aunt Lil from San Francisco. I'm Ben Cartwright. I
wish I had known you were coming -- we would have been a little better prepared
to welcome you.
LIL
Nonsense -- with your Adam and my Laura, I feel like a part of the family -- and
I wouldn't disturb your work for the world. It's just...well, being a
woman, I had to see this wonderful Ponderosa that Laura keeps talking about.
CLOSE SHOT - BEN
He smiles -- becoming aware of the real reason behind Lil's visit.
BEN
She's a wonderful person. We were all greatly concerned for her when she
lost her husband.
MED. SHOT
LIL
Well, as the good book sayeth -- sometimes these things are all for the best.
BEN
(smiles)
I must have missed that bit of Scripture.
LIL
(getting back on safer ground)
I understand your home is quite a showplace out here, Mr. Cartwright.
Ben knows she is angling for an invitation and has decided to extend one, but he's enjoying the exchange.
BEN
Nothing fancy.
LIL
I'd love to see it.
BEN
Any time. Perhaps you and Laura could come to dinner tomorrow night.
LIL
We'd love to. What a splendid idea!
There is another EXPLOSION o.s. Both Ben and Lil look off in the direction of the explosion. When it's over, Ben turns back to Lil.
BEN
My sons will be running out of dynamite -- I hope you will excuse me if I get
back to work.
LIL
Of course. It's been a very rewarding little conversation.
They both understand each other.
LIL (continuing)
See you tomorrow.
ANGLE
Lil flicks the horse into motion, turning the wagon in a broad circle and
setting it back in the same direction from whence she came. Ben watches
her fondly. Her brashness and transparency don't bother him. In
fact, he likes it.
ANGLE - BEN
watching the wagon move away. Hoss rides into the scene from around
the barn.
HOSS
We been waitin' for you, Pa.
(looks off)
Whooee. Who was that?
BEN
One of Dan Cupid's henchmen. There were arrows zingin' all over the
place. Maybe Adam was lucky to be out on the range with you.
Hoss is puzzled by the answer for a second, but then he realizes what Ben is getting at.
HOSS
Adam's workin' harder since he stopped seeing that gal, but he's sure harder to
live with. I'm not sure which way is best.
BEN
(thoughtfully)
Neither am I, Hoss. Neither am I.
DISSOLVE TO:
OMITTED
EXT. DAYTON RANCH HOUSE - DAY
(DUSK) - ESTABLISHING SHOT
We can see lights burning in the house.
EXT. PONDEROSA - NIGHT (STOCK)
INT. ADAM'S BEDROOM - NIGHT
He is buttoning his shirt. Through the mirror, he sees Ben
enter. The door has been open, but now Ben "casually" shuts it.
BEN
'Bout ready?
Adam knows there is more on his father's mind that just that.
ADAM
A few years back, if you'd come in and closed the door, I'd figure I was in for
a lecture or a tanning.
Ben has to smile. He remembers too.
BEN
Neither.
ADAM
(he has a pretty good idea)
Just a little fatherly advise?
Ben picks a string tie off the bed and slings it to Adam, who catches it, turns to the mirror and starts putting it on.
BEN
I'm probably meddlin' where I've got no business, Adam, but...
(a beat; as he tries to find the right words)
You've been seeing Laura Dayton pretty regularly since her husband died.
ADAM
That 'n' horse stealing seem to be real serious crimes around here.
BEN
(bridling)
Adam, if you want me to tend to my own business, just say so. But there's
no need for this sarcasm between us.
Adam doesn't respond, but his expression says he regrets the sarcasm.
BEN
(continuing; a beat)
See Laura Dayton all you want, and I can't say I blame you. But in
case you're not aware of it, people in these parts are starting to figure her as
Adam Cartwright's property. That entails a certain amount of
responsibility on your part -- even obligation.
Adam turns and faces his father.
ADAM
(hotly)
Laura is free to keep company with whomever she chooses and my relationship
with her has been above reproach.
BEN
You going to tack that testimonial up in the post office for all the doubting
Thomases?
Adam sees the reasoning in this. He goes back to his tying.
ADAM
A man is kind to a woman who has lost her husband and suddenly he finds himself
in a position where...
BEN
(interrupting)
Is that all it is, Adam? Are you just being kind?
Adam pauses as he considers this.
ADAM
I don't know.
Ben moves over to the door and puts his hand on the knob.
BEN
When a man's been single as long as you have, it's natural he'd be a little
spooky about marriage. But if you're not sure then maybe you should back
out of this -- it's better than life with the wrong woman.
He pulls open the door.
BEN (continuing)
I've said it and that's the last you're going to hear from me on the subject.
ADAM
I'll be right down.
BEN
What about the Bonner brothers?
ADAM
If we want to give that herd away, they'll be glad to take 'em.
BEN
(a beat)
We'll just sit tight another day. If they don't come around, we'd
better make plans to drive them to the coast ourselves -- it's that or slaughter
them.
He hesitates, not liking the thought, then turns and exits.
CLOSE SHOT - ADAM
as he stares into the mirror, wondering what the evening will bring.
DISSOLVE TO:
INT. THE CARTWRIGHT DINING
ROOM
The Cartwrights and their guests have finished dinner and are sipping
second cups of coffee. Ben sits at the head of the table with Lil on his
right. Adam sits at the other end with Laura. Hoss, Will and Peggy
fill the sides.
LIL
I don't know how you men do it.
BEN
What's that?
LIL
Set a table like this with all the other things you have to do.
Rev. 2/14/64
BEN
I'm glad you enjoyed it.
Lil is not going to let it drop that easily.
LIL
Still, it must be a chore, coming home from a full day of man's work, then
facing household duties, too.
TWO SHOT - LAURA AND ADAM
Laura lowers her eyes to the table, embarrassed by Lil's bluntness.
It does not escape Adam.
WIDER ANGLE
BEN
Hop Sing attends to all that in addition to doing
the cooking.
LIL
(refusing to give up)
I'm sure he's very good, but you probably miss the pies and cakes though,
and all the other little delicacies a woman likes to make.
Lil's words trail off as she sees Laura glaring at her. Maybe she is pouring it on a little thick.
LAURA
Aunt Lil -- Hop Sing's a very fine cook -- as he just proved.
LIL
Oh, yes, he did, didn't he?
(to Ben)
Ben, I'm just dying to see that new stallion you were talling (sic) us
about.
BEN
(a little surprised)
Now?
LIL
Why not? It's bright as day outside.
BEN
Of course, if you'd like.
LIL
And Peggy, I bet if you asked Hoss real nice, he'd show you his egg collection.
CLOSE SHOT - HOSS
He chokes on his coffee.
HOSS
What egg collection?
BACK TO SCENE
LIL
Now, Hoss. Be honest. I never knew a country boy that didn't collect
bird's eggs.
HOSS
(embarrassed)
But that was fifteen years ago.
BEN
(he knows they're there)
You might just find them in that old chest in the storeroom, Hoss.
ADAM
With the butterflies.
Hoss is dying.
PEGGY
Could I see them? Please?
Hoss gives Adam a look and rises, excusing himself from the table. He is followed by Peggy and they exit the scene.
ANGLE - WILL
watching them go. He realizes he is Lil's next target. He beats
her to the punch, turns to her.
WILL
I just decided I'd ride into town.
(laughs)
If that is all right with you ladies.
Both Lil and Laura look at him, smile.
THE SCENE
as Lil, mission accomplished, rises, followed by Ben and Will. They
AD LIB the niceties of civilization to Adam and Laura as they leave the table.
TWO SHOT - ADAM AND LAURA
Adam has made the gesture of rising, but now sits back down. Laura
stares into her coffee cup.
LAURA
Aunt Lil is quite an organizer.
ADAM
But a nice organizer. Pa calls her "Cupid's henchman."
There is an awkward silence then they both speak together.
ADAM & LAURA
I'm sorry about...
They laugh.
ADAM
Let's forget it. Blame it on the heat.
LAURA
Adam, if I fan myself with my handkerchief, will you suggest we go outside where
it's cooler?
ADAM
Did Aunt Lil say I would?
(Laura nods)
Shall we step outside in the moonlight?
Rev. 2/17/64
They rise and CAMERA HOLDS on them as they exit the room.
LAP DISSOLVE:
EXT. WOODED AREA - NIGHT
Laura and Adam stroll in the moonlight. CAMERA DOLLIES with them, then
MOVES IN when they stop. Laura has her back to Adam as she views the
moonlit scene.
LAURA
It does feel good.
ADAM
(a beat)
Remember this place?
LAURA
It's where you first kissed me... I'm afraid I acted rather silly. It
didn't seem right at the time.
ADAM
Does it seem right now?
CLOSE SHOT - LAURA
Maybe Lil is right. Maybe men do need to be guided a little.
She turns and moves close to Adam, looking up at him in a fetching manner.
LAURA
I don't know -- I haven't any basis for comparison.
Adam gathers her in her arms and they kiss warmly -- passionately. When the kiss is ended, Adam continues to hold her in his arms and she lets her head rest on his chest. Her eyes are closed.
LAURA
Oh, Adam, what would I do without you --
Adam frowns. He knows he has to say something but when he does speak, his words are guarded, controlled. He is uncertain about his feelings and it shows.
ADAM
It seems I've done you an injustice, Laura.
LAURA
(frowning)
How?
ADAM
Well, you know I've been pretty much monopolizing your time.
Laura opens her eyes. She is uneasy at Adam's labored, hesitant approach.
LAURA
You've been wonderful, Adam.
ADAM
But I'm afraid I haven't given the other fellows much of a chance.
LAURA
I haven't minded.
ADAM
Neither have I, but people begin to assume I have some kind of option on you
and...
LAURA
What are you trying to say, Adam?
ADAM
I guess what I'm trying to say is... if you'll have me, Laura --
LAURA
Yes, Adam -- Go on.
ADAM
Well, maybe I'm doing it badly, but I'm asking you to be my wife.
LAURA
(a beat)
You don't do something badly that you feel.
Adam cannot reply. He realizes that Laura's words are true.
LAURA (continuing)
Adam, you don't owe me anything -- but I do thank you for your thoughtfulness
and your concern.
She takes one last look at him and then turns and runs off. Adam watches her go.
ANGLE - FRONT OF CARTWRIGHT
HOUSE - BEN AND LIL
They are coming back from the barn, but they stop as Laura runs blindly
past them into the house.
CLOSE SHOT - LIL
She looks off toward the trees where Adam is and sighs. She knows
Laura has ruined it.
DISSOLVE TO:
EXT. CARTWRIGHT HOUSE - DAY -
BEN
He levers a shell into the chamber of a carbine rifle, and then shoves it
into its leather scabbard. ANGLE WIDENS and we see that he is standing
near a partially loaded chuck wagon on which WIll is strapping a water
keg. As Will comes away from his task, Ben tosses him the rifle.
BEN
Put it where we can get at it, Will. Probably be no call for it, but
sometimes they're more precious than food and water.
Ben heads back into the house and CAMERA HOLDS on Will as he lays the rifle inside the chuck wagon. He turns at the SOUND of hoof beats.
ANGLE - THE BONNER BROTHERS
They rein in their horses and slouch in their saddles.
RICK
Goin' someplace?
THE SCENE
WILL
We're movin' a trail herd to the Coast. We hope to find some range there.
JEFF
Well, now, maybe we can save you a trip. Adam around?
WILL
I'll fetch him.
Will starts toward the house but the trip proves unnecessary, as Adam and Ben emerge through the front door and cross towards the Bonner Brothers. They nod in greeting but do not invite the Bonner Brothers to climb down.
JEFF
Rick 'n me talked it over and seein' as how you folks and us been friends so
long we'll go twenty dollars.
ADAM
(firm)
I meant what I said the other day.
There is a long pause as Jeff thinks it over.
Rev. 2/13/64
RICK
I think he does, Jeff.
JEFF
Okay, you got yourself a deal. We'll run a count and leave a draft at the
bank in town.
BEN
(doesn't trust them)
One of the boys'll give you a hand.
ADAM
When do you plan to move 'em?
JEFF
Wednesday.
RICK
That's movin' day for your lady friend, too, ain't it?
The expressions on Adam's and Ben's faces reveal that this is news to them.
RICK (continuing)
Ain't you heard? She's gonna put the whole kit 'n kaboodle on the block.
CLOSE SHOT - ADAM
as he looks off toward Laura's ranch.
DISSOLVE:
EXT. DAYTON RANCH - DAY - FULL
SHOT
Some household articles and crates are piled outside the open door.
Adam rides up, views the scene. He dismounts, tethers his horse and walks
toward the house.
(OMITTED)
INT. DAYTON LIVING ROOM - LIL
AND LAURA
The women have dust-clothes around their heads to protect their
hair. Both are wrapping and packing china for transit.
ANGLE - THE STAIRS
Peggy comes out of her room to the head of the stairs and calls down:
PEGGY
Can I take my dolls on the stage?
LAURA
Just one, dear --
Peggy hesitates thoughtfully and then disappears back into her room.
ANOTHER ANGLE
Lil is inspecting a milk pitcher with no handle and a chipped
spout. She holds it up.
LIL
Nobody's going to bid on this. You want to pay freight on it all the way
to San Francisco?
Laura looks at it.
LAURA
No.
Lil lets it fall into a waste basket and we hear the CRASH. We also hear a KNOCK on the door. Both women turn in that direction.
ANGLE - ADAM
He stands framed in the doorway, hat in hand.
ADAM
Good afternoon.
LAURA
(cool)
Adam.
She returns to her work. Lil is troubled by this and she makes her AD LIB greeting friendly and warm as she invites him inside.
ADAM
(entering)
I understand you're planning to sell the ranch.
Rev. 2/17/64
Lil knows this is no place for her.
LIL
I'll help Peggy get packed.
As she moves past Laura she pulls the dust cap from Laura's hair, and hurries upstairs.
ANOTHER ANGLE
Adam comes into the room, moves closer to Laura.
ADAM
When did you decide this?
LAURA
Well -- I finally admitted that I can't run a ranch by myself -- Aunt Lil
invited us to stay with her in San Francisco until I get situated.
ADAM
Oh -- I see.
LAURA
Thanks for dropping by, Adam. It was very neighborly.
She starts to return to her work, but Adam catches her arm.
ADAM
Laura -- is it because of what happened the other night?
LAURA
Not just the other night -- Maybe it's time I faced the truth.
ADAM
(feeling his way)
But why all the haste -- I mean, I've been doing a lot of thinking about the
other night and...
LAURA
(stopping him)
Don't, Adam. When it's not there, a lot of thinking and back-tracking
isn't going to put it there.
INT. PEGGY'S BEDROOM
Clothes are laid out on her bed along with several dolls. She, too,
is making preparations for a move. Lil is folding clothes, putting them in
a packing case, as Peggy studies her dolls.
PEGGY
I want to take the doll you gave me, Aunt Lil, but I'm afraid the others I've
had all along will get jealous.
LIL
That could be a problem. Jealousy isn't good for people or dolls...
A thought strikes Lil and her tone changes as she finishes the sentence.
LIL
... But on the other hand, sometimes it's real strong medicine.
Lil rises and moves to the door, her mind working fast.
INT. LIVING ROOM - ADAM AND
LAURA
Adam is taking his leave awkwardly.
LAURA
Goodbye, Adam.
ADAM
You're sure there's nothing I can do to help?
WIDER ANGLE - INCLUDING LIL
LIL
Yes, there is. You can come to dinner tonight.
This is a bolt from the blue. Adam is surprised and Laura is shocked. They look at Lil who is coming down the stairs.
LAURA
We're in no position to entertain now!
Lil has reached the ground floor and moves toward Adam and Laura. Over this:
LIL
Don't you worry about a thing. This is my party. We own Adam a
dinner anyway.
ADAM
(looks at Laura)
You don't owe me anything.
LIL
(undaunted)
Then let's say it's a going away party. Now that