FADE IN:
EXT:
DIRT ROAD - DUCK RUN, OHIO, 1928 - DAY
Title Card:
Duck Run, Ohio, 1928.
ROY ROGERS, 17, tears down the dusty path atop a black mare. A
look of determination, mixed with worry fills his ruddy face.
He’s an exceptional rider.
He spurs his horse on towards a six-room farm house at the end of
the road. A trail of dust follows after him. The scene is
reminiscent of an opening to a B-Western movie.
INT:
ROGERS FAMILY HOME - KITCHEN - CONTINUOUS
Roy races into the house just as his mother, MATTIE exits one of
the bedrooms, leaving the door half-open. In her arms she
carries a basin of water.
She is a petite woman with short, brown hair. She walks with a
slight limp. The brace on her leg creaks as she drags it behind
her.
Roy glances into the bedroom at his father, ANDY lying in bed.
The robust man with chiseled features is pale and suffering.
ROY
Dad isn’t any better?
MATTIE
(shaking her
head)
He won’t be able to go to work
again today.
She walks over to the sink, pours the water from the basin into
it and refills the bowl with cold, fresh water.
MATTIE (CONT’D)
You’ll explain to the
supervisor when you clock
in, won’t you?
ROY
Sure.
Mattie sits the basin aside for a moment and turns her attention
to making breakfast.
2.
Roy pulls out a chair and sits down at the kitchen table, casting
a glance over his shoulder at his father.
MATTIE
I hate to think of you wasting
away like your father working
at the shoe factory.
ROY
It’s not that bad.
MATTIE
(cracking an egg
into a skillet)
Yes it is. Being cooped up all
day is drudgery to men who love
the outdoors and want to travel.
ROY
Maybe we should think about
getting out of Ohio for awhile. We could go to
California.
Roy pushes himself away from the table and turns to looks
directly at his father through the open bedroom door. Mattie
sits a plate of muffins on the table and motions for Roy to help
himself.
MATTIE
California? What would you do
there?
ROY
(shrugging)
Don’t know. Maybe somebody
will pay me to play my guitar
and ride my horse all day.
Mattie chuckles a little and shakes her head. Roy smiles back at
her. She watches her son walk into the bedroom and sit down next
to Andy.
We can see Roy talking with his father and Andy suddenly sitting
up in bed. He removes the cold compress from his head and a slow
grin spreads across his face.
3.
EXT:
GRETNA GREEN, TEXAS, 1928 - MAIN STREET - NIGHT
Title Card:
Gretna Green, Texas, 1928.
A small town thoroughfare of barber shops, cafes, grocery stores,
etc.. At the moment, apart from five children running across the
roadway to a theatre, it is deserted.
EXT:
PIKES THEATRE - CONTINUOUS
Lights from a giant marquee over the dilapidated movie house,
pierce through the dark street and stretch out before the
building.
Black letters over the bright, white sign read, “Riders of the
Purple Sage” starring Tim Mix.
An anxious group of BOYS and GIRLS race to the box office window
and exchange their nickels for a ticket.
They race into the theatre, nearly knocking down fourteen yearold DALE EVANS. She’s pretty with dark features and a slim
figure.
She fidgets with a faux mink stole wrapped around her shoulders.
The stole, bright red lipstick, and high heels make the teenager
look like a little girl playing dress up.
She makes her way to a phone booth next to the theatre, steps
inside and picks up the receiver. After taking a deep breath and
adjusting the green mesh hat on her head, she deposits coins in
the machine and dials.
DALE
(into phone)
Yes, operator. The Evans’
residence in Uvalde, Texas.
Mother? I’m fine. It’s
only been three days. I’m
not a baby anymore. I’m
almost fifteen. There was no
reason to worry. Please don’t
cry, momma. I was with Tom Fox.
We drove to Tennessee. We got
married. Are you still there?
I don’t want to come back to
Uvalde.
4.
DALE (CONT’D)
All I want is be a good wife.
Maybe I can get work somewhere singing now too. Tom
thinks I’ve got a lot of
talent.
She checks her watch as more CHILDREN hurry past the booth into
the theatre.
DALE (CONT’D)
Of course I’m sure he loves
me. It’s going to be all
right, you’ll see. I’ll come
for a visit soon. I love
you.
Dale hangs up the phone and bolts out of the booth, checking her
watch as she goes. Heading into the movie house she passes a
sandwich-board with a poster of Tom Mix crouching, tight-lipped
over his faithful four-legged horse, Old Blue.
The bold letter under the picture reads, “Trouble?
cowboy.”
INT:
You need a
SMALL APARTMENT - DAWN
The SOUND of a DISTANT TRAIN SLOWLY APPROACHING can be HEARD
through a partially opened window next to a double bed. The
rising sun pours light on Dale’s face as she sleeps and on a song
she has written laying next to her.
CLOSE ON SONG
“Always My Love by Dale Fox.”
Dale stirs, smiles and turns over. She stretches her arm out to
the other side of the bed expecting to find her husband. He’s
not there.
She slowly opens her eyes, bewildered. Looking around the room
she notices an opened closet. Her clothes are hanging next to a
few empty hangers. A pair of drawers on a nearby dresser have
been left opened and cleaned out.
Dale starts to panic.
5.
DALE
Tom?
The silence is deafening. Tears well up in her eyes, but she
refuses to give in to them. She crawls out of bed and we see
that she’s very pregnant.
She spots a note taped to the mirror in the bathroom and
reluctantly heads in that direction.
INT:
BATHROOM - CONTINUOUS
She pulls the note off the medicine cabinet mirror and reads the
brief message.
CLOSE ON NOTE
“I guess I’m not ready to settle down. Sorry. Will send divorce
papers. Hope you make it as a song writer. Tom.”
Her face is pale, her knees buckle and she grabs the sink to keep
from collapsing. The truth of the situation slowly sinks in and
she can’t stomach it. Her head disappears into the toilet bowl.
After a moment she manages to get to her feet. Holding onto the
sink she turns the faucet on and rests her head close to the
water pouring out. Steam rises as the water heats up.
She dabs her face and ventures a look into the mirror.
clouds the reflection and her image slowly fades away.
her hand to wipe the moisture off the glass.
Steam
She lifts
DISSOLVE TO:
INT:
REPUBLIC STUDIOS, 1943 - RECEPTION AREA - DAY
Dale wipes a film of powder off the mirror of her compact to get
a clear reflection of her look. Fifteen years have past since
her husband left her. She grew into a stunning beauty.
She exchanges smiles with a bored RECEPTIONIST waiting behind a
mostly baron desk. The phone sitting near the receptionist
rings. She quickly answers the call and within a few seconds
hangs up.
6.
RECEPTIONIST
Mister Yates will see you now.
Dale takes a deep breath and stands up. After smoothing the
minute wrinkles out of her fashionable, tweed suit, she exit’s
the room.
INT:
MOTION PICTURE PROJECTION ROOM - CONTINUOUS
We see the outline of the heads of two men silhouetted against
the stream of light shining on the screen.
the film being shown.
They are engrossed on
Suddenly, a blazing display of sunlight assaults the darkness,
spilling over onto the screen. Dale Evans stands in the doorway.
After quickly assessing the scene she closes the door behind her.
The image of Roy Rogers looms over her shoulder. She shades her
eyes from the light poring out of the projector and tries to make
out the faces in the audience.
DALE
Mister Yates? I was told to come
on in. You wanted to see me?
YATES
Yes. Hold onto that thought.
(to projectionist)
Cut the sound.
Dale steps on into the room. Roy Rogers’ face fills the screen
behind her. The film’s audio is off.
YATES
(to man across
aisle from him)
Gillis, what was the total box
office receipts on Rogers’ last
picture?
GILLIS
One point nine million dollars
and counting.
HERBERT YATES flips on a lamp sitting on a nearby desk. He’s a
stocky, bald man in his late 40s. The left side of his mouth is
slightly pulled down, the result of a stroke.
7.
He carefully studies the image of Roy Rogers over Dale’s
shoulder. He smiles as he takes a big puff on a cigar clinched
tightly in his teeth.
YATES
Please, come in, Dale.
seat.
Have a
Dale makes her way up the aisle to a row of seats in front of
Yates.
DALE
How was New York? I heard you
saw a few Broadway shows.
YATES
True. I seem to recall you telling me once you were Broadway
bound.
DALE
(coyly)
I might have mentioned it.
Dale sits down and turns her body to face Yates.
but always keeps one eye on the screen.
He notices her,
YATES
I saw a production of Oklahoma.
It was spectacular. The story,
the sets, the music.
She smiles and nods, trying not too seem overly anxious.
music to her ears however.
This is
DALE
I always thought it would make a
great film too. I sang a couple
of numbers from the show at the
clubs I worked at in Chicago.
YATES
(pausing, then)
Dale, I’ve been thinking…
She clutches her purse to her chest in anticipation of the news,
hoping beyond hope that Yates has been thinking the same thing
she has.
8.
YATES (CONT’D)
Our Roy Rogers westerns have
been doing quite well and I
think they would do even better
if we had a female lead who
could also do some singing.
I think you’re what we’re looking for.
Dale stares blankly back at him.
wanted to hear.
This is clearly not what she
DALE
(gently)
Roy Rogers? But I thought…
outside of the small part as
a saloon singer in a John
Wayne picture, I’ve never
even done a western.
An awkward silence hangs in the air as she waits for Yates to
consider her confession. She glances at the screen and then back
at Yates.
DALE
Mister Yates, are you sure you
want me?
He looks at her for a long moment, then grins tolerantly.
is a man who is used to getting his way.
This
YATES
Rehearsals for The Cowboy and
the Senorita begin next week.
You’re the senorita.
Realizing that any objection would be pointless, Dale pulls
herself together and stands up. Yates turns off the lamp and
motions to the projectionist.
YATES
Sound.
Dale turns her attention to the screen and watches Roy Rogers
quickly fire off a couple of rounds from his six shooter. The
desperados fall down dead, the townspeople come out of hiding;
all has been made right in the cow town.
9.
Roy holsters his gun, jumps on Trigger and rides off.
goes black.
EXT:
The screen
REPUBLIC STUDIOS - BACK LOT - DAY
Roy Rogers barrels onto the set on the back of Trigger.
and horse working together as one.
Rider
GABBY HAYES, an older, toothless actor wearing dusty jeans and a
faded calico shirt with a bandana and floppy hat, waits for the
pair in front of a sheriff’s office on a western set. A hot wind
brushes past him, kicking up dirt and tossing tumbleweeds in his
path.
Roy stops Trigger, laces his reins around a hitching post and he
and Gabby lean against it as they study a number of period
dressed ACTRESSES milling about by the saloon across the dusty
street from them.
Dale Evans, looking particularly stunning in a Mexican gaucho
costume, complete with a black, wide brim hat, exits the saloon
and steps out onto the street.
A horse WRANGLER leads a chestnut brown mare over to her and
helps her mount the horse. She tries to hide the fact that she
hasn’t been on a horse for years. Everyone but the horse is
fooled at the moment.
EXT:
STREET SCENE - CONTINUOUS
The cameras roll. At the director’s cue, Dale spurs her horse
down the dusty thoroughfare and the animal bolts down the road
towards the awaiting cameras and FILM CREW.
Dale is bounced around like she’s on a merry-go-round. It’s
evident she needs a few more hours in the saddle to get good at
riding.
When she reaches her mark she nearly falls off the horse all
together and gets her boot stuck in the stirrup. Roy and Gabby
repress a laugh and the director yells ’Cut’!
Dale laughs along with the other cast members.
coordination strikes her as funny, too.
Her lack of
DALE
I guess I need a little more
practice.
10.
Roy approaches her with Gabby in tow. He extends his hand to her
and she shakes it while she brushes the dust off her outfit.
ROY
I’m Roy Rogers.
DALE
Yes, I know.
ROY
(chuckling)
I can’t remember seeing that
much daylight between a horse
and a rider outside a few
rodeos.
DALE
(laughing)
I sing better than I ride.
ROY
We’ll make a good team then.
I ride better than I sing.
She smiles politely as she turns around and leads her horse back
down the trail to redo the scene, rubbing her backside as she
goes.
DALE
(to herself)
I may never be able to sit
down again, but Yates
is going to see I’m too good
to be a part of this team.
Roy and Gabby watch her walk away, amused and chuckling.
EXT:
SUBURBAN ENCINO NEIGHBORHOOD – DAY
A setting sun shines on a cluster of enormous homes on a quiet
block. HOME OWNERS walk their dogs and retrieve newspapers from
manicured lawns. CHILDREN hurry past them on skates and riding
bicycles.
An unassuming ranch style home sits in a cul-de-sac at the end of
the street. Two little BOYS dressed in cowboy costumes ride
proudly by the place on their stick horses. This is Roy Rogers’
home.
11.
INT:
ROY ROGERS’ HOUSE – LIVING ROOM CONTINUOUS
Giant framed movie posters of the three films Roy and Gabby Hayes
have starred in hang on the walls and add to the overall western
décor of the spotless room.
Photographs of Roy Rogers with the Sons of the Pioneers, and
actors PAT BRADY, ANDY DEVINE, MARY HART, and ERROL FLYNN sit on
top of a piano, next to pictures of Roy with his parents and
photos of he and his wife, Arline with their two daughters,
Cheryl and Linda Lou.
Newspaper articles about Roy’s success are neatly stacked on top
of a coffee table. The headline across a motion picture trade
paper reads: “Under Western Stars Voted Best Western of the
Year.”
Lying on the floor in neat piles next to the coffee table are
hundreds and hundreds of fan letters. Roy Rogers’ career is in
high gear.
From the nearby dining room we HEAR the ROGERS enjoying their
evening meal, the GIRLS LAUGHING and ADULTS TALKING.
INT:
ROGERS’ HOME – DININING ROOM – CONTINUOUS
ARLINE enters the room from the kitchen carrying a casserole.
She sits in the center of the table and casts a proud glance at
her daughters, CHERYL 4, and LINDA LOU, 2.
ARLINE
And that mail isn’t even a
tenth of what we’ve received.
Roy reaches for the casserole and dishes out a bit of food on
each one of the girl’s plates, then passes the item to Gabby,
wearing his teeth and looking well groomed, is seated across from
him.
ARLINE (CONT’D)
The studio people said the
amount of mail going through
their office for Roy is more
than any other actor has ever
been sent.
GABBY
Wouldn’t be surprised.
12.
Arline takes her place at the table and helps feed Linda Lou.
ROY
People have been real kind, but
Arline and I are having a hard
time answering folks back.
GABBY
Did you talk to Yates about
hiring someone to help you?
ROY
Yeah, he said he didn’t want
to have anything to do with
it.
ARLINE
Can you believe that? He
thinks Roy should just ignore
the people who write him.
GABBY
A lot of folks in movies do.
ROY
Well, not me. Those kids
writing me are the ones paying
ten cents at the box office to
see the pictures. They deserve
an answer back.
GABBY
You must be spending a fortune
in stamps.
ROY
(nodding)
But I’ve been singing with the
Sons of the Pioneers. I use
the money I make doing that
to pay for postage.
GABBY
Herbert Yates…if cheapness
was a talent he’d be the best
in the business.
13.
The three adults laugh and Arline passes a basket of homemade
rolls around.
GABBY (CONT’D)
(concerned)
Roy, don’t let Yates know about
the extra work you’ve got going.
He’ll want a piece of it just
like he did with Gene Autry.
ROY
You don’t need to worry, Pappy.
I can hold my own with Yates.
I know he’s lacking in the
scruples department.
GABBY
And I don’t know why…it isn’t
because Yates can’t afford them.
No wonder Autry left Republic.
ARLINE
(winking at Roy)
That was then. I don’t think
Mister Yates would risk loosing
another cowboy star.
ROY
Gabby, I’ve got something I want
to show you.
EXT:
ROGERS’ BARN – NIGHT
Roy slides the giant, wooden door open, exposing a spacious two
stall stable.
INT:
ROGERS’ BARN – CONTINUOUS
Gabby removes a pipe from his suit jacket pocket and lights it
up. He and Roy stroll across the hay covered floor toward the
stalls.
GABBY
What’s this I hear about Yates
wanting you to do something
other than a western?
14.
ROY
He gave me a script called
Front Page. He wanted me for
the part of a cocky newspaper
reporter.
GABBY
(shaking his
head)
Doesn’t make any sense for
you to change your image
after you’ve set yourself
up in westerns.
ROY
That’s what I said. I told
him I wasn’t going to do it.
GABBY
If I know Yates that didn’t
make him too happy.
ROY
He threatened me. Told me
if I didn’t do it he’d put
some other cowboy on my horse.
Roy stops in front of a bag of oats, opens the bag and removes a
handful. As if on cue, TRIGGER waltzes over to the pair and
nuzzles up to Roy. Gabby’s eyes widen, he recognized the horse.
GABBY
(a little
worried)
What did you do, Roy?
ROY
I bought him. Hudkin’s
Stables sold him to me for
twenty-five hundred dollars.
GABBY
(grinning)
So, Yates may get another
cowboy, but he won’t be riding
the “smartest horse in movies.”
15.
Roy pats Trigger’s nose and neck. The golden Palomino is
magnificent and carries himself like he knows it.
ROY
What do you think of Dale
Evans?
GABBY
Don’t know yet.
ROY
I don’t know much about her
except that she’s from Texas.
GABBY
Texas, huh? That could be
trouble. You can always tell
a Texan…but not much.
Trigger turns away from the men
Gabby and Roy watch the amazing
Roy smiles proudly at his prize
him. Roy thinks back six years
and struts around in the stall.
horse prance about.
and the animal nods his head at
prior to this moment.
DISSOLVE TO:
EXT:
REPUBLIC STUDIOS, 1937 - MAIN GATE - DAY
Title Card:
Republic Studios, 1937
Roy Rogers peers into the giant iron gate, watching the action on
the other side. A HANDLER escorts a beautiful PALOMINO across
the lot, ACTORS in costume and STAGE CREW MEMBERS carry props,
push scenery and tools - all scurry busily about.
A surly GUARD clad in a neatly pressed uniform sits inside a
small, glass enclosed building at the gate’s entrance, one eye on
Roy and one on a newspaper spread out in front of him.
Roy removes a clean, but faded white cowboy hat on his head and
mops the sweat lined on his forehead with a ragged bandanna.
Frustrated, he paces back and forth in front of the gate.
16.
GUARD
(a bit annoyed)
Hey, kid. I thought I told
you to shove off? You’ve been
hanging around all morning.
ROY
(politely)
I’ve got a screen test.
a singing cowboy.
I’m
GUARD
No pass, no appointment, no
entrance.
ROY
But I’ve been on the lot before. Singing backup for
movies with my band. Haven’t
you ever heard of the Sons
of the Pioneers?
GUARD
(returning to his
newspaper)
Nope.
ROY
How about Roy Rogers?
GUARD
Who?
ROY
The studio is looking for
another cowboy like Gene Autry.
I was hoping...
GUARD
I know all about that. But
I don’t know about you and
you aren’t on the list so...
Disappointed, Roy turns his attention back to the action just
inside the gate. He checks his watch. It reads 12:40 p.m..
Looking up from the time piece he notices nine Republic EMPLOYEES
returning from lunch, walking towards the gate.
17.
They are clustered together laughing and talking.
Roy casts a glance at the guard. His attention is fully focused
on his newspaper. Thinking fast, he removes his hat and falls in
with the group.
Keeping his head down, he strolls onto the lot with a little more
than a nod from the preoccupied guard.
EXT:
REPUBLIC LOT - CONTINUOUS
Once inside the gate, the employees fan out and head off in
different directions. Roy looks around, not sure where to go.
The guard on the other side spots him milling about. He’s
furious that Roy was able to slip by him.
GUARD
Hey, you!
Roy puts his head down, turns away from the gate and hurries
across the lot. Chancing a look back at the guard he walks right
into producer SOL SIEGEL.
Sol is a well-dressed, slightly balding, middle-aged man. The
paperwork he had been paying attention to spilled onto the ground
after colliding with Roy.
The two men look up at one another a little embarrassed and
smiles of recognition fill their faces.
SOL
Hello, there, Rogers. Did you
want to see us about something?
ROY
Yes, sir. I heard you’re
screen testing cowboys.
The men shake hands while laughing a little about the silly
accident. The anxious guard hurries up behind Roy determined to
throw the intruder off the lot.
As he approaches the pair he notices the friendly exchange
between Roy and Sol. After a few moments he decides to return to
his post.
ROY (CONT’D)
I’d like to stay around and
try.
18.
SOL
I’ve tested fourteen cowboys
today and the job is still
open. Don’t know why I didn’t
think of you. I know you’re
in that western band we’ve
used.
(pausing, then)
Let’s hear you play.
Sol throws his arm around Roy’s shoulder and leads him off
towards one of the stages. Roy returns his cowboy hat to his
head and sighs a sigh of relief.
INT:
STAGE 12 - REPUBLIC STUDIOS - DAY
Roy sits on a stool in front of a western backdrop, bathed in the
glow of amber lights.
Cameras are trained on him as he strums his guitar and serenades
the FILM CREW, DIRECTOR and Sol with a cowboy song.
The crew is mesmerized with his yodeling skills. Sol’s eyes
light up as he watches the entertained faces surrounding him.
Roy finishes singing and the crew spontaneously applauds. This
is the cowboy Republic has been looking for.
Rob favors the grateful audience with another song. His voice
reaches out of the past and fades into one of his recordings
playing five years later.
DISSOLVE TO:
EXT:
A HUGE DRIVEWAY – EARLY EVENING
Title Card:
Beverly Hills, 1943
The driveway leads to a huge mansion in Beverly Hills.
This is Herbert Yates’s home and he’s hosting a cocktail party.
PARKING ATTENDANTS park the cars of the very rich as they arrive
in their expensive vehicles.
EXT:
MANSION – GARDEN/POOL AREA – CONTINUOUS
Fashionable GUESTS are everywhere drinking, eating, talking and
milling about the enormous grounds. A PIANO PLAYER entertains
them with soft, classical music.
19.
Herbert Yates stands on a marble rise at the entrance of a
spectacular maze of hedges, puffing on a cigar the size of a
baby’s leg. He’s surrounded by ambition businessmen who hang on
his every word.
YATES
(admiring cigar)
The finest product the
American Tobacco Company ever
put out. I helped developed
it the first year I was
general manager there.
JARMON KLEIN, a young, rich stockbroker and AUTHUR MCKAY, a trim,
tough attorney, stand on either side of Yates, each smoking their
own cigars. Both are eager to impress the film company
president.
JARMON
Do you miss the tobacco business, Herb?
YATES
(shaking his head)
Just the endless supply of
quality stogies.
He laughs at his own comment and the other follow suit.
YATES (CONT’D)
This item here helped me earn
the fortune I used to venture
into the movie and recording
business.
ARTHUR
Do you like making movies?
YATES
I like making money.
ARTHUR
You’re certainly doing that.
What with owning Republic and
Consolidated Films – you’re
either making movies or processing the film for all the
other movie studios in Hollywood.
20.
YATES
That’s not envy I hear, is it?
JARMON
Of course it is.
ARTHUR
There’s not an executive in
Los Angeles that doesn’t wish
they’d been the ones to merge
smaller film companies like
Mascot and Monogram Pictures
into one big studio.
JARMON
The timing was perfect too…
a masterful stroke of luck.
YATES
Luck you say? Republic hasn’t
become the king of serials and
westerns by being lucky. It’s
knowing what the audience wants
and providing it for a fraction
of the cost it takes the competition to do it.
ARTHUR
Or allowing the actors to dictate the terms.
YATES
With few exceptions I’ve been
able to hold my actors to a
nominal salary. And after I
make them stars they agree to
pay the studio a portion of any
earnings off the notoriety
Republic helped them get.
ARTHUR
You’re not afraid of losing
your pool of talent? After
all, isn’t that why Gene
Autry left the studio?
21.
YATES
I did say, “with few exceptions.”
Autry did leave, but there was
another singing cowboy right
behind him.
JARMON
You feel no obligation to keep
them happy?
YATES
I look at their service like I
do a good cigar. I take advantage of all they have to offer,
stoke the fire when necessary,
and then watch it burn to
nothing.
The men are amused by Yates’s attitude, but none more so than
Yates himself. He surveys his domain, then takes another drag
off his cigar just like he was doing it a favor.
The illuminating conversation and otherwise enjoyable evening
comes to an abrupt halt as a mammoth sized dump truck invades the
scene.
The horrified guests scurry out of the way of the vehicle backing
up onto the pristine lawn. The truck lurches to a stop and the
bed slowly begins to rise.
Yates is stunned as he watches thousands and thousands of pieces
of mail fall out of the truck.
YATES
What the hell?
ARTHUR
Did you buy the U-S Postal
Service too, Herb?
Yates jerks his cigar out of his mouth, throws it to the ground
and runs to the vehicle as the driver starts to pull away.
YATES
(calling out,
waving)
Hey! Hey you, driver!
22.
The truck stops and the driver pokes his head out the window.
It’s Roy Rogers. Yates hurries to the front of the vehicle.
He’s furious.
YATES
Rogers, what do you think
you’re doing?!
ROY
That’s some of the fan mail
Trigger and I got this week.
Mail from loyal fans, good folks
you won’t pay to answer and that
I’ve been killing myself trying
to do on my own.
YATES
I told you what I thought about
fan mail.
ROY
Yes, sir, and I told you what I
thought. You pay me $150 a week
and that’s not enough to even
pay for the postage.
Roy slowly starts to pull forward and Yates starts after him.
YATES
Rogers! Rogers! You’re not
going to leave all this here!
ROY
(leaning out
window)
Yes, sir. I am.
Roy puts the truck in gear and drives off of the lawn. Yates is
aghast. His guests gather around the huge pile of mail as he
watches the vehicle disappear from sight.
INT:
DALE EVANS’S APARTMENT – DINING AREA – NIGHT
It’s a small place, but warm and inviting.
Family photographs,
quilts and homemade trunks and chairs fill the home.
One end of the dining room table is filled with school books and
sheet music.
23.
The other end contains two place settings of dishes. Silverware
rests on one of the plates where nothing is left but crumbs and a
bit of gravy.
The plate next to it holds untouched helpings of potatoes, roast
beef and corn. Beside the uneaten meal is a well read document
with the words “Divorce Decree” scrawled across the top.
Dale walks past the divorce papers holding the receiver of the
phone to her ear. She wears a harassed expression as she scans
the room to make sure no one is around.
DALE
(in a stage whisper)
Yeah, Bob. I got the
papers. I know, but you were
just as busy with your career.
The SOUND of a FLUTE being played can be HEARD coming from one of
the bedrooms down the short hallway of the home. The musician is
clearly very talented.
DALE (CONT’D)
(beat)
You know how hard I worked
to get here…what I gave up.
I am sorry. I’m sorry….
She hangs up the phone, walks over to the table, pushes the food
aside and signs the document with a pen lying near by. A tear
slides down her face as she eases herself into one of the chairs.
TOM FOX, 16, sneaks a peek around the corner of the room. He’s a
tall, sandy-haired, be-speckled teenager with an infectious
smile. He tucks a flute under his arm while watching Dale.
When she looks up and notices him the two smile at one another.
Dale wipes her eyes and refolds the document.
DALE
(sweetly)
Did you get enough to eat?
TOM
Yes.
24.
Tom steps on into the dining area, pulls a chair out from the
table and sits down.
TOM (CONT’D)
(looking at her
plate)
Did you?
DALE
I wasn’t that hungry.
TOM
(sincerely)
Are you okay?
DALE
(fighting back
the tears)
No time to be a good wife.
No time to be a good mother
for that matter.
TOM
I’m not complaining.
DALE
No, but you wouldn’t, would
you?
(pausing, then)
I know it hurts that I’ve
gone along with the studio
in saying that you’re my
brother rather than my son.
TOM
It might be best for your
career…it just sounds silly to
me.
DALE
Best for my career. Sometimes
it seems you’re the only one
thinking about that.
TOM
Mister Yates might decide to do
a film version of Oklahoma at
some point.
25.
Dale pulls her plate in front of her and picks over the cold food
with a fork.
DALE
Maybe, but for now I’m stuck
appearing in a B western with
Roy Rogers. He’ll probably
turn out to be one of those
pretty boys who can’t pass
a mirror without looking at
It.
Dale gets to her feet and rubs her backside.
smile.
TOM
Did you have trouble riding
your horse again today?
Tom tries not to
DALE
(stacking the
dishes)
I’m about as rusty at that as
I am with my Spanish. I’m a
senorita who delivers lines
that sound like “Si, Si, you
all.”
Tom gets up and helps Dale clear the table.
TOM
I’ve seen your work, mom.
You’re better than you think
you are.
DALE
(not paying
attention)
I figure if I sink my teeth
into this role and give it
everything I’ve got, Yates will
see that I’m good enough for more
sophisticated parts.
As she lifts the plates off the table the divorce decree is
knocked to the floor. Tom retrieves the document and hands it to
Dale. She’s embarrassed.
26.
TOM
It’s going to be all right.
DALE
You think?
Tom nods. Dale pats his cheek and heads off into the kitchen
with the dishes and the divorce papers.
INT:
REPUBLIC STUDIOS SOUND STAGE – DAY
The set has been decorated to look like a grand fiesta, complete
with piñatas, vibrantly colored paper flowers and tables filled
with various Latin foods.
DANCERS dressed in Spanish costumes rehearse a number with a full
ORCHESTRA seated just beyond the stage. CREW and supporting CAST
MEMBERS help add the finishing touches to The Cowboy and the
Senorita set.
We follow a STAGEHAND as he hurries past the activity and races
towards a row of dressing rooms.
EXT:
DALE EVANS’S DRESSING ROOM – CONTINUOUS
The stagehand runs past a half closed dressing room door. A
temporary nameplate embossed with the name Dale Evans, hangs on
the outside of it.
INT:
DALE EVANS’S DRESSING ROOM – CONTINUOUS
Dale Evans, dressed in a spectacular Spanish gown sits at a
vanity, staring down at a wedding picture of she and ROBERT
BUTTS. She blinks away a tear and slips the photograph into an
open drawer.
She dries her eyes and fixes her makeup. While checking her look
in the mirror she spots 5 year-old Cheryl poking her head into
the room.
CHERYL
Hello.
Grinning, Dale turns around to face the child.
DALE
Hi there.
27.
Cheryl smiles and just then Linda Lou swings the door open and
enters. Arline quickly catches up to the girls.
hard so it must have been quite a chase.
She’s breathing
ARLINE
What have I told you girls about
running off like that?
(to Dale)
I hope they weren’t bothering
you?
DALE
Not at all. I’m Dale Evans.
ARLINE
Arline Rogers. And these two
are…
Dale walks over to the children and bends down in front of them.
DALE
Roy’s daughters.
(to Arline)
He talks about you three all the
time.
ARLINE
You’re getting off easy. He
could just as easily talk about
Trigger.
The women laugh.
DALE
Why don’t you come in for a while?
The girls can burn off that excess
energy playing with some of the
costume jewelry.
Arline smiles happily and enters the room with the girls in tow.
ARLINE
How are you doing? Has everyone
made you feel welcome?
Arline takes a seat on a couch and Dale returns to her dressing
table. It’s obvious Dale has been crying.
28.
DALE
They’ve all been wonderful.
I never expected it to be so…
It’s like family.
ARLINE
It is, isn’t it?
Dale presents the girls with a box of jewelry and the youngster
scamper to a corner of the room and begin going through the
necklaces and earrings.
ARLINE (CONT’D)
This crew would do anything for
you. Prop department, costuming,
makup…
(gently)
They’re real good at touching
up streaks made by tears.
Dale touches her face, then turns around in her chair to face her
reflection.
DALE
I thought I’d fixed that.
ARLINE
(kindly)
Powder can only do so much.
Tears well up in Dale’s eyes. She can’t hold back what’s on her
mind and heart and doesn’t want to.
DALE
My divorce was finalized
today.
Arline walks over to her and puts her arms around her.
sincerely feels for Dale.
She
ARLINE
I’m sorry. I’d be crying too.
(pausing, then)
Any children?
Dale dabs her face with a tissue.
Dale some space.
Arline backs off a bit, giving
29.
DALE
(hesitating,
then)
No.
Cheryl and Linda Lou walk over to Arline and show off the jewelry
they’re wearing. Arline kneels down next to them and wraps her
arms around them.
ARLINE
Well, we’ll be around a lot to
help you get through it all.
Won’t we girls?
The girls nod in agreement. Dale turns and looks into the
compassionate faces of the three looking up at her and forces a
smile. In the near distance we HEAR an ASSISTANT DIRECTOR SHOUT.
ASSISTANT DIRECTOR (O.S.)
Ready, Miss Evans.
Dale jumps up from her chair and hurries to the door. Before she
exits she glances back at Arline and the women smile warmly at
one another.
DALE
(sincerely)
Thank you.
Arline winks at her and Dale exits.
In the near distance we
HEAR an ORCHESTRA PLAYING the theme song to The Cowboy and the
Senorita.
DISSOLVE TO:
EXT: NBC RADIO STUDIOS, MONTHS LATER – DAY
A live studio AUDIENCE watch Roy Rogers and Dale Evans behind a
pair of microphones sing the theme song to The Cowboy and the
Senorita. The chemistry between the two is natural, innocent,
and effortless.
The crowd erupts in applause when the song is over. A
sophisticated radio HOST steps out of the wings and walks over to
his own microphone. He too is clapping.
HOST
(to audience)
They sound great together,
don’t they?
30.
HOST (CONT’D)
(to Roy & Dale)
That was wonderful. Roy
Rogers and Dale Evans, folks,
singing the title song from
the new western of the same
name. Incidentally, I’ve
seen the picture three times.
ROY
We sure appreciate it. Dale
and I had a good time making
it.
DALE
Trigger did too.
HOST
Dale, what was it like playing
opposite everyone’s favorite
cowboy and his horse?
DALE
It was a real joy. Nothing like
what I imagined. He’s got a
down-to-earth personality and
a zeal to entertain.
(beat)
And Roy wasn’t bad to work with
either.
The audience and host laugh at the joke.
HOST
Roy you save the day in this
picture with a couple of
amazing stunts. There’s a
lot of action in this film,
isn’t there?
ROY
There sure is. Kids of all
ages won’t be disappointed.
HOST
Folks, The Cowboy and the Senorita
is quite a treat. You’ll like
Dale Evans, Fuzzy Knight, Roy
Rogers…
31.
DALE
And Trigger.
HOST
That’s right. He is the smartest
horse in the movies.
DALE
That’s what he tells me.
The audience and Roy laugh.
HOST
How about favoring our audience
with another song from the film?
ROY
I reckon we could do that.
The audience cheer the two on and the music starts. The sound is
unique and pleasing. We see on the AUDIENCE faces that they love
the duo. They’re clearly a hit.
INT:
HERBERT YATES’S OFFICE – DAY
Yates sits behind his gigantic desk poring over paperwork. On
the wall surrounding him are awards, photographs of him with
famous actors and directors and props from the various movies
he’s produced. The whole office speaks of power.
Dale sits in a leather chair in front of Yates’s desk, staring
down at a script in her lap. The title reads: The Yellow Rose
of Texas. Dale does not look happy.
Yates on the other hand is beaming as he reviews the file of
newspaper clippings.
YATES
Does my spirit good to see the
major studios playing catch up.
Warner Brothers, Paramount,
Zanuck, all offering a version
of the singing cowboy. They’re
even trying to coax opera
singers into their westerns.
Republic beat them all to the
punch. And you and Roy are
public cowboy act number one.
32.
DALE
It’s not that I’m not grateful,
but…
YATES
Of course you’re grateful.
You’ve got to admit that your
time here has proved to be more
promising than time spent at
N-B-C radio working alongside
Edgar Bergen and that wooden
sidekick of his.
DALE
Mister Yates, I…
YATES
I’m giving you a permanent part
in the most popular team since
Robin Hood and Maid Marion.
DALE
I had hoped the reviews I got
in the last Roy Rogers’ picture
would open other doors here.
Sophisticated, artistic doors.
YATES
In time they might. But for now
movie going audiences like you
and Roy as a team. You sell
tickets and that’s what counts.
And I need those ticket sales to
offset the raise I was strongarmed into giving Rogers to pay to
answer his fan mail. You’re not
trying to strong arm me are you,
Miss Evans?
DALE
No, but I do think I could sell
tickets even if I wasn’t part of
a team.
Yates lays the file down and pushes himself back from his desk.
33.
YATES
Miss Evans, how many films did
you do at Republic prior to the
Roy Rogers’ movies?
DALE
Nine.
YATES
Any of them do as well as the
western?
DALE
No, but maybe now with better
roles…
YATES
Theatre managers across the
country want me to keep you paired
with Rogers. It’s good business.
DALE
(pausing, then)
What if I don’t want to do it?
YATES
(firmly)
You’re under contract. If you
refuse you’ll be suspended and
fined.
Yates steps out from behind his desk and pulls a chair over to
Dale. A long silence passes between them. Dale shifts
uncomfortably in her chair.
YATES (CONT’D)
(his voice softening)
Drastic steps like that could
ruin a career.
Dale studies the cover of the script in her lap, then slowly gets
to her feet. She lays the screenplay on Yates’s desk, but
doesn’t take her hands off the material.
YATES
There’s worse fates for an
actress than riding a horse
and letting the good guy know
the bad guy “went that-a-way.”
34.
She stares down at the script, reluctantly picks it up and heads
out of the room. Yates smiles triumphantly as he removes a cigar
from his suit jacket pocket and lights it.
INT:
ROY ROGERS’ HOME – LIVING ROOM – NIGHT
The four family members sit around the room, eating desert. The
girls color pictures in between bites and Roy and Arline relax on
the couch. Arline is six months pregnant.
Several magazines and newspapers are scattered across the top of
the coffee table. The front pages of Variety, the Kansas City
Star, Houston Chronicle and the Los Angeles Times all report the
success of Roy Rogers and Dale Evans.
Photographs of children dressed in cowboy gear huddled around a
news stand reading Roy Rogers comic books are prominently placed
under magazine headlines that read “Roy Rogers Tops Gene Autry as
All Time Cowboy Star.”
Movie posters of Roy and Dale’s last four movies are among the
periodicals. The duo’s pictures are splattered over the studio
promotions for the films She Wore A Yellow Ribbon, Song of
Nevada, San Fernando Valley, and Lights of Old Sante Fe.
Roy finishes off the last bite of pie and sits the plate and fork
on the newspapers in front of him.
ARLINE
The girls informed me earlier
today that they want a little
sister.
Roy sits back and puts his arm around his wife.
ROY
I hope it’s a boy, but I
wouldn’t mind another girl.
ARLINE
Dale is having a baby shower
for us in a couple of weeks.
ROY
That’s nice of her.
35.
ARLINE
Too bad she doesn’t have any
children of her own. She’d
make a wonderful mother.
ROY
I know she likes kids, but I
think she’s more interested
in her career.
ARLINE
I wouldn’t be too sure. At
times I think that might be just
as big an act as the one she
plays in those westerns.
Roy pulls his wife close to him and she rests her head on his
shoulder.
ARLINE (CONT’D)
I get the feeling sometimes that
she wants to tell me something,
but she stops herself.
ROY
Don’t worry about Dale. If you
sense she’s getting lonely, we
can let her take in our brood
for a few days. When these two
get wound up they’re like six
or seven kids.
The girls look up at their father and giggle. He jumps off the
couch, races over and starts tickling them. They love it.
ARLINE
(chuckling)
Which are you? Kid six or
seven?
A full moon pores into the giant picture window on the family and
in the background we HEAR a recording of ROY ROGERS SINGING “Rock
Me To Sleep in My Rocky Mountain Home.”
The music rises through the air and reaches back to a time
sixteen years earlier.
DISSOLVE TO:
36.
EXT:
INGLEWOOD, CALIFORNIA, 1930 - RADIO STATION - NIGHT
Several cars are parked outside the large building that houses
the KMCS studios. We HEAR the STRUMMING of BANJOS as we follow
three female MUSICIANS inside.
INT:
KMCS STUDIO - CONTINUOUS
A giant neon sign over a stage flashes the words “The Midnight
Frolic Show.” Five MEN are playing banjos for a few members of
the live AUDIENCE in front of them. The clock on the wall above
the musicians reads: 3:15 a.m..
OTIS JOAD, a portly, man about 60, with black, slicked back hair,
taps his foot to the beat of the music.
As the band concludes their number, Otis hurries to the
microphone, applauding and cheering loudly and encouraging
everyone around him to do the same.
OTIS
Boys, that was some mighty
fine pickin’ and singin’.
The talent parading across
The Midnight Frolic Show
this evening is inspired.
We’ll keep the entertainment going now with a
number from a young man
who cut his musical teeth
serenading folks on his
way out west from Ohio.
Let’s have a nice welcome
for Roy Rogers.
The studio audience politely claps. Roy sits among them, frozen
to his chair, tightening the grip on the neck of his guitar. His
mother, Mattie elbows him hard in the side.
MATTIE
This is your chance, son.
Roy snaps to after a quick moment and stands up. The applause
continues as Otis motions frantically for him to hurry on stage.
Roy makes his way onto the dais and stares out at the show goers.
His face is beat red. He’s scared to death.
37.
After an awkward bit of silence he begins strumming on his guitar
and singing.
He serenades the people with a song called “Rock Me To Sleep in
My Rocky Mountain Home.” During the chorus he yodels and the
audience is fascinated.
The song ends and the audience applauds enthusiastically. Otis
motions for a STAGE HAND to jot Roy’s name and number down. Roy
blushes, and shyly waves to the cheering people.
We can HEAR the CHEERING of the CROWD as another assembly of fans
gather sixteen years later.
DISSOLVE TO:
INT:
GLENDALE, CALIFORNIA, 1946 – THEATRE - NIGHT
Title Card:
Glendale, California, 1946
The movie house is jammed with excited patrons. Smiling MEN,
WOMEN, and CHILDREN occupy every available seat. They spill out
into the aisles and stand along the walls of the massive room.
The lights dim and the audience cheers. The picture begins and
on the screen the words: “America in the News” appears. Western
MUSIC is HEARD on the soundtrack.
As the booming voice of the narrator speaks, footage of Roy
Rogers, Dale Evans and supporting players in their films appear
on the screen.
The narration is accompanied with shots of thousands of PATRONS
across the United States waiting in line to see a Roy Rogers Dale
Evans movie.
NARRATOR (V.O.)
Intrigue and song fill the Old
West when America’s favorite
singing cowboy and cowgirl
ride the range. Roy Rogers
and Trigger, “the smartest
horse in movies,” along with
Dale Evans and her pony
Buttermilk, continue to tame
the rugged plains in their
most recent picture Bells
of Rosarita.
38.
Roy, Dale, Gabby, and their manager, ART RUSH, pose for pictures
from the back of a train and hand out literature about war bonds
to the throngs of FANS.
NARRATOR (V.O.)
Off screen the famous duo, along
with their manager Art Rush, are
doing their part for the war
effort by persuading patriotic
citizens to buy war bonds.
The King of Cowboys and the
Queen of the West and their
sidekick, Gabby Hayes all
agree that investing in war
bonds is a way Americans can
contribute to the financial
security of themselves and
their country.
Roy and Dale ride out in full gallop before a packed rodeo
stadium. CHILDREN dressed as miniature Roy Rogers applaud and
reach out to touch Roy as he shakes hands with those in the front
row.
NARRATOR (V.O.)
Millions of fans have pored
into theatres across the United
States since Roy and Dale teamed
up. Thousands of people line Roy
Rogers’ parade routes and rodeo
arenas overflow with happy
children of all ages.
Roy, Dale and Trigger perform for a group of young CHILDREN
propped up in their hospital beds. They visit with each one
personally and Roy allows a blind child to touch his face and
handle his six-shooters.
NARRATOR (V.O.)
Rogers and Evans even take
their act into hospitals to
visit with sick youngsters leaving the patients with a
smile and get well wishes.
Roy watches Dale jump aboard Buttermilk and run the horse through
a series of tricks. Dale’s riding skills have much improved.
39.
NARRATOR (V.O.)
Roy and Dale meet on the set
of the movie they are currently shooting entitled “The Man
from Oklahoma.”
Dale stands beside a piano at a saloon setting serenading Roy,
Gabby and the movie CREW.
NARRATOR (V.O.)
Dale Evans sings a popular tune
she wrote for Roy’s radio program.
Dale finishes singing the last verse of “Happy Trails to You” and
the onlookers applaud approvingly.
NARRATOR (V.O.)
It’s a song we hope will be a
standard in all their films.
Roy takes Trigger through the paces and the horse performs a
sequence of impressive stunts.
NARRATOR (V.O.)
A little bird tells us that
Trigger will be performing a
series of new tricks in this
picture - tricks no one has
ever seen any horse do.
Dale and Arline sit side by side in Dale’s dressing room, smiling
for the camera. It’s clear the two are good friends. It’s also
clear that Arline is in her last few weeks of pregnancy.
NARRATOR (V.O.)
Here’s Dale Evans and Arline
Rogers, Roy’s lovely wife,
passing the time in Dale’s
dressing room. And who’s
hiding in Dale’s costumes?
Five-year-old Cheryl and three-year-old Linda Lou march out from
behind a dressing screen wearing Dale’s hats and boots.
INT:
HOSPITAL - CORRIDOR - DAY
It’s very early in the morning.
40.
The sun barely peers in through the windows lining the hall.
races by them fast. He’s on the verge of breaking down.
Roy
He sails down the long lobby towards a group of stern-faced
NURSES and DOCTORS huddled in the doorway of a room. One of the
nurses spots Roy heading for the room. She grabs one of the
doctor’s arms and pulls him up to face the frantic man now upon
them.
ROY
I got down here as soon as I
could. Is it the baby? Is
my son all right?
DOCTOR
(calmly)
He’s fine, Mister Rogers.
(pausing, then)
It’s your wife. She’s suffered
an embolism.
ROY
(his voice cracking)
A what?
DOCTOR
A blood-clot broke free and
went to her heart. We tried
everything, but I’m afraid
there’s nothing more we can...
The doctor’s voice trails off.
on into Arline’s room.
INT:
Roy pushes past the medical staff
ARLINE’S ROOM - CONTINUOUS
Roy hurries over to his wife’s side and sits down on the bed next
to her. She is unconscious and her breathing shallow.
He takes her hand in his and kisses it.
face.
Tears stream down his
The doctor follows Roy into the room and stands in the doorway,
watching sympathetically. Roy strokes Arline’s hair and gently
kisses her cheek.
She breathes out her last breath.
heart flat-lines.
The machine monitoring her
41.
Roy buries his head in her chest, crying as hard as he can.
INT:
ART RUSH’S HOME - BEDROOM - DAY
MARY JO RUSH hurries into the room and shuffles over to her
husband, ART, who is still sleeping. She shakes him vigorously
and he quickly comes to.
MARY
Art, the phone
don’t know who
sounds urgent.
a child crying
JO
is for you. I
it is, but it
It sounded like
to me.
Art rolls over towards the nightstand and picks up the extension
next to the bed.
ART
(into phone)
Hello?
Art.
ROY (O.S.)
Arline’s dead.
Art sits bolt right up, Mary Jo looks on, anticipating the worst.
ART
(into phone)
Roy, where are you?
ROY (O.S.)
The hospital.
ART
(into phone)
Stay right there.
way.
INT:
I’m on my
HOSPITAL NURSERY - DAY
A NURSE bottle-feeds a happy, near sleeping baby BOY cradled in
her arms. She gently turns the band on the infant’s wrist until
the name Roy Rogers Jr.(Dusty), comes into view.
Under all of this we HEAR a recording of ROY ROGERS SINGING “At
the Rainbow‘s End” ACCOMPANIED by the SONS OF THE PIONEERS.
42.
EXT:
HOSPITAL - PARKING LOT - CONTINUOUS
The MUSIC continues as an exhausted Roy Rogers stands leaning
against his car with his hat in his hand, fighting to keep his
composure.
Several unknowing FANS approach the forlorn cowboy and plead with
him for an autograph. Tears stand in his eyes as he mechanically
signs each slip of paper handed to him.
He sobs as he scrolls his name and hands the autograph back to
the excited fans. They’re more focused on the autograph than the
broken man before them.
Art pulls his car into the lot and jumps out of his vehicle. He
starts for the entrance but stops when he notices Roy. He
watches Roy - he can see his spirit is broken. He chokes back
his own tears.
The MUSIC FADES OUT as Art walks over to Roy. The two men stare
sadly back at each other as Roy signs another autograph.
INT:
GLENDALE JUVINILE HOSPITAL – DAY
We HEAR the laughing and cheering of several CHILDREN as we read
a banner hung above a wide doorway leading into a burn unit.
CLOSE ON BANNER
Today! Roy Rogers and his world famous horse Trigger, with Gabby
Hayes and Dale Evans.
Bandaged, wheelchair bound and bed ridden youngsters ranging in
age from four to twelve stare wide eyed at Roy Rogers situated in
the front of the room.
They’re mesmerized by his quick draw demonstration. He jerks his
gun from his holster and twirls it around with great speed and
ease.
Gabby and Dale stand in the back near a table, cutting a cake
decorated with the image of Roy Rogers and Trigger across the
top. NURSES serve the desert Gabby and Dale place on plates to
the excited patients.
43.
GABBY
I couldn’t convince him to
take time off. Arline
hasn’t been gone any time
at all and he’s right back
in the saddle.
DALE
It’s probably the best thing
for him. It’s hard to think
about anything else when you’re
looking into the faces of these
kids.
GABBY
I don’t know how he’s going
to manage work, a home and three
children.
Dale watches Roy lean over one of the beds and stroke the hand of
a little boy whose head and eyes are bandages. The boy is all
smiles. Roy removes his gun from his pocket and places it in the
child’s hands. The boy is elated.
DALE
Things change so fast. One
minute you’re a whole family
with lots of promise and the
next you’re a single parent
trying to be both mother and
father to your boy.
GABBY
And the girls.
DALE
What?
GABBY
Cheryl and Linda Lou.
DALE
Right.
GABBY
How’s your brother taking
the news?
44.
DALE
It shook him up. He offered
to spend some time with the
girls. Maybe give them music
lessons during the next school
break.
GABBY
He’s a fine young man. Must
have been brought up right.
Dale shrugs and turns away from Gabby, embarrassed by the
statement.
Roy holsters his gun and reaches for his guitar. After tuning it
up he serenades the children with a chorus of “Happy Trail.” He
and Dale exchange a look and she gives him an encouraging smile.
Roy motions for Dale to join him in the second chorus of the song
and she kindly obliges.
ROY & DALE
(singing)
“Some trails are happy
others are blue. It’s
way you ride the trail
counts, here’s a happy
for you…”
ones,
the
that
one
As the song plays on we drift back to 1930.
DISSOLVE TO:
EXT:
CHICAGO, 1930 - DAY
Title Card:
Downtown Chicago, 1930
Skyscrapers stand guard over the busy streets filled with cars
and PEOPLE. Dale and four-year-old Tommy are among the throngs
scurrying about.
Hand and hand the pair trudge through the dirty snow until they
end up in front of a nightclub. The sandwich board sign at the
entrance of the building is partially covered with snow.
Pictures of the HEADLINE ACT and the BAND are clearly visible,
but the bottom half of the sign is lost in the white.
45.
Dale wipes the snow off revealing a line that reads: Wednesday
Nights - Prime Rib & Jazz Singer Dale Evans.
DALE
(to Tommy)
Now all I have to do is
register with all the
booking agents in town
and if we’re lucky I’ll
be working every night.
I might have to find a day
job too, but it’s highly
unlikely.
She bends down next to her son and reties the loose laces on his
hood.
DALE (CONT’D)
It won’t be so bad making it
on our own. At least we’ll
be together.
Tommy hugs his mother. Dale casts a wary look out over the city.
She’s driven, but scared. She takes Tommy by the hand and the
two continue on down the street.
A Montage:
Accompanied by Dale singing one of her jazz numbers.
1. Tommy sits alone in a chair in the lobby of a radio station,
watching his mother through a glass partition talking with the
program director. It’s obvious from his expression and manner
that Dale won’t be hired on there.
2. Dale sits behind a piano in a lounge, auditioning for the
club owners. Tommy is seated nearby. The men shake their heads
politely.
3. Another radio station. Dale exits the general manager’s
office disappointed, but wearing a forced smile for her son
waiting on the other side of the door. The pair exit the
building, continuing their quest for work.
4. Dale stands center stage at an upscale nightclub, singing.
The club manager is on the phone and not paying much attention to
her. Tommy sits off in a corner, eating a sandwich Dale made for
him and packed in a paper-bag.
5. One more radio station. It’s late. Tommy struggles to stay
awake as he sits in a big, leather chair in the lobby. Dale
exits the program director’s office, carrying her music reel and
resume with her. She looks tired, dejected.
46.
INT:
DINER - NIGHT
Dale and Tommy are the only ones in the all night eatery. She
nurses a cup of coffee and dines on a meal of crackers. Tommy is
asleep beside her, his head in her lap.
She empties her purse of the change she has and separates what
she thinks she’ll owe the diner from the rest of the coins.
There’s just a few pennies left.
She lifts her son’s head up and lays it back down on the seat.
After watching him sleep for a moment she walks over to a nearby
phone booth and steps inside.
INT:
PHONE BOOTH - CONTINUOUS
Keeping a close eye on Tommy, Dale picks up the receiver and
dials.
DALE
(into phone)
Yes, operator, collect to
Betty Sue Evans in Uvalde,
Texas.
(pausing, then)
Momma? We’re fine. I found
work today. They needed
someone right away and I
could do the job. No,
it’s not singing full time.
I’m a secretary again.
You’d like the place. The
office overlooks the lake.
Yes, I have enough money.
Things are going to be fine.
Give my love to dad. I
love you too.
She slowly hangs up the phone. It’s been a long day and she so
tired. She checks the coin return for some change, but comes up
empty.
INT:
DINER - CONTINUOUS
She shuffles back to her seat and reviews the bill laying on top
of the table. It reads $.15. She separates two nickels and a
dime from the change on the table, slips her coat on, picks Tommy
up, and covers him with his coat.
47.
She eyes the change on the table, deciding before she leaves to
take back the nickel she’d left for the tip. She exits the diner
softly singing the hymn “Where He Leads Me” to her sleeping son.
The music plays and propels us ahead seventeen years.
DISSOLVE TO:
EXT:
REPUBLIC PICTURES STUDIO, 1947 – DAY
The lot is busy with activity. ACTORS, FILM CREWS, TECHINIANS
hurry from one sound stage to another.
INT:
HERBERT YATES’S OFFICE – DAY
Roy knocks on the door as he opens it and sticks his head in.
Yates is in the corner of the room by a bar, pouring himself a
drink.
YATES
(glancing up)
Roy, come on in.
Roy removes his cowboy hat as he enters and walks over to a table
in the center of the room. A 16mm projector, pointed at a screen
on the opposite wall, sits in the middle of the table. Two
chairs are positioned on either side.
Roy removes his cowboy hat as he enters and walks over to a table
in the center of the room. A 16mm projector, pointed at a screen
on the opposite wall, sits in the middle of the table. Two
chairs are positioned on either side.
YATES (CONT’D)
Can I get you something? I
was going to sample this
forty year old scotch I got
from one of my directors.
No, sir.
ROY
Thanks anyway.
Yates walks over to the table in the center of the room and
motions for Roy to take a seat. Both men sit on opposite sides
of the projector. Roy is uncomfortable, suspicious.
Yates looks like the cat that swallowed the canary.
48.
YATES
I want to show you something,
Roy.
Yates flips a switch on the table that turns out the lights, then
flips on the projector. Both watch the images reflected on the
screen in front of them.
CLOSE ON SCREEN
We see a French tavern setting.
talking and sipping champagne.
Costume clad ACTORS mill around,
YATES (O.S.)
This scene is from the movie
Storm Over Lisbon. Republic’s
version of Casablanca. It
didn’t do half bad. And
here’s the reason why.
Actor RICHARD ARLEN’S face fills the screen.
with rugged features and a muscular build.
He’s a handsome man
YATES (O.S.) (CONT’D)
Richard Arlen. The women love
him. And the fact that he was a
World War II fighter pilot makes
him appealing to men as well.
ROY (O.S.)
(mystified)
I guess it does at that.
Yates flips the projector off and turns the lights back on.
YATES
What was the name you were
using when you signed with
Republic?
ROY
Dick Weston.
YATES
(pleasantly and
smoothly)
And I changed it to Roy
Rogers.
49.
YATES (CONT’D)
Then I put you in a series of
films that made you a box
office sensation.
ROY
Is there a complaint about the
generous return you made off
the investment?
YATES
(sipping on
his drink)
Just taking stock of my holdings…and hoping this little talk
persuades you to do the same.
(thinking, then)
Any idea how many personal
appearances you make? How
many products you lend your
name to?
Roy studies Yates for a moment. He knows he’s trying to bait
him, but he’s not falling for it.
ROY
When I signed on here eleven
years ago I made $75 a week.
right now I make $150. In
comparison to what Republic
executives make that’s not
enough to pay their chauffeur’s
yearly salary.
YATES
(vehemently)
Republic made you.
ROY
My contract gives me the
right to use my name and
likeness.
YATES
You owe this studio.
ROY
I give Republic a hard day’s
work and then some.
50.
YATES
I can replace you with Richard
Arlen.
ROY
(staring Yates
down)
You can, but you won’t. Those
dollar signs in your eyes,
which are substantially bigger
than what Autry brought in,
will keep you from letting
Trigger and I ride off just
yet.
Yates is furious.
He slams his drink back and gets to his feet.
YATES
I’m putting Arlen under contract.
Roy stands up and faces Yates. The two look like a pair of
gunfighters ready to draw on one another.
ROY
(coolly)
You need to make plans for
your future. I’m looking
ahead too. I’ve been hearing about the growing interest in television. They’ll
need product once it’s
fully developed. I can
give them that.
He walks to the door.
Yates is boiling.
YATES
Television. That’s quite a
risk. I wouldn’t do it if I
were you.
Roy reaches the door, opens it and turns back to Yates. He gives
him a look that lets Yates know he can’t be manipulated. He
places his cowboy hat back on his head and exits.
51.
INT:
REPUBLIC STUDIOS – BARN SETTING – DAY
Another Roy Rogers Dale Evans movie is being shot.
Dale Evans dressed in a long, flowing gown with plenty of
crinoline and lace, hurries into the barn. Unbeknownst to her,
the wig she is wearing falls off just as she slams the wooden
doors shut.
She continues on with the scene unaware that there is a problem.
A knock on the door is the first sign that things are not as they
should be. She walks over to the door and opens it. Roy is on
the other side with the wig on his head.
The CREW and the actors laugh heartily. Roy places the wig back
on Dale’s head. And she mugs for the cameras that continue to
roll. A director yells “Cut!” and the action ceases.
A HAIR DRESSER and a SET DIRECTOR rush onto the scene and make
adjustments. Roy and Dale sit down on a bale of hay on the set
out of the way of the crew. Dale fixes her wig.
DALE
I think this thing looks more
like a horses tail than a wig.
If fans keep pulling the hairs
out of Trigger’s tail he might
need to borrow this.
ROY
That’s not a bad idea.
DALE
As long as I can borrow it
back if I need it.
He checks his watch and glances over at a nearby phone currently
in use.
DALE
(playfully)
I’m not keeping you from anythink am I?
52.
ROY
I’ve got to use the phone to
let the nanny know I’ll be
on my way home soon.
DALE
Is everything all right?
He shrugs, trying not to look too worried.
ROY
My girls are sick. I’ve got
to get them to a doctor this
afternoon. I know it’s just
a cold, but…
Dale gives him a reassuring smile.
DALE
They’re going to be fine.
Getting sick is a part of being a kid. Measels, chickenpox, sniffles…. They’re
amazingly resilient.
ROY
I know, but I can’t let anything happen to them.
Dale puts her arm around Roy and gives him a pat.
thinking of Arline. It’s a friendly gesture.
She knows he’s
DALE
Nothing will. Not like
that.
ROY
Yeah.
(beat)
It’s just a cold.
DALE
Why don’t I call the nanny and
let her know you’re on the way
home and you can get out of here.
I’ll talk the director into
picking up where we left off
tomorrow.
53.
He checks his watch and nods.
ROY
I think I’ll do that.
Senorita.
Adios
Roy smiles and hurries off to look after his children.
As he
leaves a STAGE HAND walks onto the set and presents Dale with a
package. The front of the package is labeled “Property of
Republic Studios.”
She knows what’s inside. She takes a deep breath and opens the
package. It’s just as she suspected, a script for another Roy
Rogers movie.
CLOSE ON SCRIPT COVER
“The Bells of San Angelo. Starring Roy Rogers, Trigger, the
Smartest Horse in the West, Gabby Hayes and Dale Evans.” As she
reads the cover Trigger saunters up behind her and brushes her
shoulder with his nose.
DALE
(to Trigger)
Don’t worry. You’re still
listed right up there next to
the King.
(thinking, then)
The cowboy, his horse, the
sidekick. The one time
Broadway bound, serious
actress…. The best roles in
Hollywood are going to everyone else because no one can
see me doing anything other
than following after you and
Roy.
(leafing through
script)
If I want better roles I’m
going to have to make some
sacrifices.
Trigger whinnies.
She scratches his nose.
DALE
Oh, they can’t do without
you. You have to take the
hero off into the sunset.
54.
She removes her wig and walks off the set, taking the script with
her. A CREW MEMBER flips on a nearby radio as she walks past.
RADIO ANNOUNCER (O.S.)
Hold onto your saddles,
listeners. It’s time for that
popular Dale Evans’ tune, “Don’t
Fall in Love with a Cowboy Be-
cause He’ll Love His Horse the
Best.”
The MUSIC starts and we HEAR DALE’S SONG.
INT:
ROY ROGERS’ HOME – LIVING ROOM – NIGHT
The room is covered with various children’s activities.
There’s a small table with a play tea service and dolls, another
corner is filled with coloring books and crayons.
Blankets draped over the sides of the furniture make sizeable
tents. Toy arrows lay around the tent. Baby toys, clothes and
shoes line the floor.
The SOUND of Cheryl and Linda Lou SINGING float out of the
kitchen. We also HEAR the CLANGING of POTS and PANS. The
DOORBELL RINGS and we HEAR the GIRLS letting their father know
that someone is at the door.
A disheveled Roy exits the kitchen wearing an apron and carrying
nine month old DUSTY on his hip. Four year-old Linda Lou is on
his back and 6 year-old Cheryl is holding onto his pant leg. The
DOORBELL RINGS again.
ROY
We’re on the way.
Roy opens the door and Dale is on the other side holding two
sacks of groceries. Cheryl rushes to her and hugs her leg.
Linda Lou and Dusty are happy to see her as well.
ROY (CONT’D)
(sincerely)
What a nice surprise.
55.
DALE
I heard my favorite girls were
under the weather so I stopped
by to see how they were doing.
LINDA LOU
What’s in the bags?
DALE
All kinds of good stuff to eat.
Are you hungry?
CHERYL
(nodding)
Daddy burnt the soup.
ROY
(playfully)
Blabbermouth.
DALE
Let’s see what damage I can do.
Roy steps out of the way. As they pass through the living room
on the way to the kitchen Dale can’t help but notice the
disarray. She and Roy exchange a look and he shrugs.
ROY
The Indians were on the warpath.
She laughs as he leads her into the kitchen.
INT:
ROY ROGERS’ HOME – KITCHEN – CONTINUOUS
Dale sets the groceries on the cluttered counter and starts
putting the food away. The room is a mess. Dishes are lying
around, broken eggs are on the table and flour is everywhere.
ROY
It’s not too bad, is it?
Dale chuckles and grabs a couple of chairs and moves them to the
sink.
DALE
Okay. One of you girls can
wash and the other one can
dry.
56.
The girls happily comply as Dale fills the sink with soapy water.
Roy looks on not knowing what to do.
DALE (CONT’D)
Roy, you clear off the table.
Dusty reaches out for her.
DALE (CONT’D)
(taking Dusty)
I’ll take this little guy and
get started on dinner. How do
hotdogs and macaroni and cheese
sound?
The girls cheer as they wash the dishes. Dale kisses Dusty’s
face and places him in his highchair. She opens a nearby box of
puffed wheat, gives him a handful and goes about fixing dinner.
ROY
You don’t have to do this,
Dale.
DALE
I want to. Tommy is at band
practice and I was going to
be alone so…
Roy collapses into a chair at the table.
He looks exhausted.
ROY
Eating alone. I’d like to try
that sometime. I came from a
big family. Meal times were a
busy time. Everyone around the
table talking, laughing, eating.
DALE
Sounds like heaven to me.
ROY
You’re good with kids.
DALE
Well, I used to be one.
57.
ROY
So, what did you think of the
new script?
Dale doesn’t say anything for a moment.
gives it to Dusty.
She grabs a bottle and
DALE
It’s fine. Lot more action,
more riding. It takes awhile,
but the hero wins in the end.
ROY
Will Rogers told me once that
being a hero was about the
shortest lived profession on
earth.
DALE
I guess that’s true…for some.
Roy watches his children and suddenly becomes quiet and
thoughtful. Dales continues on with her task.
ROY
I’ll tell you a secret, Dale.
I still miss her.
She sets her work aside, turns to Roy and gives him a sympathetic
smile.
DALE
I know.
ROY
(regaining his
composure)
Why didn’t you have a crowd of
children? You’d make a great
mom.
Guilt washes over Dale as she considers Tommy.
DALE
I’m not so sure about that.
You have to be willing to put
them ahead of everything.
58.
ROY
You don’t think you’d do that?
DALE
(pausing, then)
I didn’t.
(beat)
Just ask Tommy.
Roy is confused by the comment.
ROY
He’s a fine young man.
loves you very much.
DALE
Yeah, he does.
He
There is a moment of silence as Dale contemplates the truth she
desperately wants to share.
DALE (CONT’D)
(finally)
And now I’ll tell you a
secret.
(hesitating, then)
Tommy isn’t my brother.
my son.
He’s
Roy is taken aback. Dale leaves her cooking and sits down at the
table across from him.
DALE (CONT’D)
The studio asked me to lie
about who he really was…
(tears welling
up in her eyes)
At first I rationalized the
deception by telling myself
that the money I make will
buy him a fine education.
ROY
Oh, Dale…
He reaches out and takes her hand. She blinks away the tears.
Dale squeezes Roy’s hand and starts setting the table. The girls
leave the dishes in the sink and take their place around the
table.
59.
CHERYL
I want to say grace this time.
ROY
Go right ahead.
CHERYL
Everybody hold hands.
Dale sits down and the five join hands and bow their heads.
CHERYL (CONT’D)
God is great. God is good.
Let us thank him for our
food. Amen.
Roy looks over at Dale. A great sense of warmth and contentment
permeates the air. Dale closes her eyes and her thoughts drift
back in time.
DISSOLVE TO:
EXT:
CHICAGO, 1931 - DAY
Title Card:
Downtown Chicago, 1931
Cars and buses flood the business area.
from one skyscraper to another.
INT:
PEOPLE make their way
WORLDWIDE INSURANCE OFFICE - CONTINUOUS
The business is teaming with activity. EMPLOYEES scurry about
like ants. Dale sits behind a typewriter in the center of the
commotion, working. We HEAR a RECORDING of HER SINGING the HYMN
“WHERE HE LEADS ME” under the busyness.
The corner of her desk is filled with files and forms. No sooner
than she gets one claim prepared and sits it aside, another one
needing to be typed is placed in front of her.
INT:
CITY BUS - NIGHT
Dale sits in the back of the crowded vehicle, reviewing her
paycheck.
CLOSE ON PAYCHECK
“First Month’s Pay - $15.00.”
60.
She removes
She studies
babysitter,
very little
a small notepad from her purse and flips it open.
the expenses listed, rent, clothing, utilities,
food. Her paycheck will cover the bills, but leave
for food.
It’s a dismal situation. She stares out at the city, resting her
weary head against the window. A single tear glides down her
cheek.
INT:
DALE AND TOMMY’S APARTMENT - DAY
A very small one room affair overlooking a train yard. Tommy and
Dale sit across from one another at the kitchen table a stack of
pancakes between them.
Dale places a lit candle in the center of the stack and sings
“Happy Birthday” to her son.
Five-year-old Tommy grins from ear to ear. He looks thin and
fatigued. Dale looks exhausted and pale. Her eyes appear to be
sunken and dark circles hang under them.
She finishes the song and Tommy happily blows out the candle.
TOMMY
Thanks, mom.
He quickly digs into the feast, smacking his lips as he eats.
Dale watches him enjoy his breakfast.
TOMMY
Aren’t you going to have
some?
DALE
No. That’s for you.
I’m not at all hungry.
Tommy knows she’s not telling the truth. He smiles lovingly at
her and she knows that he knows. She glances over at a small
package wrapped in brown paper.
TOMMY
Is that for me?
Nodding, she hands him the bundle and he quickly tears into the
present. Inside is a red top.
61.
He beams at the gift and immediately gives it a spin. Dale then
hands him a rolled up piece of paper tied with a tattered, green
ribbon.
TOMMY
This is mine too?
is it?
What
He slides the tie off and unfurls the paper.
DALE
I wrote a song for you.
TOMMY
(proudly)
I bet I’m the only kid in
school who has their own
song.
DALE
You could be right. Why
don’t I sing it to you
while you finish your
breakfast?
Tommy nods and returns to his pancakes.
music and starts to sing.
Dale looks over the
DALE
(singing)
Life at times is fast,
and there never seems to
be enough to say all the
things I have in my heart
for you. Nothing could be
more true. I’m so blessed to
have a son like you.
As the song continues, Tommy stops eating and sits quietly
listening. Dale finishes the tune and the pair smile at each
other.
DALE
Eat up. You’re going to
be late for school.
62.
TOMMY
(staring at his food)
I’m full.
Dale knows that’s not true, but loves him for the sacrifice.
DALE
(fighting back
the tears)
Then go brush your teeth.
He hurries out of the room, humming the song his mother just sang
to him. She eyes the leftover pancakes and after a moment
decides to have a taste. Before she realizes it, she’s finished
the pancakes.
She closes her eyes as she chew, savoring the last bite.
she opens her eyes again we return to 1946.
When
DISSOLVE TO:
EXT:
WESTERN MOVIE SET, 1946 - DAY
Title Card:
Republic Studios Back Lot, 1946
Gabby, Dale and Roy sit next to one another at an old wooden
table in front of a Sheriff’s office.
at the ready nearby.
Trigger and Art Rush stand
A regiment of REPORTERS and PHOTOGRAPHERS snap pictures of the
three as they smile and pose. They are relaxed and happy.
ROY
“Apache Rose” is our ninth
picture together. It opens
this week and I do believe it’s
one of my favorite films. I’m
an oil prospector and a group
of gamblers get me locked up
in jail. Trigger helps me get
to the bottom of the film’s
mystery.
GABBY
(playfully)
Some of his other friends
lend a hand along the way.
63.
GABBY (CONT’D)
Trigger can do a lot, but he
can’t sing himself out of a
tight spot like Dale can.
ROY
We’re working on that, Gabby.
The reporters laugh along with the cast.
1ST REPORTER
Miss Evans, Trigger’s name
always appears before yours
in the credits. Is there a
healthy competition between you
and Trigger?
DALE
I get asked that a lot. First
of all, Trigger is a great horse.
I know the credits read Roy
Rogers and Trigger, Sons of the
Pioneers, Gabby Hayes, and
Dale Evans. But I feel blessed
to work with such talent.
2ND REPORTER
Dale, tell us about Roy Rogers.
Dale smiles at Roy for a moment, then turns to the reporters.
DALE
He is simply a wonderful, real
person. A love to get along
with. He’s a very humble man,
a fine actor and easy on the
eyes.
Roy blushes a bit and shakes his head.
ROY
Thank you kindly, Ma’am.
GABBY
(to Dale)
You keep that up and he won’t
be humble for long.
64.
It’s hard not to see there is something going on between Roy and
Dale. It’s a spark, a smile, a look - a friendship on the verge
of a romance.
1ST REPORTER
What will your next film be?
Roy is locked in a gaze with Dale and the question doesn’t
register at first.
ROY
I’m sorry. Could you repeat the question.
GABBY
(teasing)
Yes, please. It’s hard to
hear over all this admiration.
1ST REPORTER
Your next picture?
ROY
“Roll on Texas Moon.” I play
a trouble-shooter who puts
a stop to a cattlemen versus
sheepmen range war. Dale
plays the heroine who steals
my heart.
GABBY
They offered me that part
first, but I thought she’d
do a better job.
The three actors laugh again. Dale links arms with her costars
and Roy cups his hand over hers and gives it an affectionate pat.
INT:
BROWN DERBY RESTAURANT – LOBBY – DAY
Dale enters the posh eatery and is greeted by a tuxedo clad HOST.
Looking out over the dining room floor she spots Yates and three
other Republic EXECUTIVES at a table.
65.
INT:
BROWN DERBY RESTAURANT – DINING ROOM - CONTINUOUS
As Dale approaches Yates’s table she can hear the men laughing
and Yates talking.
YATES
I’m not saying they aren’t
capable. Ticket sales prove
just the opposite. I’m simply
pointing out that they’re more
cowboy than actor. That being
said, westerns are the only
place we can use talent with
such limited range. So lets
hope the genre holds out.
Dale stands frozen for a moment. The comment has obviously
disturbed her. She knows he was talking about Roy and her.
Yates suddenly notices Dale out of the corner of his eye.
YATES (CONT’D)
(turning to Dale,
cheerfully)
There she is. The queen of the
west.
DALE
(determined to
be polite)
Good evening.
The men rise as Dale takes her place in one of the chairs across
from Yates.
YATES
Where’s your agent?
Art come with you?
No.
Didn’t
DALE
Not for this meeting.
YATES
(gushing cheerfully)
Oh, this isn’t so much a meeting as it is an appreciation
dinner.
66.
YATES (CONT’D)
We’re grateful for your contributions at Republic and
look forward to many years
of box office success.
Yates hands Dale a glass of champagne. The men raise their
glasses to her and drink a toast. She doesn’t follow suit.
YATES (CONT’D)
Dale, did you by any chance see
the picture Judy Garland did
for M-G-M called The Harvey
Girls?
DALE
Yes I did.
YATES
The screenplay was written by a
talented fellow named Edmund
Beloin. I think I can persuade him to write a western
for you and Roy once he’s
finished the Bob Hope picture
he’s doing.
DALE
I’m familiar with his work and
he’s very good, but I don’t
plan on doing another western.
She sits her drink down and glances around the table at the blank
stares looking back at her. Yates is thrown for a minute, but
then begins chuckling. He thinks she’s joking.
YATES
Well, of course. At least not
until you renew your contract.
After all, that’s what this
evening is about.
DALE
I’d like to do something besides westerns.
Yates laughs and encourages the other men with him to do the
same. He still doesn’t believe she’s serious. Dale’s serious
expression does not change.
67.
Yates slowly realizes she’s not kidding around.
YATES
Now, Dale. We’ve discussed this.
You’re the queen of the west.
This is not the time to branch
out into other roles.
DALE
R-K-O is producing a lavish
picture with Eddie Cantor and
Joan Davis and they want me to
play the ingénue part.
YATES
(dully)
R-K-O?
DALE
I’m going to take the role they
offered. I’m sorry, but I won’t
be renewing my contract.
YATES
(anger building)
And you don’t want to talk this
over with your agent?
DALE
My mind is made up. This is
the break I’ve been waiting
for. My chance to prove I’m
more actress than cowboy.
With that comment Yates realizes she had overheard his
conversation. His actions don’t bother him as much as Dale’s.
YATES
(firmly)
I sincerely hope you don’t
come to regret this decision.
He’s furious and fights to keep his composure.
smiles at his frustration.
Dale almost
YATES (CONT’D)
Did you have any other statement to make?
68.
DALE
Yes, as a matter of fact. I’d
like to be the one to break the
news to Roy myself. We’ve become very good friends and I’d
like him to hear it from me
first.
No one says a word.
The executives are stunned by the news.
DALE (CONT’D)
Under the circumstances I don’t
think I’ll be staying for the
appreciation dinner.
YATES
(right back)
Finally, something we agree on.
Dale excuses herself from the table and heads to the exit.
slams his napkin into his plate.
Yates
YATES (CONT’D)
(to executives)
Under the circumstances I don’t
think you’ll be staying for
dinner either. No one eats
until we find a replacement for
Dale Evans.
EXT:
LOS ANGELES COLISEUM – DAY
Roy and Dale stand on a massive stage behind a pair of
microphones, singing “Cool Water” to a sold out crowd.
The SONS OF THE PIONEER play and sing backup on the song they’re
serenading the audience with. Gabby sits off to the side tapping
his foot to the music.
Dale watches Roy sing and glances fondly out over the fans.
realizes how much she’ll miss this.
She
The audience erupts in applause once the song ends. Roy and Dale
take a bow, then yield to the Sons of the Pioneers who also take
a bow.
ROY
Thank you kindly for that warm
reception.
69.
ROY (CONT’D)
We’re grateful to be here.
I’m told that more than one
hundred and five thousand
folks came out today.
Trigger, Gabby, the Sons of
the Pioneers, Dale and myself
are pleased you invited us to
be with you.
The crowd cheers and applauds. Just then Trigger comes out into
the arena with the reins of another horse in his teeth. The
crowd goes wild.
ROY (CONT’D)
Howdy, Trigger. I see you’ve
brought a friend with you.
How are you, Buttermilk?
DALE
You’re not feeling left out
are you, boy?
Buttermilk nods his head and the audience laughs.
ROY
I’m sure sorry about that,
Buttermilk. Why don’t you
take a bow. You too, Trigger.
The two animals bow and the audience cheers loudly. Trigger
takes Buttermilk’s reins in his teeth again and leads him out of
the arena.
DALE
I’m not sure Buttermilk is all
horse. I think he’s got a
little ham in him too.
The audience and Roy laugh.
ROY
Before we sing our last song I
want to say a special thank
you to the lady that wrote the
number, my costar, Dale Evans.
70.
ROY (CONT’D)
She’s a warm, likable cowhand
who doesn’t mind hard work and
is just flooding over with
talent.
(looking over at
Dale)
We don’t say it near enough but,
the boys and I are proud we know
you.
The Sons of the Pioneers agree with Roy and the crowd cheers.
The band starts to play Happy Trails and Dale and Roy sing a
chorus. Roy applauds her and so does the band.
Dale is teary-eyed as they wave to the crowd and exit the stage.
The audience gives her a standing ovation.
EXT:
LOS ANGELES COLISEUM - BACKSTAGE AREA – CONTINUOUS
A flood of tears fall from Dale’s eyes. Roy is perplexed.
This is more than just being moved by his gracious gesture.
ROY
(a little
worried)
Did I say something wrong?
DALE
(wiping her
eyes)
No, far from it. I appreciate everything nice you had
to say.
She sits down on the steps of the stage, sobbing.
ROY
Hate to think what you’d be
like if I was trying to hurt
your feelings.
Dale blows her nose and continues to cry.
Roy walks over to her
and drapes his arm around her shoulder.
DALE
Roy, I’m moving on.
leaving Republic.
I’m
71.
Roy is stunned. He sits down beside her looking like he’s had
the wind knocked out of him.
ROY
I hate to hear that.
DALE
I’d like to see how I do in
other kinds of movies. I want
to do something big. Something important.
ROY
(quietly)
You know, Dale, when I look
out at the faces of all the
people who come to see us I
feel we did do something important in their lives.
She realizes she hurt his feelings and some of the tears she’s
shedding are because of that.
DALE
(unhappily)
I know, Roy. I wish I felt…
But I’ve been in the same
role for too long. I just
feel like if I don’t go now
it’ll never happen for me.
ROY
Yes…yes…you’re right, Dale.
DALE
You see what I mean, don’t
you?
ROY
(smiling)
The Lord blessed you with an
abundance of talent. Republic
wasn’t smart enough to use it
all.
He takes the handkerchief from her and wipes her eyes.
72.
ROY (CONT’D)
(sincerely)
You’ll be missed.
DALE
Roy Rogers’ fans probably won’t
even notice.
ROY
Sure they will. But I wasn’t
just talking about the fans.
A sea of FANS flood the backstage, anxious to get an autograph
and shake hands with the pair. The pressing crowd separates the
two until they’re standing at opposite ends of the area.
Roy kindly signs autographs for the eager ticket buyers.
watches him for a moment, thinking about her decision.
INT:
Dale
RKO FILM STUDIOS – MOTION PICTURE SET – NIGHT
The set looks like the inside of a posh nightclub. Tables and
chairs surround a large dance floor and directly behind that is
an area for a band, complete with a string section.
Dale is positioned in the center of the dance floor, surrounded
by MAKEUP ARTISTS and LIGHTING TECHNICIANS. Cameras, CAMERA
OPERATORS and GRIPS flank the floor on all sides.
When the crew steps away from Dale we see for the first time how
glamorous she looks. Her hair is elegantly style and pinned up,
her stunning gown and jewelry sparkle. The look is a stark
contrast from the fringed cowgirl skirts and boots. She is a
vision.
The crew quietly goes about their work. They speak in soft tones
and of business only. It’s very formal and stiff in comparison
to the environment Dale was used to working on the westerns.
Even the EXTRAS seated at the tables that make up the audience
Dale will be singing to, seem stoic and single minded. She tries
to make small talk with a MAKEUP ARTISTS touching up her face.
73.
DALE
Guess I’ll have to get used
to someone fixing my face
between takes.
The makeup artist says nothing as he continues on with his work.
DALE (CONT’D)
I had to powder my own nose.
(playfully)
Gabby Hayes powdered his own
nose too.
MAKEUP ARTIST
(politely)
They like to let the professionals handle it here at
R-K-O.
DALE
(embarrassed)
Of course. That’s a better
idea.
(trying to
recover)
Have the other cast members
arrived yet?
MAKEUP ARTIST
No. I don’t think we’ll see
them today. It’s my understanding that we’ll only be
shooting your solo number.
DALE
Yes, that’s what the director
told me too. I just thought
the others would be on the
set somewhere.
MAKEUP ARTIST
I doubt they’ll show up at
all.
DALE
What do you mean?
74.
MAKEUP ARTIST
R-K-O has been trying to get
this picture off the ground for
months. The director wanted to
get some of the nonessential
scenes shot while we wait for the
full go ahead.
Dale is flustered by the comment, but tries not to show it too
much.
DALE
What’s the hold up?
MAKEUP ARTIST
My guess is the executives in
charge want to hold onto their
money a bit longer in case a
better script comes along.
DALE
(a little
worried)
So there’s a chance this film
won’t get made?
MAKEUP ARTIST
It doesn’t happen often, but it
does happen. They’re paying us
to work today so I suppose
that’s what we have to focus on.
(to director)
She’s ready.
The crew backs away from the set completely, leaving Dale in the
center of the action, alone. Her mind reeling from the news
she’s just received.
DIRECTOR (O.S.)
Dale, in this scene you’re
performing a melancholy number
from your act. As you sing I
want to see how tormented you
are over the love of you’re
life seemingly turning against
you. Cue the music.
The band starts to play and Dale struggles to fix her thoughts on
the business at hand.
75.
The expression she wears as she sings “I Surrender, Dear,” is the
exact one the director was hoping for.
DALE
(singing)
“We’ve played the game of stay
away, but it costs more than I
can pay. Without you I can’t
make my way, I surrender, dear.”
Dale sings like an angel. Her face shows the agony she is indeed
feeling. There’s hidden meaning in the music for her. When the
song ends she looks around the room at the cast and crew. She
doesn’t see a single friendly face.
EXT:
REPUBLIC STUDIOS – BACK LOT – DAY
Roy Rogers and his new leading lady, JANE FRAZEE, lean against a
buckboard, posing for pictures. A PHOTOGRAPHER snaps a series of
still shots, publicity pictures for their new movie.
Next to the buckboard is giant poster from the film Jane and Roy
are featured. The title Springtime in the Sierras is scrawled
across the top. Jane is an attractive brunette with dark eyes.
She and Roy make a handsome twosome.
JANE
I’m so glad I got a chance
to work with you and Gabby.
ROY
It was our pleasure.
The photographer steps in and repositions the couple. He has
them stand cheek to cheek. Jane thinks nothing about the pose,
but Roy appears a little bashful, reserved. Jane chuckles. She
finds his reaction charming.
JANE
I never would have guessed
that the number one box
office star in the country
would be shy.
ROY
For the most part I guess
I am.
76.
JANE
I always heard that bashful
people are aggressive at
heart. Are any of your
children shy?
ROY
My youngest daughter has her
moments. Her mother and Dale
Evans were the ones that
seemed to be able to draw her
out.
JANE
I can’t imagine anyone who
could stay timid around Dale.
She got one of the most vivacious personalities you’d ever
want to meet. She left big
boots to fill…in more ways
than one.
A TRAINER escorts Trigger over to Roy and the photographer stops
shooting.
ROY
(to photographer)
Looks like it’s time to take
a few pictures with Trigger.
Roy takes Trigger’s halter and turns him around towards the
camera. Jane reaches up and rubs the horse’s nose.
JANE
You think he’ll mind?
ROY
He might of before Dale, but
she used him to practice staying in the saddle when the
ride rears back. He takes to
lady riders just fine now.
Roy helps Jane mount Trigger. She is very dainty and deliberate.
There is a noticeable difference between the way Dale sat a horse
and the way Jane does. Jane sits side saddle.
77.
JANE
I hope fans and Trigger take
to this lady rider. I’m not
Dale Evans, but I know my
way around a western set.
Trigger is restless.
He’s not crazy about Jane being on his
back, but Roy is there so he tolerates it. The photographer
snaps a few pictures of the pair and Trigger.
ROY
I’m sure you’ll do fine.
JANE
It won’t be the same though.
The audience is going to miss
your costar.
ROY
For a time, but they’ll get
past it.
JANE
I’ll be nervous until they
do. Some people leave such
a lasting impression it’s hard
to imagine life without them.
ROY
(thoughtfully)
Yeah. I guess that’s true
enough.
Roy mulls the statement over in his mind as he helps Jane off of
Trigger.
INT:
DALE’S APARTMENT – NIGHT
Dale enters her home after a long, hard days work. She’s tired
and drops the armful of reading material and makeup bags she’s
carrying down on the dining room table. A copy of the script
Show Business out West is on top.
DALE
(calling out)
Tommy? I’m home.
She picks up the script and studies it for a moment.
Disappointed, she tosses it aside and glances down the hall.
78.
DALE (CONT’D)
Tommy?
He doesn’t answer.
INT:
She decides to investigate.
DALE’S APARTMENT – TOM’S ROOM – CONTINUOUS
After knocking on the half closed door a couple of times, she
peeks in and enters. The décor of the room is that of a typical
teenager.
It’s tidy, but cluttered.
Dale walks over to his bed and folds one of his shirts lying
across the headboard.
She sits down for a moment and glances around at the various
awards and trophies on the walls and dressers. He’s a very
accomplished musician.
One of the awards is for Musician of the Year. A picture of him
and his high school band playing at a homecoming dance is next to
it. Dale in awe of his achievements. It’s almost as if she
never fully understood his talent.
She walks over to his desk and stares down at a picture sitting
in the center of a pile of papers. She smiles at the photo of
her and Tom taken when he was eight years-old.
When we look up from the pictures it’s 1931.
EXT:
UVALDE, TEXAS, 1931 - EVAN’S FARM - DAY
Title Card:
Uvalde, Texas, 1931
A picture perfect place.
porch swing, etc.
INT:
Two story house, white picket fence,
FARM HOUSE - BEDROOM - CONTINUOUS
We HEAR 4 YEAR-OLD TOMMY LAUGHING and CHICKENS CLUCKING. Dale
slowly opens her eyes and looks around. She HEARS TOMMY LAUGHING
HAPPILY. She sits up in bed and peers out the window.
On the grass below she can see her son playing with the chickens.
He chases them through the streams of sunshine that pour onto the
yard.
Her mother, BETTY SUE EVANS sits on the far side of the room in a
rocker, sewing.
79.
DALE
(referring to Tommy)
He sounds happy.
BETTY SUE
He is happy. In the few months
you two have been here he’s put
on some weight and got all the
color back in his cheeks. You
look much better too.
Dale brushes her hair back off her face and rubs her eyes.
does look healthy.
She
DALE
Good because I need to get
out of this bed and back
to living.
BETTY SUE
I’d say you’ve done more of
that in you nineteen years
than I have in my fifty-six.
(thinking, then)
I don’t believe the Lord
ever made anybody as
stubborn. I remember your
grandfather looking down
at you in the crib when
your were a baby. He told me
then, “Betty Sue, this one
will die hard with her head
up.”
Dale throws the covers back and climbs out of bed. She stretches
a little then flips on the radio on the nightstand. She sings
along with the MUSIC as she walks over to the window.
She raps on the window at Tommy. He looks up and she waves at
him. He quickly waves back and heads out after another chicken.
BETTY SUE
You know they’re hiring at
the Piggly-Wiggly market.
It pays real good from what I
hear.
80.
Betty Sue doesn’t say anything for a bit, she just listens to her
daughter sing. Her voice is beautiful.
BETTY SUE
You sing like an angel.
(pausing, then)
And you’re not going to be
happy unless you can do
that all the time.
Dale and her mother exchange a look.
BETTY SUE
When will you be leaving?
DALE
As soon as I’m able.
The pair listen to TOMMY LAUGHING.
window and stares out at the boy.
Betty Sue walks over to the
DALE (CONT’D)
What if I left Tommy here with
you and dad for awhile?
BETTY SUE
That would be just fine.
Dale isn’t all together convinced.
BETTY SUE
Are you sure?
Dale watches her five-year-old below running and jumping.
is an agonizing decision.
No.
him.
This
DALE
But it’s what’s best for
The RADIO PLAYS on in the background as Dale continues watching
Tommy play.
RADIO ANNOUNCER (O.S.)
Folks, you’re listening to
W-H-A-S in Louisville,
Kentucky.
81.
RADIO ANNOUNCER (O.S.)
The place to be for the country
sounds you can’t live without.
Here’s one I know that’s bound
to be a favorite. It’s by the
Carter Family and it’s called
“Keep on the Sunny Side.”
We HEAR, over this, very faintly DALE’S pure, sweet VOICE SINGING
over the radio, reaching out of the past. We return to 1947.
DISSOLVE TO:
INT:
DALE’S APARTMENT, 1947 – TOM’S ROOM – DAY
Dale sings a chorus of “Keep on the Sunny Side” while scanning
the paperwork on the desk. Her eyes settle on an army enlistment
document. Tom enters at that moment.
TOM
(pleasantly)
Mom. You’re home early.
were things at work?
How
DALE
Different. Just hope it
doesn’t turn out to be a case
of be careful what you wish
for.
TOM
I guess it’s kind of like
being a new kid at school.
Tom sits his books down on his bed and Dale takes a seat in a
chair behind his desk.
DALE
(warmly)
You’d know all about that,
wouldn’t you? How many
schools have you been the
new kid at because of my
career?
TOM
I make friends easy.
82.
DALE
(referring to
awards)
I can see that.
She’s proud of her son, but guilt over her lack of attention to
him washes over her.
DALE (CONT’D)
You never said anything about
these awards.
TOM
(shrugging)
I’ve have lot of opportunities
that’s all.
(sincerely)
And the good Lord blessed me
with a great mom.
Tears well up in Dale’s eyes. Tom is an extraordinary young man
and she’s moved by his generosity to her.
DALE
The good Lord…you’ve always
had your priorities straight.
Instead of my boasting and
telling people to look at the
fine son I raised, I should
say look at the fine boy who
raised me.
She glances over at the enlistment papers and slowly picks them
up. She blinks away the tears.
DALE (CONT’D)
What am I going to do once I
grow up and you move away?
Tom crosses to his mother and gently takes the document out of
her hand.
TOM
(pausing, then)
I’m not leaving until after
I graduate high school.
DALE
What about your music?
83.
TOM
The army is going to let me
pursue that.
DALE
Are you sure this is what
you want to do?
TOM
As sure as you were about
leaving westerns.
The statement doesn’t instill her with confidence.
DALE
(half-heartedly)
Good. That’s all I needed to
hear.
Dale grabs hold of her son and holds on to him tightly.
EXT:
SEARS DEPARTMENT STORE – LOS ANGELES – DAY
Colorful balloons and banners covered with cowboy drawings line
the front entrance of the store. A flood of enthusiastic PEOPLE
filter in through the building’s double doors.
INT:
SEARS DEPARTMENT STORE – TOY DEPARTMENT – CONTINUOUS
A large area has been cleared to make room for a long conference
table. Roy Rogers, dressed in his finest cowboy duds, is seated
at the table sandwiched on either side by Sears EXECUTIVES. Art
Rush sits at the end of the table.
The table is filled to overflowing with Roy Rogers’ products
offered by the store. Clothing, toys, bed sheets, boots and
slippers, etc.. Hundreds of BOYS and GIRLS and their PARENTS
wait in line to talk with the King of Cowboys and sample the
merchandise.
As we watch Roy interact with his fans, a nearby camera CREW
records the event and a NEWS COMMENTATOR describes the action
committed to film.
84.
COMMENTATOR (O.S.)
Roy Rogers, motion picture’s
most popular star to date,
visits with fans at a Sears
Roebuck and Company store in
Southern California. Under
the magic sales banner of Sears
Roebuck and Company, children
of all ages can now choose
items from a complete line of
Roy Rogers’ western line.
Roy picks up a toy gun and holster set in front of him and begins
twirling the gun on his finger. The children cheer and applaud.
A pair of SALESMEN pull a chuck wagon display filled with Roy
Rogers’ brand apparel to a large, open space behind the table.
The children look on wide-eyed and excited.
COMMENTATOR (V.O.)
Shirts, spurs, ties, chaps,
hats, pajamas, cookies, watches
and six-shooters are now available to the millions of fans
world-wide.
The children race over to the wagon and sample the irresistible
merchandise. Roy shows off one of the watches as a little boy
and his mother pay close attention.
COMMENTATOR (V.O.)
Yes, now boys and girls everywhere can dress like their
favorite cowboy twenty-four
hours a day. Shop for these
Roy Rogers’ products at any
Sears Roebuck and Company
store today.
The salesmen push the chuck wagon out of the area and several
cheering children follow after them. Roy shakes the hands of his
fans as they hurry over to him before scampering off with the
wagon.
The Sears executives shake Roy and Art’s hands and slap one
another on the back as they exit.
85.
ART
There was more than one
hundred different products on
that wagon. And that’s just
what Sears is going to flood
the market with.
ROY
A hundred?
ART
The way I have it figured
you’re going to be second to
Walt Disney in commercial
tie-ins.
ROY
As long as my fans are happy.
A little BOY hurries over to him, tips his cowboy hat and smiles
at Roy. Roy smiles at the child and shakes his hand. The boy
races over to his MOTHER’S side and the two exit.
ROY
Did you have a chance to look
into how television is progressing?
ART
The studios across the board
are fighting it, but it’s
definitely got a future.
When it comes time to renew
your contract I suggest you
get Republic to add a clause
that says you can do T-V.
ROY
That powder keg has already
been lit. A suggestion like
that for sure will hurry the
explosion.
ART
You don’t have anything to
lose. Word is Yates is editing fifty-seven of your films
down to fit a television format.
86.
ART (CONT’D)
He’ll sell them to either N-B-C
or C-B-S and make another fortune off the same product.
ROY
And Republic actors like myself, Autry and John Wayne,
we won’t see a penny extra.
Roy picks up the toy revolver.
twirl the gun.
He’s frustrated and starts to
ART
That’s about the size of it.
ROY
The idea of doing a western
program for T-V is scratching me where I itch. We’d
need a sponsor.
ART
I’ve got one or two companies
in mind. People I know from
the radio shows you’ve done.
Roy gives the gun one more twirl and sits it back down on the
table.
ROY
I thought you might.
A group of CHILDREN cheer and applaud as they follow a pair of
salesmen pulling a life-size saguaro cactus out towards Roy’s
table.
Lasso, boots, rifles, wallets and toy Trigger saddles hang from
the arms and base of the cactus. Several of the children run
over to Roy, grab his hand and escort him to the merchandise.
Roy glances back at Art and smiles. Art nods and walks over to a
phone sitting by a nearby register. He picks up the receiver and
dials while watching Roy interact with the happy kids.
87.
ART
(into phone)
Operator? Battle Creek,
Michigan, please. The
president of General
Foods.
Art smiles at Roy now demonstrating a few rope tricks to the
children.
EXT:
ATLANTIC CITY - STEEL PIER NIGHT CLUB – NIGHT
Fashionably dressed MEN and WOMEN enter the busy club. As they
pass through the entrance they walk by a framed poster of Dale
Evans. It’s a glamorous picture and the sign above it reads,
“Singer/Actress Dale Evans with the Atlantic Show Band.”
INT:
STEEL PIER NIGHT CLUB – STAGE - CONTINUOUS
An attentive AUDIENCE surrounds a dance floor/stage, their eyes
focused on Dale Evans standing in the center. A spotlight is
trained on the entertainer as she sings “The Very Thought of
You.”
At the conclusion of the song the audience applauds
enthusiastically. Dale takes a bow and heads off the floor.
Grateful fans call after her, praising her for her talent.
INT:
STEEL PIER NIGHT CLUB – BAR – CONTINUOUS
Dale walks over to the bar and the BARTENDER hands her a soft
drink. A pair of WOMEN slowly approach her carrying pens and a
slip of papers.
WOMAN
I just loved you in Bells of
San Angelo.
They hand the paper and pens to Dale and she graciously accepts
it and signs her autograph.
DALE
Thank you.
WOMAN #1
It was so upsetting to hear
that you weren’t going to be
doing anymore westerns.
88.
WOMAN #1 (CONT’D)
Don’t you miss it?
DALE
I miss the people I worked
with. I don’t miss the
aggravation my backside endured on top of Buttermilk,
chasing the bad guys down.
WOMAN #2
I heard one of those radio
gossip reporters say that you
left the Roy Rogers’ pictures
because there was just too
much romantic tension between
you and he.
DALE
I heard that too, but it’s not
true. Gabby, Roy, and his wife
and kids, we were all good
friends. And that’s all.
WOMAN #2
(sweetly)
It sure looked like there was
something more going on with
you two in the movies.
DALE
(politely)
We were just acting.
WOMAN #1
What’s Roy Rogers really like?
DALE
Very shy and unassuming.
(thinking, then)
Comfortable as an old shoe to
be around. It’s hard not to
like him.
WOMAN #2
(playfully)
Not really.
89.
DALE
When I first teamed up with
Roy his star was way up there.
Another actor in his place
might have let success go to
his head. Not him. And there’s
nothing phony about him. No
hungry ego. He enjoyed doing
the work so much. His attitude
was contagious.
WOMAN #1
Really. I think I’ll write him
another fan letter. Maybe ask
him to marry me this time.
Dale hands an autograph back to the first woman and she happily
hurries off to her table, holding the piece of paper out for
everyone to see.
She hands the second autograph back to the fan and the woman
smiles knowingly at Dale.
WOMAN #2
The way you talk about Roy.
Just friends, huh?
The woman winks at Dale as she pockets the autograph. Dale is
caught a little off guard by the comment, but doesn’t have time
to sort it out.
The BAND plays her introduction and she hurries on stage. She
serenades the audience with the song “You Are Always in My
Heart.”
INT:
ROY ROGERS’ HOME – NIGHT
It’s late.
guitar.
Roy quietly slips into his house, carrying his
He gently lays the instrument and a program down on top of a
small table in the foyer. The program cover reads “Echo Lake
Children’s Hospital Fund Raiser – Roy Rogers and Trigger Special
Guests.”
As he removes his hat and sits it down he notices a framed
photograph of his three children. He smiles to himself.
90.
INT:
ROY ROGERS’ HOME – KITCHEN – CONTINUOUS
Roy flips on the light and spots a glass of milk, plate of
cookies and a note sitting on the table. He laughs a little as
he looks over the treat.
He takes a drink of the milk while reading his daughter’s
handwriting scrawled across note.
CLOSE ON NOTE
“Daddy, Linda Lou and I baked the cookies all by ourselves.
Grandma Rogers helped a little.”
Roy picks up a cookie, takes a bite and heads off upstairs with
his glass of milk.
INT:
ROY ROGERS’ HOME – DUSTY’S BEDROOM – CONTINUOUS
Roy gently pushes his son’s door open and looks in on him. Dusty
is fast asleep on top of his blankets. Roy tiptoes over to him
and covers him up.
INT:
ROY ROGERS’ HOME – GIRL’S ROOM – CONTINUOUS
Roy slinks into the room. The girl’s have left a small lamp on.
While focusing on the lamp, Roy accidentally steps on a toy
Trigger on the floor. The toy whinnies. The girls stir, but
don’t wake up.
Roy walks over to Linda Lou and pats her on the back as she
sleeps away. He looks over at Cheryl in her bed next to her
sister’s and smiles.
Cheryl is on top of her blankets too.
As he covers her small
frame he notices a drawing lying on the night stand.
the colorful picture and studies it.
He picks up
CLOSE ON DRAWING
The drawing, done by Linda Lou, features Cheryl, Dusty, herself
and Roy. Her mother, Arline is in the clouds above watching over
them. Dale is close by.
Roy sits down on the side of Linda Lou’s bed, his eyes still
fixed on the drawing. He looks around the room at a giant,
framed poster of the movie The Cowboy and the Senorita.
91.
He places the drawing back where he found it, turns out the lamp
and heads for the door. Halfway there he stops and returns for
the drawing.
INT:
STEEL PIER NIGHT CLUB – ANOTHER NIGHT – ANOTHER SHOW
Dale is center stage performing the song “Will You Marry Me,
Mister Laribee.” It’s a cute melody and a few dancers help add
to the number. Once the music ends the entertainers hurry off
stage to uproarious applause.
Dale takes a bow and the AUDIENCE cheers. As she scans the faces
in the crowd, blowing kisses to appreciative fans, her eyes stop
on a pair of familiar faces. Roy Rogers and Art Rush are among
the patrons.
Roy is dressed in a regular business suit, complete with a tie
and jacket. Even without his trademark cowboy hat and boots it’s
hard not to recognize him.
Dale is thrilled to see them.
they return the favor.
She gives them a big smile and
DALE
(to audience)
Thank you, ladies and gentlemen. You’ve been wonderful.
I’d like to finish my set
now with a song I wrote for
a cowboy friend of mine. I
haven’t seen him in awhile…
Roy Rogers, why don’t you
join me?
All heads turn to see Roy. A spotlight is focused on him and the
audience applauds. He nods sheepishly and saunters on stage.
ROY
It’s good to see you, Dale.
The band plays the opening for “Happy Trails” and the pair break
into song.
INT:
STEEL PIER NIGHT – BAR – LATER THAT SAME NIGHT
It’s almost closing time. A few scattered patrons dance to the
slow, romantic music the band continues to play.
92.
Roy and Dale sit alone at the bar, talking. The top of the bar
is littered with pictures of Roy and Arline’s girls. Linda Lou’s
drawing, and of Dale’s Tom. A WAITER refills their coffee cups
as they enjoy each others photographs.
DALE
(referring to
photos)
They’ve change so much.
ROY
Tom grew up too.
DALE
He’s very mature. Very
grounded. Don’t know where
he gets it.
The two laugh. It’s a sweet reunion.
time catching up.
They’re having a wonderful
DALE
I couldn’t believe it when I
saw you and Art. It was like
seeing old friends from back
home. And you came all this
way just to see my show?
ROY
And to see how you were doing.
I was sorry to hear that
Show Business Out West was
scrapped.
DALE
I’m starting to get the idea
that someone, somewhere is
trying to tell me musical
comedy isn’t in the stars for
this Texas dreamer.
ROY
I don’t believe that for a
minute. You’re too good at
what you do. I knew that the
first day we worked together.
93.
DALE
Was that before or after I
almost fell off my horse?
ROY
You weren’t much of a rider.
DALE
I didn’t think anyone would
notice.
The two laugh at the memory.
ROY
This is nice.
much…
I forgot how
An awkward silence passes between them.
another.
They smile fondly at one
ROY
(finally)
Those movies we did together
were good. An awful lot of
people like us as a team.
(beat)
Why don’t you come back?
Dale holds her smile as she considers the invitation. Roy’s hand
is resting on the top of the bar and she gently places her hand
on his and gives it a friendly pat.
DALE
Thank you, Mister Rogers, but
no thank you. As soon as my
singing tour is over I’ll be
going back to Hollywood to
start work on another movie.
Maybe this time…
Roy nods and turns his hand over to hold Dale’s. It’s a precious
moment between two lifelong friends who feel more for one another
than they’ll allow.
EXT:
GLENDALE, CALIFORNIA MOVIE THEATRE – NIGHT
A handful of PEOPLE stroll past the building. Some stop and read
the lit marquee above the ticket booth. It reads, “Slippy McGee
starring Donald Barry and Dale Evans.”
94.
They talk among themselves and ultimately decide not to go in.
A young COUPLE walk arm and arm to the ticket booth and purchase
a pair of tickets from the bored theatre WORKER selling them.
INT:
GLENDALE MOVIE THEATRE – CONTINUOUS
The movie starts just as the young couple enters. Outside of
these two and one other person, the room is empty. The couple
take their seat a few rows down from the one other person in the
theatre, Roy Rogers.
His eyes are fixed on the film. He doesn’t notice anyone around.
He smiles proudly when Dale’s name and face appear on the screen.
EXT:
CHICAGO, ILLINOIS MOVIE THEATRE – NIGHT
We HEAR WESTERN MUSIC and see a CROWD in front of the building,
waiting to purchase a ticket.
The giant marquee above the ticket booth reads, “Roy Rogers, King
of the Cowboys and Trigger, the Smartest Horse in Movies star in
Pecos Bill.”
INT:
CHICAGO MOVIE THEATRE – CONTINUOUS
The movie starts as a few LATE COMERS hurry in and frantically
search for an empty seat. The theatre is packed.
Dale is among the audience members. Her eyes are fixed on the
film. She doesn’t notice anyone around. She smiles proudly when
Roy’s name and face appear on the screen.
EXT:
REPUBLIC STUDIOS – ROY’S DRESSING ROOM/OFFICE – DAY
A tired looking MAILMAN exits the dressing room carrying an empty
bag and rubbing his arm.
INT:
DRESSING ROOM/OFFICE – CONTINUOUS
Thousands of letters are in a pile in front of Roy’s desk. He
sits behind his desk going over a stack of mail that covers the
entire desktop. Gabby sifts through some of the correspondence
on the floor.
95.
GABBY
Most of these are for you and
Trigger, but there’s plenty
here for Dale too. It’s been
a long time since we’ve done
a picture together and people
still miss her.
ROY
Yeah, I can see that.
GABBY
Anything in there for me?
ROY
I haven’t come across anything yet, but I’m sure there
is.
GABBY
(pretending to
be upset)
Sorry state of affairs when
a horse and a woman, that
hasn’t even been around for
a while, get more mail than
the loyal sidekick.
ROY
Everybody loves you Gabby,
they just show you in other
ways besides letters. The
studio commissary named a
sandwich after you. Now if
that’s not devotion I don’t
know what is.
Roy finds a letter addressed to Gabby and holds it up.
ROY (CONT’D)
Here’s one that is…
Gabby jerks it out of Roy’s hand before he has a chance to finish
his sentence.
96.
GABBY
(reading letter)
“Dear Gabby and Roy, I never
miss one of your films. You
boys are two of the best.
But I’ve got to say that the
movies just aren’t the same
without that feisty Dale
Evans. Your friend, Darren
Schaffer age 14.”
ROY
Let me have a look at that.
Gabby hands the letter to Roy and he rereads it.
space on the corner of the desk and sits down.
GABBY
So what are you going to do
about it?
ROY
I’ll send him and an autograph picture.
GABBY
I’m not talking about the
that. What are you going to
do about Dale?
ROY
I already did it.
interested.
She wasn’t
Roy sorts through more of the letters.
GABBY
Was that before or after her
movie came out?
ROY
Before.
GABBY
It didn’t do so well.
Gabby clears a
97.
ROY
(defensively)
That had nothing to do with
Dale. She was better than
ever.
GABBY
Maybe you should try and talk
to her again.
ROY
(shaking his
head)
She knows how I feel.
Gabby slides off the desk and sits down on the floor next to the
pile of letters.
GABBY
(slyly)
Good. There’s nothing worse
than the feeling you have when
you know you didn’t say what
you needed. Guess that’s why
people write fan letters.
He searches through the letters for one addressed to him.
GABBY (CONT’D)
There’s got to be one letter
just for me.
Roy looks on, carefully considering Gabby’s comment.
INT:
WOMEN’S POWDER ROOM – DAY
Dale stares at her reflection in the mirror over a row of sinks.
She’s alone in the room and talks to herself while she fixes her
makeup.
DALE
As you undoubtedly know,
neither of the pictures I’ve
done since the westerns have
caused much of a stir. It
took me a while to realize it,
but I did my best work on the
Roy Rogers’ pictures. So, if
you’re willing…
98.
A SECRETARY enters and makes eye contact with Dale.
SECRETARY
Mister Yates is ready for you.
Dale nods, checks her look one last time and exits.
EXT:
CHICAGO RODEO ARENA – NIGHT
Roy leads Trigger in a gallop around the packed stadium. The
enthralled AUDIENCE cheers and applauds. Fans wave banners and
pennants sporting Roy and Trigger’s pictures. Roy tips his hat
at the crowd and Trigger rears back.
EXT:
RODEO ARENA WINGS – CONTINUOUS
Dale sits atop Buttermilk watching the excited reception Roy is
getting. Her eyes follow the spectacular stunts and tricks Roy
coaxes Trigger to do, but her mind is a million miles away.
The laughter and applause emanating from the crowd is drowned out
by Yates’s voice. She replays their last conversation over and
over again. His tone is condescending.
YATES (V.O.)
I’m surprised, Dale. I thought
you were determined to distance
yourself from the saddle and
sagebrush.
DALE (V.O.)
I was, but…I…you were right.
There are worse fates than
working with Roy Rogers.
YATES (V.O.)
Now that you see it my way
let’s not waste anymore time.
I want you out on the road
with Rogers now. I’ll have
the promotional department
schedule a series of personal
appearances, on radio shows,
at state fairs, auto races,
grand openings, rodeos….
And when you get back we’ll
Start on the next picture.
99.
DALE (V.O.)
What is the next picture?
YATES (V.O.)
“The Golden Stallion.”
DALE (V.O.)
(chuckling)
Of course.
YATES (V.O.)
Something funny?
DALE (V.O.)
Not really.
YATES (V.O.)
I’m banking that the fans will
be happy to see you’re back.
DALE (V.O.)
I hope so.
The crowd erupts with a thunderous round of applause. Roy
flashes his patented sincere smile at the onlookers. Dale
marvels at the love the fans has for him.
He slows his famous ride down and takes him on a trot alongside
the railing next to the audience. He shakes hands thousands of
children as he rides by. Both Roy and the crowd are having the
time of their lives.
Roy leads Trigger to a nearby microphone stand and waits for the
fans to quiet down a bit.
ROY
(into microphone)
And now ladies and gentlemen,
boys and girls, let’s hear
it for the Queen of the West,
Dale Evans.
Dale rides out fast. The audience goes wild. They jump to their
feet and cheer. Once Dale reaches Roy they lead their horses out
into the center of the arena.
After the stadium BAND plays the introduction of “The Star
Spangled Banner” the cowboy duo break into song. At the end of
the anthem the crowd cheers and applauds.
100.
Roy looks over at Dale and smiles. He reaches his hand out to
her and she takes it. They smile proudly at one another then
wave to the adoring crowd.
INT:
CHICAGO RESTAURANT – NIGHT
Several MEMBERS of Roy’s BAND, Gabby Hayes, the Sons of the
Pioneers, HORSE TRAINERS, RODEO CREW, etc.., sit around a long
table in the center of the eatery. All are having dinner,
enjoying the evening, laughing, conversing.
Roy and Dale are seated next to one another, talking to the
people on either side of them and occasionally to one another.
Over the frivolity we HEAR a SONG Roy and Dale recorded entitled
“Home on the Range.”
The music accentuates the family feeling that permeates the
setting. As the song slowly progresses Roy and Dale’s support
staff leave the table. Eventually only Roy and Dale are left.
The two are so engrossed in conversation they don’t quickly
notice that they’re alone. Once it becomes apparent to them they
become self conscious and a bit embarrassed. An uncomfortable
silence hangs in the air.
DALE
(finally)
Looks like we ran everybody
off.
ROY
I guess we had a bit more
catching up to do.
DALE
I guess.
The two smile sheepishly at one another.
ROY
(checking his
watch)
I suppose it’s a little too
late to check in on my
kids again.
101.
DALE
How many times have you
talked to them tonight?
ROY
A couple. I worry a lot
about them. They’ve gone
through so much. They
still miss their mom.
DALE
I think it’s always going to
hurt. Maybe not so much as
the years go by, but….
She refills their cups with more coffee from a pot sitting in
front of them.
DALE (CONT’D)
The minister at my church back
home in Texas would say “if you
turn to the Lord in the midst of
your sorrow, He alone will guide
you and restore comfort.” He
was right.
ROY
I never heard you talk about
that before.
DALE
I talked about it with Arline
occasionally.
(gently)
Do you ever take the kids to
church?
ROY
Sunday is my day to relax.
Dale nods understandingly. Roy turns away from her, deep in
thought. His face is a mixture of sadness and bitterness.
102.
ROY (CONT’D)
(finally)
I’ve performed in too many
children’s hospitals…seen too
many kids with bad hearts and
crippled legs, some with no
parents, no one. Too many
hurts tell me if there is a
God who cares he just doesn’t
care enough. If you can tell
me why he lets children suffer
I’ll go to church.
Dale is taken aback by the confession and challenge.
struggles for the right words.
She
DALE
Wish I had all the answers.
Life is tough…I know it is,
but I’ve got to believe He
has a plan.
Roy’s expression softens and he gives Dale a half smile. A
nearby PIANO PLAYER PLAYS a soft, soothing MELODY. It lightens
the mood considerably.
DALE
How about a dance, cowboy?
Roy nods and the two step out onto the dance floor. Neither says
a word as he takes her in his arms and they ease into a slow
waltz.
EXT:
REPUBLIC STUDIOS BACKLOT – CARNIVAL SETTING – DAY
Roy and Dale stand in front of a duck shooting booth, eyeing the
various plastic, moving targets and the stuffed animal prizes
hanging all around.
A worried Gabby Hayes stands at the far end of the booth under a
string of small stuff bears.
Roy picks up a pellet gun sitting
on a counter and hands it to Dale. Pretending to be a skilled
shooter, she inspects the weapon.
ROY
If you’re going to keep playing
deputy sheriff you better learn
to use one of these.
103.
DALE
Oh, I’m a regular Annie Oakley.
Watch me.
She raises the gun, aims it at the ducks, and closes her eyes and
fires. A couple of the wild pellets hit the string holding the
stuffed bears over Gabby’s head in place. The bears rain down on
him.
Roy and Dale let out a hearty laugh. From behind them we HEAR a
DIRECTOR YELL “Cut.” Friendly CAMERAMEN and the other members of
the FILM CREW, readjust the equipment and lighting.
The three actors continue laughing as they walk out of the shot
towards a row of chairs placed in front of a few anxious
reporters and photographers. Yates stands behind the press,
proudly surveying the scene.
1ST REPORTER
Dale, what’s it like being
back on the set with Roy?
DALE
Well, it just doesn’t feel
like any time has past at all.
This is the best group of
people in the world to work
with.
2ND REPORTER
Are you still concerned about
being typecast as a singing
cowgirl?
Yates catches Dale’s eye and gives her a wry smile.
DALE
I guess I’d rather be known
for my role opposite Roy, Gabby,
and Trigger, of course, than not
to be known at all.
3RD REPORTER
Roy, what do you have to say
about Dale’s return?
104.
ROY
Oh, I’m pleased as I can be.
We missed her. And I know the
fans are grateful she’s come
home too.
GABBY
And if she ever thinks about
going away again we’re going to
stop her in her tracks.
3RD REPORTER
Dale, did your decision to return
have anything to do with the last
two movies you did without Roy?
DALE
I’d be lying if I said it
didn’t. But I’d also be lying
if I said I didn’t miss working in westerns more than I
thought I would.
(thinking, then)
A young man very near and dear
to my heart helped me realize
that.
2ND REPORTER
Is Roy the young man you’re
referring to?
Roy?
my….
DALE
No, I was talking about
Yates catches Dale’s eye again. This time he gives her a
menacing look. He knows what she’s about to say and doesn’t want
her to bring it up.
DALE (CONT’D)
Tom Fox is the young man.
The reporters take notes and a pair of photographers snaps a few
pictures of the three. Yates nods at Dale and she looks away,
trying her best to hide the shame she feels about continue on
with the lie.
Roy and Gabby put their arms around her and the three friends
pose for the journalists.
105.
Yates smiles proudly as he lights up a cigar.
A montage: Accompanied by a medley of Roy Rogers’ and Dale
Evans’ music.
1. Roy and Dale on another movie set, riding Trigger and
Buttermilk fast towards the cameras.
2. Roy and Dale at one of their film premieres, sliding out of
their car and waving to the CROWD .
3. On the set of another movie. Roy opens a refrigerator and
Dale is there, hiding.
4. Roy and Dale on stage in front of a radio studio AUDIENCE,
singing.
5. Flashes of banners reading: “Roy Rogers and Dale Evans
Tonight” - “Sold Out Concert.”
6. On the set of another movie. Roy pulls Dale up onto Trigger
and the pair ride off after a band of DESPERADOS.
EXT:
OPEN RANGE – DAY
Roy sits atop Trigger and the two are slowly making their way
through a grove of trees. His hand rests on his six-shooter,
ready to draw on any villains planning an ambush.
Suddenly a tree branch snaps. Roy turns Trigger around, lifts
his gun out of his holster and pulls the hammer back. After a
tense moment a warm smile slowly fills his face.
Dale emerges from the brush on Buttermilk.
ear, she eases her ride next to Roy’s.
Grinning from ear to
ROY
I thought you might be one
of the Monroe gang.
DALE
Sorry to disappoint you.
ROY
Oh, I’m not disappointed.
The pair usher their mounts up a short incline. The tree
covering the pass gives an effect of almost cathedral-like
darkness. The sun filters through the trees in gentle shifting
patterns.
Dale smiles at Roy and he returns the favor.
between the two is palpable.
The chemistry
106.
In the near distance we HEAR a DIRECTOR YELL “Cut.” FILM CREW
members scurry about moving cameras and lights. Gabby meanders
over to Roy and Dale, dismounting their horses.
GABBY
That’s the ticket. Audiences
like a good romance. That’s
some fine acting.
ROY
(playfully)
I’m not sure about this mushy
stuff in a western.
GABBY
What do you know?
Roy and Dale exchange a laughing glance as Yates steps out from
behind a bank of cameras. He doesn’t look happy and he’s
obviously overheard their conversation.
YATES
I agree with Roy, Gabby.
Up to a point anyway.
ROY
I was just fooling around,
Mister Yates. I’ve got plenty
of letters from fans that say
they’d like to see me kiss
someone other than Trigger.
YATES
Fans are fickled. How many
young ticket buyers do you think
there will be if Roy Rogers
rides off into the sunset holding hands with a girl instead
of rearing back on Trigger?
DALE
The writers have been good about
not adding anything that overt.
107.
YATES
That’s good because crossing
that line could jeopardize the
profitability of these films.
Hollywood gossip can do the
same thing.
Yates produces a magazine from the breast pocket of his suit
jacket and holds it up to show the three actors.
CLOSE ON MAGAZINE COVER
“Roy Rogers and Dale Evans – More Than On Screen Partners.”
Dale is visibly shaken.
headline.
Roy and Gabby are stunned by the
ROY
You’re not taking that as gospel
are you?
YATES
(ignoring question)
The public isn’t interested in
seeing a real life couple together.
(handing magazine
to Dale)
I’d find another leading lady
before I’d risk losing any
money from ticket sales.
ROY
(defensively)
Dale and I are good friends,
period. But our private life
is just that.
YATES
(menacingly)
Hardly.
Roy clinches his fist at his side and Dale notices the
conversation is dangerously close to explosion. She steps in
between Yates and Roy.
DALE
Thank you, Mister Yates for
bringing this to our attention.
108.
DALE (CONT’D)
I assure you, you have nothing
to worry about.
YATES
(coldly,
to Dale)
I hope not…or you will.
Yates turns and walks away. Roy scowls in his direction. He and
Dale exchange a forlorn look. She folds the magazine, turns and
leads Buttermilk off. Roy watches her go, almost calling out to
her.
EXT:
LOS ANGELES BUS DEPOT – DAY
A bus carrying a load of PASSENGERS pulls away from the station.
Tom exits the building and Dale is close beside him. In one hand
he carries his military orders and in the other a small piece of
luggage.
Dale fights the tears and fusses with the collar of Tom’s jacket
to keep from breaking down all together.
DALE
Do you have everything you
need?
TOM
If I don’t the Army will let
me know.
(pausing, then)
I’m sorry about how the news
got out. I put your name down
as my mother on the enlistment
form without thinking.
DALE
You don’t have anything to be
sorry about. I can do something now I’ve wanted to do
for years.
TOM
What’s that?
Dale pats Tom on the cheek and turns around. She spots a couple
of PEOPLE standing nearby and gives them a big smile. She grabs
Tom’s hand and pulls him towards her.
109.
DALE
(beaming with
pride)
This is my son. This incredible man is my son.
The couple nod and smile back at the happy mother. Dale kisses
Tom’s cheeks. A bus pulls up to the pair and stops. Dale hugs
her son’s neck and tears slide down her cheeks.
DALE (CONT’D)
I wish I knew how to tell you
how much you mean to me.
TOM
Remember the song you wrote for
me on my fifth birthday? “Life
at times is fast and there never
seems to be enough to say all
the things I have in my heart
for you. Nothing could be more
true…”
Tom pulls away from his mother.
Dale is a puddle.
He’s trying not to cry too.
TOM (CONT’D)
(in a fatherly
tone)
Now, kiss me goodbye. Tell me
you’ll miss me and then go
find Roy Rogers and tell him
you love him.
DALE
(taken aback)
What?
Tom gives her a knowing look.
DALE (CONT’D)
(resigning)
It shows?
TOM
(nodding)
Stop worrying about Yates.
110.
Tom kisses Dale and boards the bus along with other PASSENGERS.
Dale watches him find a seat, open the window and lean out to
talk with her.
DALE
What if Roy doesn’t feel the
same?
TOM
How could he not?
Dale brushes away the tears and blows her son a kiss. Her voice
cracking she sings a few bars of “Tommy’s Song,” as the bus
slowly leaves the station and disappears from
sight.
EXT:
FOREST AREA - MOVIE SET FOR “HELLDORADO” - DAY
Cameras and lighting equipment are positioned and ready for
filming. The action will take place on a dirt road. A film CREW
works feverishly finalizing the needed shots and angles.
Dale is seated on a buckboard in the middle of the road. A team
of six horses are tied to the wooden vehicle. A MAKEUP ARTIST
touches up Dale’s face as a LIGHTING EXPERT adjusts the
reflectors around her.
A DIRECTOR stands next to the wagon, reviewing the script with
Dale and the ASSISTANT DIRECTOR.
DIRECTOR
Now, you’ll be driving the team
down this road and the moment
you happen onto the bend the
bandits will intercept. Pull
back on the reigns and stop
the wagon.
DALE
(nodding)
Got it.
Roy walks Trigger to the cameras loaded in the bed of the pickup
that will be following the buckboard. He catches Dale’s eye and
she smiles.
The director and the assistant director head towards the pickup
and hop on the back.
111.
A FILM CREWMAN raises the crane where a CAMERAMAN is seated
behind a large camera. The DRIVER of the truck starts the
engine.
The driver of the truck pulls the vehicle alongside the wagon and
as the pickup nears it backfires. The noise spooks the horses
and they bolt.
Dale pulls back on the reigns, but it has no effect on the
horses. They are out of control and the buckboard is tossed back
and forth.
The back wheel of the wagon snags a giant rock and it tips
sideways for a moment, almost turning over completely. Dale is
in trouble. The crew looks on in horror.
Roy jumps on the back of Trigger and the pair take off after the
runaway vehicle. Dale continues to pulls back on the reigns, but
the horses will not heed, it only serves to make them go even
faster.
The buckboard is coming up on a sharp curve in the road. The
wagon is sure to tip over if taken at the current high speed.
Like a bolt of lighting Roy and Trigger inch their way towards
the buckboard, eventually catching up with the vehicle as it
races along.
Dale looks over at Roy, her eyes pleading.
ROY
(shouting)
Jump to me! I’ll catch you.
Dale moves to the edge of the seat, grabbing the side railing
with one hand while holding the reins with the other. She
carefully stands up, unsure about making such a bold move.
ROY
Come on!
Dale quickly examines her options. After only a second more
hesitation she lets go of the reigns and jumps at Roy and
Trigger. Roy grabs her and holds on tightly, bringing the
Palomino to a slow stop in the process.
112.
The buckboard hurries on, hitting another large boulder, flying
high, tipping over and smashing into pieces. Other ACTORS on
horses race after the team and stop them.
Roy gently lowers a shaken Dale to the ground and dismounts. She
grabs him around the neck and squeezes hard. He holds her close.
DALE
Thank you.
ROY
(pausing, then,
teasing)
It wasn’t me. It was Trigger.
He didn’t want to see you
get hurt.
Dale pulls away from him a bit and they look into each other’s
eyes. Roy gently brushes her hair off her cheek.
ROY
We couldn’t stand it if anything happened to you.
Roy moves in to kiss Dale, but just before they allow themselves
to give into to their feelings, they’re interrupted by the
anxious film crew clamoring to see if the pair are all right.
EXT:
RODEO STADIUM – MAIN ENTRAINCE - NIGHT
BOYS dressed as their favorite cowboy star, admire a giant poster
of Roy and Trigger hanging over the ticket booth. The excited
children try to hurry their PARENTS and the TICKET SELLERS along.
They can’t wait to see the show.
EXT:
RODEO STADIUM – CONTINUOUS
The stands are filled to overflowing with excited FANS of every
age. They cheer and applaud a series of TRICK RIDERS in the
center of the arena, leading their horses through a variety of
stunts.
EXT:
RODEO STADIUM – SIDE STAGE AREA – CONTINUOUS
Roy and Dale watch the activity in the center of the arena from
atop their rides, side-by-side.
113.
Roy seems edgy, uncomfortable and nervous. Trigger picks up on
his restlessness and can’t seem to keep still.
Dale glances over at Roy and notices him pulling at his collar
and struggling to hold Trigger steady. She doesn’t know what to
make of his behavior.
DALE
Okay…it’s the wild animal act,
whip artists and then us.
Roy doesn’t respond. He’d fidgeting with his shirt sleeves.
Their eyes meet and she smiles. He nods back with an impish
grin.
ROY
Uh…uh…I talked to the kids
today.
DALE
(a little
worried)
Everything okay?
ROY
Sure. They’re fine. Perfect. They said to tell you
hello.
DALE
(relieved)
Oh, good. You had me worried
there for a minute.
ROY
Sorry.
DALE
They are the greatest kids.
The girls are thoughtful and
sweet and that Dusty…. Well,
I just melt when I look at
that fat little face of his.
ROY
Yeah, he’s a charmer.
(pausing, then)
They love you, Dale.
114.
Dale is happy to hear that. Tears well up in her eyes. Roy
looks like he’s going to explode if he doesn’t say what he wants
to.
So do I.
ROY (CONT’D)
I have for awhile.
Dale is stunned, unable to speak. He reaches into his pocket and
produces a small box. He opens it and removes a beautiful ring
inside. He takes Dale’s hand in his and slides the ring on her
finger.
ROY (CONT’D)
What are you doing New Year’s
Eve?
DALE
(bowled over)
I don’t have any plans.
ROY
Why don’t we get married?
Before Dale can answer a DRUM ROLL can be HEARD coming from the
BAND in the center of the arena. The lights dim and a MUSICAL
entry SOUNDS.
ROY (CONT’D)
They’re playing my song.
Roy and Trigger burst out of the chute and ride fast into the
spotlight blazing down in the middle of the arena. The crowd
goes wild.
For the moment Dale is oblivious to everything except the
proposal and the diamond on her hand.
ANNOUNCER (O.S.)
Cowpokes, let’s welcome the
King of Cowboys, Roy Rogers.
Dale watches Roy spur Trigger into a fast gallop and race around
the arena. The applause is deafening.
ANNOUCER (O.S.)
And the Queen of the West, Dale
Evans.
115.
Dale suddenly snaps out of it and her and Buttermilk race out of
the chute.
EXT:
RODEO STADIUM - CONTINUOUS
The fans cheer and clap for Dale as she leads Buttermilk in a
gallop around the arena. She guides her ride to Roy and stops
the horse next to him. The two stare into each other’s eyes for
a long moment.
DALE
(finally, choking
back the tears)
Yes. I will marry you.
The BAND plays the National Anthem and Roy and Dale sing. The
audience is on their feet, hat in hand and hand over heart.
INT:
YATES’S OFFICE – DAY
Yates stands at a massive window looking out over the studio
grounds. He wears an irritated expression as he surveys his
kingdom with a careful eye.
He watches four PAINTERS add the finishing touch to a giant mural
on the building across the lot. It’s a mural of Roy Rogers’ and
Dale Evans’ work, the films they’ve made, their horses and
sidekicks.
He walks over to his desk, picks up a lit cigar smoldering in an
ashtray and puts it between his teeth. He reaches for a large
folder, opens it up and removes several large press clippings.
CLOSE ON ONE CLIPPING HEADLINE
“King and Queen of Western Pictures to Wed at Oklahoma Ranch.”
Yates pushes the folder aside and glances back out the window at
the painting of Roy and Dale’s faces on the building.
The INTERCOM on his desk BUZZES. Yates flips a lever on the
machine and leans back in his chair, puffing on his cigar.
116.
SECRETARY (O.S.)
The telegram went out, Mister
Yates. Do you want the delivery boy to wait for an
answer?
YATES
No. I’ll find out her decision in tomorrow’s paper.
Yates is pleased with himself. He props his feet up on his desk.
Roy and Dale’s faces loom over his shoulder on the building in
the background.
EXT:
FLYING L RANCH – DAY
A heavy snow falls quietly over the hilly landscape. Deep drifts
have formed and cover the wooden fence around much of the six
thousand acre spread.
INT:
FLYING L RANCH HOUSE – DEN – CONTINUOUS
The room is enormous and beautifully decorated for a wedding.
Members of the HOUSEHOLD STAFF place flowers and greenery around.
A STRING QUARTET warms up while they work.
INT:
FLYING L RANCH HOUSE – UPSTAIRS BEDROOM – CONTINUOUS
Dale, dressed in a bathrobe, sneaks a peek out of the window and
watches a few GUESTS trudge through the snow on their way to the
front door.
She walks over to a vanity, sits down and studies her reflection
in the mirror. She tries to ignore a nearby, well-read telegram
while she touches up her makeup. After a moment she picks the
telegram up and rereads it.
DALE
(aloud, to
herself)
“Movie goers won’t come to
see a cowboy and his wife.”
Marry Roy and my career as I
know it is over.
(thinking)
Mister Yates, it may surprise
you to know that my career is
the least of my worries.
117.
She sits the telegram aside and fixes her hair.
at the clock and it reads 4:45 p.m..
She glances over
DALE
(in a stage
whisper)
Am I doing the right thing?
Is it right to try marriage
again? Is it right for
Roy? For his children?
INT:
FLYING L RANCH HOUSE – DEN – A LITTLE LATER
GUESTS have assembled and are chatting amongst themselves. The
quartet keeps them entertained. Roy waits nervously at the altar
with Art and the MINISTER. He checks his watch and it reads 5:30
p.m..
ROY
I wonder what’s keeping Dale?
We were set to start fifteen
minutes ago. She’s never late.
ART
I think we should make an exception on her wedding day.
I’m sure she wants everything
to be perfect.
Roy checks his watch again.
the air.
After a few tense moments he sniffs
ROY
(elbowing Art)
Do you smell that?
ART
What?
ROY
Something is burning.
Roy hurries out of the room and Art tears out after him.
INT:
FLYING L RANCH – FOYER – CONTINUOUS
Roy sails into the room, stops suddenly and looks around for
smoke. Art is close behind. Both stop and sniff the air.
118.
Roy spots smoke filtering out from under one of the rooms lining
the hall. Art notices it to and heads off down the corridor.
Roy quickly follows.
INT:
FLYING L RANCH – LIVING ROOM – CONTINUOUS
Art and Roy burst into the comfortable, nicely furnished room and
see a fire burning in the waste basket. The curtains behind it
are fully engulfed in flames. The blaze quickly travels to some
of the furniture.
Art jerks the curtains off the wall and works at trying to put
the fire out. Roy smothers the flames on a chair with a rug from
the floor. Smoke surrounds them.
INT:
FLYING L RANCH – UPSTAIRS BEDROOM CLOSET – CONTINUOUS
Dale is on her knees in her wedding dress, praying.
freely down her face.
Tears flow
DALE
Please show me the way…
You know who I am and what I
am. You know the great responcibility I’m taking on
marrying this man with three
motherless children. Please
help me to be a good mother
to Arline’s children. Give
me the courage and understanding….
She sits quietly for a moment. A sense of peace washes over her
and a smile slowly fills her face. She knows what she has to do.
INT:
FLYING L RANCH – DEN – A LITTLE LATER
Dale stands in the back of the room ready to march down the
aisle. Roy is not at the altar. She frantically scans the faces
around her looking for him.
The quartet begins the song “I Love You Truly” and all eyes turn
to her as the music plays. This is her cue, but she doesn’t know
what to do.
119.
Suddenly Roy rushes to her side. Art flies by them running
towards the altar. Both men smell of smoke and their clothes are
singed a bit. Dale studies Roy’s suit, but he doesn’t offer any
explanation.
ROY
I’ll tell you later.
He kisses Dale on the cheek then runs to his place at the altar.
The quartet continues and Dale starts down the aisle. When she
reaches Roy the pair join hands and the minister leads them in
prayer.
Dale’s hand is shaking in Roy’s.
He holds it close to his heart.
ROY
(to Dale in
a stage whisper)
It’s okay. I’ve got you and
I always will.
The two stare lovingly into one another’s eyes.
DALE
(in a stage
whisper)
I know.
The couple bow their heads as the prayer proceeds.
MINISTER
May these two serve you
diligently, Lord and from this
moment on may their lives be
filled with an abundance of
love and that their sorrows be
overshadowed by joy.
INT:
REPUBLIC STUDIOS – YATE’S OFFICE – DAY
Yates snaps off the tip of a new cigar and shoves it in his
mouth. He lights it and takes a furious drag. The ashtray on
the corner of his desk is filled with half smoked cigar, angrily
snuffed out before their time.
120.
Yates eyes a poster hanging across the room. It’s an enlarged
copy of the lobby card for the film The Yellow Rose of Texas.
Roy and Dale’s faces are in the center of the poster.
The glass covering the framed work has been smashed. A paper
weight lying on the floor below it shows how it got that way.
Yates is fuming.
He walks over to the giant window overlooking the studio grounds
below and watches PAINTERS across the lot on a scaffolding in
front of a building. They are standing in front of a giant mural
of Roy Rogers and Dale Evans.
One of the painters runs a huge roller dipped in white paint,
across Dale Evans’ face. Yates grins a self satisfied grin.
YATES
(to himself)
I wasn’t bluffing, Missus
Rogers.
He watches the painters remove Dale’s image.
moments she’s gone.
EXT:
In a brief few
CHEYENNE, WYOMING - MAIN STREET - DAY
Roy Rogers, the King of the Cowboys, peers out from behind a
wagon at the end of the thoroughfare, his carbine leveled at a
BANDIT carrying a torch.
Just as the nefarious man in black is about to set the general
store ablaze, Roy opens fire.
BLAAMM!
Roy’s target flips back, dropping his torch in the process. The
bandit dances in agony as he claws at his punctured shoulder.
From the opposite end of the street a sombreroed BANDIT spurs his
horse toward the wagon. His raised guns discharge as his ride
shortens the distance between himself and Roy.
KABANG!
KABANG!
121.
A six-shooter spits from a slit in the wagon’s side. The bullet
strikes the bandit hard, knocking him off his horse, which rears
and runs away, dragging the man’s limp body until the sharp-toed
boot breaks from the stirrups.
Dale Evans, the Queen of the West, pokes her head out of the back
of the wagon, her smoking six-shooter in hand. She nods
reassuringly to Roy.
ROY
Nice shooting.
JIM DRUMM, notorious horse thief and cattle rustler, steps out of
the saloon and yells for his men to “Hold their fire!” He’s
flanked on either side by no less than eight of the roughest
looking CHARACTERS this side of the Pecos.
JIM
(curtly)
You might as well give up.
don’t stand a chance.
You
ROY
(coolly)
We couldn’t do that. We work
for the Bar R and our boss
wants the cattle you stole.
DALE
And we aim to bring the herd
back to him.
JIM
I’ll give you both a minute
to think about your situation. You’re out numbered.
INT:
WAGON - CONTINUOUS
It’s a very tense moment. Dale searches the wagon for more
ammunition and anything else she can find to help them out of
this spot.
She moves a canvas blanket off one of the crates near her leg and
smiles as she reads the red letters scrawled across the wood. It
reads: DYNAMITE.
122.
She quickly lifts the lid off of the crate and removes a stick of
the explosive. Roy casts a nervous glance inside the covered
cart. Dale smiles at him while holding up the stick of dynamite.
He grins back at her.
EXT:
MAIN STREET - CONTINUOUS
Jim removes a pocket watch from his suit coat and checks the
time.
JIM
You two will never live to tell
anyone what you know about my
organization.
Dale steps out of the wagon carrying a lit stick of dynamite.
ROY
(confidently)
Oh, I think you’ll be surprised
at what we live to do.
Trigger rides fast into the classic western setting, kicking up a
cloud of dust as he stops in front of his famous rider.
Up to this
scene ends
TELEVISION
we’ve been
point the shoot-em-up scene has been in color. As the
the images dissolve to black and white revealing a B&W
screen, and we realize it is Roy and Dale’s t.v. show
watching.
We HEAR ROY and DALE SINGING as words crawl across screen,
supered:
The day after Roy Rogers and Dale Evans were married, Herbert
Yates replaced her as the lead actress in the Roy Rogers Bwesterns.
The public outcry was so great he was eventually forced to rehire
her.
Roy Rogers and Dale Evans made 81 westerns for Republic Studios.
They were the top box office attraction for ten years in a row
and second only to Walt Disney in the number of licensed goods.
123.
The Roy Rogers Show was one of NBC television’s most popular
programs for six years.
Roy Rogers and Dale Evans were married for 51 years.
FADE OUT:
THE END