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Frank Nugent's screenplay for ‘The Searchers’

Frank Nugent's screenplay for ‘The Searchers’

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Published by Cinephilia & Beyond
Frank Nugent's screenplay for ‘The Searchers.’ (NOTE: For educational purposes only)
Frank Nugent's screenplay for ‘The Searchers.’ (NOTE: For educational purposes only)

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Published by: Cinephilia & Beyond on Mar 29, 2014
Copyright:Traditional Copyright: All rights reserved


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"THE SEARCHERS"ScreenplaybyFrank NugentBased on the 1954 novel by Alan Le MayCopyright 1956,Warner Bros.Shooting Script, 1956
FADE IN:Behind the main title and the credits:11EXT. PLAINS COUNTRY - CLOSE SHOT - MOVING JUST ABOVE GROUNDLEVEL - A STUDY OF HOOFPRINTS - LATE AFTERNOONThe hoofprints are deeply etched in the ground, picking theirway through scrubby desert growth. An occasional tumbleweeddrifts with the light breeze across the pattern of prints;and lightly-blown soil and sand begin the work of erasingthem. The CAMERA FOLLOWING the hoofprints RAISES SLOWLY TO:22EXT. PLAINS COUNTRY - LONG SHOT - LATE AFTERNOONWe see the rider now. BACK TO CAMERA, jogging slowly along --heading down a long valley toward a still-distant ranch housewith its outlying barn and corrals.33EXT. PLAINS COUNTRY - MED. SHOT - MOVING - LATE AFTERNOONThe CAMERA FRAMES and MOVES with the lone horseman. He isETHAN EDWARDS, a man as hard as the country he is crossing.Ethan is in his forties, with a three-day stubble of beard.Dust is caked in the lines of his face and powders hisclothing. He wears a long Confederate overcoat, torn at onepocket, patched and clumsily stitched at the elbows.His trousers are a faded blue with an off-color stripe downthe legs where once there had been the yellow stripes of theYankee cavalry. His saddle is Mexican and across it he carriesa folded serape in place of the Texas poncho...Rider and horse have come a long way. The CAMERA HOLDS andPANS the rider past and we see another detail; strapped ontohis saddle roll is a sabre and scabbard with a gray silksash wrapped around it... Horse and rider pass, moving closerto the ranch as a little girl and a small dog come tearingaround the corner of the house.44EXT. THE YARD OF THE EDWARDS RANCH - MED. SHOT - DEBBIE -LATE AFTERNOONShe is staring wide-eyed at the distant horseman o.s.Her little dog has seen him too and is barking excitedly.DEBBIE quickly reaches to grab the dog by the scruff of theneck, crouching over him. Debbie is 11 years old with apiquant, memorable face.
2.55EXT. THE YARD - CLOSE SHOT - DEBBIEHere we must establish and dramatize what it is about herface that is memorable, so that if we were to see her againfive or six years later, we would know it is she -- perhapsthe eye color or the slant of eyebrow, or a trick ofscratching bridge of nose with crooked forefinger.66EXT. THE EDWARDS HOUSE - MED. SHOT - AARON - LATE AFTERNOONThe ranch house is of adobe, solidly built, with a sod andcross-timbered roof, deep windows. A small gallery or porchextends across the front. AARON EDWARDS comes through thedoor, attracted by the dog's barking -- and then he, too,sees the approaching horseman and comes farther out -- curiousbut not at all apprehensive. Aaron is a lean, weathered andtired man, with a down-swept mustache; a gentler-looking manthan Ethan and possibly a few years older.As he squints off, studying the rider, his older daughter,LUCY, comes out to stand behind him. Lucy is from 16 to 18 --a pleasant, feminine girl. She is carrying a mixing bowlwith some sort of batter in it, which she now completelyforgets to whip in her interest in the approaching stranger.In the next instant MARTHA EDWARDS follows the daughter ontothe porch. Martha is a still-lovely woman, although the yearshave etched fine wrinkles about her eyes and mouth, and workhas worn and coarsened her hands. Those hands will never beidle when Martha is on scene... And now, while she sharesthe family's interest in the approaching horseman, sheautomatically notes that Lucy has forgotten her task -- andshe takes the mixing bowl from her and stirs the batter.77EXT. YARD OF THE EDWARDS HOUSE - FULL SHOT - LATE AFTERNOONAlong the side of the house comes BEN EDWARDS, 14, with aman-sized armload of chunkwood clutched to his chest. He,too, has spotted the stranger and is all attention. So muchso that he trips, but recovers his footing. He pauses todump the wood into a woodbox by the door -- his eyes alwaysriveted on the oncoming rider -- and then he moves towardthe others, biting a splinter out of a finger. Beyond Ben,MARTIN PAULEY emerges from the barn and crosses the openground heading toward CAMERA. Martin is somewhat under 20, alithe, perfectly coordinated male animal, with Indian-straighthair and a white man's eyes. He is carrying bridle or otherhorse-gear. He looks to the family on the porch -- to see ifthey recognize the stranger -- then out again. He continues,followed by Ben, toward where Debbie crouches over her dog.

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