Blood on the Moon Page #5

Synopsis: When a shady-looking stranger rides into town to join his old friend it is assumed he is a hired gun. But as the new man comes to realise the unlawful nature of his buddy's business and the way the homesteaders are being used, the two men draw apart to become sworn enemies.
Genre: Western
Director(s): Robert Wise
Production: Odeon Entertainment
 
IMDB:
6.9
PASSED
Year:
1948
88 min
Website
154 Views


He's been hurt.

Jim Garry?

Came home this morning found him lying on the floor in my shack.

He got a knife stuck in him.

I'll go get dressed.

It's me, Jim.

Lie still.

You gotta get out of here.

No, Jim.

Kris.

Kris, tell here to get out of here.

I'm going to fix this up.

He's asleep.

Good.

So him and your dad are in this together?

Yes.

Young lady, you're going on a ride.

Riling's on his trail. He'll probably

end up here sometime today.

That's why Garry wanted, to get you out of here.

We gotta get help.

Do you know where your dad is?

No I don't.

Oh Kris, I don't. We haven't heard from Dad for days.

Well you better find him.

What about Jim?

If they show up I can stand 'em off

till your Dad gets here. Don't let that worry you.

Where you gonna look for him?

I don't know. Somewhere south.

- I'll try and pick up the trail of the herd and follow it.

- Good.

What are you doing here?

I might ask you that?

Barden home?

Yes.

Who else is in there?

Nobody.

You're a lovely little liar.

All right fellas, let's take a look.

Hold that the door.

Here take this.

- Riling?

- Yes. And Pindalest and Shotten.

Look here, Kris.

Before this goes any further

tell Riling, I'll go with him.

These walls are good and thick. They can't burn us out.

And we got plenty of cartridges.

He won't quit till he's got me

and he'll kill you both to do it.

So wel let him shoot you,

just to save our necks.

Then tell here she's coming out.

They'll let her through

No. I won't go.

Make her go.

Why do you think she risked her neck to get back in here

if it wasn't on account of you?

Why do you think I want to get her out?

Same reason, I reckon.

He's right, Amy.

But it wouldn't work. Not even if you'd have me.

Now will you go?

No.

Look, I've been fiddlefooted and no good all my life.

I'm not askin' any woman to take that.

I knew that when I came here.

That's what I am, Amy. That's me.

Don't you see how useless talk is?

I'm here and I'm staying.

- Jim?

- Yes?

Jim, what are you doing up?

I'm going out there and try and get a crack at them.

No let me talk...

We can probably hold out a few more hours, but...

You ain't going out there just to save our necks.

I'll try and save my own too.

We might as well face it.

They're not gonna give up.

It's not likely anybody'll be along to help us.

Then I'll go.

I got a score to settle with Riling myself.

No, Kris.

It's me Riling's after.

I'd like to finish this my own way.

- You will let him go Miss Amy?

- Yes she is.

Where are they exactly?

They're all scattered out.

Riling's over on the left of 'em trees.

The other two are closer to the corral.

If I just make it to the corner of the corral

I can circle around and get behind them

But they'll see you.

Soon as I get out

you open up on 'em.

That'll draw a return fire. Their powder flash will

blind 'em for a couple of seconds, thats all I need.

- Ready?

Hold it, Miss Amy. Hold it!

I think he made it.

That last shot came from another direction.

- Do you want to get hit?

- But I got to know.

Hey, Shotten?

Pindalest?

All right Riling, It's just you and me now.

It's a pleasure, Jim.

For me, Tate.

Same old Jim.

When lightning strikes, you're there.

You and me together, Jim.

We coulda licked 'em

But you,

you always had a conscience

breathing down your neck.

Jim!

Riling's dead.

Shotten too.

And Pindalest?

No I do not think so. He's over there.

- Dad. - Carol told me you were here.

She was afraid there might be trouble.

- Where's riling?

- He's dead.

Well Lufton, don't look like you're gonna

get Riling to do much talking now.

I'm going to have you arrested for murder.

Put up a fair fight, John. And

I'll tell that to the sheriff.

Or anybody else that wants to know.

Lufton was telling us about a little deal

that you and Riling cooked

up to swindle him out of his cattle.

- What about it?

- I had no deal with Riling.

Don't forget I was in on it too.

Well boys, that's the man

you've been fighting for.

Get your horse. Me and you are going to

have a little talk with the marshal.

I guess we been a pack of fools, Lufton.

Say fellas. I've got a jug I been saving

for a special occasion. This looks like it.

What do you say if we...?

Garry I guess I was wrong about

quite a few things.

Yeah I was wrong about a few things myself.

We've been plenty stubborn.

That's going to make two stubborn

men in the family.

Well I guess Kris was right.

This is a special occasion.

Come on.

Rate this script:0.0 / 0 votes

Lillie Hayward

Lillie Hayward (September 12, 1891 – June 29, 1977) was an American screenwriter whose Hollywood career began during the silent era and continued well into the age of television. She wrote for more than 70 films and TV shows including the Disney film The Shaggy Dog and television series The Mickey Mouse Club and Walt Disney's Wonderful World of Color. She was also remembered for the films Her Husband's Secretary and Aloma of the South Seas, the latter written in part with the help of her sister, actress and screenwriter Seena OwenLillie Hayward died in 1977 and was interred at Hollywood Forever Cemetery in Los Angeles. Her husband of seventeen years, Jerry Sackheim, was also a Hollywood writer with whom she had worked on The Boy and the Pirates (1960). more…

All Lillie Hayward scripts | Lillie Hayward Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Blood on the Moon" Scripts.com. STANDS4 LLC, 2025. Web. 23 Jan. 2025. <https://www.scripts.com/script/blood_on_the_moon_4308>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Blood on the Moon

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What does "INT." stand for in a screenplay?
    A Internal
    B Introduction
    C Interior
    D Internet