The Script

Discussion On All Aspects Of The Film.

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Re: The Script

Postby Dakota Jeff on Sat May 30, 2009 2:14 am

Thanks Mustang. You have insight into the evolution of the script, and I think you know how Jimmy Grant did his script.
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Re: The Script

Postby whiterabbitt83 on Fri Feb 25, 2011 3:50 am

in the orinigal script smity was called cotton
cotton died davy the gamber and the parson
and the bee keeper all died together
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Re: The Script

Postby gtj222 on Fri Feb 25, 2011 5:25 am

I did not know that. :?:
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Re: The Script

Postby NefariousNed on Fri Feb 25, 2011 5:41 am

Yeah. "Cotton" was originally written to be a curly haired blond kid. And then they got Frankie Avalon. Changed his name to "Smitty"
in honour of Alamo courier John W. Smith.
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Re: The Script

Postby RLC-GTT on Fri Feb 25, 2011 6:11 am

Nefarious wrote:Yeah. "Cotton" was originally written to be a curly haired blond kid. And then they got Frankie Avalon. Changed his name to "Smitty"
in honour of Alamo courier John W. Smith.

...who was really in his 40's and had a Bexarena wife and lots of kids. At least they only used that angle in the publicity (probably just for Spirit of the Alamo) and not in the movie. ;)
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Re: The Script

Postby Davy on Fri Feb 25, 2011 6:22 am

Yepper Smiths great great grandson was at the 2004 Alamo Filmfest in Brackettville ... I got a chance to meet him and talk to him! :o :lol: No pictures though ... :cry: I simply had a chance meeting with him at the Ft. Clark checkout desk! Nice fella!

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Re: The Script

Postby RLC-GTT on Fri Feb 25, 2011 6:56 am

Davy wrote:Yepper Smiths great great grandson was at the 2004 Alamo Filmfest in Brackettville ... I got a chance to meet him and talk to him! :o :lol: No pictures though ... :cry: I simply had a chance meeting with him at the Ft. Clark checkout desk! Nice fella!

Davy

Man, I don't think that I was aware of that. You mean a g-g grandson of John W. Smith? Was he related to Mrs. William Campbell who was in Spirit of the Alamo?
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Re: The Script

Postby Davy on Fri Feb 25, 2011 7:11 am

RLC-GTT wrote:Man, I don't think that I was aware of that. You mean a g-g grandson of John W. Smith? Was he related to Mrs. William Campbell who was in Spirit of the Alamo?


Rich ... he and I happened to be checking out at the same time at Ft. Clark and had a short conversation, when he said he had been at the Filmfest too. He was a middle aged gent, very friendly. We talked for just a few minutes bout his great great grandfather, whom he told me became a prominent Bejar citizen in the years following the Texas Revolution. I do not know if he was related to the lady in question .. it never came up in our conversation ... :D

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Re: The Script

Postby whiterabbitt83 on Fri Feb 25, 2011 5:46 pm

i prefur the original script to the one they filmed
the scene where davy prays is different and better in the original script
i used it in my new script on my take on the alamo
the battle of people's park or 13 days to glory
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Re: The Script

Postby Davy on Fri Feb 25, 2011 7:18 pm

whiterabbitt83 wrote:i prefur the original script to the one they filmed
the scene where davy prays is different and better in the original script
i used it in my new script on my take on the alamo
the battle of people's park or 13 days to glory


Do that mean whut I think it do? :o :D

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Re: The Script

Postby whiterabbitt83 on Fri Feb 25, 2011 8:50 pm

it do
my new alamo script is a take off
of the alamo with 1969 berkeley people's park riots
as a remake,
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Re: The Script

Postby Davy on Fri Feb 25, 2011 9:10 pm

whiterabbitt83 wrote:it do
my new alamo script is a take off
of the alamo with 1969 berkeley people's park riots
as a remake,


Shades of LSD! :o :lol:

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Re: The Script

Postby whiterabbitt83 on Fri Feb 25, 2011 10:50 pm

davy if u look at it as 182 hippies holding out for 13 days in a brocken down adobe church called peoples park in the year 1836
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Re: The Script

Postby Davy on Fri Feb 25, 2011 11:05 pm

whiterabbitt83 wrote:davy if u look at it as 182 hippies holding out for 13 days in a brocken down adobe church called peoples park in the year 1836


... yeah .. but wuz it on the Rio Bravo? :o :lol:

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Re: The Script

Postby whiterabbitt83 on Fri Mar 11, 2011 8:09 pm

davy here is the alamo battle scene from my alamo/ people's park script tell me what u think

FRANK BARDACKE
They rode hell bent for leather
getting here. I guess we gave em
more then they expected.
CONTINUED

MIKE DELACOUR
We couldn't stop them from coming
though we'll give em something to
remember limping back
INT - TENT - NIGHT
Sheriff Madigan paces before his officers in a rage.
SHERIFF MADIGAN
I give you a rabble of less than 200
and you humiliate me and my army. A
real soldier would have taken that
position or died trying. Done it
for me. How am I to get conscripts
if the rebels aren't crushed.
Victory or death. I will make it
plainer, my victory or your death.
I don't want a single person left
alive. All I want is flames.
The officers salute and exit.

EXT - PEOPLES PARK - LONG SHOT - DAY
The police charge toward the north wall. As the
police rush it Mike Delacour and Frank Bardacke are
on either side of David Axelrod's cannon. They
exchange a look.
MIKE DELACOUR
Fire

David Axelrod fires the
cannon which brings down a line
Another line replaces them.
the others lay out- a stream of fire
The position is over run.
west wall

Rabbitt is swinging his rifle at anything in blue.

He sees Pink Cloud get stabbed
White Rabbitt practically decapitates Pink Cloud's
killer. Pink Cloud sinks to his knees and looks at
Rabbitt his eyes in disbelief, terrible sorrow.
pink cloud :
give em what fur rabbitt
He
crumbles.
ANGLE ON EAST WALL
Charles Palmer falls back against the wall, bodies
all around him. He has no idea he was wounded. He
collapses.
ANGLES ON JACK WOLF AND STU ALBERT
As their cannon takes a direct hit, hurling them to
their death.

ANGLE ON NORTH WALL
Pat Cody is on the wall knocking down the ladders and
using her hatchet, killing the Alameda County
Sheriffs as they came over the walls. They soon over
run the wall by sheer numbers. One sheriff shoots
her in the stomach. She looks shocked, can't believe
she's going to die. Gets shot again, grabs a rifle
from a dead Alameda County Sheriff and bayonets 4
Alameda County Sheriffs. She is now surrounded by
Alameda County Sheriffs.
PAT CODY
I love you Fred.
As they take turns stabbing her like a piece of hay.

ANGLE ON DAY CARE CENTER - DAY
Annie Leibovitz and her Red Mountain Sisters fire
fighting fiercely. They are holding their own when
Fred Cody, although wounded, runs over.
FRED CODY
Annie they got over the north wall.
I need your help.
ANNIE LEIBOVITZ
(turns toward her women)
Sue, Carol raise a barricade here.
I'm going with Fred Cody. You take
command, I'll be back.
Annie Leibovitz leaves with Fred Cody, heads for the
barracks. Sue and Carol put up a barricade but now
the fighting gets fiercer. There are too many of
them. Sue is shot. The Alameda County Sheriffs are
allover them: 20 of them trap Carol against a wall
with their bayonets. One rips her shirt off, they
laugh. Carol gives
em the finger. This angers the sheriffs as all
twenty of them bayonet her like a bundle of hay.
They take turns stabbing her. The rest of the Red
Mountain sisters also die a gruesome death. The
women have killed at least 20. Alameda County
Sheriff dead bodies are everYWhere.
ANGLE ON GUNTHER BACHMANN EAST WALL
He is having a gay old time. As soon as the ladders
go up he's knocking them down. As they swarm over 9
of them swing bayonets at him. Gunther out of shot
swings his rifle knocking down a couple, grabs his
hatchet, leaps into the mob of sheriffs singing 0'
Canada. They take turns stabbing him with their
bayonets.
ANGLE ON LESLIE
tries to run but is shot and dies before he can
understand why
ANGLE ON ERICA BLACKWELL
bleeding she shots with deadly accuracy, bodies all
around. Shot in the right shoulder she starts firing
with the left shoulder. Hit again she grabs her
rifle and clubs 2 more attacking police now bleeding
from several wounds she grabs her tomahawk in spite
of them. So ferocious is her appearance the police
shrink back uttering Diablo, Diablo. Finally she is
surrounded. Bayonets rising and falling as they stab
her. Dying she makes a grab for her tomahawk and
gets a policeman in the stomach as she falls.

ANGLE ON AXELROD
Forced back with the others from the north wall
Delacour and Bardacke among them. He saved Delacour
and is shot. Delacour tries to go to his aid but
it's too late and the Alameda County Sheriffs pour
in.

ANGLE ON RABBITT
Retreating back into the courtyard with his last
remaining men. Long out of ammo they batter the
police with their long rifles until Rabbitt is the
only buckskin warrior still on his feet. They
encircle him, keeping a distance, fearful of this
man. A policeman tries to bayonet Rabbitt and, not
dead yet, Erica blackwell uses the last strength in her
body and chops the cop with her tomahawk.
Rabbitt sees this, pulls his knife and dives into
them, swallowed up in a sea of bayonets.
Mike Delacour, pained by the sight of Rabbit's death
turns toward Frank Bardacke, a sheriff's trigger is
pulled, the shot carries Mike Delacour back several
yards, dead. 15 rifle men turn on Frank Bardacke and
fire blasting him against the wall.

INT - CHAPEL
Sandy, Ann Weills and the other women are huddled in
a corner. Wendy Schlesinger lifts herself up. She
has a pistol in each hand. She nods at Julia
Vinograd.
WENDY SCHLESSINGER
You better join the other women.
JULIA VINOGRAD
No.
WENDY SCHLESSINGER
It won't be safe here. I want you
safe. Over there.
(tears in her eyes)
Please Julia. I love you.
JULIA VINOGRAD
OK Wendy. I love you so much.
She turns and joins the women.
INT - BARRACK
Fred Cody and Annie Leibovitz have retreated to this
room. They are all that's left of the Peoples Park
defenders.
FRED CODY
Come in.
Suddenly the door is blown to kingdom come by a
cannon. Fred Cody and Annie Leibovitz run to the
next room. Rifle fire follows them. They aim their
rifles.
FRED CODY
The powder.
ANNIE LEIBOVITZ
I'll get it.
She rushes to the door with a torch. 15 bayonets get
her, the Alameda County Sheriff's insane with
killing. Fred Cody is shot by 6 sheriffs and then
has his head chopped off by the crazed Alameda County
Sheriffs.

CUT TO THE CHAPEL
Wendy Schlessinger has waited for this moment. The
last act of her life. Forcing herself to her feet
the door crashes open. She doesn't flinch. Wendy
fires both pistols. 2 police die. Her knife takes a
3rd one then she is surrounded and is no match for
the police. They seem to compete to get at her.
Bayonets repeatedly up and down on her.

ANGLE ON SANDY blackwell
clutching her baby son to her breast. Suddenly the
soldiers stop stabbing Wendy schlesinger. They are
insane with the desire to kill. They bring their
bayonets around.
COL. JAGGER
Lower your weapons. That's an
order

Colonel Jagger walks over to the Alameda County
Sheriffs. They back off. They lower their weapons
and leave.
COLONEL JAGGER
Mrs. blackwell?
SANDY blackwell
My husband, my daughter?
COLONEL JAGGER
There are no survivors, maam.
Sheriff Madigan wants to meet you
SANDY blackwell
You can tell that son of a bitch I
have no wish.
COLONEL JAGGER
(interrupts her)
Mrs. blackwell if I may be so bold,
accept his invitation. The lives of
your new son and the other women
depend on it. And why should
Sheriff Madigan's version of your
daughter and husband's bravery be
the only one heard.
She understands. Sandy thinks a moment.
Sheriff Madigan enters the courtyard, dismounts.
Major William Beall rushes over.
SHERIFF MADIGAN
You know what I want to see.
WILLIAM BEALL
I have found Colonel Delacour and
Colonel White Rabbitt. But I have
not found Wendy Schlessinger.
SHERIFF MADIGAN
Then do it. I will dip my fingers
in their blood.
He stops his eyes on Sandy blackwell coming out of the
chapel with Major Jagger. She looks beautiful.
COLONEL JAGGER
(to Colonel Beall)
I believe you'll find what you're
looking for in the chapel.
MRS. blackwell
Your excellency.
SHERIFF MADIGAN
(a slight bow)
Madame.
Sandy now locks her eyes on the one man in the world
she hates.
SANDY blackwell
I ask that my son and the others be
spared for myself. I would have
fought with the men.
This pleases him.
SHERIFF MADIGAN
You are very courageous. I have
heard of your beauty. In fact the
mayors wife likes you very much. In
Alameda I have been known to build
palaces for such beauty. Your son
would be a prince.
Sandy is horrified. This is the last thing she wants
to hear.
SANDY blackwell
If you send me there I will choose
to die.
SHERIFF MADIGAN
(upset at those words)
Send her north. I don't make war on
women.
SANDY blackwell
Just the freedom of your people.
SHERIFF MADIGAN
Wine, I will drink to my victory.
Sandy joins the others .
SHERIFF MADIGAN
I'm spose to enjoy this day.
(tastes the wine)
Red Mountain, I hate Red Mountain.
He throws it away.
ANGLE ON ANN WEILLS
walks her way through the dead bodies. She stops
cold. She sees Annie Leibovitz butchered. Fighting
tears she walks on. Sees Pink Cloud. She holds his
hand, tears on her face. She grabs her handkerchief,
cleans his face then puts it in her bosom. The only
memory of Pink Cloud she will take with her. She
opens his fingers and puts her cross in it. Folds
his arm on his .chest.


A hand gently helps Ann to her feet. sandy, her baby
son in her arms, leading Ann. The ragtag group of
women, 10 survivors, are behind her. sandy stops,
see's Erica's hand. She and Ann hold each others
gaze, offering each other strength. Then crossing
the growing bonfire that will soon be a funeral pyre
heading for the gate. Their eyes seeing the bodies
as they reach the gate, Sandy blackwell, baby in hand,
lead the women through the gate. The smoke behind
them curling toward the sky.
They get in the wagon and leave. On the grass high
above the Peoples Park Keith blackwell rides up, sees his
mother coming. Tears in his eyes as he knows that
his father and sister are dead. He hugs his mom,
gets in the wagon and leaves.
TITLES SLOW
All 182 defenders of Peoples Park perished. It is
believed that as many as 900 Alameda County Sheriff
may have died in this battle.
On March 27, Palm Sunday, Colonel Jerry Rubin and the
hippies at Haight Ashbury were murdered by the
Alameda county Sheriffs.
On April 21 Abbie Hoffman surprised the Alameda
County Sheriffs under Sheriff Frank Red Dog Madigan
at Sunset Strip. The battle cry "Remember Peoples
Park" was born at that battle.
CUT TO
Footage from "Hair" (music) "Let the Sunshine In".
THE END
May a thousand parks bloom

CAST

Wendy Schlessinger...............Loretta Swit
Mike Delacour.......................Alec Baldwin
White Rabbitt.........................FESS PARKER
Pink Cloud........................ Alex Winter
Ann Weills.........................Susan Richardson
Huey P Newton......................Richard Roundtree
Julia Vinograd........................Sally Struthers
Annie Leibovitz.......................Nancy McKeon
Loni Hancock .........................Loni Anderson\
Abbie Hoffman........................Doug McClure
Jerry Rubin..............................Rob Reiner
Sandy blackwell......................Tyne Daly
Jim blackwell...........................John Karlen
Sheriff Frank J Madigan........-------- Ed Asner
Stewart Albert.........................Sean Penn
Erica blackwell.........................Kat Dennings
Colonel Jagger..........................Mick Jagger
General Charles Plummer-----Lorne Greene
Colonal William Beall-----------Red West
Stephen Gaskin------------------Jason Robards
Doctor Williams-----------------James Woods
Rev Dick York-------------------Keanu Reeves
Lt. Dan Seigal--------------------David Warner
jentri Anders---------------------Christina Ricci
Frank Bardacke------------------Michael Landon
Max Scheer------------------------William Daniels
James Rector----------------------David Canery
Jack Wolf--------------------------Graham Jarvis
David Axelrod--------------------Christopher Guest
Fred Cody-------------------------Mitch vogel
Pat Cody-------------------------Madonna
Keith blackwell------------------ Dylan Sprouse
Michael Rossman----------------John Barron
Charles Palmer------------------Travor Adams
George Palmer------------------John Lawlor
Donna Gain---------------------- Nancy Walker
General Charles Gain----------Harold Gould
General Roger Haynes---------Sid Haig
Steve Yarmo---------------------Richard Ward
Dave Yarmo---------------------Dan Haggerty
Eve Yarmo---------------------- MollyRingwald-
John Yarmo--------------------- Butch Patrick
Gunther Bachmann------------Donald Sutherland

As credits roll music "A View to a Kill" by Duran,
Duran


Warner Brothers Presents
Clint Eastwood
Kat dennings
Michael J. Fox
Loretta Swit
Nancy McKeon
Loni Anderson
Doug mcclure
Tyne Daly
Ed Asner
Sean Penn
Jason Robards
Michael Landon
Molly Ringwald
and staring "Madonna" as Pat Cody
A Warner Brothers Film
"The Battle of Peoples Park or 13 Days to
Glory
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Re: The Script

Postby NefariousNed on Wed Jun 15, 2011 8:14 pm

As far as The Waynamo script throwing history to the wind, in all fairness, there was some logic behind some of the decisions
made with it--- some so simple, as to be overlooked. Take Crockett's 23 Tennesseans for instance. In more than one section
of the script, Wayne refers to them by number. Why? The explanation lies in looking up a roster of the Alamo defenders and
their birthplaces. (Well, at least a late 1950's version of the roster, anyway.) If you take the time to go through the roster from
A to Z, you will discover that 23 of the names list Tennessee as a birthplace.
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Re: The Script

Postby RLC-GTT on Wed Jun 15, 2011 8:29 pm

Nefarious wrote:As far as The Waynamo script throwing history to the wind, in all fairness, there was some logic behind some of the decisions
made with it--- some so simple, as to be overlooked. Take Crockett's 23 Tennesseans for instance. In more than one section
of the script, Wayne refers to them by number. Why? The explanation lies in looking up a roster of the Alamo defenders and
their birthplaces. (Well, at least a late 1950's version of the roster, anyway.) If you take the time to go through the roster from
A to Z, you will discover that 23 of the names list Tennessee as a birthplace.

Wow! Really? That is certainly enlightening. Never could figure out why, of all numbers available, Grant *made up* the number 23. He would have been able to defend it if questioned.
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Re: The Script

Postby Fargo Fenwyck on Thu Jun 16, 2011 12:43 pm

So Grant indeed did his homework and decided what to toss or leave in historically. Let's face it guys, it was a JOHN WAYNE film and JOHN WAYNE playing Davy Crockett. Historical films if presented as history may not make money. Most are based on a novel created by a writer who wants to deliver a good story. When the facts become legend........
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Re: The Script

Postby NefariousNed on Sun Nov 20, 2011 2:33 am

Some dialogue excerpts from an early James Edward Grant script of THE ALAMO.

Crockett and the Tennesseans arrive outside of San Antonio de Bexar and "rein up upon a swale".

CROCKETT: Well - doesn't seem to have changed since I saw her last.

GAMBLER: Pay me a fiver Beekeeper -- you claimed we had another two hours travel to San Antonio de Bexar.

GAMBLER: I'm going to get me outa these deer-skins and into foofawraw suit.

BEEKEEPER: Where we going, Davy? --into the town or into the Fort?

COTTON: (spelling as he reads through telescope) C-A-N-T-I-N-A --- what's that spell, Colonel Crockett?

CROCKETT: We'll go into the town.

COTTON: Well I'll be -- there's some fellas in a real hurry.

CROCKETT: Musta heard their house is on fire.

GAMBLER: A fiver on the gent on the bay horse.

BEEKEEPER: Took! It'll be real interesting when they get to that cobblestone street -- Could be the air 'll be
full of horses and men turning somersaults -- Them cobblestones look slick as ice.

CROCKETT: Up in the North Country once met a fella taught a horse to skate on ice -- real handy around them
frozen lakes.

PARSON: Please Davy -- no lies --your soul, Davy.

CROCKETT: Solemn fact!

PARSON: (plaintively) Davy.

GAMBLER: Fellow named Joe Scragg?

CROCKETT: Pluto Scragg, Joe's brother.

GAMBLER: Right! Come to think on it, Joe was Pluto's brother -- often seen that horse skate.

PARSON: It's a wonder lightning don't strike us one and all.

BEEKEEPER: Gambler! Those boys must be right fine horsemen - Me, I'd a reined up real tight crossing those stones.

COTTON: Wonder why they were in such a hurry?

GAMBLER: Don't know and don't care -- Me, I'm just a visitor that aims to sample the delights of the countryside --
drinkable and kissable.

PARSON: Must you state your evil intentions? --Davy, I call for a prayer.

BEEKEEPER: Now, Davy!

CROCKETT: Hold quiet men -- you know the terms Parson made when he allowed to come along with us --reel out your
words, Parson.

PARSON: Lord, before I read the word let me speak for your tolerance of this sinful company, and let me entreat you
in your Almighty wisdom to forgive them, for they know not what they do -- and a special word, please Lord, for our
leader ---He is a sinful man what with his gambling and drinking and wenching and skull-busting and eye-gouging -- But
please to remember this: he is a brand worth saving from the Holocaust. As a congressman, Davy did not steal --
may this rare virtue temper your judgment. (he lowers his eyes to the Book.) I read from Isiah.


NEXT TIME: The Seguins enter the Alamo.
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Re: The Script

Postby AlamoMo on Sun Nov 20, 2011 11:36 am

Well all I can say is " Thank The Good Lord " they binned this !!!!!!!!!!
Do This Mean What I Think It Do ??, " It Do "
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Re: The Script

Postby Doc on Sun Nov 20, 2011 4:49 pm

Fascinating stuff, Nef. Is there a date on that script? It must have been after Republic came out with "The Last Command" because it focuses on Crockett's arrival rather than Bowie. It's amusing how Gambler is willing to bet on anything, and all these years I thought that he was just a thimble-rigging card sharp.
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Re: The Script

Postby NefariousNed on Sun Nov 20, 2011 5:00 pm

The Seguins are outside the main gate of the Alamo.

SEGUIN; this is unforgivable.I bring important news -- Open the gate.

TROOPER: I done told you -- I can't open it unless Colonel Travis is here. Strict orders.

BOWIE: Who's out there?

SENTRY: Fella says he's got news.

SEGUIN: Major Bowie! It is I. Juan Seguin.

SENTRY: Major Bowie -- Colonel Travis gave orders --

BOWIE: I know, I know.

TRAVIS (coldly) Major Bowie!

BOWIE: These gentlemen have come with --

TRAVIS: I have been informed of their arrival. Also, I see you opened the gate against my orders.

BOWIE: I've known these people twenty years.

TRAVIS: I'm not interested in their genealogy, Major, but the intelligence they bring.

BOWIE: They have evidence of a troop crossing at --

TRAVIS: The courtyard is not the place for the receipt of military intelligence. Major -- Will you come up in my office please?

BOWIE: This is Senor Juan Seguin and his son, Rafael.

SEGUIN: Colonel, while inspecting one of my properties on the far side of the river, I encountered a vaquero who had met an Indian,
who, while on a hunting trip along the Baja Colorado River, had seen signs of a sizeable crossing some seventy miles south --
large numbers of shod horses -- surely indicating cavalry and many --

TRAVIS: A vaquero met an Indian who told a tale -- Fine military intelligence, I must say!

SEGUIN: I'm sorry I have wasted your time, Colonel. If you will excuse me.

BOWIE: These people are absolutely dependable.

TRAVIS (patiently) I cannot make a battle plan based on third-hand rumors -- Major Bowie, your men are making slow progress in the
work on the ramparts.I suggest you severely discipline a number of them as an object lesson to all.

BOWIE: My men are all volunteers --there is nothing to prevent them packing up and going home.

TRAVIS: We have often discussed the regrettable fact that your men are militia and like all militia, undisciplined --My orders are to instill
some discipline, Major.

NEXT: The Tennesseans enter San Antonio de Bejar.
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Re: The Script

Postby NefariousNed on Sun Nov 20, 2011 5:02 pm

Doc wrote:Fascinating stuff, Nef. Is there a date on that script? It must have been after Republic came out with "The Last Command" because it focuses on Crockett's arrival rather than Bowie. It's amusing how Gambler is willing to bet on anything, and all these years I thought that he was just a thimble-rigging card sharp.

Unfortunately, no date, Doc. There are, however some notations in Wayne's own handwriting which I will draw attention to when the time arrives. (Apparently even Wayne could not stomach some of this.) Believe me it gets worse/better as the script progresses.
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Re: The Script

Postby RLC-GTT on Mon Nov 21, 2011 1:49 am

I'm wondering if this might even go back as far as the Wayne-at-Republic draft, which may not have been Grant yet. Mustang? Any ideas on this? I've had it since the late sixties or early seventies and it is just attrocious. But it's easy to see how the later drafts used the best lines, throwing out the crap -- and even used them in other scenes rather than trying to make so many "story points" at one time and thus confuse everybody.

This is what rewrites are all about. As John Lee Hancock said, he used the best of at least three previous versions when he wrote his draft of The Alamo after he took the helm. Strong lines and bits stay in; the chaff gets sent to the burn pit.
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Re: The Script

Postby MUSTANG on Mon Nov 21, 2011 6:18 am

It's a very early version of the script. Grant wrote it sometime in 1959 but before 05/19/59. I have two copies of the script Ned is posting; one without a cover sheet and one with a cover sheet indicating the following; '"THE ALAMO" screenplay by JAMES EDWARD GRANT 1959 BATJAC. All the dialog, scene numbers, camera directions (INT. CANTINA DOLLY SHOT NIGHT, Rich, please help me out here) are identical. However, the typewriter font used is different on each script. In addition, we have always believed that the handwritten notes that appear in the margin of this script which Ned refers to, were written by Wayne. ie. "Better let me Work it out my own way 33". Each copy of the script I have has the same words written in the margin for the same scene #, BUT THE HANDWRITING IS DIFFERENT! It appears one of the copies may be a fake. (The second copy, while having the same dialog, also has typos. While I don't have the actual Wayne script that was recently sold at the Heritage Auction last month, I do have copies of the various pages from that script that had Wayne's handwritten notes on them. I also have numerous examples of Wayne's handwriting and, in my untrained opinion, I don't believe the handwriting on the scripts that Ned and I have are from Wayne. However, Rich is correct. Much of the memorable dialog carried over in the final version of the script is present in this earlier one.
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Re: The Script

Postby wconly on Mon Nov 21, 2011 6:57 am

MUSTANG wrote:It's a very early version of the script. Grant wrote it sometime in 1959 but before 05/19/59. I have two copies of the script Ned is posting; one without a cover sheet and one with a cover sheet indicating the following; '"THE ALAMO" screenplay by JAMES EDWARD GRANT 1959 BATJAC. All the dialog, scene numbers, camera directions (INT. CANTINA DOLLY SHOT NIGHT, Rich, please help me out here) are identical. However, the typewriter font used is different on each script. In addition, we have always believed that the handwritten notes that appear in the margin of this script which Ned refers to, were written by Wayne. ie. "Better let me Work it out my own way 33". Each copy of the script I have has the same words written in the margin for the same scene #, BUT THE HANDWRITING IS DIFFERENT! It appears one of the copies may be a fake. (THe seconf copy, while having the same dialog, also has typos. While I don't have the actual Wayne script that was recently sold at the Heritage Auction last month, I do have copies of the various pages from that script that had Wayne's handwritten notes on them. I also have numerous examples of Wayne's handwriting and, in my untrained opinion, I don't believe the handwriting on the scripts that Ned and I have are from Wayne. However, Rich is correct. Much of the memorable dialog carried over in the final version of the script is present in this earlier one.

Holly Molly! Perhaps this thread should be moved to the 'unsolved mysteries' thread. Who or whom do you think would have gone to the trouble to forge a copy of the scipt -- especially the handwritten notes, etc.? And, for what purpose -- to sell? W>
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Re: The Script

Postby MUSTANG on Mon Nov 21, 2011 7:20 am

Well, in the past, I have seen that copy sold on EBAY. Maybe the owner thought it was authentic. All I know is that I have two copies with identical dialog and different handwriting. So, either one or both have to be fake. I can't logically explain it otherwise. But I'm open to suggestions. Funny, because I've had both those copies for years and only recently "discovered" that inconsistency.
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Re: The Script

Postby NefariousNed on Mon Nov 21, 2011 7:39 am

I got my copy of the script from Don Clark back in the early 1980's.

To me, the handwritten notation on the page looks very much like Wayne's handwriting, based on his
signature (below).
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Re: The Script

Postby RLC-GTT on Mon Nov 21, 2011 7:41 am

You are causing me to remember something from decades ago (and it hurts my head). LOL. I actually have (or had) two copies of this mysterious early draft of the screenplay, and they are indeed different. One is in the same type face as the the later draft in the DRT Library (I had been allowed a few xeroxes of several pages), and I assumed this to be James Edward Grant's manual typewriter. The other copy of the early draft is indeed on a different typewriter, but because of various typing quirks, format details and particularly a block font that NO Hollywood screenwriter would use, I concluded that it was NOT done by Grant. My guess then and now is that it was copied word for word by an Alamo buff on his typewriter in the days before Xerox machines and Kinko's, and was done in order to have a copy from somebody else's original. I don't think I have that version anymore. So annoyed was I with its format errors and typos, that I either gave it away or ditched it when somebody provided me with the real one. Comparing the two copies, I remember going "YESSSSS" with regard to having the real thing rather than a bad dub.

All this is to say that, if the title page that includes Grant's name and Batjac 1959 is on the version with the typos and wonky type set, then it is an unreliable label. My guess is the "counterfeitor" (no ill intentions, I'm sure -- just desire to have the keepsake) added the stuff to the title page because he felt it should be there. This version has all the earmarks of being a much earlier draft. It is clearly a one-star vehicle, not for three stars. Wayne gave that idea up, I believe, when he left Republic.

As for the earlier comment that it had to be after The Last Command because it focused on Crockett rather than Bowie, not in my opinion. To my knowledge, Wayne never planned to focus on Bowie. That was probably a Herb Yates/Cy Bartlett change made to distance The Last Command from The Alamo.
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Re: The Script

Postby RLC-GTT on Mon Nov 21, 2011 7:51 am

Nefarious wrote:I got my copy of the script from Don Clark back in the early 1980's.

To me, the handwritten notation on this page looks very much like Wayne's handwriting, based on his
signature (below).

I think I got mine from Don as well. I'm embarrassed that I can't remember. :oops: I just compared your post of the page and it is identical to my Page 21, including every fly speck -- and the peculiarity of the ring binder holes on the right edge. I'm now noticing that alternate pages have holes on the opposite edge. Perhaps one of the generations of this copy was Xeroxed back-to-back. Since I'm not aware of scripts ever being done this way, it must have just been Don or somebody else in the chain of copies who did it just to save copy costs. I'm not sure where I got the first (counterfeit) copy.
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Re: The Script

Postby K Hale on Mon Nov 21, 2011 4:07 pm

AlamoMo wrote:Well all I can say is " Thank The Good Lord " they binned this !!!!!!!!!!

Hahhahaha! Well said...
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Re: The Script

Postby NefariousNed on Mon Nov 21, 2011 4:42 pm

Oh, don't worry. It gets "better". More to follow later.

Meanwhile "I gotta get back to the Alamo" about an hour from now.
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Re: The Script

Postby NefariousNed on Mon Nov 21, 2011 4:53 pm

P.S. No one even said anything about "Major Bowie". I imagine Jimmy Grant initially made him a major in the script so that the
viewing audience would know immediately that he was 'subordinate' to Travis. If Bowie were introduced as a colonel, it would only
have confused some of the less knowledgeable. "Peers to me we got a lot of colonels around here!"
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Re: The Script

Postby MUSTANG on Mon Nov 21, 2011 4:56 pm

One of my copies is also double-sided. Perhaps to speed up the reporduction process from whomever I purchased it from. While I agree the "Y" looks close, take a look at the "A and "N" in Wayne vs. the "A" in way and the "N" in own. I realize people change the way they write over the years; I know I did. Also, Duke seemed to write his name with great gusto; I don't necessarily see that in the words. The loop on top of the "Y" in Wayne is different than the "Y" in my and way. Just my opinion. I don't know, either it was him or was someone who was very much trying to write like him. One the second copy, virtually every letter is written different than the first copy. Clearly not the same person's handwriting. IMHO.
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Re: The Script

Postby K Hale on Mon Nov 21, 2011 5:16 pm

Nefarious wrote:P.S. No one even said anything about "Major Bowie". I imagine Jimmy Grant initially made him a major in the script so that the
viewing audience would know immediately that he was 'subordinate' to Travis. If Bowie were introduced as a colonel, it would only
have confused some of the less knowledgeable. "Peers to me we got a lot of colonels around here!"

That was one of the bits that needed binning! Bowie was never at any point subordinate to Travis or anyone else at the Alamo. :!:
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Re: The Script

Postby MUSTANG on Mon Nov 21, 2011 5:23 pm

And before anyone jumps on me, I'm not accusing anyone of trying to deceive others on purpose. Far from it. Just trying to nail down yet another issue. Like the saying goes, "Everybody's got an opinion..."
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Re: The Script

Postby RLC-GTT on Mon Nov 21, 2011 6:56 pm

Nefarious wrote:P.S. No one even said anything about "Major Bowie". I imagine Jimmy Grant initially made him a major in the script so that the
viewing audience would know immediately that he was 'subordinate' to Travis. If Bowie were introduced as a colonel, it would only
have confused some of the less knowledgeable. "Peers to me we got a lot of colonels around here!"

Sorry Nef, it just didn't jump out at me as a point for discussion. I've seen that in the drafts so much that it doesn't stand out to me anymore... just as if somebody said, "Nobody said anything about that I called him Nef instead of Ned." :lol:
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Re: The Script

Postby wconly on Mon Nov 21, 2011 6:57 pm

MUSTANG wrote:And before anyone jumps on me, I'm not accusing anyone of trying to deceive others on purpose. Far from it. Just trying to nail down yet another issue. Like the saying goes, "Everybody's got an opinion..."

Understood, on my part. That is why I asked the quesiton of 'why'...that is one heck of a lot of work -- but for what reason? Selling it as original is but one option, but the only other variable I can see is who/whom ever did it wanted one that had the notes so they could say: "Well, this is what the original script looked like -- notes and all." But again...why? Very odd. Odd indeed! W>
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Re: The Script

Postby RLC-GTT on Mon Nov 21, 2011 7:00 pm

MUSTANG wrote:And before anyone jumps on me, I'm not accusing anyone of trying to deceive others on purpose. Far from it. Just trying to nail down yet another issue. Like the saying goes, "Everybody's got an opinion..."

Yeah, I think this *other* copy of the script is simply somebody doing it out of love -- like I used to draw pictures of the Mo.
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Re: The Script

Postby wconly on Mon Nov 21, 2011 7:39 pm

RLC-GTT wrote:
MUSTANG wrote:And before anyone jumps on me, I'm not accusing anyone of trying to deceive others on purpose. Far from it. Just trying to nail down yet another issue. Like the saying goes, "Everybody's got an opinion..."

Yeah, I think this *other* copy of the script is simply somebody doing it out of love -- like I used to draw pictures of the Mo.

Sounds familiar! I used to have a Junior High art teacher who used to get rather preterbed at me because all I wanted to draw was the Wayneamo facade for all of my art projects :lol: ! W>
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