Midlandstorms - Lancer Scripts

JOHNNY - So that's it. Break the land. Break the people. Then mold them into your image. (a beat) Well maybe there's your answer, old man.
MURDOCH - To what?
JOHNNY - To why people always end up running away from you.
A beat -it hits Murdoch hard. MURDOCH - I don't need you to tell me what or who I am. I already know. But you'd better find out who you are. You'd better find out whether you're Johnny Lancer or Johnny Madrid.

THE ESCAPE
An exciting, well written episode with Scott getting shot as his past catches up with him! This is about 70 pages and comes in single pages. Extra pages with SHOOTING SCHEDULE- sets, scenes, dates and times, cast (and horse) and locations listed. The original was Wayne Roger's script and there are notes written in with changes, even directions to the Malibu Canyon set! The picture at left enlarges.

CASSIDY: Sarah, listen to me, try to understand. When I said we'd come out here, buy a farm, settle down, forget the past. . . We will. . . Just as soon as I clean the slate. The only time I ever lied to you was the day I told you why we were coming to Morro Coyo. Can't you trust me this one last time?
SARAH: I don't want you killing Scott Lancer. Is that clear, Dan? I want you to give this thing up, here, tonight. . . now. For us, Dan, do it for us!
CASSIDY: (almost sadly) Not for us, Sarah, for you! (as she stares, in decision, softer) I gotta do what I believe is right. And until it's done, we don't even exist.

SARAH: Dan . . .(as he turns)When you kill Scott Lancer, you'll be killing us with the same bullet.

FOLEY
Final, May 29, 1968, 65 pages A pregnant woman, accused of murder, is on the run with Scott Lancer! And Johnny seems to know her from his past. This little-known script is well- written and shows how the Lancer men work together as a family, even in a dangerous and morally difficult situation.

As Johnny looks down, checks his watch, and snaps it closed. The door opens behind him, and Scott appears. A disinterested look back and then as Scott comes forward, Johnny returns to his vigil.
SCOTT - (as he comes up to him) Anything?
JOHNNY - (without turning, flat) They're out there - (a beat and then sensing Scott's eyes on him) Two things we can do - we can turn her over and clear out - or we can make our stand and let the old man be killed.
SCOTT - (coldly, stopping him) And you vote to sell the girl out--
A long beat as their gazes lock, then:
JOHNNY - (with a faint smile) No, brother. . . that ain't the way I vote at all.

THE WEDDING
Final, October 28, 1968, 73 pages with a call sheet! Looks like Wayne Maunder had an 8:45 AM makeup sitting and a 9:15 set call. There's a wedding at Lancer, but the bride has a past (of course) and is kidnapped. A hunt and lots of action follows with Scott hot on the bad guys' trail!

MURDOCH - You’ll hang for this MacCall.
MACCALL - You know my name. You know they can only hang a man once.

SCOTT - One day Josh came to the ranch from the high country. He couldn’t read and he couldn’t write. Was too proud and ashamed to go to the school in town. So he asked me to help him and I did.
JENNY - And you helped him and you helped him and you’re still helping him and I’ll bet he doesn’t even thank you for it.
SCOTT - One day we were clearing some stumps with dynamite in a field. Now one of the bigger jokers in the crew hollowed out a stick of dynamite and lit it and threw it at me.
Now that big sheephead saw it and he threw himself on it. And it was very funny and everyone got a big laugh out of it.

JELLY NEW !
Final, Sept. 12, 1968. The Lancers are conned by Jelly and some orphaned kids. Johnny is hurt and taken care of by Jelly's pack of boys; the intial script called for the location to be in a cave but they made the location a shack.

JELLY - (after Teresa brings him cigars) Well I did! Man in mortal pain oughta be allowed a little pleasure on his death bed--
Scott crosses to the bed, keeping cool control of his patience as he opens the box, proffers it to Jelly.
SCOTT - Help yourself…

WILLY - You 'n' your horse scared off about six dollars worth of rabbits we was about to trap.
Johnny still doesn't quite understand but he's not going to argue. He pockets the money, shrugs.
JOHNNY - Sorry. I guess I'll have to be more careful where I pass out.

WILLY - Don't matter none. With or without him (meaning Jelly), we can take care of ourselves.
JOHNNY - Yeah, I guess you can…
CLOSER SHOT
There's a deeper meaning to Johnny. He's beginning to feel a kindred spirit with these kids -- a respect and admiration for their survival instincts.
JOHNNY - Grew up pretty much that way myself. (a glance around) Lived where I wanted; did what I wanted…free as an alley cat.

THE KNOT NEW !
Final draft, Nov. 27, 1968. Teresa is kidnapped then brings a young criminal home. Scott is suspicious when the Lancers take in a wounded posse member who rescued Teresa. Is the young man really who he says he is? Martin Sheen took the role as Andy Blake, whose family memebrs are killed by the Lancers - no wonder he's out for revenge.

ANDY - Now you know. You've got a life in your hands, whether you like it or not.
TERESA - (beat as she studies him) What sort of life is it, that I'm holding? A life like Bill's or Zack's, or a decent life?
ANDY - That would depend on how much time you give me now. . . time to get well, time to get away from here. . .
TERESA - (beat) Andy, don't ever make me sorry.
ANDY - I won't. . .

MURDOCH ( To the young man "Tim" about Andy's father and brothers) - The old man couldn't have had much of a life, jail, on the run. Probably loved his boys as much as I love mine, but never found a way to give them anything except pain and heartache.

SCOTT - It's wild, Murdoch. . . But this kid, this good-looking twenty-two year old kid who got away...
MURDOCH - Well?
SCOTT - There was a lot of confusion when we raided that cabin. And Teresa's been acting like she knows this...this Tim.

Note: I have another version of this script, with lots of early dialog and scenes crossed out and changes made by hand for a secretary to type up. It's not all legible because it's been heavily crossed out. The above FINAL version was changed from this:

SCOTT - It's wild, Murdoch. . . But this kid, this good-looking twenty-two year old kid who got away...There was a lot of confusion.
MURDOCH - Give me some answers. (I think)
SCOTT - Nothing, special...Just that it would explain a couple of things...Like what happened to Andy Blake, and Teresa has been acting sort of strange.
MURDOCH - Scott, be specific.
SCOTT - If I could, I would.

CHILD OF ROCK AND SUNLIGHT
Scott gets lost in the desert and meets some odd and dangerous people. A little boy who likes to invent things helps him out, but it turns out that the family has other plans for their prisoner, Scott. Lots of extra lines and parts of scenes in the script that were changed or not filmed.

INT. WORKSHOP - CLOSE SHOT - SCOTT'S HANDS - DAY
Hannah finishes knotting a rope around them. CAMERA WIDENS
TO FULL GROUP SHOT as the older woman rolls Scott over on his back. His feet are tied, too, and he's painfully regaining consciousness.IN b.g., Andy-Jack stands watching. Once he's secure, Hannah examines the back of his head.
HANNAH Paining you some?
Scott shakes his head. He looks up into her face.
SCOTT Why?
Hannah starts to reply, but becomes aware of the boy watching and listening in the doorway.
HANNAH I thought I told you to keep a lookout with Pearl?
REACTION SHOT - ANDY-JACK
He hesitates.His face says he's still plagued by doubts,unsure of where his loyalty lies.

MAN WITHOUT A GUN
Johnny and his friend Sheriff Val Crawford working to stop a gang of ruthless criminals! 70 pages. This great reading material! Final version with last minute script pages and changes.

JOHNNY: What do you mean no?
SCOTT: I mean I'm not lending him any more of my clothes. Give him his own clothes that Teresa washed for him.
JOHNNY: They're rags.
SCOTT: (holding up clothes Val had been wearing) So are these! A few hours ago they were my Sunday best.
JOHNNY: It's not Val's fault that outfit got messed up.
SCOTT: (relenting) All right. Justa minute. I'll give him another outfit.
JOHNNY: Don't you have anything ... a little less elaborate?

THE DEVIL'S BLESSING
Final, Feb. 14, 1969 - Murdoch goes missing and Johnny and Scott set out to find him. There are a few marks, made by a previous owner of the script, indicating scenes and lines that were removed. The 'final' isn't always the final version, it seems.

JOHNNY - Murdoch, I've seen gunslingers plug men for their hat -- or watch. I wouldn’t head down there without practicing my draw ten days -- and filing my hammer to boot.

(When Johnny sets out to find out what has happened to the missing Murdoch) By dim lantern light Johnny is hurriedly fitting his saddle roll to his paint. The paint is restive, WHINNYING.
JOHHNY - Shh. Sweeten up. Don't rouse the roosters.
A SOUND of door creaking and Johnny turns, SCOTT strolls in, carrying his own traveling pack. He halts. A moment of frozen tableau, then:
JOHHNY - He's my responsibility, Scott. I didn't follow through.
SCOTT - We're both going, Johnny.

BLIND MAN’S BLUFF - NEW !
Johnny is blinded by a sniper’s bullet and is helped by a young mute girl.

Although this says it’s a final draft, this script went through some changes by the time it made it on screen. 62 pages dated April 30, 1969. This script has several parts that vary from the televised show, including a

reference by Johnny about his mother, who cried over him. This is the only time his mother was mentioned, apart from in the pilot episode. The Doc also undresses Johnny for a head wound! One of my favorites!

JOHNNY- You got curly hair -- silky-shiny I bet -- It is dark hair. (she taps twice) Dark hair -- that’s a mighty cute nose. . .and don’t’ tell me nobody ever kissed them pretty lips..
His finger traces her lips. She captures it and kisses it.
CLOSE ON JOHNNY Almost shocked by the action.
JOHNNY - You shouldn’t do that, Honey.

THE KID - NEW ! Work draft, April 22, 1969. When a teenager convinces Johnny to go after a pair of ranchers he believes has killed his father, Johnny seeks the truth and teaches the kid a lesson in misdirected hate.

Another interesting script, an early version before it was rewritten - some of the dialog intended for one character was given to another - from Murdoch to Scott in this case, when he and Johnny were trying to get information out of the kid.

JOHNNY - What about Andy?
DORRIE - He'll get over it...in time
JOHNNY - You're wrong, Dorrie. I know. I was a kid pretty much like Andy. Grew up hating. I spent all my time learning to use a gun....about as useless an education as a kid can have. Andy's got killing on his mind....hate and killing.
DORRIE - He'll grow out of it. He's just a boy.
JOHNNY - It's the boy that makes the man.

CUT THE WOLF LOOSE
Johnny falls in love with a young woman who is conflicted between her missionary work and her desire for Johnny. Johnny and Murdoch talk a little about how he met Maria. Joe Don Baker made another appearance in a guest role in this underrated episode.

Johnny’s speech about how there was a gunfighter once who fell into a dark hole is in this script. After a cattle drive, Scott works studiously at perfecting his gambling technique at the fair while Johnny falls prey to Vic Morrow as a nasty barkeep - and then Johnny ends up in the clutches of a missionary’s daughter.

JOHNNY - He was a pistolero. A gun for hire. . . down around the border. He done bad things, and had worse done to him. But that’s all the life he knew -- until one day he was standin’ in line for a firin’ squad. Another minute, another sixty seconds and he’d have been dead. But something happened and he got a second chance. . .

JOHNNY- Brother Scott... Come on, I need to talk to somebody. But Scott keeps his eyes and his attention

on the wheel.
SCOTT - Sure, sure... I think I've got a system worked out. If I'm right, I'll own the wheel in an hour!
JOHNNY - It's important! I'm in love.
SCOTT -Good, good... watch this! to stop on five-to-one.

JOHNNY - What's keepin' brother Scott?
MURDOCH - I'd say either discretion or an unexpected run of luck. In case Johnny didn't mention it, my other son comes down with 'casino fever' every so often.
JOHNNY - Yeah. Like a riverboat gambler that's been caught cheatin', Scott goes overboard!

SCARECROW AT HACKETT'S
Work draft, Sept 23, 1969. A devilish stranger claims a boy's property and seems to know more about Johnny than is good. All of the Lancers, as well as Jelly, are spooked but won't gve in to the man or their fears.

This seems close to the filmed version, but there's a scene I don't recall where Johnny goes with Scott to a hostile town in order to find out about Weir's cheating Silas Hackett out of his land. Scott gets shot in the shoulder "hurt, not too seriously." When they enter town, Scott says,". . . All this town lacks is a headstone."

Weir - Yessir, I saw you shoot a man down ten years ago, in a Santa Fe saloon. I marveled at your confidence, your grace, your speed.
___________________

Johnny is breaking a handsome, spirited horse. It can't throw him. It becomes subdued. Johnny is master.
___________________

Murdoch - I'd say to scare us mortals out of looking into that note. (a slight glance Johnny's way) Good thing a few people won't knuckle under to fear.

Johnny meets Mrs. Lancer, has a little romance and meets up with a mean villain. Exciting scenes with Johhny and the woman who has been calling herself "Mrs. Lancer" as well as with her little boy. Scenes never filmed can be found in this script. There were changes made after this script was written, so there are some different scenes, fun to compare while you watch the show.

Grady - Heard you tell Ma your name's Johnny Madrid.
Johnny - Uh-huh.
Grady - That's probably your Sunday name. What's the name they call you when you rob a bank?
Johnny - Take a special name for that?
Grady - Sure. Gotta be Dead Eye or Black Jack or somethin' scary.

Jessamie- (delicate sniff) Might do you better to buy some soap and a clean shirt.
Johnny - Man who could shoot the spots off a ladybug would have to be famous.

GOODBYE LIZZIE - November 4, 1969, work draft
Murdoch tries to help Lizzie start a new life, but her criminal past catches up to her.

MURDOCH- Oh --- hello, Johnny.
Johnny crosses to Murdoch, reads his preoccupation.
JOHNNY - I've been in graveyards that were livelier.
MURDOCH - Scott and Teresa have gone to Sacramento. Elizabeth's in her room.
He remains lost in his thoughts. Johnny indicated the papers before him.

JOHNNY - They any of my business -?
Murdoch gets up - shoves the papers towards Johnny.
MURDOCH - Cattle sales -- of course they are.

JOHNNY - (shakes his head) Sounds so fine and proper -- Mrs. Elizabeth Cramer.
Lizzie is easy with him. They meet on their own terms.
LIZZIE - Like Johnny Lancer -- instead of Johnny Madrid.
JOHNNY - (nods) Only my father knows what I was.
LIZZIE - And that's all in the past, is it?

JOHNNY - Shuttin' off your old life, that's not so easy to do. The past -- it's got a way of comin' up and nudgin' you sometimes.

LAMP IN THE WILDERNESS
Final, Dec. 17, 1969. Murdoch lends a helping hand to a teacher who is failing in her efforts to teach Indian children. The owner of the original script may have been Steven Burnett, a stunt coordinator, as the name Steven was penciled in on the front page.

JOHNNY - You were gone so long through Indian country, we thought maybe you'd found yourself a beautiful Indian maiden!
The words are no sooner out of Johnny's mouth, than in walk four Indian children - in order of ages.
Play REACTIONS of Johnny and Scott as Murdoch introduces (them).

SCOTT - Running Nose. Nice name.
The tiny one blows, in thanks, indicates Murdoch.
RUNNING NOSE - He's my father.
FULL SHOT as the boys look at Murdoch.
JOHNNY - (grins, slaps him on the back) You old son of a gun!

BEEF TO FORT BOWIE
The Lancers encounter hostile Indians and thieves on a cattle drive, Scott and Jelly take sick and Johnny is a wounded Murdoch's only hope for survival. Intense emotional scenes, character injury, father-son close encounters, Johnny's past brought up. This episode was never filmed.

WYOMING - Don't bother with thankin' me, Johnny... Gettin' these off will square things fine.
Johnny regards him appraisingly and shakes his head. JOHNNY - I'm not that grateful. And why'd you wait so long?
Wyoming hides his true feelings in an effort to be ingratiating.
WYOMING - I was waitin' to see if Johnny Madrid was as quick as he useta be - (extends cuffs) Come on., Johnny, it ain't the first time I saved your bacon ... Or don't you remember how we rode pardners durin' the border troubles?
JOHNNY - I remember Tascosa three years ago ‑‑ how you swore you'd kill me for what happened.
It touches a nerve. Wyoming's face shows a flash of hate before he contains it and goes on dissembling.
WYOMING - That's how I felt... then. But no more. It's done and forgot.
Johnny tosses him the canteen and before slaking his own thirst, Wyoming pours some water into his cupped hand so the mongrel dog can lap at it. Johnny watches him, their conversation continuing through the business.
JOHNNY - 'Forgot,' huh? Then how come I can still feel that chain of yours diggin' into my throat?