Don't Make a Scene: The Searchers

The Story: You start with one story and you end up with another, such is the complexity of the films of John Ford. For this scene, from Ford's landmark The Searchers, I wanted to show the chilling "They ain't white" scene that ends with a rare Ford move—a camera truck. And I'll end up telling another story about John Ford. About his incredible frugality in film-making.

Before zoom lenses became the norm, presenting a transfiguring moment required the entire camera set-up to be pushed towards the subject, an intricate move that required tracks, and since the subject is still, rather than in motion, the move must be fairly smooth with no jarring bumps of the camera. Ford, although he loved the moving camera in great vistas, used this device sparingly. He did it in one other instance in this film, to reflect elder niece Lucy's sudden realization and panic that her family was about to come under Comanche attack.

More famously, he used it to highlight a young star named John Wayne.

Away back in 1938, Ford shot the first sight of Wayne's "Ringo Kid" in Stagecoach with such a truck shot—one done on the stage rather than in Monument Valley, where the rest of the footage of the sequence was shot. That move simulates a stagecoach braking to a stop in front of Ringo, but it is also a shot to make you notice the man, helped by John Wayne's added fluorish—a rifle flip.

For the truck into The Searchers, the purpose is different. We've seen many sides of Wayne's character Ethan Edwards during the film, mostly just that side of surly. But, for this particular scene, this track shot is important. Edwards is a bitter hate-filled racist, determined to kill every Comanche warrior in his path in his quest to find his niece Debbie. But confronted with white survivors, that push-in shows an altering of intent...and fear. Naked fear. For if what he is beholding is what Debbie has become, Ethan is bent on killing her, which means killing the last remnant of the woman he once loved—his sister-in-law, his brother's wife. It is meant to mirror the earlier shot of his other neice's panic at her first realization of a pending attack.

The shot into Wayne's face is bone-chilling, and as Wayne was possessed of one of those magical faces that communicated every emotion to the camera, he didn't have to do much to carry it. It's a precise head-turn that managed to keep his eyes just under his shadowing hat-brim, and once he's registered the emotion, he tilts the head just so, shadowing his eyes as he looks at Keefer, before entering the room to identify the dead.***

Now, I try to go to the source for the scripts and have, in the past, done some on-line correction of the continuity shifts between script and on-screen changes. But here, the differences are too vast. And telling. I've included the original script that Ford was going to shoot—he always worked closely with his script-writers—after the presentation of the scene as it appears in the film. I've taken key descriptive passages from that earlier script to illustrate some of those scenes.

The core of it is the same. The herding of First People—refugees from a raid, actually—to cavalry camp for confinement. Then, Ethan Edwards and Martin Pauley (the "searchers" of the title) entering to see if there were any white women recovered in the raid about Debbie's age. The scene in the chapel with the mad women. "It's hard to believe they're white."

But Ford and screen-writer Nugent planned a lot more—a whole scene with a Custer-like colonel (Custer isn't mentioned but heavily alluded to in Nugent's precise notes), feathering his nest to the Press about the raid. Then Edwards comes in and derides him and the Union Army for killing women, much to the colonel's consternation.*

But that scene's not in the movie, and in fact appears not to have been filmed. Ford cut it, whether for budgetary reasons (they were nearing the end of the shoot, just doing the studio interiors), or because the extended conversation tended to slow things down when the search should be speeding up, I haven't been able to verify. The next sequence in New Mexico was also going to contain a lengthy conversation, and so Ford probably just ripped it out of the script as he was wont to do—he loved to do it sadistically in front of producers badgering him to hurry up! Leaving it in might have cast Ethan in a better light comparatively, by badgering the colonel for his cowardice killing women. It almost feels like Ethan is sticking up for the dead Comanche's, and that would be a counter-productive aspect of his character that might weaken the suspense to the ending.

Whatever the reasons for doing so (and combining them stregthens the case for removal), Ford boiled it down to the essentials—looking for white women, the chapel, the screaming, "they ain't white" and that devastating move to close-up. That's all he needed to do before moving on to New Mexico. John Ford was an intricately fastidious director, who could achieve the maximum effect with economical pruning of dialogue and the use of action as character. Ford preferred to show you, rather than tell you. That defines a great visual story-teller.

And a master film maker.**

The Set-Up: Former Confederate soldier Ethan Edwards (John Wayne) and his part Cherokee nephew-by-marriage Martin Pauley (Jeffrey Hunter) are years into tracking down the last surviving member of their shared family—Debbie (Lana, and then Natalie Wood), taken during a bloody Comanche raid. Years ago, they had the same mission—find Debbie. But now, with the passing of years, Debbie is "of an age," in Edwards' turn of phrase, to be made a squaw. Martin is still desperate to find Debbie and bring her home. To the Indian-hating Edwards, he will track her down...and kill her.

Action!

EXT. SNOW COUNTRY - WIDE ANGLE - THE CAVALRY AND PRISONERS - DAY

A long line stretching across the landscape -- women falling and being prodded along by their captors. From behind CAMERA ride Ethan and Martin and move to intercept the column.
SOLDIERS: Come on, move along! Come on!

EXT. THE NOKONI AGENCY - WIDE ANGLE - DAY

The column of cavalry and prisoners enters the agency (COLORADO FOOTAGE). We see the dead and wounded on travois; the agency Indians watching stoically; the prisoners -- some of them -- being herded into a chapel.

KEEFER: Yes?
EDWARDS: We're looking for a girl. A white girl. A captive.
Should be about fourteen now.
KEEFER: Fourteen? We have two about that age.
-All the white women are in the chapel.
KEEFER: What's this girl to you?
MARTIN: She's my sis-
EDWARDS(interrupting, cutting him off): She's my niece.
KEEFER: One moment.

INT. THE CHAPEL - MED. CLOSE SHOT - ANGLING TO DOOR - AFTERNOON

The door is opened by a guard and Ethan takes a step into the room -- then stops in manifest shock. Martin is at his heels, eager and expectant. Beyond them stands Keefer, grave and compassionate. There is a keening sound in the room -- almost an animal sound.

INT. THE CHAPEL - REVERSE SHOT - FULL

It is a simple log-sided room with plank benches without backs. Up front is a small box-like pulpit, no altar.

Across the front of the room, set up either on benches or on boards over saw-horses are four blanket-covered figures -- at least two being the bodies of children.

Squatting on the floor near them is an elderly white woman with hair hanging loosely down her back and clad in Indian robes. Standing, facing the newcomers, is a woman who may be no more than in her mid-thirties.

She is mad -- wild-eyed, frightened, with matted, unbrushed golden hair, torn garments. It is she who has been making the keening sound, the animal moans. Now she crouches at the sight of them and looks desperately for a means of escape. Two girls are asleep, heads together and backs to the door. One has light hair, like Debbie's; the other brown hair. The afternoon sun coming through a high window touches the light hair.
KEEFER: White women?
OFFICER: Yes, sir.
Now the madwoman begins her screaming, running from side to side like a trapped animal. Ethan follows Martin into the room, Keefer behind him. Martin comes to a stop, realizing the woman is afraid of him. The two sleeping girls stir, but do not turn.
MARTIN: Debbie?
OFFICER: Will you stand up? Stand up, please.

MARTIN: Debbie?

He fishes the rag doll from under his coat and holds it out to the girl. She looks at it... and we may almost suspect it is rekindling a memory.

Martin relaxes... and in that instant the madwoman has the doll in her hands. She cradles it and she croons.

Martin reaches to take it away. But she calmly sits, cradling the doll, and rocks to and fro, humming a lullaby. He can't take it. Ethan returns.
KEEFER: It's hard to believe they're white.
EDWARDS: They ain't white!
EDWARDS: Not any more. They're Comanch'!
EDWARDS: Where are your casualties?
As Edwards walks towards the make-shift "morgue," the cries of the madwoman takes his attention, and he stares back at her, before proceeding.


The Searchers

Words by Frank S. Nugent

Pictures by Winton C. Hoch and John Ford

The Searchers is available on DVD from Warner Home Video.


* DISSOLVE TO:

EXT. SNOW COUNTRY - WIDE ANGLE - THE CAVALRY AND PRISONERS -
DAY

A long line stretching across the landscape -- women falling
and being prodded along by their captors. From behind CAMERA
ride Ethan and Martin and move to intercept the column.

EXT. THE COLUMN - FULL SHOT - DAY

as Ethan and Martin come closer and look at the shawled
prisoners stumbling along.

EXT. OPEN COUNTRY - FULL SHOT - ETHAN AND MARTIN - DAY

as a young OFFICER spurs out of the column and rides toward
them.

OFFICER (inquiringly) Yes?

ETHAN We're looking for a girl -- a white girl...

MARTIN She'd be about thirteen now...

OFFICER We got two around that age...

MARTIN (eagerly) Where?

OFFICER You'll have to wait until we reach the agency... Fall in behind the column...

MARTIN (protestingly) But couldn't you...?

OFFICER Sorry... (shouting it) Keep the column moving!... Close
ranks there!

The officer spurs out to rejoin the column. Martin looks at
Ethan, his face alive with hope. But Ethan is just looking
stonily along the line of passing prisoners.

WIPE TO:

EXT. THE NOKONI AGENCY - WIDE ANGLE - DAY

The column of cavalry and prisoners enters the agency (COLORADO FOOTAGE). We see the dead and wounded on travois; the agency Indians watching stoically; the prisoners -- some of them -- being herded into a chapel.

INT. OFFICE OF NOKONI AGENCY - FULL SHOT - DAY

The office has been set up as a temporary army headquarters. The GENERAL is being interviewed by two Eastern newspaper CORRESPONDENTS. At a table beyond is a telegrapher, sending out a report of the victory.

A pot-bellied stove supplies heat and the General is warming his hands at it, intermittently. An adjutant is rather wearily filling out a long official form.

The General, for all his mudded boots remains a beau sabreur and is loosely modeled upon a certain other well-known glory hunter of the Indian wars. He wears a colonel's straps, but insists upon his brevet rank.

GENERAL And it was clear to me the hostiles outnumbered us four to one... with all the advantage of terrain...

CORRESPONDENT Four to one! What did you do, general?

Ethan and Martin enter, stand in the doorway.

GENERAL (impressively) Sir -- we charged!... Gentlemen -- and I hope you will quote me -- I cannot say too much for the courage
of the men who followed me into that Cheyenne camp...

ETHAN (blurting it) Cheyenne! What Cheyenne?

GENERAL (turning and staring) I beg your pardon?

ETHAN That camp you hit was Nawyecka Comanche... Chief Scar's bunch...

CORRESPONDENT (fascinated) Scar? What a wonderful name!...

GENERAL (to his aide) Are you getting this, Keefer?

CORRESPONDENT (to Ethan) How do you spell that word -- Nawyecka?

Ethan ignores him, still facing the General.

ETHAN My name's Edwards... I'm looking for my niece... she was in that camp when you attacked...

GENERAL (uncertain) Well... I know there were some captives recovered...

MARTIN (bitterly) Four of 'em dead... so we were told...

GENERAL (uncomfortably) Unfortunately, the hostiles murdered them as we developed the village...

ETHAN Are you sure they didn't die of carbine shots fired by a bunch o' Yank bluebellies so scared they couldn't tell the difference between a Cheyenne and a Comanche?

GENERAL Keefer!... Put this man under arrest!

ETHAN That'll be the day... (scornfully) 'As we developed the village'... Next time you develop a village, hit it where the fightin' men are... You won't get any headlines for killin' squaws.
Keefer coughs.

KEEFER Shall I show him the captives, sir?

GENERAL Just get him out of here!

KEEFER Yes sir... (he crosses to Ethan) This way...

INT. THE CHAPEL - MED. CLOSE SHOT - ANGLING TO DOOR - AFTERNOON

The door is opened by a guard and Ethan takes a step into the room -- then stops in manifest shock. Martin is at his heels, eager and expectant. Beyond them stands Keefer, grave and compassionate. There is a keening sound in the room -- almost an animal sound.

INT. THE CHAPEL - REVERSE SHOT - FULL

It is a simple log-sided room with plank benches without backs. Up front is a small box-like pulpit, no altar.

Across the front of the room, set up either on benches or on boards over saw-horses are four blanket-covered figures -- at least two being the bodies of children.

Squatting on the floor near them is an elderly white woman with hair hanging loosely down her back and clad in Indian robes. Standing, facing the newcomers, is a woman who may be no more than in her mid-thirties.

She is mad -- wild-eyed, frightened, with matted, unbrushed golden hair, torn garments. It is she who has been making the keening sound, the animal moans. Now she crouches at the sight of them and looks desperately for a means of escape. Two girls are asleep, heads together and backs to the door. One has light hair, like Debbie's; the other brown hair. The afternoon sun coming through a high window touches the light hair.

MARTIN Debbie?... DEBBIE?

He has seen the light hair and starts crossing the room.

Now the madwoman begins her screaming, running from side to side like a trapped animal. Ethan follows Martin into the room, Keefer behind him. Martin comes to a stop, realizing the woman is afraid of him. The two sleeping girls stir, but do not turn.

MARTIN Don't be scared, ma'am...

The madwoman crouches behind one of the benches, looking at them with frightened eyes.

KEEFER Just don't pay any attention to her...

Martin swallows and nods and crosses to the light-haired girl. He reaches a hand gingerly to touch her shoulder.

MARTIN (softly) Debbie?

At the touch, the girl is on her feet, crouching -- one hand, like a claw, drawn back to rake his face. She is unmistakably a white girl, but she is painted like a Comanche woman --her ears red inside, streaks of paint accenting the savagery of her face. Her eyes are frightened, yet full of hate.

GIRL Pabo-taibo! (White man!)

The other girl has risen almost in the same instant -- but more out of fear. She is younger, but painted like the other. She moves to stand behind the savage one.

MARTIN (slowly) No... She's not...

ETHAN I ain't sure... Where's that doll?

Martin stares at him, then realizes what he has in mind.

He fishes the rag doll from under his coat and holds it out to the girl. She looks at it... and we may almost suspect it is rekindling a memory -- but then she spits at it. The other girl laughs. Martin turns away and he's sick.

KEEFER Was your niece about their age?

ETHAN Not far from it...

KEEFER Hard to realize they're white, isn't it...

ETHAN (grimly) They're not white any more -- they're Comanche!... Let's see the bodies...

Martin nerves himself for the ordeal, turns to follow.

ETHAN I don't need you...

Ethan and Keefer move away. As they do, the madwoman -- eyes fixed on the rag doll in Martin's hand -- begins creeping up behind him. Martin is torturedly watching Ethan and Keefer as first one blanket then another is raised -- we will never see the dead. During this:

KEEFER (the dispassionate pro) I'd like you to see them all... It
might help us identify them... Shot in the head -- flash-burn range... The boy got his skull cracked... Here's the girl...

Martin stiffens, waiting.

ETHAN No...

Martin relaxes... and in that instant the madwoman has the doll in her hands. She cradles it and she croons.

Martin reaches to take it away. But she calmly sits, cradling the doll, and rocks to and fro, humming a lullaby. He can't take it. Ethan returns.

ETHAN Well, we only got the one lead -- Scar... And where we begin to look, I don't know...

KEEFER There's one thing. We recovered a bushel of trinkets in that camp... cheap stuff... trade goods... Couldn't help noticing that most of it was Mexican... Maybe if you could talk to some of those Mexican traders along the border... What do they call themselves?

ETHAN Comancheros...

KEEFER That's the breed... Course it might take time.

ETHAN Time's running out... But I'm obliged to you.

They leave.

* He is a Master film-maker, and the way to prove it is to compare him to another Master film-maker—John Huston— working with similar themes in the film The Unforgiven from a story by the same author of The Searchers, Alan LeMay. Huston was determined to make a film sympathetic to the plight of First People, a condemnation of prejudice. Then he cast the whiter-than-white Audrey Hepburn as the native woman—how could anyone be prejudiced against everybody's darling starlet (in man-tan make-up)? But, Ford cast a homely  native (Beulah Archuletta) as the unlucky Look, who is killed in attack...by the U.S. Cavalry, the subject of many Ford films. When confronting prejudice, Huston blinked. Ford presented it with a baleful glare.

*** Tomorrow is the 107th birthday of Marion Morrison, aka John Wayne. In a rare Monday posting, we'll pay tribute to one of the movies' great, though under-appreciated, actors.