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Stills from the spaghetti Western, 'No Room to Die', finishing up the gunfight from the last post I did on it. Full review coming soon to this movie review site near you.
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Stills from the Western, 'Law and Lawless', it's an early talkie. Apparently, Jack is Al's brother. If you don't have a clue about that, maybe you'll find out in my review, coming soon, to this movie review site near you.
#movie review#movie stills#law and lawless#hollywood#western movie#western#jack hoxie#yakima canutt#dynamite the wonder horse
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Stills from the beginning of a spaghetti Western gunfight, in the spaghetti Western, 'No Room to Die'; guess you could say the movie is part of the "Die" series of spaghetti Westerns, since a number of other spaghetties have the word "Die" in the title. Seems to be a trend lately to lump mostly unrelated spaghetti Westerns into trilogies and other categories. Full review coming soon, to this movie review site near you.
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Stills from the Western TV movie, 'Jack Slade'. Well, not exactly a TV movie in the '70's sense, though, it was shown on the small screen rather than large. Currently, the production date is listed as 1952, but it was actually produced in the late '50's; about 1957 or 1959 or so. As you can see in the stills, the fictional, titular, character is inspired by a character in the practically fictional Mark Twain novel, 'Roughing It'. The stills are from a pretty good, unaltered copy, and you can see in the stills of the titles, that the movie was given the standard disclaimer that all characters are fictitious, and none of them have any connection to real life persons; the titles of many Westerns have been redone, and replacing that disclaimer, a new one is substituted that basically says, that while some of the characters are based on actual people, the movie is still a work of fiction, which is weird, because very often that's added to movies about totally fictional people like John Wesley Harding, Calamity Jane, and Belle Starr. Full review coming soon to this movie review site near you.
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A promo shot
of the crew, supposedly, shooting the movie 'Jaws'. I'll bet you're expecting some comments about the mechanical shark, and, yes it's one of the three shark prop
effects used in the film. However, what's interesting to me, is the camera it's being shot with. You'll note the canister - or the "magazine" for you folks fixated with "Instamatic" cameras - is mounted on the rear, and not on top. Also, check out how thick the canister is; that's because it's a 70mm camera; 'Jaws' was the first film shot in 70mm. Also, jeez, what a big lens you have there; course, you could always slap a big lens on a 35mm, too. When the film came out, there was an hour long, err, documentary, well, actually a promo show, on TV, about how 'Jaws' was made, and some of the discussion was about the new 70mm technology, and how it was the wave - maybe a pun there - of the future. Unfortunately, the TV special doesn't seem to be available currently - anywhere. Full review coming soon to this movie review site near you.
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Stills from three different copies of the spaghetti Western, 'No Room to Die' - well, actually, the first set is from two different copies. The second copy out of the three looks a wee bit more cinematic, because it was, apparently, sharpened up digitally. That's the tinted copy, in the second set of stills, and the second in the first. You'll notice that the third still in the second set looks like it sort of has more detail, however, the illusion that makes it look more theater movie like, is created by noise in the copy, rather than anything done while shooting the film. Oh, by the way, an alternative title for the movie is: 'A Noose for Django', but like many of the other movies that have been retitled with "Django" in the title, there's no character in the film named "Django", or has any connection to other "Django" films. So, nope, the movie isn't part of the "Django" collection, or whatever some people call that. Full review coming soon to this movie review site near you.
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Ever hear of of a spaghetti Western TV movie? Well, the stills from the movie above - 'No Room to Die' - are one; yep, shot entirely on video. About up to the early '80's, even if a film was shot on video, usually the editor of the production would still have the title: "film editor". The movie is one of many spaghetti Westerns with the word "die" in the title; certainly not the most cheerful title for a movie. Full review coming soon to this movie review site near you.
#movie review#movie stills#no room to die#hollywood#western movie#western#spaghetti western#william berger#anthony steffen
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Find a Place to Die
Stills from the spaghetti Western, 'Find a Place to Die', as referenced in the review of the film in the prior post.
#movie review#movie stills#find a place to die#hollywood#western#western movie#spaghetti western#jeffrey hunter
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Find a Place to Die 1969 (1971)
Stills for the review in the next post.
A very sad title for a movie. The production date of the movie is either 1971, or 1969, since it's reputed that the star, Jeffrey Hunter, died in 1969. If
you watch 'Star Trek', you might recognize Mr. Hunter from that show; he played the first captain of the "Enterprise", in a supposed test episode of the
show, that was later converted into the two parter, 'The Menagerie'. Other than that, he starred, or supported, in a few other films, but didn't really do
very much. As of now, there seem to be three versions of the movie available: two VHS tapes, and a digitally enhanced DVD, however, you might be able to get
the VHS on DVD, too. Looks like one of the VHS's is the most original, though, that's only in regard to the titles, and all of the copies, editing wise, are
basically the same. The digitally enhanced copy has Italian credits, which were not part of the movie about the time it was produced, so it's a case of
trying to make the movie seem more foreign, err, "spaghetti", than it actually is. Of course, the origin of the production of all spaghetti Westerns is in
the US, and they were produced with the intention of distributing them in US markets, especially since audiences in Europe mostly abhor American Westerns in
general. Unfortunately, none of the copies are very good: the "restoration" in the digitally enhanced copy, as seems to be the usual trend doing that, they
leveled out the lighting and colors, and diluted the Technicolor, and got rid of the graininess, so it looks rather bland. The VHS copies have similar
problems, and worse, the details are sanded over, and the colors are skewed in weird ways; it's possible that at least one of the VHS copies was made from
a TV station broadcast, or TV station tape, however, the broadcast would have had to have been less than three decades old, as nowadays you'll be the first
members of the public to see the film; most spaghetties weren't even released until very recently. Apparently, the movie was shot almost entirely in
Yugoslavia, which is about the only place you could shoot a movie in a communist country during the time of production, unless you wanted to give the whole
"Cold War" thang away. Looks like while they brought over props, they used local, for the most part, wardrobe, which explains some of the not very Westernish
clothes used. The weird thing is, props in Westerns means mostly guns, so you'd think it would be the opposite, and the producers would have brought the
wardrobe and used the local prop departments; thing is: how many Colt .45s or Winchesters do you think you'd find in Yugoslavia? The shooting of the movie is
pretty much straight out of the spaghetti Western handbook, however, cutbacks are used extensively. There are a few scenes that will seem familiar, for example
the sexual assault scene in the film - yep, spaghetti Westerns have many more of those than other Westerns - anyway, the opener to it, is almost identical
to a scene in 'The Belle Starr Story'; however, the way the voyeur/voyeured shots are setup are not unique to the spaghetti, and had been used in many other
flicks. Besides that similarity, the Western draws on, or has in common, at least, other, non spaghetti Western sources: you'll note from the stills the
twilight shot, which was used in the very old John Ford silent 'Straight Shooter'. As in Mr. Ford's Western, while it looks nice, it doesn't have much meaning
or relationship to the rest of the film, nonetheless, it's shot and edited in more opportunely than Mr. Ford had been able to present it. You'll also notice
the silhouette shot, and of course, silhouetting was used by lots of Western movie directors including name brand ones like Howard Hawks, John Ford, etc.
plus, of course, in other kinds of movies. The very upshot shot, though, you won't find Mr. Hawks or Ford had done. Something you don't see in either of
those directors' works, or, in practically no other movie, for that matter, is scene using an optical illusion, or "Op Art"; in the late '60's/early '70's,
"Op Art" was rather popular. Have you ever seen one of those rooms, or seen a photo of one, in which the floor and ceiling is slanted so that people in
the room look farther away, or closer, or smaller or bigger, than they actually are? Well, you can see that's what happened in the still with Fernendo and
his room mate. It looks like rather than being an accident, that the scene was set up to have the illusory effect that Fernando looks so much larger than
the other guy. Actually, Fernando is somewhat larger than his friend, though not almost three times larger, as he appears in the optical illusion part of the
scene. There's a hint of the quick draw sequence a la 1950's, however, there isn't really any quick drawing or duel type gunfights in the movie. The big
problem with the film is the storyline: the basic premise is that a husband/wife team have a gold mine - literally - and other people want their gold.
They're able to fight off someone unnamed attackers at the start of the movie, but hubby gets trapped under some rubble, and instructs his wife to go to a
seedy town to get help. Now, there isn't much of a problem with the attackers being unknown elements - in the original 'The Good, the Bad, and the Ugly'
version(s), most of the Mexicans attacking Mr. Eastwood in the hotel scene were unknown, and it worked ok, there, too. The problem in 'Find a Place to Die'
is when - hey: can you guess what happens when the woman looks for help in the town? Well, that happens, however, while everybody, except the lead played by
Mr. Hunter, has their own plan to get the gold for themselves, or self, those plans change in a way that's convenient to streamline the story to a certain
ending, but makes no sense otherwise. Along with that, many of the characters get, well, out of character, and that makes no sense either. For example:
Fernando, who'd been the sexual attacker, later becomes the attackee's best friend, almost: Joe (Mr. Hunter) leaves Lisa (the victim of the attack) with
Fernando during the culminating gunfight, and Lisa is shocked when Fernando dies. Not only that, earlier, Fernando had been one of those who'd rushed to try
to plunder Lisa's mine after the location was secured. Paco starts off planning to kill everybody, and take the gold for himself. Then, they all find out
Chato had taken the gold from the mine back to town, and Paco goes with the group to get the gold and Chato. Mission accomplished, he doesn't double cross
Joe/Lisa (yep, they become a thing - maybe - by the end of the movie), in fact, well, before that: you can see Joe is turning out to be a central, hero
character, so, of course, any attempt to double cross him would have failed. Anyway: there's almost a heart string pulling, tear jerker of a farewell at the
end; guess Paco came to the logical conclusion that Joe was the central character, and just said: "hey, take all the gold; I'll just have my woman Juanita
and the measly payment for services rendered". By the way, Juanita starts off as a slimey, backstabber, then ends up being a damsel in distress. Although
it's hinted maybe she's a prostitute, actually, she's just a singer/guitarist, and Paco's her manager/boyfriend - mostly to keep the groping hands off her.
Riley doesn't change that much during the movie: he gets in the posse by pretty much forcing his way into the group, he expresses a lascivious interest
in Lisa, which is rebuffed rather hard, he's one of the guys who makes a mad dash to ransack the mine to find the gold - actually, there's another scene
very similar to 'The Good, the Bad, and the Ugly': the scene in which Ugly arrives at the cemetery and runs headlong into it looking for the grave the
loot is hidden in; yet another example of how production of spaghetti Westerns was very minutely coordinated, since both movies were produced about the
same time. When the posse arrives back at the mission, Lisa warms up to Riley, and it's like we're watching a completely different movie. Unexpectedly, during
the gunfight with Gomez at the mission, Riley decides to go over to the other side, however, Gomez doesn't like it. Lisa's change of heart regarding all
of them isn't well written for the actress playing her, and for her own part, she even exacerbates the disparity by not adding anything. Joe starts out
as a bitter, burnt out, cynical guy, and his gradual change is at least explained by his conversations with Lisa. Gomez is the only one who stays in
character the whole movie: he tells Joe from the start that Joe can have the woman - which makes sense to say, because Gomez rescues Joe from a losing fight to
protect Lisa - but Gomez wants the gold; Joe has nothing, practically, to say about that. Gomez later meets with Chato, and it's almost as if Gomez is an evil
accolade meeting with Satan. However, Gomez has a trick up his sleeve: he abandons the posse, meets up with Chato at the mission, then double crosses
Chato, and tries to take over the big boss' operation, which fails. Lisa helps out the posse, even though first Chato, then, sort of, Gomez tries to
fill the role of the vacant Paco, later she plays the very worried girlfriend when Paco is shot, so a rather uneven transition from a sneaky saloon girl, to
a more domestic girlfriend. In some ways, the script problems are rather typical of spaghetti Westerns, however, while the characters often change allegiences
the basic story is rather simple. Certainly, that last part is makes the movie different from other spaghetti Westerns, and another thing not really apparent
in the movie is the dreamy, non reality, blurry depiction of the ole West, or, if you like, picture of what Hollywood thinks is the old West. Instead, with
the exception of a few spaghetti Westernish camera angles, the overall impression of the movie is that it's a typical late '60's/early '70's Western. Below
is a partial transcript with more detailed comments about very specific parts of the movie.
Brassy Mexicanish opening theme, orchestration breaks in, out of focus shot of an iguana, brought into focus, and zoomed out to some large rocks, after still for credits, looks like titles
had been added later, as they look newer than the film they superimpose, pan left slowly to a shack, sort of a bumpy pan, wide shot, very upshot pan right 90 degrees across some tall
cliffs, gunshot noises, cut to very downshot wide shot of a guy shooting a Winchester, another guy taking cover to the left, zoom out to a precipice, to behind a guy wearing a
bandolier, and sombrero, armed with a Winchester, he shoots at those below, cut to close up of a blonde guy shooting a Winchester upwards, ricochet noises, pan left and we see the
other is a woman, cut to a guy running from the right, through some rocks, others enter right, cut to level shot of right profile of the woman and the guy, lots of gunshot noises and
ricochets, cut back to the wide shot of the guys, one shoots a Peacemaker left, cut back to woman/guy "gimme it" and the guy exchanges his Winchester with the woman's, she reloads it,
cut back to the rocks and guys, cut back to woman/guy, cut to upshot of the guy with the sombrero, he rises and aims, quick cut to woman/guy, guy shoots upwards, cut to the sombrero
man, he screams and falls forwards, pan down and right with him falling, as he rolls, cut to wide shot of him rolling directly to the camera, coming into a closer shot, with some pan
downwards, cut to the guys on the rocks, cut to closeup of the woman loading a Winchester, with .22 LR ammo, cut to a wide shot of a cavallero jogging laterally right, near a building,
cut back to woman/guy, guy aims and shoots, however, you can't see very much of him, and just the hands of the woman loading the other gun, cut back to the guy near the building, he
screams and raises his arms in the air, and falls, quick cut to a closeup of a guy in a sombrero shooting directly into the camera, cut to wideish shot of the woman taking cover behind
some kind of wooden part of a building, cut to upshot closeup woman/guy "for this; we left our quiet homes" "it will be worth it, someday" quick cut to closeup of a guy shooting while
taking cover behind rocks, the woman and guy had been shot about 30 degrees left and the other guy is about 30 degrees right, cut back to the woman/guy, "your position at the
university was never enough; the young geologist had to show off" cut to level shot of the guy with the sombrero, cut to closeup of the guy, shooting the Winchester almost into the
camera, cut to left profile, guy POVish downish headshot of the woman: "you found the mine, that everybody said was all worked out; was filled with gold; and for what?" cut to the
upshot of the woman/guy, "for us" and exchanges guns with her, cut to very tight headshot of a guy with a gun pointed directly into the camera, zoom out, he's partially hidden by a
rock to the right, cut to the wideish shot of the woman behind the wooden structure, cut to closeup of the guy sneaking a peek over it, ricochet and gunshot noises continue, pan left
with the guy in the sombrero, as he crouches and jogs in front of rocks, cut to pan right shot of the guy, sliding in that direction, he aims carefully and shoots, cut to wide shot of
the guy in the sombrero grabbing his stomach and bending over, "oooh" very similar to the shot of the guy getting shot while moving to the right, the guy stumbles a bit, another gunshot,
and he falls, cut to upshot headshot of the guy (blonde guy) cut to slow zooming in, guy POV closeup of a box with some rounds in it, cut to upshot right profile headshot of the guy,
he ducks and moves away from the camera exiting, cut to close shot of him sneaking out to the right, from behind the wooden thing, then quicker, and almost exiting, cut to the shot
of the guy with the Peacemaker, though much much tighter, pan down to the muzzle of his gun, cut through a gunshot noise, to close shot of the blonde guy moving right, he clutches his
arm and takes cover behind and to the left of what looks like a large wooden box with a barrel in it, perhaps the entrance to the mine is in the background, quick cut to wideish shot
of the woman levering a rifle, framed by some junk in the foreground, cut to the blonde guy, he moves left and away from the camera, then scurries towards the mine entrance, quick cutback
to the woman looking behind herself, to the right, cut to wideish shot of the guy moving further into the mine, he bends down, and seems to pick something up, then moves right with a pan
to a wagon - looks like the wooden box was part of the wagon, he holds what looks like a bundle of three sticks of dynamite, in the crook of his left arm, cut to the woman levering, and
shooting upwards, sort of an upshot framed by junk in the foreground, she shoots and levers a couple times, cut to a guy with a revolver, hiding behind some rocks, cut back to the
blonde guy, he strikes a match on the barrel in front of him, cut to the woman, shooting almost into the camera, cutback to the guy with the revolver shooting almost into the camera,
then ducking to the left, cut to the blonde guy lighting something, cut to the woman scurrying to the left with a pan, inside the wooden thing, cut back to the blonde guy, he throws a
stick of dynamite to the right, sort of an overhand throw, typical of Hollywood dynamite throwers, cut to a wideish shot of some guys - revolver man, maybe - an explosion, and some
fall over, cut to wideish pan down, and right of them rolling, cut to wide angle shot of a guy in some rocky cliffs, cut to wide angle shot of the rocky cliffs crumbling, about 30 degrees
right of the prior cut, some wobbling in the camera, too, cutback to the blonde guy, throwing another stick of dynamite, cut through that to overhead shot of him throwing, the camera
goes right and left sort of quickly, as if an explosion shook it, cut to the woman taking cover in the wooden thing, actually, maybe it's a very large, rectangular, metal mining bucket,
however, it's white colored, cut to wobbly upshot of the cliffs crumbling, cutback to blonde guy throwing more dynamite, cut to an explosion near two guys moving towards the camera,
some panning in there, four cuts of the cliffs falling apart, the one in the end much wider, the one in the middle a closeup, cut to the woman in the box: "Paul! Paul!" very rapid zoom
out, then quick cutback to the cliffs falling on the shack, cut to side shot of the cliffs falling on the mine, then cutback to the end of the zoom on the woman, then cut to closeup
of debris falling on the mine, cutback to the woman, two cuts of various fields of view of the debris, then cutback to the woman, then cut to closeup of her, score gets atonal which means
scary sounding, pan left with the woman, "Paul! Paul!" as she runs over to debris covered Paul (the blonde guy), zoom in a bit then out, as she goes to the left of Paul, and tries
to get the debris off him, and extract him, an unnecessary zoom in, then cut to closeup, 45 degrees left, the back of the woman's head in the left foreground, Paul middle, "can't even move
it an inch; (garbbled) a ton" cut 90 degrees right, reversing the players' positions, "is anything worth all this?" cutback to the other shot, "anything?" Paul reaches into his jacket,
and pulls out a small bag: "we have got this: Lisa! Take the gold!" cut through that back to Lisa (the woman): "we paid for every ounce of it; (garbbled) frightened for our lives; every
hour of the day; no one knew it would end like this" "hasn't ended" "what do you call this" cut back to Paul, though, a wee bit tighter: "you were against it right from the beginning, Lis;
you kept on criticising; kept on sneering at it, knew it would end like this; I hope you are satisfied; you were right all along" cut back to Lisa: "I'm still your wife, Paul" "for another
day or two; but soon you won't be able to say that; just give me a day or two longer, and then you're free; men are going to come, flocking around, such a nice young widow; like a pretty
widow with a fortune in gold; yeah, she's going to be mighty attractive, with all this gold; someone else is going to enjoy this gold; gold that was ours" cut through that to Lisa, then
back to Paul, then to Lisa: "no, Paul, I can bring help" cut to Paul: "can you do it?" then back to Lisa, she nods, "(garbbled) chance I can get you to (garbbled) Gilla" "a town; near
here?" "Can't really call it a town; wasn't there now, but it used to be a busy place" cut through that to Paul, score starts in with acoustic guitar, Hollywood Westernish style,
"and they'll do anything to get money; so maybe you can get one of those men to come out here; offer this gold; my only chance" cut through that to Lisa: "how far is it?" "Take about;
two days; and between here and (garbbled) Gila, there's nothin'; but Lisa; don't go, that town's not place for a decent woman" Lisa stands up, cut to wide shot, Lisa runs towards the
camera, and exits left lower corner, good transition between cuts, a horse whinnying, "Lisa: the Winchester! I want some whiskey!" cut to Lisa's hands holding a leather flask, and the
barrel of a Winchester, zoom out to show Lisa left, Paul right, a large bottle wrapped in wicker near him - hmm, that's going to be a lot of whiskey for Paul - "how badly does it hurt?"
"It's alright, Lisa, don't worry" she kisses him: "I'll ride fast" "Lisa: if you never return here, I'll un" interrupting: "no, Paul, you mustn't say it" she gets up and exits left,
slow zoom in on Paul, deep electric guitar for score, opening to some stringy horny orchestration, cut to wide shot of Lisa jogging from the camera to a white horse, score sounds sort
of ominous, cut to level closeup of Paul, he takes a swig from the flask, cut to wide zooming out shot of Lisa riding away, score gets a French horn in it, pan left, then cut to a wide shot
of Lisa riding towards the camera, into a close upshot, cut to another wide shot of her riding through a canyon, into a closeup, cut to wide downshot of her riding left with a pan
through a forest, a blue tint in those cuts, cut to wide shot of her riding towards the camera over a rocky area, wending her way left, cut to wide shot, similar to prior, though a different
area, cut to her riding through a grassy area, then over a crude wooden bridge, to the left, score is brassy, with some electric guitar, though, not distorted, cut to panoramic shot
of her riding along the top of a hill, on the right, towards the camera, then making a u turn towards a villa in the background, cut to closeup of a guy in sombrero and wide cartridge belt
in left profile, a villa behind in the background, the guy suddenly brings his Winchester into a ready position, cut to wide, panoramic shot of Lisa riding towards the camera along
a dirt road, what looks like the ruins of a church and associated buildings on a rise center left background, cut to the sombrero guy, then cut to closer shot of Lisa riding up to, and
stopping at the camera, cut to tight closeup of hands playing an acoustic guitar, the tune is similar to some music in the score, pan up to a headshot of a woman who looks like Lisa:
"will it ever end" she sings, "will it always be this way; will I have to leave each day; waiting for the, night fall; then to face light; waiting for the light; and play my part, through
my heart; the same old story" cut to shot from behind the left side of the woman's head, three men sit, or lounge, in the background, "an I really blind, how will I" cut through that back
to the woman headshot: "ever find the road, to break the chains that bind us" cut to wide shot, a right profile closeup of a guy left foreground, woman singing center background, further in
the background, three guys sitting on chairs, "this heart of my to break" cut 90 degrees left through that to shot of the woman in the background, framed by a table with a bottle and
glass on it, in the foreground. A hand grasps the glass, pan left to a tight headshot of a man drinking from the glass, pan exits the guitarist, "like a soul possessed, from a high eagle's
nest" the man choruses the lyrics, cut to wideish shot of the guitarist, a guy in the right foreground, another guy in the background between them, "i will find a nest, in this old ghost
town, that weighs me down, until I cry; tomorrow" cut through that back to the headshot of the guy, "way up there on a...did I come, to find a place, to die" cut back to the woman/guy
in right foreground shot, she plays a few chords as a finale, some clapping: "bueno, Juanita" cut back to the wide shot, guy on the left foreground, though elevated a bit, the woman stands up,
and collects some tips, the guy in the left foreground asks: "how much for that blouse you're wearing, Juanita?" "why don't you ask Paco?" "how's Paco" she begins exiting left, cut to
floor level upshot of the guy with the glass on the right foreground, Juanita saunters middle towards the camera, score mimics her song, with woodwinds, she pulls up her skirt, and
puts some of the money in her left leg garter belt, cut 180 degrees behind Juanita, a downshot, so it's 180 degrees up and down and sideways, behind Juanita, she holds out her right hand
to the guy in the background: "and you" cut to shot of Lisa walking in between some stone pillars, towards the camera, a real jolt between cuts, so maybe some film is missing, quick zoom in
on Lisa, cut to upshot of some caballeros, one on theleft background, another right foreground, the last one looks up, cut to closeup of Lisa, she looks around uncertainly, score stops
and birds (crows, maybe) as ambient sounds, Lisa walks right, looking around, Juanita enters right, and stops - physically blocking - Lisa, Juanita makes some gestures with her head,
cut to the guy with the glass, Lisa walks past Juanita to the table with the guy with the glass, "are you, an, uh, American?" cut to a POV shot from behind the guy, the back of him left
foreground, Lisa center, "yeah" "my name is Lisa Martin, and yours?" cut through that to Lisa POV shot, a downshot of the guy, part of Lisa left foreground, "Collins, Joe Collins" cut back
to the shot of Lisa, "you've got to help me, Mr. Collins; I've left my husband half buried, and wounded, back in the Sierras; it will take at least three men to get him out; but right
away, there's no time" dialogue looks very dubbed, cut back to Lisa POV downshot of Joe, "if I've got to go any further, to find help, he'll die; please Mr. Collins" cut to slightly upshot
of Juanita in right profile, she sits down with her guitar, off camera: "I don't speak Spanish; I don't know any" cut through that back to the shot of Lisa: "of the people here; in this,
god, forsaken place. Anyone I've tried to talk to so far; has only been interested; in me" cutback to Joe: "that's understandable, in a godforsaken place" cut back to Lisa: "my husband
told me this was our only hope, here, at El Nido del Aguila; the Eagle's Nest" cutback to Joe, though a more elevated shot: "vulture's nest, would be more like it" he stands, cut to headshot
of Lisa, framed by stuff in the foreground, score is solo acoustic guitar, zoom out as she walks forwards, the zoom enters Joe near a bar on the right, "but I can pay; I can pay very well"
"there's probably somebody here; who will help ya; even the dumbest of them understand money, just ask" quick cut through that to a close shot of a guy in a sombrero and poncho
entering right, and sitting on some rubble, cutback to Lisa/Joe "I'm sorry about your husband; but, he's back in the Sierras; and you know what that means" "it means he'll die up there,
without help" Joe looks straight into the camera, hmm, sort of looks like he's glaring at his agent for getting him the gig: "it also means the Chato gang, the meanest bunch in this
territory" turning to Lisa: "you know: they even held off the US cavalry; of which; I; I, once had the honor of being an officer" cut 140 degrees right, putting Lisa in the foreground,
Joe circles around in the background to the left: "their idea of fun, is a word called torture; and the only, thing, they're interested in; is gold; and women" "but I got through; and I saw
no gang; not a soul" "ah, you were just plain lucky; so you might as well forget it" "and let my husband die? You, you got to help; you said you had been an officer; there must be a little
honor left in you; some decency, some principle" during those lines, Joe continues to circle Lisa, until he's slightly in front of her, having made an almost 340 degree turn, from the
point where he's behind Lisa, the camera is dollied in a circle with Joe, however, as he comes around, he's in a closeup, cut to shot from behind Lisa, who's on the right side, Joe in
near background left, "you can save the fine talk for the gentlemen who sat at my court martial; and for the fine Texas rangers, who have been hunting me like a coyote, ever since I shot
a man who's better off dead, than alive" cut through that 180 degrees left to a slightly upshot, behind, and to the right of Joe, Lisa on the right, "you want to ask them about Joe Collins,
go ahead; they'll tell you Joe Collins hasn't got any principles" Lisa pulls the pouch out: "$2000 in gold; all you have to do is come with me" cut to the guy in the sombrero, then upshot
close shot of a caballero left background, and another guy in a straw sombrero right, score gets more tense and ominous, with woodwinds, guitar stopped, cut back to Joe/Lisa, "you can name
your own, price, Mr. Collins" cutback to the shot from behind Lisa, some electric guitar in the score, "I've had as much as $5000 on my head; and that still isn't enough to make me want
to risk my skin, Mrs. Martin" cutback to shot from behind Joe: "so you take your money, and yourself, and peddle them someplace else, because I'm not buying" Lisa makes a quick exit left,
cut to right angled headshot of Juanita, some brass in score, cut to wide shot of the cantina, err, outdoor area, Lisa walks in the background towards the lower left corner, the guy
in the sombrero walks towards her, others look on, he grabs Lisa and lifts her up: "hey, senorita" actually, the area looks like a set on a soundstage, cut to zooming in downshot closeup of
suede or leather, on the ground , we see some gold nuggets on it, spilled out of the bag, cutback to the wide shot, "put me down!" three of the patrons sitting around run from both
sides and bend over the jacket, a hubbub with Lisa and the guy holding her, cut to close shot of Joe near the bar, his attention piqued, he starts to exit, cutback to the wide shot,
the man has Lisa cradled in his arms, the three others are in a tussle, Joe gets bigger in the middle background: "wait a minute" everybody stops, the shot is a little out of focus, mostly
from a shallow depth of field, and in fact, the wooden upright on the right, is more in focus than the action further in the background, so, if you like looking at wooden uprights, there's
your chance, the guy walks towards Joe, and as he's about to throw her to Joe, cut through to a close shot of her being thrown, and landing in Joe's arms, "here: take her" the the guy
turns away, and suddenly turns and punches Joe, cut through that 180 degrees right to behind Joe, a ground level sort of wide, upshot of him falling backwards, cut through him falling
180 degrees left, to a closer downshot of Joe landing, Lisa rolling off him, and Joe rolling on his stomach, cut to close shot of Juanita standing, cut to ground level upshot of Joe
rising, shot about 80 degrees left of the other upshot, cut 100 degrees left to slightly downshot of Joe on all fours, he starts to draw, and a foot enters lower frame, and kicks the
gun out of his hand, cut 180 degrees to a wide shot at level with the table in the foreground, Joe between the table and the four guys in the background, who approach menacingly,
as one bends to pick up Joe, cut 170 degrees left through that close up panning shot of him picking Joe up, and punching him, cutback to the table level shot, and Joe flies across
the table towards the camera, and falls out of frame, cut to close shot of Lisa looking worried, her wardrobing doesn't look right: a yellowish golf shirt, belted, tight, black leather
pants (well, actually they're probably naugahyde), and knee high round toe boots with chunky low heels; sort of a weird combo of sporty/preppy and biker/'The Avengers'. Cut to Groundish
level shot fo Joe lying on the ground, head to the left, and looking up a wee bit, the legs of the table in the foreground, cut to Joe POV full body upshot of the four guys taking a
couple confident steps forwards, cut back to Joe, starting to get up with a pan, some jerkiness in there but it works with the shot, Joe gets on the table into an upshot, so no elevation
of the camera, he grabs a beam holding the thatched roof and starts to swing forward, cut through that to to wider shot, some of the four guys in the left foreground, Joe swinging
and kicking them, a good transition between cuts, the guy with the sombrero and poncho enters quickly right, punches Joe with a left, then a right, knocking him on the table, the other
guy in a sombrero enters left and grabs Joe along with the guy on the left, cut 180 degrees to behind the table, shot slightly below it, the two guys drag Joe away into the background,
cut 150 degrees right to them standing Joe up, the guy on the left punches Joe in the stomach, cut through that to very upshot closeup of Joe bending over in pain, quick cut to headshot
of Lisa, cutback to Joe, the guy on the right holds him by the hair and pushes his head down, then pulls his head up, as he's about to punch again, Joe punches both guys with one arm
each, they start to fall out of frame on either side, cut to level shot of Joe punching the guy with the black suede vest and red pants, Joe on the right, pan with the guy falling onto
a table and breaking it, Lisa on the left, scurries left out of the way, exiting left, cut to upshotish close shot of Joe squaring off on the left with another guy, the guy throws a punch,
and Joe grabs his arm, cut to another guy entering right, and missing a punch to Joe, Joe punches him in the face, and the guy exit right, quick cut to Juanita closeup, cut to downshot
close shot of Joe on the left, blocking a guy's punch with his left, and punching him in the face with a right, cut to close downish shot of the guy in the vest/red lying on some broken
wood, he rises and tries to draw a knife, but a gunshot noise, and some fake blood on his hand, actually, the actor looked, well, too much like he was acting, cut to a downshot closeup
of Joe, he looks over his right shoulder, cut to closeup of a Peacemaker pointed angled to the right, a quick pan up to a headshot of a guy with a beard, score starts with some synthish
sounding, slightly atonal, notes, sort of sounds like the game show tunes used on those shows for the start of round, however, more scary sounding, the guy gives a little wink with his
left eye, quick cutback to Joe, then cut to downshot close shot of the guy who's hand was shot, cut to wide shot of the cantina, part of the back of the new guy left foreground, Joe
and others in the background, everyone scurries around, Lisa walks forward to her jacket, and picks up the gold, the new guy walks from the camera and right to the center of the frame,
cut to full body shot of Joe, bending down, scary notes in the score settle down, and some low pitch harmonica is added, Joe tiredly picks up his gun, cut to upshotish shot of the new
guy, gun still in hand, walking diagonally rightwards, a pan with him, then a pan down to his waist, as he passes, Lisa is entered in frame behind him, and he holstsers his gun and
exits right, Lisa fiddles, rather obviously, with the bag, picks up her jacket, rises, and partially exits right, cut to level shot of the new guy left background, Joe right foreground,
behind the table near the bar, Joe is helping himself to some liquor - hmmm, guess it's a buffet type bar, don't see that very often, weird - Lisa enters left and on the opposite side of
the table, her entry draws the new guy's interest, "are you alright, Mr. Collins?" "Yeah" "I, am, very, very grateful, gentlemen" "it is nothing, miss, after all, I can't lose; a man
who sells me guns" cut to closeup of Joe, 90 degrees left, he's startled, then turns and spits out something, cut to closeup of Lisa, on the left in right profile, the new guy center
background, frontal, "I, had; been speaking to Mr. Collins about a job" as she puts the gold in the pouch, however, the new guy is mostly looking at her, maybe it's bad acting, but
it seems like his attentions should be on the bag, rather than Lisa, however, it's usual procedure for an actor to look at another player when that one is speaking, "perhaps you would
be interested, too, mister, mister" "Gomez, miss" cut to closeup of Joe: "she's a mrs., and her husband traps in a mine in the Sierras; and Mrs. Martin doesn't know about Chato"
cut to closeup of Lisa: "Mr. Gomez: is there something you can do to help me?" cutback to the shot with Lisa left foreground, "Chato and his gang are my friends; more like members of
the family, really; my, my, friends depend on me, because...well, I, um, well, I, um, well, I think I can't help you (oops), Mrs. Martin, with me, you and Joe, need not worry"
during that, cutback to Joe, then cutback to Lisa/Gomez, then cut to wideish shot Joe in left foreground, Lisa left, then Gomez center background, "there is nothing, truly nothing,
I would not do, for my friend, senor Collins" during that, he walks behind Joe and slaps him on the shoulder, Joe turns and pushes Gomez, and walks from the camera, facing Gomez:
"listen, Gomez; I want to tell you something" they walk further away, Joe exits right, and Gomez partially exits behind him, cut to upshot of Joe followed by Gomez walking towards the
camera, at an angle, a 180 degree pan, they get closer, then ending with a wide shot, cut to closeup of the two, almost the same angle so a slight shift in there, Joe grabs Gomez with his
right hand by the collar: "tell me a little more about your happy family relationship with Chato, you bastard" cut 90 degrees right, similar angle, "you must have known the weapons were
for Chato, who else is there to pay, your crazy prices?" cutback through that to the other shot, "listen: Gomez; selling guns to outlaws in one thing, selling guns to a killer of women
and children is something else" cutback to the other shot: "Chato is not so bad, and his gang; is the only power; from here to Texas; uh; but I won't tell anyone, that the guns come
from you" during that cutback to the other shot, "it's between you and me, a little secret, huh?" during that Joe draws his gun and points it on Gomez's chin, "it better be; so, for now
on, you keep your mouth shut" cut through that to wider shot Juanita in the right foreground, facing the camera, Gomez and Joe in the left background framed by a stone arch, Joe exits
right behind the wall there, "hey Collins: we can help the senora" during that, Juanita looks over her shoulder, cut to wide, ground level upshot, Joe in the right foreground, Gomez in
the left center background, sort of a fisheye effect in the shot, "let's make a deal; look: all I want is the gold mine; as for the woman; take her; I'm not interested" Joe doesn't turn
much, mostly looks over his right shoulder, he makes some facial gestures, cut through his turning around to face Gomez, to a shot with the back of Gomez left foreground, Joe right
background, the scene looks like it was shot on an old fortification, or monastery location, Joe is a bit out of focus: "two bastards aren't enough, Gomez; we'll need at least four"
cutback to the other shot, "of bastards, we can take our choice; I know them all" cut back to the other shot, "I don't doubt it" Joe walks away, and Gomez turns towards the camera, cut
through that to the shot with Juanita in the foreground, Gomez walks up behind her: "when you, uh, see your pimp; we can use him" Juanita looks over her shoulder a bit, Gomez walks to the right,
and exits, partly facilitated by a zoom into a headshot of Juantia, a little bit roughly, cut to shot of Juanita entering into a stable area, which looks like it's part of the stone
structure, she has her guitar in hand, sound had been wind, then it's the guitar score, pan right with Juanita, and it results in showing just above her shoulders, then her back as
she walks away, she stops and seems to see something and sets her guitar down and exits right, so, about 100 degree pan, cut to Juanita in the process of entering left, a sort of wideish
upshot, a guy is lying on a bed with his head on the right side, and back to the camera, she sits on the bed, the guy turns up to her, and points a gun at her, she kisses him, "how much?"
she raises her skirt and reaches into a pouch attached to her left thigh, and takes out some coins, harmonica in the score, as she starts to drop the coins in his hand, cut to overhead
shot, Juanita in the left foreground, the man lying below, his left hand filling with coins "(garbbled)" "um" then she kisses him, cut through her rising to the prior shot, and she exits
left, the man sits up, twirls his gun a bit, then holsters it, cut to shot of a reflection of Juanita in a dirty mirror, the left side of the back of her head is in the right foreground
the guy (Paco, I guess) enters on the right side of the reflection, "Paco: did you ever guess, that you would grow up to be a great gunfighter? And that I; that I, would sing to pigs?
I speak of the (garbbled) of their mothers. You know, Paco, you'll be working soon; they are looking for two bastards" "ah, huh, and I'm bastard number one, huh?" he had been kissing her
on her neck, "every time you have to go away, only trouble will be the last time; now maybe; you have the chance; to change all that; I figure that, that you will be going to a gold mine;
and that no one will say a word, if you come back; alone" "yes; but not alone; the gold will be with me" cut to downshot closeup of their legs and feet Paco pushes her skirt down with
his hands and left foot, her undergarment showing, some vibey synth in the score, then a glissendo on the guitar, pan as the they feet and legs move to the right, and they sit on the
bed, cut to right panning very tight closeup of a gun holster and gunbelt, the harpy, stringy score gets some dramatic brass in it, pan across to gun holsters in the holster on the right,
the guns are brass inlaid, or framed, Peacemakerish guns used in lots of spaghetti Westerns - the armorer must have produced a whole bunch of the guns for all the movies they appear in,
zoom out to show Paco from waist up: "si, the job is simple enough; what do I get out of it?" cut through that to wider, full body shot, Gomez then Joe left background, Paco right
foreground, the ruins on the background, maybe it's a ruined mansion, "a hundred dollars" "ah,eh" Joe shakes his head, and he and Gomez walk away, "hey, Collins:" Gomez/Joe stop and
turn, cut to close shot of Paco: "alright, I'll do it, one hundred dollars" cut to close shot of Gomez/Joe "alright, that's pretty good for buying a pig in a poke; I don't know if you can
even shoot straight" and they turn away, cut to full body shot of Paco drawing with his right, and cocking with his left and firing, cut to close shot from behind, just their backs,
Gomez/Joe, Joe's hat flies off, with a gunshot noise, cut to closeup of Paco, cutback to Gomez/Joe, Gomez in right profile, Joe turns to frontal shot: "pick it up" cutback to Paco, he
laughs, cut to wide shot from behind Paco, who's in the right foreground, Gomez/Joe left background, Joe raises the Winchester in his right hand, and points it one handed at Paco, he
shoots, gunshot noise, Paco's hat flies off, then puts his left ahnd on the gun, and levers it, cut to upshot of Paco's hat flying in the air, then another gunshot noise and a ricochet
noise, and it flies some more, then two more shots, cut to upshot, left side shot, closeup of Paco, looking angry, and sidelong, he laughs: "you're not bad Collins" pan down to him twirling
and holstering his gun, cut to closeup of Gomez/Joe, Joe chuckles and Gomez smiles, Joe shakes his head and lowers his rifle, Gomez goes behind Joe, and picks up Joe's hat, and hands
it to him, "now we are three; I'll get Fernando; he's strong as a bull; and as stupid" Gomez exits left, a little pan right, cutback to level Paco closeup, who winks with his left eye,
cutback to Joe, who puts on his hat, score starts with some woodwinds, and brass, as Joe turns from the camera, cut to a guy running up a grassy patch, some terraced hills and ruins
in the background, pan as he runs under a rock arch, cut to an upshot close shot of a guy leaning to the right over a rock in a cave, he's seated in a fancy looking chair, cut back to
the guy under the arch he walks to the left with a pan, score is brassy, the pan enters the guy in the chair, a wanted sign is on the cave wall left background, "(garbbled Spanish)"
the guy goes to a chest pulls out a drawer, and drops it, during that: "(garbbled) I can't find anything in this mess" he hits his head on the roof of the cave, the guy in the chair
seems to be whittling something, he puts down his knife, and gets up cut through that to shot from behind the guy, only the rear left side of him shown the other guy goes up to
the first guy, "all my keys Fernando, you might have ruined my instruments" the first guy's name is Fernando, apparently, he pushes Fernando out of the way, and pan as he walks to
a chest of drawers and opens a drawer: "there are your bullets; right where they always have been at" Fernando enters left, and pushes the smaller guy to the right, and pulls out
a cloth bag, and empties the contents, "you wouldn't dream of telling me anything, eh?" Fernando puts the bullets in his right coat pocket, "eh? Where you going?" "Do a job with Gomez;
and Paco, and Collins" "Collins?! I want to go, too" "uh, uh" "I can shoot" as he tries to get something out of his pocket, unsuccessfully: "well, I can open strong boxes" cut to shot
from behind the smaller man, Fernando on the left in an upshot: "it's not that kind of job; there's a man trapped in the Sierras" Fernando turns and starts to exit, cut through that
to him fully exiting, back to the wider shot, "we pull him out, and I get $50" "if that's all, why is Collins paying so well?" "shut up" cut to wide shot in the cave, it looks like one of
those optical illusion rooms, because Fernando looks huge on the left, and the other guy looks tiny on the right background, "Collins will take me; if you ask" actually, Fernando is
a lot bigger than the other guy, just not like giant, however, and we see that as the guy comes more into the foreground, Fernando picks him up by the armpits and puts him back down:
"is that so? Remind you who's boss" "Fernando" Fernando walks from the camera into the background, center, "Fernando? We're still friends aren't we?" as the little guy tries to pull his
bowler off his eyes, Fernando comes into the foreground, and whacks him on his hat: "shut up" and exits right, "oh, what a friend I have" sounds sort of disembodied, cut to wide angle
shot of the mansionish ruins, rapid guitar strumming for score, the five in the group - Lisa, Joe, Gomez, Paco, and Fernando - ride towards the camera from mid background, and make right
turn, score gets horny with some French horn, a pan right till they're riding away down a narrow dirt road, cut to shot of horserider riding towards the camera, down a path that has
two worn tracks on it - could be from a wagon, however, it's from a modern day vehicle, obviously; not the best location for the shot - the guy comes to a stop, cut to a shot of the
five riding across a rickety looking wooden bridge, that crosses a gully with a lot of undergrowth, cut to closeup upshot of the solo rider, overexposed, some dramatic, churchy vocals
in the score, cut to closeup of Joe riding at an angle to the camera on the bridge, some panning right, but he exits, and Lisa enters left, cutback to the solo rider, he turns and
exits left, cut to wider downshot of Joe on the bridge, he exits right, and Lisa comes more in frame left, actually, in the previous cut of them, looked like Lisa had reached the end of
the bridge, a bit of zoom out and pan right, hwoever, Lisa exits right, and Fernando is entered left, cut to similar shot of Paco, cut to panning right shot of Fernando, cut to wide angle
shot, a classic type of shot from the silent era, a grassy area, with a rise in the background, the solo guy enters center right over the rise, and Joe enters left lower corner, Lisa enters
left along with Gomez, got a wee bit impatient, and a pan left enters Paco, so five riders in frame, "how do do you?" Fernando partially enters left, cut to close shot of Paco and Gomez,
sort of a downshot, with the bridge in the background "ah, the reverend Riley, good morning" off camera: "how goes it for you, old man?" "Well, I try to go with god, right reverend"
cut to tight, upshot headshot of Riley, the solo rider, still overexposed: "are you American?" looks pretty dubbed, cut to leveled headshot of Joe, off camera: "si, si senor Collins, he's
Americano, and so is Mrs. Martin" during that, cut to headshot of Lisa, then cut to headshot of Gomez, slightly downshot: "Mrs. Martin's husband, is half buried; in a landslide in the
Sierras; right Reverend" cut through that to a Riley headshot, angled about 20 degrees right of the other of him: "is he? Oh, well; the lord is our shepherd; but, he loves us all, and he
will never abandon, the lost land; perhaps I might be of some small assistance" during that, cutback to Lisa, then Joe: "we wouldn't want to take you away, from your sacred duties; reverend"
most of the dialogue looks very dubbed in those cuts, cut during that back to the Riley headshot: "you see, my scared duties; are where I find them; I'm a wandering missionary" cut through
that to the Lisa headshot, continuing, off camera: "and I also have some skills, that might be useful; in this errand, of yours" cutback during that to Joe, then cutback to Gomez: "actually,
the reverend is a very good medical man" cutback through that to Lisa: "let him come, please; he might be very helpful" cutback through that to Joe: "alright reverend; join the party"
cut through that to Riley, then cut to a Paco headshot, then, cut to a closeup of Fernando, then cut to a wide angle shot of all six, the bridge behind them, and hills in the far background,
horny score starts up, from the ambient noise of water flowing in a stream, pan right as they ride that way, to a rear shot of them, cut to wide shot of them at ariver, the vocals enter
the score, though, earlier, they start to ford the shallow stream, cut to wide angle shot of them entering right from behind a rocky wedge that dominates the right side of the frame,
they ride towards the camera, score switches to the acoustic guitar theme, as they approach the camera, it moves backwards, though they come into a close shot, "so we have to go so
slowly?" "How much do you know about horses?" "I've always riden" "then you know we don't take care of them, we don't make it" moving camera shot with the group during that, Lisa left
and Joe right in front, next row Riley, Paco, Gomez, and Fernando brings up the rear, all exit right except Fernando who comes into a close shot, he drinks and pours water on his head
from a leather canteen, the group enters from behind another sloping rocky incline on the right, though it's more prominent, zoom in on Lisa followed by Joe, "this (garbbled) is endless;
I hate it" "everybody hates it, Miss Martin; except, lizards and snakes; I don't think it's your kind of place" "if I didn't know; we came here because of my husband; we should have
stayed where we belonged: home in New Orleans" a pan with them right, and Riley comes in and out of frame, pan settles on Lisa, then Joe enters left, cut to panning wideish shot of Riley
though, it's from the waist up: "keep watch over us father, we are poor sinners" cut to wide angle panning right downshot of the group, Joe calls a halt, lifting his arm, then they
ride towards the camera, into a closer shot, and dismount, pan right, exiting the group, and showing boots, upside down, lashed to a horizontal branch, pan down to show a very bloodied
body, more blood than you'd see in Westerns made earlier, xylophone in score, cut to closeup of Joe left foreground, Gomez right, farther away, and Fernando between backgroundish,
strings in score, cut to wide shot of the body hanging, though at about 170 degrees from the pan, zoom into a closeup of his back, a sign attached there says: "HE SAID NO TO CHATO"
weird because the pan showing him earlier had been to the right, and the zoom in makes the body seem too far away to pan from the group to it, especially when Joe/Gomez are looking
to the right, also the opposite side of the body is shown in the zoom, cut to closeup of Riley left, Lisa right, Riley takes off his hat: "have mercy; heavenly father; accept the soul,
this poor, sinner" Lisa gasps and holds her praying hands over her face, cut to closeup of Paco, he takes off his hat and makes the sign of the cross, you can see a very ornately studded
saddle in the right background, cutback to Joe/Gomez/Fernando, "that's Chato's printing, alright; he can't be far away" Gomez pulls out a knife and exits right, Fernando makes the sign
of the cross, cut to Riley/Lisa headshot, closer and 30 degrees right of the earlier shot of them, "courage, Mrs. Martin; such a sight was not meant, for your eyes" as Riley takes
Lisa's hand, and holds it against his chest, "but you have seen it; the lord works, in many ways" she exits right, cut to headshot of Fernando: "nobody told me we were going to face Chato"
cut to headshot of Joe: "if you want out, there's an open road, all the way back to De Nido del Auigla" cutback to Fernando, lighting of both him and Joe is from behind them, and overhead,
so they're a bit shaded, "hmmm" cut to downshot closeup of a body covered with a boanket, horse hooves in the background, score is in the deep register, pan up to show the group riding
away from the body, which is exited by the pan, then pan right with them, cut to wide shot of Lisa leading the group through some rugged, sloping terrain, again, a slope on the right,
Gomez enters followed by the others, score is heavily woodwinds in a higher register, a harmonica is added, then it's a variation on the opening theme, some zooming in, mostly just thrown
in there, and a pan right, some horns are added, cut to Lisa emerging center from behind a rocky dirt mound, Joe and some others also enter, pan right with Lisa, score becomes a triumphant,
march type variation of the opener, very brassy, four of the others enter left, cut to shot between a cut in the dirty moundy terrain, Lisa enters center, Gomez seen in the background,
three more enter, zoom in on Joe: "in a (garbbled) it will be cooler; find a place to camp" levels of the score make it hard to hear Joe, who exits right, he's followed by Riley, then
Gomez, then Paco, cut when Fernando enters the frame to a shot of a verdant stream, Riley enters lower right, and puts a canvas bucket in the stream, hmm, uses a lot of the conventions
for scene setup from the silent era, by having the characters enter after the scenery has been up for a wee bit, sort of a wideish shot of Riley, he partially exits left, walking into
a closeup, cut to close shot of Riley walking under some trees into the camera, the pan right with him enters Lisa, sitting on a blanker her saddle to the left, and he exits right,
most of the shot, Riley's midsection was mostly in frame, Lisa looks after him suspiciously, weird, since she was about the only one supporting him being part of the party, cut to wideish
downshot of a campfire, Gomez left, Fernando right, sit near the fire made within a circle of stones, Joe walks left to right behind them, carrying a saddle, Riley, initially further
back walks towards the Gomez/Fernando, Lisa is very tiny sitting in the background left, as Riley hands Fernando the bucket, "Fernando: you take the first watch, and I will relieve you"
"alright" and Fernando stands, Riley moving to the left, shows Joe passing by Paco, sort of small in the center background, Fernando partially exits right, cut to profile closeup
of Riley/Gomez, Gomez in a tight headshot right foreground, "my cloth; shouldn't bar me from the pleasure of a man; i should have my turn with her; as much as anyone" he drinks from a
leather canteen, Gomez had sipped from a yellow ceramic mug, Gomez starts to get up, cutback to the downshot, cricket noises for ambient, Gomez picks up his saddle and walks from the
camera, Joe is bedding down further from Paco, and looks liken Gomez's bedding is closer to the fire, Lisa looks like she's pulled a blanket over herself, cut to almost vertical downshot
of Lisa, her head at the top of the frame resting on a saddle, cut to closeup of Riley, he has some food on a wooden spit, and pushes it on farther, pan left to a closeup of the spit
over the fire, cutback to Lisa, cut to downshot, Joe nearest, of the four guys bedding down, blankets over themselves, cutback to Lisa, she gets up with a pan moving left, some high
register oboe for the score, she jogs left with a pan and exits, cut to closeup of the burnt out fire, just ashes, hmm, looks like a modern day, recreation area, campfire, pan up
to show Fernando walking forwards carrying a bundle of twigs, walking into a closeup, some harp, and electric guitar in the score, quick cut to downshot closeup of Lisa's bedding, cutback
to Fernando, he partially exits right, cutback to the downshot of the rest of the party, asleep, except Fernando walks forward in the background, he exits lower right corner, cut to
a different downshot of Lisa's bedding, about 80 degrees right, Fernando, just his legs, enters left, pauses, then pan right with him, into full body shot, as he partially exits where
Lisa did earlier, cut to downish shot of Fernando approaching the camera through a gap in some thick vegetation, he walks into a closeup, mostly because the vegatation hides him below the
neck, an uncertain pan right, cut to jiggly pan left of Lisa sort of wallowing/swinning in some water, some romantic, out of focus branches and leaves in the foreground, she exits behind
the vegetation, cut to level headshot of Fernando, partially obscured by leaves, a very peeping tomish shot, score is a slow oboe with some harp in there, so creepy romantic combo, cut
to downshot closeup of Lisa's hand reaching for her shirt,on top of her leather/suede jacket, her black leather pants in a wad behind, a mocassin boot steps on her jacket, pan up to
right profile closeup of Fernando, an ominous crescendo, a long one, shot is out of focus at first, oops, quick cut to downshot, Fernando POV of Lisa looking up surprised, cutback to
Fernando, some dramatic piano chords, Fernando rushes right and exits that side, Lisa screams, sort of weird, Fernando isn't in a POV shot, but Lisa is in his, cut to downshot close
shot of Joe, waking up, Gomez in the background, off camera: "uh, no! Let me go!" Joe pulls the blanket off of himself and rises, a wee bit of a pan up, Joe grabs his Winchester and
rises and almost exits right, off camera: "help! Help!" cut through that to Joe passing between some tall plants, towards the camera, off camera: "help me" some grunts from Fernando,
Joe comes into a tighter shot with a pan, quick cut to Lisa being held by Fernando, Lisa's back to the camera, Fernando facing it, and looks up surprised: "huh?" cutback to Joe, he drops
his gun and exits right, cut to wide shot of Lisa with a towel around her waist, and Fernando right, Joe enters rapidly left, and tackles Fernando, pan as they fall into the water, another
water fight scene; Hollywood has loved people fighting in the water since the silent movie days. Cut to a wobbly closer shot of the two, wetly, fighting, pan left as Joe punches Fernando
in the face, and dives on him, Fernando gets up to grab Joe, cut through it to closer shot of Joe punching Fernando, again, pan more left, Fernando punches Joe, Joe counterpunches, pan
right as Joe lifts up Fernando, but Fernando does the same to him, and throws him left, with a pan, basically the camera is following the action around, and gets a bit smoother, cut
to downshot close shot of Lisa buttoning her wet golf shirt up, though, it's got a bit of a v built in to it, just as she lifts it to tuck it in, cut to close, wobbly, panning shot of
Joe/Fernando, both struggling, Fernando, back to the camera, punches Joe in the face, then they both throw off each other grabbing each other, cut to shot of Paco, then Gomez, looking
like they just arrived on the scene - a very well used type of shot - cut to searching pan tight closeup of Joe lifting Fernando out of the water, then Fernando blocking a punch with a left,
and throwing a right, knocking Joe out of frame right, pan is very rough and all over the place, pan right with Fernando, reentering Joe, Fernando throws a missed punch, and Joe retaliates,
cut through that to close shot of Lisa, her pants on, sort of kneading her middle with both hands, while holding the towel, cut to wideish shot of Riley walking right to left, the pan
with him enters the shoulders, and upwards, of Lisa, he puts her jacket over her shoulders: "may I help you?" she suddenly turns and slaps Riley on the face; sometimes, as depicted
in movies, a woman, after a rape, or attempted rape, will be very wary of any man, nevertheless, Lisa seemed to be mistrustful of Riley earlier, which, again, is weird, since she was
the one who wanted him part of her group. Riley smiles and giggles, and backs up, a pan left, along with his movement, exits him right, Lisa looks over her left shoulder suspiciously,
some unnecessary camera movement in there, cut to closeup of Joe punching Fernando, a pan left as Fernando falls in the water, cut to upshot closeup of Paco/Gomez, sort of Fernando/Joe
POV shot, ambient water splashing sounds, no score, cut to closeup, wobbly panning around, of Fernando/Joe standing and wrastling, Joe is turned around, and Fernando clubs him on the
back of the his head, pan down to closeup of Joe, with Fernando's hands on him, pan left as Fernando throws Joe left into the water, panning around as Fernando tries to force Joe under
the water, but Joe kicks him with a right leg, then punches Fernando in the stomach, then cut through an uppercut to a wider shot of Joe hitting Fernando on the chin with an open hand,
then a two hand punch in the stomach, and a right to the face, knocking Fernando away from the camera, turning into more of a downshot, quick cutback to closeup of Paco/Gomez, they move
forward quickly, cut through that to wide shot of them entering leaping from the left, Joe/Fernando mid frame, "stop it! (garbbled) kill him" as they pull Joe off Fernando, then lift
Fernando up, turn, and carry him, exiting left lower corner, before that: "you stay there, Collins", Joe staggers forwards, score is organy, ominous chords, cut to wideish shot from
behind Lisa, her leather pants look wet and rumpled, for some reason, Joe in the mid background, waddles/staggers forwards, a very smooth, gliding pan right with them both, however, gets
a bit uncertain at the end, as Lisa comes over to him, score is variation on the theme, with woodwinds and guitar, "thank you, Mr. Collins; thank you for the second time" cut to closeup
of Joe: "Miss Martin: there's something you ought to know" cut through that to closeup, upshotish, Joe POV, of Lisa, off camera: "there's only two things that hold this little band of
ours together: you" cut through that back to Joe: "and the gold" cutback to Lisa: "but; I never mentioned, a gold mine" cutback to Joe: "we knew there was one from the very beginning;
the only reason this outfit has stuck together this long, is because you know the way" cutback through that to Lisa, flute playing the theme melody: "you mean; all of you? Even that
preacher?" hmm, there she is thinking Riley is the most trustworthy, cutback to Joe: "how many preachers you know, carry six gun?" cutback to Lisa: "then, why did you let me hire them?"
cutback to Joe: "a while back there in De Nido del Auigla, you said you were willing to risk anything to save your husband" cutback through that to Lisa: "are you trying to tell me you
aren't any different? You can't be like the rest of them" cutback to Joe, soaring string orchestration: "I like gold just like anybody else" cutback to Lisa, score gets brassy: "I can't
help myself, Mr. Collins, I trust you" cutback to Joe, off camera, continuing: "I find it; somehow, natural, to be with you" "Natural!? I hope to hell, when you're back in New Orleans,
you remember this time as one of the worst you ever lived through" cut through that to downish profile shot, wideish, so, so far not much variation in the shooting of the dialogue, with
just cutbacks between the two, except for the new, wide shot, "if you live through it", and with that, Joe exits right lower corner, usually, for wider shots, they're used to orient
the audience to where the action's taking place, or, in the case at hand, to show exits more clearly, so the wide shot there, is being used as a sort of finale to the discussion, though
it certainly leaves a lot hanging, cut to shot of Gomez partially entering right, a pan with his movement as he buckles his pants, maybe be was relieving himself, Paco is in frame as well
standing, Gomez pats Paco on the shoulder: "Paco: I'll take the watch now" and puts his hand on the Winchester, Paco tosses the contents of his cup right, puts it on a stone near the
fire, and exits right, Gomez takes out a cigarette, takes a twig from the fire, and lights up, then puts the twig back, pan as he moves left a bit, cut to rapid pan right to the sun
low in the sky, shining through some trees, a shot reminiscent of one in the John Ford directed silent Western: 'Shooting Square', however, it fits a bit better than the John Ford shot did,
some harpy, string strumming good morning score to go along with it, the pan comes to a bouncing end, cut to downshot of Gomez reclining by the fire, on a fancily studded saddle, some
good morning birds ambient along with the strings, and some woodwinds in there, Gomez seems alerted and holds the Winchester tight, in the background are the guys in their bedding,
Gomez glances at them, then pan into an upshot, and as he stands and walks right, almost exiting, cut to wide shot of a guy in a sombrero riding to the right, from the far left, into
mid frame, he's on the top of a ridge, some Mexicanish guitar starts, and yes, a wee bit of castanets, a rapid zoom into a closeup of the new guy, and some dramatic woodwinds, cut 160
degrees right to the other side of the guy, though showing only his right leg and part of the horse, Gomez walks up the incline towards him: "all goes well, Chato" cut through that
to behind Gomez, just his shoulders and back of his head, upshot, sort of a Chato (the new guy) POV shot, with him in the background, continuing: "we should be there, before sundown"
"good" "well; everything as agreed?" cut through that Chato closeup: "you'll get your share; Fato (oops) keeps his word!" done with a punching hand gesture, and a pan, "but now; what about
the guns?" cut through that to downshot, Chato POV of Gomez, looks a bit washed out, continuing off camera: "you promised 20 more" the voice actor doing Chato sounds a lot like the one
who'd done Paul, Lisa's husband, Gomez shrugs a bit: "but Collins doesn't like to sell his guns to you; patience, I'll find a place where he hides them, and soon" cutback through that
to Chato: "guns and ammunition with no expense; good. But I'm even more interested, in you getting to that gold mine" quick cutback through that to Gomez, then back to Chato, however, the
cutback to Chato doesn't fit with him still doing some talking, he turns and cut through that to a wide angle shot, about 40 degrees left, and he starts riding to the left, pan with
him as he canters left along the ridge. Weird, Joe's selling a lot of guns, but he's on the run from the Texas Rangers. Cut to wideish shot of Fernando in left profile putting on his
shirt, Joe, followed by Paco walks towards the camera center left, passing Fernando into a closeup, cut to wideish downish shot of Lisa left foreground fiddling with the saddle on her
horse, Riley, center background, does the same, and Gomez walks towards the camera right center, into a close/closeup, Joe enters left foreground: "where the hell have you been?"
"I thought I heard a sound, and went to look; but it was nothing; an easy ride for now on; no danger" during that, Paco enters left, then Gomez exits left lower corner, Joe goes over to his
horse, which is in front of Lisa's Paco walks to the back, cut to downshot of Joe in the center foreground, Lisa behind on the left, "stay close (or something like that) how far is it
to the mine?" "We should be there before sundown" zoom into headshot of Joe, he looks up with a curious look on his face, and does a twitchy wink with his right eye, score starts with
brass, cut to wide shot of the party slightly left of middle of frame, small in frame, a small river in front, shot from a wee bit above water level, more brassy score, they ride to
the water edge, some dismount, Joe looks at the ground, cut to left panning downshot closeup of mud with prints in it, pan up Joe's leg to a headshot of him: "Gomez? Gomez!" cut to
shot of Gomez rising from the edge of the water, as if he'd been drinking from it, pan left as he walks over to Joe and into a closeup, "told me it'd be an easy ride for now on, huh?
No danger. Well, these tracks have been on our trail ever since we left this morning" Paco enters left in the background, "you know, Chato's my friend" "I didn't say anything about
Chato" "well, he, he buys a gun or two from you" Joe punches Gomez in the stomach, "ahh!" immediate cut to frontal close shot of Paco, who draws both of his guns: "gringo" off camera:
"shut up about that" cut to shot behind Paco, only his right arm seen, Gomez/Joe in the center of the frame, "blood is something I don't like; don't do it again" "one of these days, I'm
going to take those guns of yours, and ram them down your throat" cutback to the frontal shot of Paco, Riley with the horses in the background slightly to the right, "you got to take
them first" cut to downish shot of Lisa on the left, the back of Paco's left shoulder on the right, "stop it!" pan as she walks right, in front, err, behind Paco, and stops next to
Joe, Gomez in the center behind, Paco exited by the pan, during that: "I'm not paying you to settle your personal feuds; when my husband is safe, you can do what you want, but not now"
she exits lower left corner, score gets very horny, Joe exits same part of frame as Lisa, and Gomez follows and partially exits, cut to wide angle level shot of the party small in frame
riding towards the camera in a deep, steep, canyon, they ride into an upshot closeup, and seem to pass over the camera, vocals added to score, cut to wide angle downshot, the group in
another canyon, though with sloping sides, they make a turn to the right, from around a bend in mid frame, a pan right as they get close to the camera, "the mine is up there,
on that plateau below the peak" Gomez/Lisa/Joe are only in frame at that point, then just Lia/Joe, "this isn't the end of it; once we get your husband out, we've still got, Chato, and these, uh, choir
boys we're traveling with" cut to left profile headshot of Lisa, opening theme in acoustic guitar, but arranged to be more optimistic, some more guitars, and some strings, and percussion,
"I'm not worried, or afraid; since I've been around you, I've learned something; I can be brave, I think" cut through that to right profile headshot of Joe: "remember when we pull out of
this; you and your husband, are going to get, right, straight for home" cut through that to shot form behind the group, they're passing through the steep walled canyon of the earlier cut,
looks like Riley is bringing up the rear, and pretty far behind, cut to frontal upshot close shot of Riley, moving camera with him, as he draws his gun: "cursed birds of prey; wings
of Satan" cut to close shot of the cliffs, some birds squawking, and one flies to a higher level, cut to close upshot of Riley, who starts to aim, and shoots, as the camera pulls back,
cut to close, panning down, shot of a bird falling, though flapping it's wings, cutback to Riley, then cut to the wide angle shot, Riley closer to the party, cut to close, uppish shot,
of Joe coming up behind Riley from the right, not a good cut transition, "what did you do that for?" "They mean death; death just ahead of us" "yeah, we know all about that; Mark told
us, there were six or seven dead" "they are more dead than that" camera starts moving right with Riley/Joe, "where did you study for the ministry; reverend?" "at the seminary; in Southern
California" "when were you ordained?" "a long time ago, Mr. Collins" "yeah, a long time ago, but a short time ago you were in the Monterey prison for some killings; cash, of course" as
Joe puts his right hand on Riley's left forearm, ambient hoof sounds are very thunderous, well, for horses walking, at that point, they'd come to a stop, "now, look, your past doesn't
bother me, one single bit; but let's keep everything, nice; and friendly" Riley has his hand on his gun, "alright?" Joe exits right, score gets ominous with some woodwinds, Riley
partly exits, cut to closeup of a vulture - could be Spanish, yet similar ones are in Yugoslavia, too - cut to wide angle shot of the party riding single file down a path, pretty small
in frame, and a steep, white cliff in the background, rapid zoom in on Lisa, cut to wide shot of sandy/rocky area, a slope on the left, and 5 bodies lying on the flat part of the scene,
doomy percussion added, choppy zoom into closeup of a vulture near a body, the body looks headless, out of focus, very tight closeup of a vulture, and pan up and left, as the bird
takes off, you don't know what the shot is of, until the bird starts to fly, zany, snappy, scary brass in the score, sounds like a horror movie. Cut to angled wide angle shot of the
party led by Lisa, riding on a dirt road, the v shape of a sloping crevasse can be seen in the background, a slope on the left. The movie seems to be set somewhere near Southern California,
but it looks like the screenwriter(s) didn't understand that the Sierra Mountains are closer to Nevada than to Southern California; actually, Monterey California is mentioned, but although
it's at about the same latitude as the mountains, it's on the West coast, and pretty far from the "Sierras". They stop, and dismount, Lisa runs to the right, cut through that to a closer
shot of her running right, and stopping and bending over a body, score gets stringy with some melancholy, actually, the spot where we saw the bodies first, looks somewhat different from
the place she's at; maybe there are bodies all over the place; besides, they'd seemed to have passed by the other group of bodies; probably could have been written and shot somewhat
better. Zoom out to show Lisa pulling a coat off the head of the body: "oh, Paul" and we see, indeed, it is Paul lying face up. "oh, my god; Reverend Riley; can you do, something?"
the legs and waist of Riley had entered left, he bends down close to Lisa, cut through that to Paul POV very upshot closeup, with the back/side of the right of Paul's head left foreground,
Riley bending over, and puts his hand on Paul's face, and Lisa right farther in the background, score is melancholy variation of theme with woodwinds, cut to angled upshot closeup of
Joe, he's shaded quite a bit, cutback to Paul/Riley/Lisa, Lisa rises slowly, Riley has one of those I can't do anything looks, takes his hand from Paul's face, and pulls back, he pulls
Paul's jacket over Paul's head, sort of works as a dissolve to a cut through that, to a level close shot of Riley standing, center, Joe slightly left and behind, and Lisa on the right, a surging
small zoom in, which seems like a boo boo, "I can only pray for him, ma'm" Lisa sobs, and walks left behind Riley, Riley takes out a book from his right pocket, he has a women's fashion
purse in his left hand - looks like, literally, a wardrobe malfunction, and the producers couldn't find a medical bag for the reverend, however, it does have that old leather look, so
probably they saved a couple bucks buying a used purse from a thrift store. Lisa ends up with her head on Joe's left shoulder, sobbing, zoom ends at that point, though, initially,
it seemed rather pointless, "father: let the light of thy mercy shine on this poor creature; the lord is my shepherd, I shall not want" during that, cut to shot of a guy lying almost
face down wearing crossed bandoliers, in a downshot closeup, Fernando's fringed suede boots enter lower left, and pressing with one, roll the body over, pan up to left profile closeup
of Fernendo: "Chato: it's his doing; I know this man; hey: I know this man! It's Miguelito; one of Chato's best man; I didn't take this job to go against Chato!" during that, cut to
wideish shot of Paco on the left, Gomez right, they're by the horses, Paco walks to the right lower corner and exits, and Gomez starts to follow, cut to closeup of Joe/Lisa, zoom out,
entering Paco/Gomez on the left, who walk a bit forwards and stop, "there was always that chance that Chato might get here first" cut to downshot closeup of a scorpion, the species is
a scorpion native to Yugoslavia - the plot thickens - a hand enters left, and zoom out and pan up to full body shot of Riley kneeling on the left of a body face down - guess it's still Paul -
with hands and arms spread, a circle gouged into the earth around him, and some stakes near the feet, "he's been tortured" while Riley picks up and holds the dead scorpion, pan up with
him as he stands: "and a very fine job, too" cut to wide downshot, Gomez left background, then Paco to the right, closer, then Joe/Lisa, then Riley and Paul in the rightish foreground,
"typical of Chato" "but the gold" during that, Fernando enters right, cut to shot from behind Paco, left foreground, Fernando right background, Joe/Lisa middle, "we came for that; where
is it?" cut 150 degrees to closeup of Paco on the right, Gomez left background, though close, score is tense xylophone, cut to closeup of Joe/Lisa, Lisa had disengaged from Joe earlier,
cut to closeup of Fernando, cut to slightly downshot closeup of Riley, a cave in the background, cutback to Joe/Lisa some sneaky woodwinds added to the score, "you better tell 'em, Mrs.
Martin" "you, too" cutback to the Paco rear shot, "alright: your gold is in that shack" as Lisa points sort of towards the camera, then cutback through that to the downshot of everybody,
pan left as Fernando, Riley, and Paco start walking left, then break out in a run, some martial drumming added, with some mid register strings, the pan enters the sorry looking shack in
the background, cut 130 degrees left to shot from the other side of the shack, Paco/Fernando/Riley running up in the right, mid, background, the actors do a good job of looking frenzied
by gold fever, Fernando reaches the door first and starts to open it, cut to interior shot of a rundown, partially burnt, err, shack, Fernando is already almost inside, followed by Paco,
then Riley, they start rifling through everything: Riley the barrel stove on the left background, Fernando the chest of drawers right background, Paco the bed mid foreground, Gomez
enters slowly and closes the door behind him, score starts off with horny suspense, then some soaring strings are added, Gomez puts his right foot up on a bench alongside the back wall,
and watches and the others continue their search, cut to exterior wide shot, Joe walks up to the camera about mid frame, and grabs a pick form among the shovels leaning against a stone rise
left foreground, Lisa is in the leftish mid background, undoing her husbands hands from the stakes, she's kneeling, the opening theme in guitar replaces the other score, Joe walks from
the camera and starts working the pick, grabbing Lisa's attention, cut to closeup, interior, of Fernando shaking the contents out of a burlap bag, score stops: "nothing! It's a joke"
and he turns angrily and looks left, pan with him as he walks left, entering Riley and Gomez, pan stops and he exits, during that: "there's nothing" "of course; Chato, has been here,
first" and Gomez picks up, and slams down an empty bottle, then exits right, Riley follows, cut to exterior close shot of the shack, Gomez walking out on the porch, Riley enters behind
him, then Fernando, then Paco, Gomez followed by Riley exit right, then a pan right, which Fernando overtakes and exits, leaving Paco, cut to ground level shot of Lisa over Paul in the mid
background, Joe picking away to the right behind her, Fernando's legs, followed by Paco's enter left lower, Gomez enters left background, followed by Riley, they end up on both sides
of Lisa/Joe, cut to closeup of Joe digging away, brassy variation of theme for score, Joe looks up with a "I think there's something happening" look, cut to closeup of Paco, left, Fernando
right, Fernando puts down his Winchester, and picks up a shovel, cutback to Joe, pan down with his pickaxe swing to the hole he's digging, sort of, cut to closeup of a wooden cross
made of two sawn branches - looks like they did a pretty good job sawing one of them at least - Riley's legs, only, and Gomez's right, behind the cross, and slightly out of focus -
not much depth of field. "Because now to dust; and to dust, returneth; blessed be the name of the lord, amen" during that, pan up to closeup of Riley, and zoom out to show full body
shot, the zoom a bit rocky: Joe, then Riley close to Gomez background, then Lisa foreground, Fernando background, and Paco a wee bit forward of him, focus is on Joe/Lisa, however, the
depth of field seems better with the wider shot, and the others are just a wee bit blurry, "amen" Fernando makes the sign of the cross, and the others put on their hats, score is a
solo - mostly - brassy though sad, variation of the theme, surprising cut to downshot closeup of the wooden cross, a ricochet noise and part of the cross looks like it's hit with a
bullet, Riley's boots and cuffs out of focus in the upper left, the transition is appropriately surprising, cut to wide shot, framed by the arch of what looks like a cave opening, the
cliffs in the background, and the party small in between, just a teensy bit of sky, like a scar across the frame, diagonal in the upper frame, also a level shot, so that was a good
transition, too, "come on" they scatter, Joe/Lisa going in the cave, Riley/Gomez exiting left, and Fernando, after shooting upwards to the left, exits right, Paco draws and shoots upwards
from the lower right corner, and starts moving to the cave, cut to Gomez partially entered, taking cover behind some of the cliffs, cut to Fernando scurrying right to cover behind a large
rock, cut to Riley partially entering right, and moving so his back is against a rock, and he's in right profile, shots are sort of closeups, cutback to Fernando, pan right as he
cautiously moves to the right from behind the rock, and forwards to behind another, cut to Lisa/Joe, there backs against the wall of the cave, wind howling faintly ambient noise, "what
is it?" "It's Chato's pattern: one shot, until the nerve's of his enemy start to crack" "and?" "And then he strikes" a horse whinnies, cut to closeup of Paco, he tilts up his hat with
the muzzle of his right gun, cutback to Lisa/Joe, "you see anything?" cutback to Paco: "not a sign; yet" cut to upshot of a cliff, some jiggle in the shot, pan right, cut to close shot
of Paco in right profile left foreground, Lisa/Joe right background, a gunshot noise with a ricochet, cut to closeup shot behind a cowboy, taking aim and shooting downwards into the
bottom of the canyon, cutback to Paco/Lisa/Joe, Paco moves out to the right, and uses the point and shoot technique towards the left and camera, and upwards, cutback to the cowboy,
he groans, and leaps up and away from the camera, falls and exits lower left, a short pan left with that, cutback to Paco/Lisa/Joe, "good work" "it's my business" off camera: "Collins!
Collins!" "Yeah?" cut to closeup of Lisa/Joe, Joe moves forward, off camera: "no need to get killed, Collins; send out the woman and the gold, that's all we want" cut during that to
wide upshot of a crest on a rise, some cliffs in the background, a hat moves behind the crest right to left, cutback to Lisa/Joe, Joe takes aim, and shoots, cutback to the crest, a guy
wearing a sombrero lurches up with a cry, and falls face down to the left, cut to shot from behind Paco, who turns to the left a bit, and looks over hsi left shoulder, and winks: "good
work" cut to upshot tight closeup of Lisa/Joe, Joe closer on the right: "it's my hobby" cutback to Paco: "hah" and he turns away from the camera, off camera: "Paco, Gomez, Fernando,
Riley:" Paco turns, and cutback through the dialogue to Riley, then cut to wide upshot of a cowboy taking cover behind the left side of a v in the rocks, continuing off camera: "you going
to let Collins cost you your lives? Kill him; kill him and send out the woman" cut to close upshot of Riley, in right profile, he's looking to the right, quick cut to closeup of Paco
entering right and taking cover behind a rock, cutback to Riley taking aim rightwards, still off camera: "send out the woman" Riley shoots, cut immediately after that to an upshot of
the cliff top, the guy seen earlier makes a diving fall forwards off the cliff, cut to close shot of Paco, Fernando is hiding behind the rock on the right, farther back: "not too bad
for the reverend, he's a much better shot than I thought" "I think, if we went with Chato, there would be too many, to share the gold" cut to upshot closeup of Gomez, he makes an
angry frustrated face, then exits left, cut to almost vertical upshot of a cliff, howling wind ambient, pan right, which looks weirdly circular at that angle, cut to wide angle downshot
of Joe creeping out from the cave right, Riley is behind him, two bodies, part of one behind the rock, and Fernando/Paco in the right lower corner, all small in the frame, all of them
start shooting upwards, about the same time, in almost random directions, cutback to Paco/Fernando, Fernando shoots upwards, cut to close shot of Joe aiming upwards to the upper right
corner, Lisa in the background left, a gunshot, and Joe turns and shoots from the hip upwards to the left, quick cutback to Paco/Fernando, Fernando does the point and shoot thang,
cutback to Lisa/Joe, "hold it" pan left with Joe, and he draws his pistol, and puts his back against the opposite side of the cave, he shoots in the air, cut to right profile closeup
of Paco left lower corner, Fernando in the upper right corner a couple gunshot noises, "now they rush us; Paco: we should have gone with them, huh?" "either they rush, or they die; but
I think we discovered them, eh, Collins?" cutback to Joe: "yeah, but; that Chato's clever, I'll tell you" Joe makes a hand gesture waving towards himself, then dashes to the right,
with a nod, cut through that to shot framed by the cave entrance, Lisa in the foreground left side, Joe center fires upwards to the left with his pistol, then to the right: "Gomez! Gomez?"
Riley enters left, about the same time Fernando, then Paco, enter right: "hey, that was good shooting, for a preacher" Fernando is sitting on a rock across from Lisa: "you see me shoot?"
he asks Lisa, while Riley exits left, cut to partial headshot of Fernando right, Joe/Paco to the left, "I think I got one" "you still want me to take my pistols and ram them, Collins?"
"Not today, Paco, not today; tomorrow, maybe" "heh heh heh, tomorrow" and Fernando laughs, too, some howling, and they all look left and walk that way, cut to ground level upshot
of a guy lying on his back, Riley behind him twisting his arm, Paco enters left, goes over and pulls Riley off the guy, with a pan up that exits the other, Joe enters left background,
along with Fernando, "call in your gang" as Paco kicks with his right leg, off camera gasping and howling, "where is Chato?" and Paco kicks again, Lisa enters lower right corner,
"where is Chato?" and Paco kicks again, "don't" "if I might have alone a moment; somewhere; where Miss Martin, might not be; upset. I think he might talk" "Paco, you and Fernando take
him into that cave, so the reverend can demonstrate his skills" pan left and downwards as Fernando, left, and Paco, right, pick the guy up at each end, and walk from the camera, Riley
moves to the left, and Lisa does as well, Riley picks up his bag and follows the three guys, Joe walks over to Lisa, cut to closeup of Joe on the right, grabbing Lisa's left arm,
he walks her at a diagonal towards the camera, with a pan, into a tighter closeup. "what's the preacher going to do?" "get some information, he has his ways, that's all you need to
know" a cry out off camera, and Lisa turns suddenly towards the camera, and covers her face with her hands, cut 120 degrees right to behind part of Joe's head, Lisa, on the left,
turns to face him: "good heavens, what kind of creatures are you? How can you be so brutal?" cutback to the prior shot, "look, Mrs. Martin: that we're all still alive, is a miracle, and
if you want some more miracles; you leave these men alone, understand?" cutback to the other shot, "I do; but all I want to do, is get back to New Orleans; please show me the way; and
you can have all the gold" during that, a scream off camera, and there's a hiccup during that in Lisa's dialogue, cutback to the other shot, "the only way you're going to get back, is
to El Nido del Aguila, and that's with us" during that, they walk right with a pan, and Joe grabs Lisa and turns her to him, more screaming off camera, "now get on your horse" she exits
right, some whimpering off camera, Joe starts to exit left, cut to wide shot of Fernando, Riley, and Paco walking from the cave towards the camera, Joe walks left, and meets up with
them, "he spoke, very helpfully, poor soul; they tortured and killed Mr. Martin; there's only a few men left behind, who attacked us" as they pass Paul's grave, and Fernando and Riley
step over it, "where the gold? The gold?" "Chato took it with him; he's going back to El Nido del" "with our gold" Joe interrupts Riley by sticking his Winchester into Riley's rib cage,
Riley passes by to the right, "wait a minute: what happened to Gomez?" Riley laughs: "it was Gomez told Chato in the first place; he's gone to join him, to get his share" Riley exits
right, Joe exits right, and Fernando/Paco start to exit, "that bastard" cut to frontalish upshot closeup of Lisa on her horse: "what about the wounded men?" cut to downshot, sort of
Lisa POV shot, close shot, of Riley in front of a wagon next to his horse, he midsection of Joe passes left to right in the foreground, "the poor creature now, is an angel, he's with our
lord in heaven, at least I hope" Paco passes by in the foreground, too, cutback to Lisa, cut to closeup downshot of hooves cantering left to right, a pan with them shows the party
riding from the camera on the path in the v in the cliffs, they make a right turn and almost exit, score is marshalish variation of the theme, dominated by brass, cut to wide angle shot
of the party, lead by Joe, riding towards the camera through the canyon, Joe and Lisa exit lower left as the party comes into a close shot, cut wide downshot of the group riding towards
the camera down the forest path, a pan left as they ride away - so, pretty much a reverse of how their trip to the mine, cut to levelish shot of the party cantering at an angle to the
left, a slope on the left background, zoom out as they come closer and Joe, Paco and Fernando stop, while the others exit left, and look down, Paco makes the sign of the cross, pan down
to close shot of a body covered with a blanket, cut to a leveled shot of a barren, rugged area, with some very fake, wooden looking, cactuses, the party's movement is accompanied by
a pan along with a moving camera shot, which looks rather interesting, Joe calls a halt by raising his arm, and: "the horses are tired, so we'll walk them from here on" the score slows
down with the party's movement,cut to closeup of Lisa/Joe, Lisa to the left in center background, and Joe right foreground, riding side by side, "why can't we just go past El Nido del
Aguila (actually, she pronounced the town name differntly, but seems that's what she was trying to say)" "not a chance" cut to headshot of Lisa: "I'm sorry I caused all this killing,
this madness" cut to frontalish rather upshot headshot of Joe: "madness and grief hurt men's hearts, a long time before you came, Miss Martin" cutback to Lisa, though angled a bit for
Joe POV: "your heart, too, Mr. Collins?" cutback to Joe: "yeah, they were in my heart" quick cutback to Lisa, a wee bit wider: "were?" cutback to Joe, cutback to Lisa: "they were?"
cutback to Joe, he smiles and exits left, the cutbacks look a bit like they were shot while the actress and actor were on a vehicle, rather than a horse, though it's hard to tell, cut
to upshot, gulch level, of the party starting to cross the wooden bridge right to left, Joe leading, followed by Lisa, then Paco/Riley, and Fernando right background, pan with Joe exiting
the others, then the others enter right as they get further on the bridge, score is woodwind with some accompaniment, a bit sad sounding, most of the soundtrack is arrangements of the
opener, cut to wide angle shot of the party on the terraced, grass and bush covered hill top near the town, they're riding towards the camera, Joe raises his hand and calls another
stop, the horses being at a canter, they dismount, Joe takes out his Winchester from the saddle holster, score is theme in guitar with some strings backing it, cut to wide downshot of
Joe, followed by Lisa, Riley, Paco, then Fernando, up the slope, a pan right with them, the mansion/monestary or whatever, in the upper right background, suddenly, off camera: "Collins!"
sounds weird, like your right next to it, cut to the guy from Fernando's joint, entering left from behind a bush, with his hands in the air: "it's me: Fernandos friend; Fernando: thank
god your safe" cut to closer, level shot, of Fernando/Riley/Paco/Lisa/Joe, "he's alright, senor Collins" Fernando moves towards the camera and sits on a stone next to the tree trunk
in the left foreground, the friend enters lower left corner, Joe moves up on the right, the scene looks a wee bit like something from "Middle Earth", "Chato came this morning with his
whole gang, you should have seen them" "how 'bout that" Joe comes up to the right of Fernando, Lisa moves to the far right, background, Paco left of her, and Riley left of Paco, "Chato
took over everything, and anybody who wasn't entirely with Chato (he makes a hand gesture like his throat being slit), or else they ran away!" "How many got away?" "oh, some of us: myself,
and Juanita..." Paco's interest piqued, and he moves closer: "exactly how many? And where are they?" "Five, six; they're down below those rocks!" pointing towards the camera, though
shifted to the left, Riley moves in closer, too, "let's go" the friend exits lower left corner, followed by Joe, then Paco, and Lisa almost exits, cut to wide shot of the party, the friend,
Fernando, Joe, Riley, Paco, walking right to left, some rock outcroppings in the foreground, and rolling, rugged rocky hills in the background, Lisa enters right, pan left entering
six new men, a hubbub, "it's Collins", shot is a wide downshot, cut to close shot, Paco midframe foreground, Joe left background, Lisa right of him, and the friend right background,
"where's, Juanita? You said she got out?" cut to behind the friend's back, shoulders up, Paco left, the new guys in the background, and Fernando on the right background, talking to
them, "she did, Paco, but she heard that you'd all been killed; and she didn't know what to do, or take care of her, so she went back with Chato" Paco moves forward and to the left, and
pushes the friend out of the way while he passes, a pan with him enters Joe, Joe grabs Paco's shirt and stops him: "Paco: this isn't a job for one man alone, it's going to be tough
enough for all of us" "tough for those others; they don't carry any guns; what good are they without guns?" Joe turns and looks left: "Fernando, you keep them here, and stay out of sight"
a head gesture, then he passes Paco, moving right, panning with them walking away, score starts with a dramatic chord, then sort of muddling around, cut to shot of some bushes and
other vegetation, Joe then Paco enter mid frame from behind that, a pan right with them, into a closeup, they pause, Joe looking carefully, then he gestures with his head, and they
continue, some electric guitar and French horn in the score, cut to wider shot of an overgrown area, a stone arch in the background, which Joe/Paco pass by moving to the right -
certainly is a lot of arch imagery in the film - pan right, and Joe exits behind a bush, Paco almost exiting, cut to level shot, wideish, Joe entering from behind a tree left,
followed by Paco, they make a u-turn and exit left behind more plants, score is guitar, some French horn, sort of tense, but martial, Joe and Paco reemerge with a left pan, then another
u-turn, and they start to enter a large stone, overgrown culvert, cut to darkly lit scene of Joe and Paco walking left inside what's presumably the culvert/tunnel Joe exits lower right
corner, and Paco hesitates, and comes up to the camera, cut to closeup of a wooden box, "AMMUNITION" written in stencil on the side, and upside down on the lid, zoom out and pan out
to show Joe, left, lighting a kerosene lamp hanging from the cave ceiling, there are more boxes, a gunbelt, and other stuff behind and to the side of him, it must be Joe's weapons
stash, score changes to climbing, sort of like stairs, score in which we get the feeling something's happening, which will be concluded, Paco enters lower left, and goes up to
Joe, who kneels down and pries open a wooden box in front of him, zoom into a tight closeup of him taking out a Winchester and handing it to Paco, and taking another out, hmm, doesn't
he already have one? Well, he takes out, and hands Paco, four more, score is French horn, with suspense and sort of foreboding, cut to closeup of what looks like Fernando's hands and
arms, loading a Winchester - the armorer must have made a whole bunch of brass frame Winchesters; actually, Winchester didn't make a brass frame model until the later part of the
20th century; probably inspired by the movies. Zoom out, and it isn't Fernando, it's another guy wearing a fringed suede jacket, however, also a sombrero, others in the background
are loading as well, the guy walks right and kneels next to Paco, who's entered by the pan with him, the pan enters Lisa left, we see a bit of Fernando, then everybody is exited except
for the toes of Lisa's boots, and stick draws in the dirt, shot is down, off camera, Joe: "now, listen to me: here's the church; and, here we are; Paco, and Riley; you'll come with me;
Fernando, you take the rest of the men" cut to much wider shot, Lisa, the man with the sombrero, two others behind them, Paco, a guy behind him, Fernando, his friend and another behind,
Joe, then Riley at the far right, with a guy behind him, "Miss Martin: you and Bobo stay with the ammunition, right?" cut as they start to get up, to wider shot about 40 degrees to the
right, score starts with a guitar chord, then some French horn, the men walk from the camera center, and Bobo (Fernando's friend) and Lisa pick up the wooden ammo box, and follow behind,
some woodwinds in the score, with the guitar chords, the men split into the two groups and some exit left, others right, cut to shot inside the town, a guy carries a wooden box towards
the camera and turns right, others in the background, solo acoustic guitar for score, pan down to show Juanita playing the guitar, 10 men scattered around, and Chato and Gomez next to
her, cut to lert profile closeup of Chato, with Gomez closer, Juanita back further and more left, from the first moment, Gomez, I planned to capture El Nido del Aguila; whoever holds it,
holds all the land below, this land is truly my land, for now on; from here, to Texas" during that, cut 150 degrees left to Juanita POV shot of Chato/Gomez, the back of Juanita's head in
the left foreground, then cutback to the other cut, then back to the POV shot, then a headshot of Juanita: "your own country, your own gold; right, Chato?" cutback to the first shot of
them, "and my own princess" cutback to the POV shot, "and once we discover Collins arsenal; all the guns I need" "about the guns: Chato, I just remembered something" cutback through
that to the first shot, "what?" "Come: I show you" Gomez stands up, and exits right, Chato stands into a closeup of his midsection, Gomez, leading Chato, walk away from the camera to
the left of Juanita, and a zoom in accompanying that, to a headshot of her, cut to closeup of Chato, from behind, he turns and walks right, others in the background, he bends down
and hands Juanita the guitar she put down, the camera pans with that, showing just the middle of both, "continue to play, little princess; I will be listening to know you are still here"
pan up to closeup of Chato kissing Juanita, then he exits left behind her, Juanita rubs her lips with the back of her hand in disgust, and has an angry look, cut to wideish shot of
Gomez, followed by Chato, entering middle through a doorway in the stone building, to the outside, pan right with them then they walk towards the camera, "what do you remember, Gomez,
about the guns" Chato on the left, Gomez right: "a map, I took it, from Collins" pan right and then they're in a conspiratorial type of position, with their backs partially to the camera,
and the scene is darker, "I think it's shows where he hides the guns" as he hands Chato the paper, "uh, huh" Chato opens the paper, turns his back, then Gomez takes out a knife, and
stabs him in the small of his back, he lowers Chato backwards with his left hand over Chato's mouth, till Chato is lying face up, a pan with that, Gomez stands, looks around and partially
exits left, cut to wide shot of Gomez entering through a doorway in a stone wall, about center frame, he walks into the camera, then sort of leftish, pan with that, and into a closer
shot sort of a closeup, pan left, only showing his midsection, he has his gun out as he walks down some steps into the wide area, one of those wooden "ammunition" boxes is on a rock, and
some men, Chato's gang, presumably, are sitting or milling about, Gomez fires into the air: "listen to me!" Juanita stops playing, and stands and turns towards Gomez, everybody else stops
what they're doing and looks, "that pig, Chato wanted to cheat all of us; he wanted to escape with the gold, while we stayed here squabbling among ourselves" "where's Chato?" cut to
very upshot frontal closeup of Gomez, pointing his gun from the hip: "where buzzards feed. From now on; this is Gomez's gang; anyone who doesn't like it; can get out" during that, quick
cut to closer shot of the gang, more level, and 40 degrees to the left, Juanita in frame, cutback to Gomez: "now" cutback to the close shot, "alright by me" cut to close shot of three
of the gang, one on the left mid background, center one background, right one foreground, "me, too" "one moment: not by me, because I" interrupting: cutback to Gomez, he shoots towards
the left, cutback to the three, the guy on the right tries to say something, gasps, and starts to collapse, cut to the angled close shot, the guy can be seen on his knees right, a second
shot and he falls on his back, cutback to Gomez: "anyone want to join him?" cutback to the angled shot, cut to wide downshot of Joe, followed by Paco, then Riley, creeping up a hill through
some grass and flowers, towards the camera, pan right with them, and they get closer to the camera with the pan, exiting Riley, pan ends behind them, Riley reentering, and them taking
cover behind a hummock, cut to upshot of the mission, wide shot, cut to wide downshot of Fernando, followed by some others coming out of a cave/culvert at the bottom of a little gully,
which faces the camera, Fernando raises his arm, and the group behind him halt a sec, then fan out on either side, everybody is small in the frame, cut to closeup of Fernando, right,
taking cover under a bent tree trunk, a guy with crossed bandoliers to the left of a small tree next to the bent one, on the left, cutback to the wideshot, Lisa, Bobo and another guy,
carry the ammo box under a stone arch in the broken wall on the left, they exit, but someone appears in a big window/opening above, cut to closeup of Joe, left, Paco, right and behind,
then Riley, hiding behind a large rock with yellow lichen on it, they face the camera, rock is in between, "let's make them think there's only three of us; Riley: tell Fernando to hold
his fire, until we draw them out; if we can make it" Riley starts to exit right background, but he stumbles around a bit, cut to wide shot with a guy wearing crossed bandoliers and a poncho
in the foreground, three other guys in the background, one sitting, pan left across wide shot from a stone arch on a rise, downwards, then the camera does a double take, cutback to
the guy in the foreground, he reflexively levers the Winchester he's holding, and looks as if he's seen something, so prior cut was sort of POV pan for him, he turns to look rearward: "comrade!"
"what?" and two of the other guys run forwards, cut to wide, frontal, shot of Joe/Paco, they move up closer to hide behind a crest in the ground, cut to close shot of a guy to the
right of an opening in a stone wall, another guy, one from Gomez takeover scene, enters through it, followed by Gomez, they come forward into a closeup, "hey! What's going on out there?"
cutback to the guy with the bandoliers: "I though I saw something" Gomez and the others can be seen in the background, so five in the background, a gunshot, and the guy in the foreground
drops, pan down as he falls, cutback to the Gomez closeup, the guy on the right shoots his Winchester, and exits right, Gomez and the other guy draw their pistols, and shoot as they
back up, almost exiting, cut to close shot of Joe shooting over the crest, two gunshot noises and a ricochet - sometimes the ricochet noises in the movie don't make any sense, as the
shot must have hit something soft, and wouldn't ricochet - anyway, Joe shoots his Winchester, Paco can also be seen, cut to wideish shot of Gomez and the other guy shooting and hiding
on either side of opening in the wall, Gomez on the right, a gunshot noise and a ricochet, cutback to Joe/Paco, cutback to guy/Gomez, cutback to Joe/Paco, cut to profile shot of three
of the gang shooting from openings in the wall, in a row, arranged: left background, center lower, and right side, cut to wide shot of Riley entering about center, and pan with him
to the right, entering Joe/Paco in right profile, pan with Joe, exiting the others, as he moves to the left, and takes cover in a position closer to the camera, reentering Riley/Paco
cut to a closeup of a guy in left profile shooting to the left, Gomez enters center left: "how many of them?" "three or four" "hold you fire; I want to listen" "hold your fire" cut to the
guys in a row, they stop shooting, the bad guys are shooting to the left, and the good guys towards the right, "hold your fire" the guy in the row, profile shot, looks like the guy
Gomez was talking to, so, the opening on the left might be the one Gomez and the other guy were seen in, cut to upshot of Gomez in right profile, reloading his Colt: "Mike: not more than
four; take a body out" Mike, the guy who'd been closest to Gomez, exits left, cut to wide downshot of Mike followed by another guy, running right to left across a courtyardish area,
cut to upshot, sort of Joe/Paco/Riley POV shot, of the two entering at the top of a crest with a broken stone wall, the broken walls of the mission in the background, "come on!"
one guy waves, cut to the shot of the courtyardish area, eight more of the gang run from right to left, some entering the frame, some already there, one guy in the foreground, cut to
a closeup of Paco, a hit to the left of him, and he shoots back, cutback to the broken stone wall shot, though closer, Mike and three others run down the slope below it, others enter
above and to the left, quick cut to Riley shooting, then cutback to the prior shot, cut to closeup of Joe shooting an angled frontal shot, cutback to Fernando and the other guy, they
shoot, cutback to Joe, quick cut to closeup of Mike, who rises and shoots, cutback to Joe who takes aim and shoots, cutback to other guy/Fernando who shoots, cutback to the stone wall,
though shifted and panned left, one of the gang collapses, quick cutback to Paco, then cutback to Joe, then cut to close shot of one of the gang being hit and and falling right with
a pan, entering two of the gang, one of whom also falls, cut to close shot of Riley, shooting and taking cover - generally, in each cut, the person in the cut shoots - cut to wide shot
of two of Fernando's group, then cut to a wide shot of the stone wall, however, angled 45 degrees left, so a Fernando position shot, two guys fall, and five others are visible, cut to
other guy/Fernando, though a lowered shot, and angled about 30 degrees right of the others, cutback to the prior shot, another guy falls, actually, unless they were dressed very similarly,
it looks like the same guy was killed three times, cut to close shot of a guy behind plants and stones shooting a Winchester to the left, cut to close frontalish shot of Joe shooting,
cut to a guy, mostly his head showing, in the middle of some plants shooting a Colt, though towards the camera, quick cutback to Paco, then cut to a close shot of a gang guy shooting
to the left, cutback to the other guy/Fernando, the other guy reloading, cut to a closeup very close to the stone wall, a guy falls there, the shot angled 45 degrees right, a little
pan down with him, quick cutback to the guy in the bushes, cutback to Paco, point and shooting, cut to close shot of the wall, almost a frontal shot, one guy on the left, one center,
farther back, another guy right, in between, cut to a wider shot of the other guy/Fernando, a third person shoots from the stone arch in the left upper middleish background, cut to
shot of two guys behind a broken high stone wall, one in an arch shooting, cutback to the close shot of the wall, two more of the gang falls, cut to a close shot of a guy in a black,
studded sombrero, shooting a rifle almost into the camera, cutback to the other guy/Fernando, plus the ones near the arch that's in that shot, cutback to the studded sombrero man,
pan with him as he leaps up to the left, and fires to the left, near a wall, his sombrero askew, cutback to the close shot of the other guy/ Fernando, the other guy still reloading,
Fernando shoots, cutback to the studded sombrero man, he falls backwards, a pan with him as he falls and rolls - ouch! That must have hurt! Looks like he landed on some rocks - cut
to wide angle upshot of a gang guy on the second story of the broken mission wall, the bushes and trees framing the shot in a v, the backside of Joe enters left, shoots directly away
from the camera, and the guy falls down, cut to shot of a gang guy sitting near some bushes and trying to reload, a ricochet noise and he exits left, weird, he sort of stopped what
he was doing to, almost literally, smell the flowers, and was looking at some plants to the right, cut to downshot close shot of Mike shooting to the left lower corner, cutback to
Riley, cutback to Mike, aiming, cutback to Riley doing the same, cut to Mike being hit, and falling backwards, cut to upshot of Gomez under a low stone arch, interiorish shot, the guy
who we'd seen sitting, enters left, he grabs a Winchester, and reaches in the wooden box between himself and Gomez, "there must be twenty of them out there" "tell you men to come on
back" "yeah, good idea" the guy exits left, cut ot shot of a guy with a sombrero on his back, and bandolier, back to camera, a saddle, Juanita to the right of that, and Gomez and another
guy in center background, "come back! Come back!" Gomez walks up to Juanita, and grabs her from behind, frightening her, in the background, a guy enters left, exits right, and another
guy does the opposite, "no Juanita; you need, a, man to protect you" as Gomez escorts Juanita right with a pan into a closeup of them in profile, "where did Chato hide the gold?" cut
through that to headshot of Juanita, part of the backside of the left of Gomez's head in the right foreground, "how would I know? Do you imagine that Chato told me?" Gomez pulls her back
as she attempts to leave: "no; but I know your habits; I saw you follow him; where did he go?" cut through that to shot from behind the right side of Juantia's head, which is in the
left foreground, Gomez in headshot on the right, and cutback to the prior cut, "tell me princess: where did Chato hide the gold? Where is it? I don't have time to play! Where is it?!"
cut through that to very upshot of the two, angled slightly to the left of center, cutback to Juanita headshot: "ok" "Where? I'm waiting" "he put it in (garbbled) in (garbbled) chapel"
cutback to the closeup of the two, "that's better" Gomez sheaths his knife and exits right, Juanita breathes a sigh, cut to upshot of two guys firing Winchesters to the right,
from behind the sides of an opening in a stone wall, Gomez enters left: "John: cover me" he starts to try to go through the opening, hesitates, then retreats behind the stone wall on
the left, lots of gunshot noises and ricochets, cutback to the wideish shot of Fernando and the other guy, "let's go" Fernando exits left, and the other guy starts to do so, cut to wide
shot, framed on either side by broken stone walls, of an overground area, though it's open in the center, Fernando and the other guy run up to a short, broken stone column, and shoot
and take cover behind it, then proceed at a brisk pace to the lower right, cut to upshot behind them, of them going up to some of the broken walls of the mission, Fernando on the
left in the lead, as the other guy reaches a waist high stone structure, a gunshot noise and he slowly crumbles, Fernando continues to the upper left, cut 160 degrees right, through
the guy falling, to close shot of him becoming prone with his head towards the camera, and sort of resting on the short stone structure, he rolls on his back, cut to very upshot of Fernando
entering left into a stone walled room, darkly lit, of course, lots of gunshot noises sounding at very distances, pan 180 degrees right with Fernando, as he ducks down to go through
a hole in the wall, cut to closeup of Fernando, just his head at first, entering lower left, a small, arched, opening center lower, black with no light in it, a slight pan up, and
guy with a sombrero and bandoliers pops up, Fernando shoots upwards and the guy falls to the right, pan with that, continuation of exiting him, Fernando sort of grabs his chest, cut
to close, level, frontal shot of Lisa, Bobo on the left, on the ground behind a wall with an arch in it, cut an upshot of Fernando, similar to the earlier one, pan with him as he moves
right, a guy on top of the wall right of the dark arch, shoots down at Fernando, who gasps, levers his gun, and tries to return fire, but seems to be shot, pan with him as he falls
to the right, on his bottom, and rolls back with his head away from the camera, cutback to Bobo/Lisa, Bobo gets up and runs through the arch, he hesitates at the right side of the arch,
then exits left, cut to a less upshot, wider shot, angled about 30 degrees right, of the area Fernando fell in, Bobo enters right with his hands raised: "don't you fire, I don't have a
gun" even though he's wearing a gunbelt, Bobo bends down over Fernando, "Fernando" then a gunshot, looks like it might have come from the guy on top of the wall, and Bobo slumps forward
over Fernando, cut to close shot from behind Paco, Joe so directly in the background, Paco sort of blocks him, short of an upshot, the broken walls of the mission in the background,
"it's not going to be easy" yep, it's been a pretty long gunfight so far, though, of course, similar types of scenes can last longer in war movies, Paco loads one of his guns, "they have
Juanita in there" cut 100 degrees right to closeup of Paco/Joe, "and the gold" "it's going to take some time; where's Riley?" cut to wideish downshot of Riley entering, sort of, from behind a
rock on the left center, he climbs upwards to the camera, and leans against a tree left, score starts with some Fench horn, sort of suspenseful, tense, pan with Riley as he moves left,
leans down, and takes a blanket/poncho off a guy lying on his back, pan results in a shot of Riley at about knee level and below, Riley wraps the cloth around the gun in his right hand,
cut to very upshot of a guy in profile, just his head and rifle, at the top of a wall, sort of angled, the wall rising from the left, cut to closeup of Riley, he shoots the gun wrapped in
the cloth, cutback to the guy on the wall, he groans and falls down, cutback to Riley, who unwraps the gun, then exits right, cut to wideish shot of Riley scurrying crouched over behind
some bushes and piles of rocks, cut to wide shot of a guy in a sombrero in front of an opening in the wall, cut to closeup of Riley, taking cover next to a sloping rock on the right,
and shooting with the cloth wrapped gun, cutback to the guy at the opening, he falls with a spin to the right, cut to an interior, sort of, shot of a guy running left to right, pan with
him, he puts his rifle down, and keeps running right, the pan enters Gomez center, who's rooting around in a wooden box, must be an ammo box, because he takes something out and puts it
in his right pocket, then walks forwards, with a pan: "they can hold out here till doomsday" the pan enters Juanita: "(garbbled) Gomez" "do it for Collin, and all his friends!" then
he slaps her, and walks from the camera, some dollying in the pan as well, Gomez exits right, leaving Juanita in the foreground, who looks to the right, cut to closeup of what looks like
a dairy can, that says: "LAMP OIL" on it, there's some extraneous motion in the shot, cut to close shot of Riley partially entered left, walking to the right in profile, he stops mid
frame, and looks down, pan down as he bends to a kneel, and finds Chato lying on his back, head towards the right, Riley examines Chato's face, he unwraps the cloth from his gun, and drops
it on Chato's face, stands, holsters his gun in his belt, and starts to exit right, pan with him rising, cutback to the lamp oil, Juanita's legs and right hand enters lower left, she
lifts the can with her right hand, and turns and walks left with a pan, we see only the middle of her, she puts the can next to some wooden boxes that look like "AMMUNITION" is stenciled
on them, except it's rubbed out in spots, she opens the lid of the can, pan as she tips it over, and it spills out, cut through that to wide, full body, slightly downshot of Juanita,
a guy in the left center background shooting through a window, pan with Juanita walking to the left, and up a few steps, score has stopped, it was mostly little crescendos, off camera:
"hold it" Juantia looks to the left and sort of towards the camera, cut to shot of Riley in a doorway in the background, he's lower than the two guys on either side of another opening
in the foreground, the guy on the right closer than the guy on the left, Riley approaches with his hands up: "I come as a friend; I want to talk to Gomez" the guy on the left takes
Riley's gun, and makes a head gesture, both of the guys have Winchesters pointed at Riley, pan with Riley as he walks right and into the camera, and an upshotish closeup, exiting the
other two, "Gomez:" cut to close shot of Gomez walking from the camera, cut to close shot of Riley, a guy in the left mid background, "I want to join you" cutback to Gomez, who immediately
shoots almost directly into the camera, cutback to Riley, he spasms forwards, and a pan as he staggers downwards, a red spot on his shirt, a second gunshot noise, the guy in the
background looks behind himself, at Riley, in surprise, cut to downshot, close shot of Juanita, sort of kneeling on the right, she gasps, cut to a shot of Riley about 80 degrees left of
the last one we saw of him, a closeup, Gomez enters right background, Riley is hanging on a wooden upright with his right arm: "why?" Gomez comes up closer: "I never trust false preachers"
Gomez shoots Riley again from the hip, pan as Riley falls on his back on the ground, cutback to Juanita, she takes a stick and puts it in the fire to the left of her, then walks with
it a wee bit right, cut through that to closeup of the burning stick, and Juanita's thighs, the stick is dropped to the left of the overturned oil can, and a fire starts, Juanita exits
right, quick cut to upshot closeshot of Gomez, he turns and looks around, especially to the lower left corner of the frame, another guy is in the upper left background, cut to wide
shot of Juanita progressing into the background, and exiting about middle left, cutback to Gomez, a third guy is partly seen peeking from behind a wall, both guys come out, Gomez
has his gun drawn, and looks, obviously, annoyed, cut to close, downshot of the fire, the boxes, and the can, some bags to the left, the score is alarming brass, cutback to Gomez, he
dashes to the left and almost exits there, the other guys turn to do the same, presumably, cutback to the fire, it's getting bigger, sounds like gunshots going off rapidly, cut to wideish
shot of a guy exiting, middle frame, through a opening in the wall, cutback to the fire, even though there are lots of gunshot noises, like a pack of firecrackers going off, the fire
looks about the same, however, a zoom out to a wider shot, shows, indeed, the boxes do look like they have firecrackers in them going off, a big, well, pretty big, smoky explosion, then
cut to a zoom in shot of some bandoliers and boxes on a small table, and lots of little explosions there, cut to close shot of a guy standing with his back to a stone wall, interior, and he
spasmodically moves, smoke then obscures the shot, pan left as he seems to be hit by the loose ammo going off, cut to downshot closeup of the boxes and bandoliers, with lots of light
from the explosions, cut to downshot close shot of Paco/Joe, Joe looks back at Paco, the gunshot noises going on, both get up and move to the right and forward with a pan, stopping, one on
each side of a path through some bushes, the walls of the mission in the background, two guys come out through an opening in the wall, and smoke billows out, cut to closeup of Juanita
running to the right with a pan, which continues till it's behind Juanita, cut to upshot wideshot of Juanita going down a slope in front of the mission, then falling and sliding on her
tuccus, a guy lying feet to the camera on his back to the left, Gomez enters left, small in the background, and shoots in her direction, two others eventually join him, "Paco!
(garbbled)" she exits, sort of, cut to downshot of Paco entering with a peek from behind a bush, the frame open on the left, then pan left as he comes out in the open, literally, as
the background is a flat, open area, with the very bottom of trees in the far background, just a few plants in the foreground on the left, cut through him starting to exit lower left corner,
cut to wide shot of Juanita in the middle of the frame, small in the frame, Paco further in the background, running forwards and shooting, two guys, one on his back, lying closer to
the camera, Juanita ducks down, and cut through that to close shot of Juanita sitting, sort of, on the left/center bottom of the frame, and Paco to the right, shooting, cut to wide
shot of two guys and Gomez, one to the far left, one in the middle, and Gomez right of the last guy, shooting, of course, a corner of the mission wall in the middle background, however,
it's an inside corner, cutback to Juanita/Paco, point and shooting with both guns, cutback to two guys/Gomez, doing pretty much the same, quick cutback to Juanita/Paco, then cut to shot
of an area open on the right, with bushes/trees background, and closer on the left, Joe pops up into a frontal closeup from the left lower of the frame, and shoots a Winchester directly
into the camera, sort of a 3-D/audience POV shot, cutback to two guys/Gomez, the one in the middle looks like he's hit, and spins around and falls down and into and left of the camera,
a little pan with him, cutback to Joe, camera shifted right a wee bit, shooting into the camera, again, then he starts to exit lower right corner, all of the cuts were pretty short,
with some even shorter, cutback to Juanita/Paco, "everything alright?" "Yes" quick cutback to guy/Gomez, cutback to Juanita/Paco, Paco's hit in the right shoulder, and winces heavily towards
Juanita, and drops his gun, cut to closeup of Joe, rising from behind some plants covering the lower edge of the frame, and shooting almost into the camera, to the right, a bush covers
the background, except for a triangle shaped patch on the left, then he exits by ducking back down, cutback to Juanita/Paco, he looks angrily/hurt to the left/forward, then picks up
one of his guns, and shoots in the direction he looked, cutback to guy/Gomez, Gomez, on all fours right, shooting, a slow gliding pan, and more panning as Gomez gets up and walks right,
and exits behind a bush, cut to angled shot of a doorway, smoke, rolling out of it, some horse whinnying and coughing, two guys enter in a stumble to the left, a pan/zoom out to wider
shot follows them, but both exit left, cut to ground level upshot of Gomez entering lower right at a run, followed by another guy, some ruins form a peak in the background, a horse whinnies,
Gomez/guy run from the camera center frame, cutback to the shot that the guy/Gomez were in, it looks empty, cut to left profile close shot of Paco/Juanita, Paco closer to the camera,
and bottom of the frame center, shoots to the left, Juanita close to him, behind him, a slope with some grass and plants on it in the background, ridge of which is near the top of the
frame, someone enters upper right/center, very quick cutback to Joe levering his gun and shooting, cutback to Paco/Juanita, the guy gets closer, Joe enters suddenly lower right, and
shoots away from the camera, his back to the camera, from a crouch, the guy who'd entered falls, another guy enters, and he, too, falls, Paco turns and shoots, too, cut to closeup
of Paco on his back, raised a bit, Juanita behind, and sort of below him, "Gomez; he's at the old chapel; taking the gold away" cut through that to tight closeup of Joe bent over,
looking leftish sort of into the camera, mostly left, continuing, off camera: "get him" Joe smiles and nods, cutback to the Paco/Juanita/Joe/two guys shot, though Joe is then closer
to Paco, Joe runs away from the camera, down the path the two guys took to enter, and exits upper middle, a sort of orienting pan left with him, cut to shot of Gomez entering frame in
a hole in a vegetation covered wall, pan with them left, into a wider downshot, they stop and Gomez puts his left hand on the guy's chest, makes a gesture, then leaves him and runs
left, the pan exiting the other guy, wind for ambient noise, no gunshot noises, Gomez exits behind a big rock covering the left border of the frame, cut to wide shot of Joe, very small
in frame, walking towards the camera, the mission covers the right side of the frame in the background, dividing the frame in half, the heads of two horses are on the right, a third
horse head enters and exits, Joe kicks a body right side up with his right foot, cut through that to upshot closeup of Joe, he looks both ways, then pan left as he walks that way,
into a shot of him walking from the camera, it's the spot with the ruins forming a peak, jolting cut to wide shot of Joe, small in frame, entering from behind a part of a ruined wall
on the left, score is French horn with electric guitar accompaniment, pan left with Joe, and he makes a turn away from the camera and exits at the end of a passage in the middle of
the frame, that he'd entered, cut to close shot of Joe walking out from under a stone arch - more arches - he walks into a closeup and exits right, cut to shot of the hole in the
vegetation covered wall, same shot setup as with Gomez/other guy, Joe enters and scurries left, pan with that, though closer than with Gomez/other guy, cut to left profile closeup of
Joe, who turns to frontal shot, some camera wandering, then quick zoom into tight headshot of Joe, he looks like he's thinking about something, sudden, appropriately, cut to very upshot
wide shot of the guy we'd last seen with Gomez, diving downwards from a pretty tall broken wall, cut through that to the guy landing face downwards on the ground, close to the left of
Joe, quick cut to closeup of the guy slashing up at Joe, and Joe hitting him with his rifle, cut through that 170 degrees left, to closeup of Joe's waist and thighs, and the guy falling face downwards
head away from the camera, the guy makes a last twitch, then Joe jogs away from the camera, score starts again with French horn and some xylophone, cut to downshot close shot of Gomez,
inside a smallish rock wall cavity, reaching into a small hole in the inner wall, the cavity open on the camera side, cut to shot of Joe jogging to the right and sort of towards the
camera, some of the ruins in the background, more xylophone in the score, gliding, but slightly jerky, pan right, and some adjustment of framing, Joe takes cover alongside a wall,
he sneaks a peek, then stealthily creeps to the wall on the right, panning with him, a cavity can be seen in the background, Joe takes another peak, then scurries right, and exits
through a doorway there, cutback to Gomez, pulling small cloth bags from the hole, some noise like rocks falling, and zoom in as Gomez draws, and looks up and to the right, zoom ends
in a headshot, and is a bit uneven, Gomez scans left looking above him, cut to panning right close shot of Joe creeping forwards, then dashes left, exiting and entering behind the
stone columns in the foreground, then he crouches down, cutback to Gomez, though his head is about center, a wee bit more of a downshot, and he scans to the left, again, cutback to
Joe, he rises and moves left, funny, the scene is much darker than earlier cuts, and the area looks open, however, the sky and hill in the background looks just a wee bit darker than
earlier cuts, Joe comes to a stop after moving left with a pan, taking cover alongside a wall to the left, more orchestration in score, then a crescendo as a cut to an upshot close
shot of Joe slowly moving rightwards of the wall, pointing his gun directly into the camera: "Gomez" dialogue looks dubbed, cut to close downshot of Gomez, so shots of Joe/Gomez are
POV shots, Gomez moves further right of the bush in the foreground, his right hand holds his gun, and left hand is on the three bags on a rock to the right, he looks upwards, off
camera: "Gomez; you made a trap for yourself, and I'm coming to get ya" cutback through that to Joe, then quick cutback to Gomez, who shoots, then cutback to Joe, a gunshot noise, a
splatter of rock near Joe's head, and a ricochet, and Joe hurriedly exits left, sort of jolting cutback to Gomez, which looks like there were some extra frames of where Joe had been,
in there, cut to upshot closeup of Joe sliding right from undercover, he smiles and chuckles: "you better save your bullets, Gomez, I got plenty of time" cut to a downshot headshot of Gomez,
a plant out of focus in the right of the frame: "wait: I; want to make a deal with you; half the gold" cutback to the first closeup of Joe: "sorry; too many, partners" cutback to
Gomez: "alright, Collins; all the gold; if you let me go; and live" cutback to Joe, he smirks, a sound of a gun cocking, cutback to the wider shot of Gomez, he reaches in his left pocket,
and wipes his face with a hankie, maybe, then, throws his gun forward, and to the right, cut through that to a downshot closeup of a Peacemaker landing on the ground, since it entered
from the lower part of the frame, it's a Gomez POV shot, cutback to Gomez, he takes a knife from his left side, and starts to move forward, cut to wider, full body, uppish shot of
Joe, he shoots downwards: "I want you to keep your gun, Gomez" cut to shot of the Peacemaker flying back downwards out of frame, with a ricochet noise, cutback to Gomez, the gun enters
lower frame, and Gomez grabs it, though he fumbles a wee bit, cut to overhead downshot of Joe, almost full body, he scoots towards the right corner and sits down, cut through that to
very upshot of him entering a hole through the stone filling the frame, cut through that to what looks sort of like a cave, he drops into a crouch from the top of the frame, in right profile,
pan right with him, and he draws his Colt, aiming right in a crouch, then pan right as he moves to hide behind a stone column at the end of the stone wall, cut to Gomez emerging from
behind a stone column on the left side of the frame, and he shoots towards the camera, a ricochet noise, cutback to Joe, who ducks and hugs closer to the stone wall, then points and
shoots right, cut to Gomez entering from behind an upright stone and moving right in a crouch, then sort of exiting behind a stone on the right, he shoots left of the camera, cut to
a shot from behind Lisa, who's standing on the left side of the frame, a stone ruin in the close background left, and more ruins further away, a the left side of a mound with some
plants on it right, hearing the gunshots, she hugs herself, then runs away from the camera, a rapid zoom into a closer shot of Joe, as he enters the frame through a doorway in the
far stone ruins, "Joe!", he's actually a wee bit out of focus, and Lisa is exited from the frame until she runs in from the left, up to Joe, score starts with a bang, and then is
very orchestrated strings, mid register, romantic, melancholy, and sort of triumphant, cut through Lisa throwing herself into Joe's arms, to an upshot closeup of them hugging, "Joe"
some woodwinds doing a variation of the theme, cut to a right panning, but jerky pan, wide angle shot of the peeking ruins, the pan goes by them and also by the mission, so about
280-300 degrees in it, cut to a wide shot of Paco/Juanita/Joe/Lisa in front of the mission, we'd seen a similar shot earlier when Gomez/Joe were recruiting Paco, Paco near Lisa, leans
against a hitching rail, and Joe and Lisa are near a horse, "I don't know how to thank you" "don't mention it; it's about two days" cut through that to a very tight headshot of Joe, though
he's left in frame, "to the, uh, border, Miss Martin, and then I'll, uh, point you to New Orleans" cut to headshot of Lisa, they put her in soft focus: "(garbbled) Mr. Collins" score
is theme on guitar, cutback to Joe, he smiles, looks to the left, and does an "ah, shucks" look, cutback to the wide shot, Joe helps Lisa onto the horse, on the right, in the background,
is a corral with four more horses, a horse is near Paco/Juanita, Joe takes the reins from Paco, mounts, and Joe/Lisa ride to and exit from the lower right corner, during that, zoom
into a closeup of Paco/Juanita, Paco has his left arm around Juanita, and his right arm in a sling, cut to wide shot of Lisa/Joe riding right down a slope, the path they're on is lower
than the ground in the foreground, so you only see the upper part of them, a wide pan right with them, and they exit/enter behind some bushes, then finally exit right middle side of frame
completely, "FINE" sort of riding off into the morning/afternoon deal, score is full orchestra, with some of that acoustic guitar, actually, the score concludes without any full credits.
#movie review#movie stills#find a place to die#hollywood#western movie#western#spaghetti western#jeffrey hunter
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Stills from the Western, 'River of No return'. The river in the stills is actually in California, and the "mountains" are in some cases a painted backdrop, matted into the frames, or, they're stock footage added to the LA, CA footage. The still third from the bottom is a river, or stream, within LA county; did you know the same river was used in 'Shane', too? Also in the TV show 'Stories of the Century'? Well, now you do. Actually, the river has appeared in a hunormous number of Hollywood productions. The "mountains" in the third still from the top are actually a painting; the trees were shot, then a bunch of fx technicians had to spend weeks cutting out from the frames of the tree footage, to fit the shot of the painted backdrop in. The same is true of the sixth still from the top, and for stills two, four, and seven from the top, they used either a painting, or they used some footage of mountains. Full review coming soon to this movie review site near you.
#movie review#movie stills#river of no return#western movie#western#rory calhoun#robert mitchum#marilyn monroe
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Ever heard of Marilyn Monroe being in a Western? Well, like a lot of stars - err, no, most stars of the '50's - with the enormous deluge of Western productions, Ms. Monroe had to do a Western or two herself. Hmm, maybe now you're thinking of somebody who starred in a lot of films with Ms. Monroe, who was also required to do some Westerns; naah, not him; Jane Russell; that's who. Actually, 'River of No Return' is a lot like some of the Westerns Ms. Russell starred in, such as: 'Montana Belle' and 'The Tall Men'. Helping to get that Western vibe, Rory Calhoun is in the film, and in case you find Ms. Monroe's urbaness out of place, well, there's Robert Mitchum to make that hard city delivery not seem so lonely. Actually, both Mr. Mitchum and Mr. Calhoun look like they'd rather be somewhere else doing something else. You wouldn't think Otto Preminger would want to be there, directing the film, either, and, how could he get that Western thang going. Nevertheless, like the others, he was roped into directing a Western. Mr. Preminger, is, of course, one of the name brand directors from the '30's and '40s, and helped make the directing job in Hollywood to be more than just a local manager position. Although he's well regarded by some film aesthetes, he still hasn't gotten the universal recognition that some of his peers have received over the years; it's probably because of his German sounding last name, and he was doing his thing mostly during WW II. Mr. Preminger is mostly known for big, glitzy, musical comedies, comedies, and, musicals - not Westerns. While some of the tell tale stamp camera work he used in those other productions, he brings along, the movie truly isn't a big production, nor very glitzy; maybe, since it's a Western, it should be detailed in some way - so to speak - maybe dirtier, or something else, however, that didn't happen, and the movie, other than using a hunormous number of very expensive camera mounts, is rather bland; most of it was shot on the lot, or in LA county, and all of the exterior shots involve some matting. Full review coming soon to this movie review site near you.
#movie review#movie stills#river of no return#hollywood#western movie#western#marilyn monroe#robert mitchum#rory calhoun
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Stills from the Western 'The Good Guys and the Bad Guys'. Although shown in theaters, the film has a lot of TV production values. As you can see from the stills, the producers/director opted to shoot many scenes with the performers in shadow; it's all part of an effort to add some nostalgia to the film; probably the intent is to show the movie was influenced by earlier Western genre productions, and, that it's a new film that is a "classic" - so to speak - and fully part of the history and tradition of the genre. Full review coming soon to this movie review site near you.
#movie review#movie stills#the good guys and the bad guys#hollywood#western movie#western#martin balsam#marie windsor#robert mitchum#george kennedy#john carradine#david carradine#tina louise
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Stills from the silent Western, 'Something New'. Typical of many silent Westerns of the era, the setting of the movie is about the same time as when the movie was produced, therefore, the cars in some scenes. Full review coming soon to this movie review site near you.
#movie review#movie stills#something new#hollywood#western movie#western#b&w#silent movie#nell shipman
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Stills from the Western, 'The Good Guys and the Bad Guys'; it's sort of a TV movie, even though it was shown in theaters. Yep, one of those scenes was shot not at, but through a fireplace; you don't see that everyday. Very usual by the late '60's-early '70's, when the film was produced, are the gun POV shots, included above are POVs of that, from either end, actually, the different POVs were from the same scene. Full review coming soon to this movie review site near you.
#movie review#movie stills#hollywood#western movie#western#robert mitchum#george kennedy#marie windsor#tina louise#martin balsam#john carradine#david carradine#the good guys and the bad guys
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Stills for the review of 'The Heart of Texas Ryan', in previous post.
#movie review#movie stills#the heart of texas ryan#hollywood#western movie#western#b&w#silent movies#tom mix
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The Heart of Texas Ryan 1917 Note: Stills are in next post.
It's one of Tom Mix's earlier Westerns, and like many of the others, the film is much better produced compared to other silent films made around about the
same time. Generally speaking, Mr. Mix isn't well liked as an actor - of course he has his fans, and the movies he acted in, aren't though well of, generally.
Technically speaking, there can't be any question that the movies he acted in are far better than practically any other silent film made before the '20's. Most
of the early films, look like they were made by people who had no idea what they were doing, and you got to feel sorry for audiences of the era, who might
have payed their hard earned cash, to end up being subjected to watching a six hour or more long, total cinema disaster. One of the unique things about the
film, is an early use of panning with the motion being filmed; usually, pans in those days were used to correct mistakes in planning the shots, and to compensate
for poor framing, rather than using the pan as a cinematographic feature to help express something about the action on screen. Along with that, an example
of the gun POV shot, though, it's not at the opposite end of the barrel, as in 'The Great Train Robbery', rather the point of view is from the shooter, though,
like many POV shots in the movies, it's skewed to one side. Another motiff that would be used many times, later, in many different types of movies, is the
"hidden executioner" schtick, which is made exactly that obvious by a dialogue card stating that that is what's going on, and unfortunately, stops about there,
as the producers/director/writer apparently thought that was enough. That, and the middle of the movie, have the problem common with silent films: they bring
things up and don't conclude or develop them, or, much more common, bring something up in such a way that it develops into an incoherent sequence. Midway through
the film enemies are developed for the hero Mr. Mix plays - "Single Shot Parker' - however that development, and Parker's reactions in the process, are rather
arcane, and indicate there's quite a bit of story off camera. Also weak in the storyline is the recurring villain in the film, who, while the film tries to
hint is working behind Parker's back, seems to guilty to be ignored by anyone. The result is confusing and unbelievable. The titular character - "Texas Ryan"
is difficult to understand as well: on one hand she finds the ranch hands' treatment of the cattle deplorable, but she has little opinion when Parker threatens
the villain with bodily harm, when all he's doing is trying to talk to her. Of course, in silent films, many producers/directors thought it was ok to leave
big chunks of the story out, so maybe if the film had been expanded a bit, there would have been some scenes in which Parker's response to the villain would
have seemed legit. If it had been added, it seems likely the actress wouldn't have helped much in such scenes. Throughout most of the film, she's sort of
just on camera, literally, of course, and the actress playing her, doesn't really play the role. Consequently, the class crossing love affair between Parker
and Ryan doesn't seem very plausible, either, and why she's drawn to Parker - besides him being "a real man" - we never find out; it just happens, and that's
that; so, the title is a bit misleading. Speaking of which, the opening credit card states the film as being: ""SINGLE SHOT PARKER" Formerly "THE HEART OF
TEXAS RYAN"" not exactly sure when it came about that the film was retitled. So, the film is in no way perfect, and has some of the flaws common in silents, and
also in "talkies". The technical, err, sophistication of the film, doesn't really compensate for the bad parts, just makes the film more watchable. Besides the
other innovations (err) mentioned earlier, some use of varying camera angles is used in one cut sequence: tighter shots: 105-107, then, a cut that's shot
wider than 105 in 108. The total cut count for the movie nothing revolutionary: 433, which is in the low average for films made before the '20's. Of those cuts,
almost 1/4 - 94, to be exact - are dialogue and title cards, which is a bit more than for other silent films made in the '10's. The total number of camera setups
is 174, so that's a new camera position for every cut and half, or so, which is higher than usual for silent films. Many of the films Mr. Mix starred in had
a higher number of camera setups than you'd usually see for movies made the same time his were. Part of the reason is, that there's some travel in the movie,
and of course the scenery changes for sequences like that, and, of course, the camera has to be moved to a new position every time. The fact that it's an action
film partially has something to do with it, though not entirely. That's because while more modern action films generally have higher cut counts than some other
types of films, the camera wasn't used as much in silent films to enhance the action, in the same way panning wasn't used much, so instead of lots of cuts
at different angles, usually the camera was setup and framed to get all of the action in one shot, with maybe a few cuts here and there. Dialogue scenes were
shot in a similar fashion: both players - or how many are conversing - are shot in the same frame, rather than alternating closeups of the performers. So,
a modern movie heavy on dialogue, can also build up the cut count per hour just as fast as an action movie. Nevertheless, most of the lower cut count in
'The Heart of Texas Ryan' is from shooting the dialogue scenes flat, with low camera angle changes. The action scenes in the movie are often sort of like
dialogue scenes, in which the characters on one side do something, and the characters on the other side respond to that, and the side is an actual physical
gap between them, so they won't all fit in the frame, which necessitates cutting back and forth from them. In the middle of the film, a close quarters fist
fight is not shot in the usual way of including all the participants in the frame at once, and maybe doing even a pretty long scene in just 4 or 5, or even less,
cuts. Instead, the fight is shot at different angles, both vertically and horizontally. It looks like the producers/directors were trying for something, but
it didn't entirely work out. About the vertical angles in the film, there are quite a few downshots in the film (38 of them), which in some cases are
unavoidable, bearing in mind the way films were shot back, them, and in other cases seem to be intentional. However, there's no use of contrasting upshots
with downshots. The distribution of field of view is pretty standard for the type of film, except there are a few more closeups: wide angle shots: 67; close
shots: 124; closeups: 131. Also typical: many scenes in the film are shot like early paintings, and are very 2-D, with movement mostly side to side, rather
than from background to foreground, or vice versa. So, instead of the performers walking into a closeup, as had been used in some films, mostly the producers/
director opted to change the field of view. 26 fade outs were used, and 23 fade ins; nowadays, neither of those types of edits are used hardly at all, and
are rather archaic. The film uses one wipe, left to right; that's another technique rarely seen nowadays, and started disappearing in the late '40's. Additionally,
three diaphragm/iris opening or closings; which, again, is a very early type of editing. One older shooting technique not used, was artificially framing some
shots in some way, typically with an oval or round frame; however, there are 4 telescope shots or views, intended to simulate what a character sees through
a telescope. The period setting of the film, like very many other silent Westerns, is contemporary with the production date of the film, as their are
automobiles in the film. However, that didn't inhibit the writer/director/producers from mixing the old West values - guess you could call it - and wardrobe
and props into the film; as a matter of fact, it's one of the earliest films to have a derringer in it. Besides that gun, there are the usual Colt Peacemakers
and Winchesters that are pretty essential to getting that ole West look. The wardrobe is typical of early silent Westerns: rather large cowboy hats, though,
actually, they're not the hats you'd find in the ole West, just the movies; pershing hats, some folded or creased in various ways; same goes for some of the
sombreros; and filling things out for some of the minor characters and extras: ordinary hats from the time period. The chaps for the star, Tom Mix, are the
fancy, embellished kind usual for leading men in early Westerns. In one shot, Mr. Mix's boots look rather modern, with their larger than usual heels, however,
the boots are much more supple than later cowboy boots, and they have very rounded toes. Also in the film is an early example of a named, trick horse: well,
not that trained: Mr. Mix's horse is named "Blue", and his big scene and trick, is sticking his head through a window while Mr. Mix puckers his lips in Blue's
direction, nevertheless, it's the beginning of what would develop into much more elaborate tricks, and bigger starring roles, for horses. For the sets and
locations, at first glance they don't look like anything special, though all in all, more thought was put into them than in many other films, and they don't
seem to have been picked for convenience sake only, which certainly, as in most silents, was an important factor. Below are notes about the shooting of the
film, which aren't shown in the stills, and in which cut some of the editing techniques were used.
pan right 3; fade to black 8; overexposed 10 from not letting the camera preroll; fade in 12,14,23,24,25,32,117,130; partial fade in 13,51,58; fade out 25,30,32,44,53,57,121
128, 11, 188; splice 49,76,77(two), 83; frame jumping 50; walk into closeup 50; frame blinking 60; footage missing between 64,65; very slow, short pan right 68; uncertain pan
right 74, followed by second pan right; pan right 76 during a closeup, generates two more closeups; slow pan up with motion 82,92; slow pan up 89; three splices 118;
two splices 120; quick fade in 122; very wide pan 122 (maybe the widest in a silent Western); stage enters upper middle 126; 2 splices 132; pan down 148; splice 149, missing
footage; enter right 171; short, slow pan left 176; black screen 182, fade in 183, left to right wipe 183; pan left, then right 184; exit lower left 185; pan left 188,
and splice also; exit lower left 189, enter right; enter left 192; splice 194, exit right, and diaphragm fade out; enter left 195; splice 197; enter left 198; exit right
200, fade to black; fade to black 201; fade in 202 exit left; slow pan right 203, pan enters characters right; pan with movement 206; unnecessary pan left 210; exit
lower left 213; exit right 216; exit right and left 218; exit right, and center, 221; enter lower 222, adjusting pan left, enter upper left, then long pan right with
motion; exit left 223; enter center 224, then exit lower left corner, another enter center, and exit same; enter center, and enter left 225, exit center; enter lower
left 226; enter center 227, exit right; enter right 228; cut through motion 228-229; pan right and exit right 229; enter right 230; enter lower right 231; splice 232,
and exit right; enter center upper 234; splice and edits 235; exit lower right 236; pan left 237, and splice; enter lower left 238; splice 239; exit lower left 241;
enter left /exit right 242; enter upper left 243, pan down and up, exit lower right; enter lower right 244, exit left; exit left 246; exit left 247, 248; enter left,
exit left 249; enter right 250; fade out 251, fade in 252; exit right 258; slow diaphragm opening, then closing, 259; fade in, fade out 260; fade in, enter right 261;
exit left 263; diaphragm opening, enter right 265; enter right 266; fade out 267; splice 268; telescope view 270; telescope view 274; exit right 279; exit left 280;
enter left 281; exit center 282; enter center left, and enter right, 283; splice 285; exit right 287; splice 288; enter right 290; some unnecessary camera movement 291;
pan left 292; splice 293, exit left, and exit right lower; fade in 296; telescope shot 297; splice 298; fade out 301; fade in, splice 302; fade 303; alternating black
with lit frames, probably to simulate lighting during a thunderstorm 304; enter right 305, 306, exit left 306; alternate black/lit frames, maybe they're glitches, exit
right 307; alternate black/lit frames, maybe they're glitches 308; enter and exit left 309; fade out 310, fade in 311; three splices 311; fade out 312; enter left, exit
right 313; exit left 314, enter left 314; splice 314; exit center upper 315; exit upper center left, cut is a two in one cut, with two takes part of the same cut, rather
than there being a splice in there 324; fade in, fade out 326; enter lower left corner, 327; exit right, splice 335; enter left, enter lower left corner, diaphragm
fadeout, 336; very slow pan right, short quick fade out 339; exit right 340; telescope shot, enter upper, exit lower 342; exit lower left, splice 345; enter lower left
corner, splice 346; enter lower left corner, enter right, enter left, enter upper left, exit upper 347; enter upper left 350; slow pan down 351; enter right, exit
lower left corner 353; enter upper middle, exit lower right corner 354; exit lower right corner 355; fade out 356; obvious pan right to keep framing 357; slow pan
right, exit upper 358; enter upper left 360; disoriented sequence 363-365; enter upper right 367; pan left with movement 368; poor framing and compensating pan down 369;
exit/enter middle right 370; enter lower left corner, pan right, then left enter left and right upper 374; pan up with movement, exit middle 376; enter left 377; pan
down with movement, exit lower right corner 378; two splices 380; exit left and right, and left 382; enter upper middle 386, 387; exit lower left 387; exit left lower 391;
extremely short cut 394; enter left 395; diaphragm fadeout 401; enter left 402; enter center, exit right, 404; enter center, exit left 405; fade in, fade out 406;
enter left, exit right upper 407; fade out 408; enter center, partial exit 409; partial exit center left 411; exit center 412; black, blank frame, exit lower left 415;
fade out 419; POV shot 421, enter lower right corner; fade in 425; enter left 426; splice 432;
#movie review#movie stills#the heart of texas ryan#hollywood#western#western movie#silent movie#b&w#tom mix
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Finally: the movie you’ve always craved! Well, sort of...actually, you might have always wondered about the phrase: “the good guys and the bad guys”, and while that’s the title of the movie in the stills above, it might not answer your question about that ethical distinction between people. It does appear in the dialogue of some movies, dating back to the early “talkies” era, nevertheless, most likely the phrase, also if it’s divided into the two parts, originated in newspapers. In the movie dialogue referred to, it’s used usually as one or the other; not both together. As for the film in the stills above, it’s an example of a TV movie for the big screen; sounds weird, but there seemed to have been a trend, ever since TV started, to bring the TV “look” - guess you could call it - into the theaters. The trend intensified in the late ‘60′s, and started to peak in the late ‘70′s. To find out more about that, which, I’m sure you’re going to want to do, check out my review of the flick, coming soon, to this movie review site near you.
#movie review#movie stills#the good guys and the bad guys#hollywood#western movie#western#martin balsam#tina louise#buddy hackett#george kennedy#robert mitchum#david carradine
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