From 1951. Directed by Fritz Lang. Starring Henry Fonda, Tyrone Power and Orson Welles.

PICK UP THE GUN, MY S O N

You know, your ma helped me to realize something. The way I figure it, if theres going to be hardship, regardless of what kind of man I decided on being Well, I want to rest in peace knowing I struggled for something that was worth it to me. I suppose its sort of like living up to be the kind of fella that you can admire. Orson Welles was developing his adaptation of Othello and taking more work as an actor, in order to fund the project, when Tyrone Power approached his colleague with a script, which he offered him the chance to direct. Pick Up the Gun, My Son was a Western adapted from a novella by its author, who credited Power for sparking its creation. It was originally to have been made with Edmund Goulding, who had directed him on two prior films; both of which followed after Powers return to Hollywood from military service during World War Twothese were The Razors Edge, released in 1946, and Nightmare Alley, in 1947. But the box office failure of the latter, which had also been a personal endeavor for Power, prevented him from obtaining financial support from producer Darryl F. Zanuck, who was then head of the studio, which he was under contract with. Popular for his swashbuckler and romantic leading roles, Tyrone Power was becoming increasingly unhappy with his career. His handsome looks had proved a marketable asset for 20th Century-Fox and the studio had shown reluctance at granting its stars desire for more dramatic parts, in fear of losing his image.

Copyright 2011 by David Arrate

Voicing his discontentment, Power remarked: Sometimes I wish I had a really bad car accident, so my face would get smashed up [] I want to do something worthwhile, like plays and films that have something to say. Author and screenwriter, Tracy Little, was born in the spring of 1923. The youngest of two children in a poor white Tennessee family, fell in love with the movies when she saw Sergeant York, starring Gary Cooper, at the age of eighteen. Her obsession with the medium invoked an aspiration to become a writer, and nearly three years later she published her first short story (a rural thriller), which she dedicated to Cooper, as well as to director Howard Hawks. Littles approach to fishing for ideas, as she called it, was simply by imaginarily pairing an actor with an actress, or a film director, and creating an ideal scenario for them. This was done simply to supply her with the raw material to begin with, which would often shape out to reveal and serve to heal old wounds; while also allowing Little to acknowledge her own passions and abilities. Like many other moviegoers, Tracy Little admired matinee idol Tyrone Power; and upon reading of his desire and sentiments, she quickly spun for him what became her most personal tale to date. With the help of her editor, Power was contacted through his agent and provided with an advance copy of the publishing pulp magazine. In turn, the actor very gratefully purchased the rights to Littles storyand, following some correspondence, hired her to adapt it for the screen. Orson Welles and Tyrone Power spent several months trying to raise the necessary capital to fund the production. Welles sought out investors while in Europe, while Power persisted with the major studios back at home. By this time, Tyrone Power had been permitted by Fox to seek out roles elsewhere, providing he fulfill his commitment to them, in between films made outside their own. One of the obstacles they were up against was the storys call for Powers face to be made-up, so as to become unrecognizable and utterly devoid of glamour. This demanded of them to have another star or familiar name attached in order to help sell their unusual and psychological Western. Eventually, they acquired the attention of actor James Stewart and director Anthony Mann. And it took Mann to convince them that he would be able to obtain financial backing, if
2
david@mykindofstory.com

Copyright 2011 by David Arrate

granted the directorial reigns, when the project finally moved ahead. Welles quickly rewrote the heavy (or, the villain) for himself, and Stewart became the third cast member to climb aboard. However, shortly before filming was scheduled to begin, Mann dropped out due to creative differences with both Welles and Powerand Stewart left with him. Powers baby, as it had come to be known as, was now in jeopardy of losing its financiers. But Darryl F. Zanuck would prove sympathetic towards his plight. He gave a lending hand by helping to lure in director Fritz Lang, while Power sought out his former co-star, Henry Fonda, and talked him into taking over the role, which had belonged to Stewart. Fonda was performing on Broadway at the time and had reluctantly agreed, but only on certain terms and specific hours. Henry Fonda had previously sworn never to work again with Fritz Lang after You Only Live Once, in 1937, and swore the same again after The Return of Frank James, in 1940. For some Hollywood actors, particularly male (Spencer Tracy among them), the director was deemed too difficult to work with; having been accustomed to a higher level of control over his casts and crewmembers while in Europe. As it turned out, their third and final outing together proved itself to be a respectful and professional collaboration. Pick Up the Gun, My Son is a story in which the lives of two completely different characters are correlated with one another. First is twelve-year-old Bobby Gates: a handsome faced and spirited innocent. The film opens with a quote from Sufi poet Mansur Al-Hallaj. It reads: I saw my Lord with the eye of the heart, and I asked, Who art Thou? He answered, Thou. Bobby is introduced through the point of view of a young girl who sits with him quietly on the bank of a creek, waiting for his kiss; her bare feet dangle in the water. He is the son of a reformed outlaw turned cowhand and family man, who has just come home after a three-month long cattle drive. Bobbys mother is a saintly woman who has tamed her husbands old ways, but successfully pierces
3
david@mykindofstory.com

Copyright 2011 by David Arrate

her sons heart with the search for the potential within, by inspiring him with her love. One night, while being put to bed, having found out, by chance, about his fathers early life, Bobby, in childish wonder, asks his mother what she saw in the man who became her husband. The same thing he wanted to be, she replies. A good, strong man. Believing her to be a guardian spirit, Bobby aspires to become like the man his mother admires most; namely, Christ. He begins by listening to the life experiences of his elders, upon taking his fathers advice to learn from the mistakes of the past. As Bobbys field of perception grows, so does his determination to pursue what he feels is his calling in life, which he turns into a game; prompting his playmates to further guide him by inspiring them. SCENE: ROLE PLAYING A young girl and neighboring tomboy, Shannon Henry, is supposed to be keeping an eye on her little sister, while her father works the plow on their farm. She bullies other kids, particularly girls and smaller boys whom are drawn to Bobby, because she resents the attention that he gets. In actuality, she has a crush on him. But now hes got some of the children role playing something other than Cowboys and Indians, which she wants to use to get him in trouble with the community. Helping out on his own parents homestead, she mocks Bobby from a distance. Shannon Henry (placing her hands on her hips): Bobby Gates, if youre God, then Im the Devil! (Bobby pauses from his chores and then smiles; like a patient adult who recognizes a childs habitual patterns.) Bobby: All right. (Shannon frowns, and sighs in frustration.) * * *
4
david@mykindofstory.com

Copyright 2011 by David Arrate

The part that had been specifically written for Tyrone Power is a character who was also once a good-looking child. But the ignorance and cruelty of others led to an assault while in his youth, which resulted in self-mutilation. The story follows him as a bounty hunter, in his mid-thirties. He masks his face with a dark blue bandanna pulled up over his nose, while a visibly deep scar runs down his forehead and across his thick, right eyebrow. He waits in ambush, on a stormy night; mounted on his horse, above a hill, beside a burnt-out tree. Two riders are coming up the trail. One of them has a price on his head. A flash of lightning gives away the bounty hunters position and a chase ensues. Power drops the second man by shooting him in the back, while the fugitive rides frantically off a cliff, due to poor visibility. The fall sends him and his horse crashing through tree branches below, and the animal dies upon hitting the ground. Lying helplessly, pinned beneath the mare, the man watches his pursuer make his way down a slippery rocky slopedrawing his gun to kill him. Giancarlo Polo (played by Orson Welles) was nine years old when his family came with the surge of European immigrants into the Midwestern United States that arrived during the time of the American Civil War. Now a big, burly man with a thick mustache and premature graying hair, in his early-to-mid forties, he leads a gang of guns for hire, who serve the two most powerful cattle barons in the territory. They call him Charlie Polo. Polos gang has arrived in town. His reputation travels with them and quickly spreads. Their leader is known for being as smooth as the Devil. While both unsettling and rousing the tempers of the townspeople, as well as of the nearby ranchers and farmers, neither Polo nor his men let on if their presence is due to their employers interests, or for their own pleasures. From the moonlit image of the bounty hunters gun, the scene switches to day. A close-up shot shows another mans hand, firing off a round into the air. The camera swoops in on the antagonist, as he lets out a great big laugh. He watches the hired towns prostitutes run off into the woods to begin a chase, providing sport for him and his gang. This was one of Welles revisions, which he called
5
david@mykindofstory.com

Copyright 2011 by David Arrate

The Picnic Sequence. The idea is said to have come from Charlie Chaplins dance with the wood nymphs in Sunnyside, a short silent film released in 1919. One of the women is a Norwegian immigrant. She runs playfully beside another prostitute and takes cover beneath a brush, where she spots Bobby and his father steering a hitched-up team and wagon, heading towards town. She remains curiously watching them till one of Welles men suddenly leaps on top of her, having snuck up from behind, and causes her to let out a comical shriek. Bobby and his father have gone in to pick up supplies, and to spend quality time together. Neither is aware of the occupancy by Polo and his scoundrels. Inside the general store, Alan Gates (Henry Fonda) examines a pair of womens shoes. Hannah, Alans wife, reminds him of everything thats good in the world, and in himself. What is made known about Hannahs past is told to young Shannon Henry by Bobby Gates, when his adversary becomes a friend. Hannah was in her mid-teens when the former Confederate soldier-turned-outlaw (Fondas character) came to her rescue, after a group of savage Indians murdered her familyhaving been banished from a colony of pilgrims for their unorthodox beliefs. The manner in which Bobbys grandparents worshipped mirrors the unorthodox practice of his family. Karen Lee Venk, the films leading actress, had been discovered in Nevada by none other than Fritz Lang, many years earlier, during a period in which he was traveling around the United States. He had encouraged her parents to place her into modeling school, which eventually landed Karen on Hollywoods doorstep. This was to be her only screen appearance, as she fell in love with one of the films set designers. The couple shortly married and became next door neighbors with Tracy Little, whom Karen Lee regarded a kindred spirit. Both she and Little would remain lifelong friends. Back in town, Polos men are spurring on the excitement going on inside a saloon called The Lazy Yank. The man himself is playing a friendly game of
6
david@mykindofstory.com

Copyright 2011 by David Arrate

cards with the towns bank owner and mayor at a private table upstairs, while the mayors puppet marshal stands nearby. One of Polos closest confidants, a surly older man and former chuck wagon driver by the name of Tom Locke, sits beside him. Locke is a man who has no family to speak of, except for the treacherous company he rides with. He feels that time is running out for him, and the routine, which hes been following his whole life, by consciously siding with distrusting individuals, is eating away at what remains of his soul. A farmer suddenly approaches their table and confronts Polo, whom he accuses of stealing his land. Polo laughs at him, while the marshal, in an effort to avoid bloodshed, takes the man by the arm to escort him out. You take it from the Indian, I take it from you, Polo teases him. Just then, Polos wildest and most notorious gunman arrives. He enters the saloon with two other men (Levi and Buster) who make up his entourage, and who also help keep an eye on him for Polo. The young gun goes by the name of Crazy Carson. Hes played by Dan Duryea. SCENE: CRAZYS IN TOWN An upset saloon girl is voicing her outrage, having found out that a steady customera cowboy who had been saving his earnings to take her away with himhas headed off to Alaska; seeking fortune without her. The bar patrons are pouring her drinks, to later take advantage. Crazy Carson walks over, curiously amused. Saloon Girl: I wasted two years of my life, waiting on that no-good, lying cowpoke! Crazy Carson: You planning on wasting another two, crying about it? (While the others have tried humoring the woman, Carson is the first to pull a smile out of her.)

7
david@mykindofstory.com

Copyright 2011 by David Arrate

Saloon Girl: I like the way you think, handsome. (She throws her arms around his neck.) I bet youve got a couple of sweethearts tucked away somewhere. Crazy Carson: At least two in every town. (Carson laughs into her face and she laughs back. He helps himself to one of her drinks.) Saloon Girl: How many you got in Mulgachaw? Crazy Carson: What, this town? Hey, look, I just rode in. Powers character reemerges outside the home belonging to one of Bobbys neighbors. Mark Reynolds wife is alone in the kitchen preparing supper, waiting for her husband to arrive. Frightening the woman by peering in while standing outside her open window, still masking his face, she cries out in fright. The bounty hunter, while maintaining a calm voice, asks her for directions into the nearest town. At the discovery of finding her armed with only a broom stick following a deliberately slow and threatening suggestion that any thief could enter her home, to test her mettlehe gives her the dead, wanted mans gun to keep for protection. Upon accepting it, she begins to nervously think aloud, regarding her having to come up with an explanation to give to her suspicious and jealous husband, as to her acquirement of the weapon. The bounty hunter turns to go, commenting only: I reckon thats your business, maam. During dinner, Alan and Hannah take into consideration what theyve gathered from neighbors and weary travelers; and decide to wait out the hopeful passing through of Polos gang. Hannah believes that, if need be, a lesson in humility would do more good than resorting to violence. In a scene that well captures her temperament, she passes a joke in favor of running off such men: mounted on their horses, stripped naked, and sent back into the wilderness. In the tradition of Hannahs upbringing, the family joins hands, and prayers are made in silence. For her, the act of worship is something to be treated intimately, as if in secret; which is why she and her son are frowned upon by some of the other families, whom insist that they join in church services.
8
david@mykindofstory.com

Copyright 2011 by David Arrate

The bounty hunter inevitably shows up at The Lazy Yank, where hes been directed to find Marshal Howell, in order to collect his reward. Instead he finds a packed house listening to Charlie Polo singing Questa o quella from Verdis Rigoletto, while surrounded by saloon girls up on a stage (Welles voice is obviously dubbed, though by an accredited tenor). Pouring beer down a womans throat, while waving a cluster of flowers, Polo mocks his own youthful ambition to become an opera singer. Tracy Little often hints as to why her villains choose to become so, throughout most of her work. The most blatant exposition of what she defined as the cradle of wickednessand which echoes Alan Gates early stated words to Bobbycan be found in Littles penultimate story, and last thriller. It tells the tale of a divorced father who, dissatisfied with both his job and inner-city residence, convinces himself that his son has been kidnapped by the childs mother. Frustrated by the lack of solved criminal cases, the slim chance of finding his boy, and by the low morale amongst his fellow officers within a corrupt police department, he vents out when provoked by a cruel senior officer, while at work in the station. Yeah, Ive got a problem! he tells him. And thank God I found out what it was. Ive finally understood that a mans gonna have to struggle, no matter what road he takes. But when he settles down with fear and idleness, he lets go of his dreams. Thats why most of us end up struggling for something that doesnt mean anything to him. It bends us, and makes us crooked. You know the saying that Misery loves company, Bud? Theres your root of all evil. Both a runaway and a victim of child molestation, Tracy Little progressively began treating her stories as though they were vesselstaking her places to find the words she felt she needed and wanted to hear. And with Pick Up the Gun, My Son, Little had finally run aground and found home. From the same aforementioned crime drama, entitled My Son Is Missing, another detective follows his young colleague outside and offers him a cigarette.
9
david@mykindofstory.com

Copyright 2011 by David Arrate

He then tries to humor him by confessing to having wanted to become a cowboy instead of a cop. Tracy Little enjoyed walking out of a movie, or away from a story, feeling good and ready to take on all of lifes challenges. Strong, inspired and charged, she would say. But as much as she liked relating to the material, she also enjoyed laughing and smiling along with the characters. My wife, Tracy, is plainspoken and full of vigor, her husband once wrote a friend. Its a wonder how my head hasnt split open from all the laughing she causes me to do. Good thing, too. Im not sure another man would understand her sense of humor. At the time, those who knew her thought that the character of Bobby Gates shared most of the same quirks and traits as those of his creator. Bobbys enthusiastic, butterfly net approach to collecting wisdom makes him the most peculiar and one of, if not the most sympathetic personality found within the story. The boywho according to his father, has inherited his mothers smile wields a charisma that is particularly effective with some of the younger children. He is also regarded with affection by the grandfatherly, old Rebel general store owner, who prefers Hannah Gates influence to that of his wifes leniency with their sona good-for-nothing, pigheaded vermin named Sherman. Old John, who once fancied becoming a newspaperman, delights in swapping stories with the locals, and enjoys Bobbys attentive and cheerful demeanor. The young, native Kentuckian actor who played Bobby brought a natural degree of charm and wit, which was needed to enliven the leading role. He went on to appear in only one other filmthe lean, action-packed Scott-Brown production: When You Hear the Drums, released in 1952. Based on an original screenplay by Tracy Little, it starred Randolph Scott as an Indian brave who shares a mutual, yet silent admiration for a fearless, lone frontierswoman; neither of them aware that they are pursuing the same missing person. The film became briefly popular for influencing sales of toy bows and arrows, along with shoe polish and lipstick. These last two items were used to imitate the films

10
david@mykindofstory.com

Copyright 2011 by David Arrate

opening credit sequence, which holds a close-up of Scott, as he stares into the camera, while having war paint applied to his face. I think its easier to just write about villains, wimps and weasels, Tracy Little once said. But when it comes to developin genuine heroes Once I get em right, I find it the most rewardin thing to storytellin. For Little, the protagonists, or the hero, were the most susceptible to becoming the dullest of characters especially in films. Heroes, who were good, for the sake of being good, did not interest her. Like the villain, there had to be an ulterior motive. The greater the motive, she said, the better your story. The newly-arrived Carson has already killed a man, proclaiming self-defense though the event is recounted upon by eyewitnesses, as opposed to being shown. His victim is the stubborn sodbuster who had confronted Polo earlier, and had failed to leave peaceably. Descending the staircase, having spoken with a liquored up marshals deputy amidst a private party on the second floor, the bounty hunter pauses on the last step when he hears Polo yell out, Ciao, bambino! Polo and Carson together take one of the womena tall, robust redheadand, arm in arm, the three merrily make their way towards the bounty hunter. Powers character moves slightly against the wall, yet remains at the foot of the stairs; and the camera takes over his point of view, as a towering Polo walks passed him and up the steps. For the moment, the masked bounty hunter, who answers to the name of Beau Jagger, forgets his search for Marshal Howell, and his reward for the dead man tied up on his horse, outside. Uncertain as to whether or not Polo is a figure from his past, the desire to find out resurrects his own demons, and this torments him till the storys end. Up until now, Powers performance has relied upon his eyes, posture, and tone of voice. But when he finally locates the marshal, upon learning of Polos earlier stint with the mayor and bank owner, he reveals a ghastly, terribly scarred mustached face. By what little the frightened Marshal Howell knows and discloses, Jagger learns that Charlie Polo is to inherit a great deal of wealth and
11
david@mykindofstory.com

Copyright 2011 by David Arrate

power, which he intends to exert into this part of the country, by going into business with the powers that be. The following morning, just before sunup, Jagger follows after Polo and his men, as they ride off towards the Holston Cattle Ranch, where they plan to begin their takeover. Its worth noting that while veteran actor Henry Hull served as Tracy Littles model for the store owner (Old John), she specifically wrote Jesse Holston for Walter Huston. Unfortunately, Huston, who had been contacted for the role, had passed away following the completion of another Western (The Furies), which had been directed by Anthony Mann. While Polo shaves in Holstons parlor, Tom Locke can be seen reflected in his mirror. Locke is standing outside; an exterior shot shows him looking in through the window. Tom Lockewho is Holstons inside manhas let the cattleman down by not having reached him sooner, informing him of Polos betrayal; even though no window of opportunity had been available to Locke, as Polos plans became known to him literally overnight. SCENE: THE TROUBLE WITH CHARLIE Realizing hes about to lose everything hes builtwith the employment of killers and rustlers who have now overrun his ranch cattle baron Jessie Holston looks across his parlor at his top hired gunman, Charlie Polo, who stands facing him defiantly with one foot pinning down Holstons spoiled son. Polo empties the dirty water out of a wooden shaving bowl onto the young teens head, and then drops the bowl onto the floor. He confidently reaches back and grabs a hand towel off the fireplace mantle to dry himself. Polo smiles. Jessie Holston: Youve got some pretty highfalutin ideas in that head of yours. It must be numb being so dumb with greed. Pretty soon you'll be wanting more. And more, and more!
12
david@mykindofstory.com

Copyright 2011 by David Arrate

Charlie Polo (chuckling): Maybe I get that from you, Holly. (Two of Polos men (Buster and Shipp) position themselves directly to Holstons left, in front of the door, blocking off any chance of escape. Holston glances over, realizing that they mean to kill him. Placing his hands behind him, Holston carefully reaches for a pocket pistol tucked into the waistband of his pants.) Jessie Holston: I figure that maybe you did. You know what your trouble is, Charlie? Youve got the guts, but you dont know how to use em. Yeah, sure, you might be the last mistake I ever make. But sooner or later it's gonna be your hide those vultures will be turning their guns on. (Buster notices Holstons gun hand moving and withdraws his own side arm.) Buster: Watch it! The old man's got a gun! Charlie Polo: Let him! (Polos outburst causes Holston to flinch, and he nervously gets his pistol stuck in his waistband, as he tries to draw. Polo draws his own gun and shoots him square in the chest. Holstons eyes widen; his jaw drops; and his body sways to and fro. Polo fires once more and the second bullet knocks the man off his feet.) Locke looks down at the fallen body of his former employerand up into the cold, heartless eyes of his new boss. The incident marks the first occasion in the story where the evil, which Charlie Polo is notorious for, is illustrated. Having won over the majority of Holstons cowhands long ago, he orders his men to rid him of Holstons familywith fun first, then fire. In silent film fashion, there's a childs first love interest that is spoken of only once, involving the young girl from the film's opening and Bobby; the relationship itself is presented without any use of dialogue. Their feelings are expressed by their closeness, as well as through exchanges of looks and smiles.
13
david@mykindofstory.com

Copyright 2011 by David Arrate

Both are typically seen when brought together with the other neighboring children. Finding him alone, while on his way home, two older boys taunt and threaten him; one of them is Old Johns son, Sherman. When Sherman disrespects Hannahexaggerating the opinions belonging to the women of the towns new churchBobby connects a hard, right hook to his jaw. And that draws in the other boy to help gang up on Bobby, while Sherman retaliates with maniacal slapping. The images and the manner in which they are cut together evoke a menacing atmosphere far greater that what actually occurs. Finally, an adult arrives and pulls Sherman away by the ear. Old Johns mean wife, having intervened, turns around to belittle Bobby, and orders him to go home. Whilst there, alone with his mother, Bobby confesses his discouragement; and Hannah becomes aware of what hes been doing, which has brought upon additional resentment towards her family. Though their neighbors believe the boy to be a blasphemer, she thinks otherwiseand revives her sons will with motherly tenderness. You cant expect for others who have little or no faith in themselves to have much, if any, in you. Hannah gestures towards his heart. Least of all in Him. A great deal of Tyrone Powers directions came directly from Littles original script, as well as from Fritz Langs passion for meticulous detail. The flashback to Jagger's childhood violation is presented audibly, in the vein of radio drama, while the visual memory remains locked within the character; and he discusses the event with no one throughout the picture. The emotional pain is conveyed through Powers eyes, along with the eerie stillness of his face, as he stares towards and beyond the camera. He crouches beneath the shadows of trees, back in the distant center of the screen. Under a full moon and concealed within the hills, Jagger waitswhile in the distance, Polos men set a bungalow on Holstons ranch ablaze. Recordings of a young boys pleas; the sounds of a struggle; the tearing and ripping of clothing; all insinuating unspeakable horrorsand slightly, but
14
david@mykindofstory.com

Copyright 2011 by David Arrate

noticeably resonating of Bobbys fight. All the while, the image of the bounty hunters face is brought to the foreground, with three sharp cuts. The third picture encompasses the dark brown pools of Powers eyes, which all but fill up the screen. A fourth cut, closed in on one eye, where a superimposed low-lying point of view shotas if looking up from the ground, while lying on ones stomachreveals the image of a heavyset teen. The young man appears to be fleeing. He suddenly stops and looks back towards the person lying on the ground, and smilesthen cries out, Ciao, bambino! Orson Welles had been able to incorporate, without abusing, a subjective camera (or, a point of view) aesthetic application into the shooting script, before handing it over to Lang; having been unable to realize the stylization in an earlier attempted effort in adapting Joseph Conrads Heart of Darkness. Tracy Little would be first to credit as well as praise Welles for his contributions and improvements made on the piece, by claiming that he added a level of intensity where it needed to be. A shootout the following morning between Polo's men and Jagger along the trail back to town, allows the audience to share the experience through use of the subjective camera, while Jagger hangs sideways off his horse-saddle; his gun in his right hand is shown firing off, while being held close to the foreground. After mortally wounding Buster, Jagger is caught, bound and taken back to town, where they intend to hold him for an extended period of retribution. The film periods unnatural lighting compliments the sort of childrens storybook colors and stylized images; and the same goes for the use of makeup. And it all benefits greatly from Fritz Langs training as a painter and graphic artist in his native Austria; not to mention his mastery of the mood and tension found in German Expressionism and film noir. A weak and dying Buster murders Marshal Howell in cold blood, when he tries to intervene in their affairs. Tom Locke says he hears Mr. Holston laughing from the grave, as Polos associates have given rise to the foiling of his plans; for now the townspeople have begun calling for action to be taken against them.
15
david@mykindofstory.com

Copyright 2011 by David Arrate

* * * The gun which had been passed to Mrs. Reynolds earlier by Jagger, finds its way into Hannahs hands; as Shelly, having been provided with a rifle by her husband, needs to rid herself of the pistol. Hannah, having headed back from paying a visit to her friend, is forced to use the weapon in self-defense, when Levi and Carson, both drunk in mourning the loss of Buster, attack her whilst arriving home alone. Levi gets shot in the face. Both drawn to the nearby gunfire, Alan reaches Hannahs lifeless body before Bobby and trails after Carson. Carson is quick on the draw, but Alan is faster and the better marksman of the two. Upon discovering his mother lying upon the wooden floor, with her bare-back turned towards the camera, Bobby covers his mother's breasts as he weeps, in the film's most heartbreaking moment. The scenes stillness and distance kept is picturesque but brief, as he reacts to more gunshots taking place outside. SCENE: PICK UP THE GUN Alan Gates has tracked down and killed the thug (Carson) who murdered his wife. Having been shot in both the arm and the leg, he falls to his knees. Nearby lays Carsons body. Looking around, frantically, Alan spots the dead mans gun only a few feet away. His son, Bobby, arrives and takes in what has transpired. Frustrated at his inability to rise to his feet, Alan tosses his emptied revolver. Alan Gates: Bobby! I want you to pick up that gun. Bring it here and give it to me. Bobby (lashing out in anger): No, pa! (This is the first time Bobbys ever raised his voice to his father.) Dont you see him?! (He points towards Carsons body.) You aimin on doin more killin?! (Bobby breaks down.) If its too late for you, then take me too. Mas gone anyway.

16
david@mykindofstory.com

Copyright 2011 by David Arrate

(Alan frowns and shakes his head, accepting Bobbys words. He grabs onto his boy and holds him tight.) Alan Gates: Help me up, son. Having been tortured and left tied up for further abuse, Tom Locke comes to Jaggers aid using an ivory handled hunting knifeonce a gift from Jesse Holstonto cut him loose. When asked why, Locke responds by telling him that he feels death is coming, and he wishes to take redemption with him. He also intends to avenge the murders of Mr. Holston and his family, and asks Jagger for his help. But just before Locke can arm him, three of Polos gang stumble upon themand a shootout ends with Locke and the three dead. Jagger, though wounded in the leg, manages to flee. He tucks a pistol behind his back and clenches onto Lockes knife with his teeth. Powers character is not only settled on taking vengeance, but is determined to make Polo remember him (or, to see if hes the man he believes him to be). Overcome by grief, Alan Gates falls asleep; having left his son filled with scorn and wrath before closing his eyes. As Alan lies in bed, Bobby takes the dead, wanted mans gun and saddles up a horse, outside; intent on taking the life of the one responsible for bringing the man that took (his) mother. SCENE: WHY? Along the way into town, Bobby encounters his neighbors, Mark and Shelly Reynolds, who are retrieving their livestock. Mr. Reynolds is a bitter and cynical farmer, whose wifewhom Bobby calls Miss Shellyis approaching menopause, and has expressed the desire to become a mother. The man, having accused Bobby of being kinfolk to the Devil, spits at him and returns to his chore of herding the escaped animals. Shellylonging to believe in a better existence than the
17
david@mykindofstory.com

Copyright 2011 by David Arrate

misery which her husband has emotionally crippled himself with asks Bobby to wait before pushing on. She cannot see the look of despair on his face, under the cover of night; nor is she aware of the death of his mother. Miss Shelly: I just want to say that I think youre a very lucky boy to have such a wonderful mother. You know, this afternoon, she came by and we spoke of you. We talked about what you and the other children have been doing. Im sure shes greatly encouraged you. (Shelly smiles nervously, with hope.) I think its very brave of you to pretend to understand why God does what He does. I wish I knew why He created us, too. (She suddenly feels her spirit sinking.) Maybe just to find out what He expects of me. (Taking pause, Bobby realizes that the answer is in the right question. He faintly smiles, and his eyes glisten with tears of gratitude remembering his mother.) Bobby: Why do you want children, Miss Shelly? Their exchange of words restores his trust in what hes learned, which allows him to reclaim the reins of his emotions. Bobby carries on in the same direction, but with a new aim. A wide shot of the surrounding wooded bottomland shows the image of a two-wheeled horse-drawn chariot, carrying two figures, superimposed above himfar off in the distance. As Bobbys horse races below, the chariot soars up higher into the sky, heading towards a large, bright cloud illuminated by the moon behind it. Rain clouds have come and gone, and the unpaved roads and streets have turned to mud. Polo and his men are turning the town upside-down, vowing to avenge their slain. Meanwhile, Jagger crawls beneath the boardwalks and through the soft wet earth; taking them down, one at a time, with Lockes knife. Outside a gambling den called the Annie Chuck Club, Bobby finds Polo for what is staged as the final showdown. Charlie Polo storms out through the
18
david@mykindofstory.com

Copyright 2011 by David Arrate

swinging batwing doors and steps down onto the street, demanding blood for blood. Bobby freezes up, not knowing what to dohaving never met the man. Brandishing two guns, Polo tells Bobby, God has forgotten you, boy. Bobby reacts with an immediate response: Its you whos been doin the forgettin, sir! Just then, Jagger rises up behind the man and plunges the knife in between his shoulder blades. Polo cries out, as he squeezes off a shot, and the bullet grazes Bobbys head, rendering him unconscious. Bobbys horse rushes off, as an angry mob of townspeople hurry towards the fallen Welles and Power characters. In a low camera angle showing the crowd and the horses hooves passing each other, moving in opposite directions, a man can be heard yelling, Lets send em packin! As a tracking shot briefly follows the animal, a close up is brought in on Bobbys limp body. A bright, glowing superimposed womans hand reaches into the frame, from above, and caresses his face. As Bobby slowly comes to, another rider pulls up alongside him and brings his horse to a halt. Jagger then helps the boy to sit up. Am I dead, sir? Bobby asks him. No, boy, Jagger responds. The camera moves in on Bobbys eyes, reflecting a scarless Tyrone Power. Looks like theres still life in you, Jagger says. And me. In addition to the rewrites, Orson Welles had also storyboarded many of the scenes; some of which may have influenced Langs decisions, particularly the more fantastic imagesmost likely the same Anthony Mann had differed with using altogether. Having invested his own money into the production, Tyrone Power refused to budge with Manns wishes to minimize the dialogue and to leave out Hannahs spirit at the end of the picture. Welles stood by Power on his decision, agreeing that these elements contributed to the original storys tone and texture. As for Fritz Lang, whose early career had been built on both art films and popular entertainment, he relished the opportunity.

19
david@mykindofstory.com

Copyright 2011 by David Arrate

Bobbys ride into town inspired an original oil painting which was used for the French theatrical posterconsidered one of the most striking of its day. It depicted Bobby racing through the woods while an angelically portrayed Hannah hovers overhead, traveling with him. In France, the film was released as Les Pauvres Diables (The Poor Devils). For some reviewers, the story was about more than a rape victim's psychological journey to recovery, but rather concerned mending the wounded spirit in maneven if the spirit of a woman might be more accurate, as to the authors motivationsset out on the frontier of the Old American West. Everyone involved in the production was delighted with the finished film, including its author. Little would later admit, however, to having been disappointed at learning of James Stewarts early departure; and confessed to originally having written the character of Alan Gates with Stewart in mind. I liked (Henry) Fonda, she told friends. I thought he did good. He just aint Jimmy Stewart, is all. Legend has it that upon meeting Stewartshortly following the films premiereLittle bestowed him with a light punch in the arm. When he found out who she was, he offered her his other arm, which Stewarts wife swung at followed by Ms. Little. According to her children, their fathers nickname for their mother was coined by Stewart, himself. Having bid her farewell, he turned around and yelled out, So long, Little Wonder! Tracy Little would return to the Western genre two more times. The first of these and her last story for well over a decadedeciding to marry and raise a familywas When You Hear the Drums, which she wrote for her husband. Her final literary work was a quixotic childrens adventure of a police detectives kidnapped little boy in late-1960s New York, who finds himself in the midst of the periods counterculture movement. It was called Git Along, Little Dog for the phrase in which the young hero acquires his nickname: Little Dog Webb. Dressed up in a cowboy costume and armed with a pair of noisy cap guns,
20
david@mykindofstory.com

Copyright 2011 by David Arrate

he makes the acquaintance of a homeless, Southern black youth who plays Sancho Panza to Webbs boy of La Mancha, in a land swarming with long-haired, savage Indians. Gaining the unwanted affections of a hippies love child turned orphan, Little Dog and Buckshot Lewis manage not only to find their way home, but also help to save a bus carrying GIs from being sabotaged. Git Along was published shortly after Littles eldest son was drafted, and she would dedicate it to her family, with special thanks to American illustrator Norman Rockwell. Despite her prolificness in crime fiction, Tracy Littles Westerns were the stories her children loved best. She, on the other hand, was said to have been proud of them all. Years after his mothers passing, Littles youngest son, along with his older brother and sister, was interviewed by his nephewconducted as part of a school project. When I saw Karen Lee (Venk) as Bobbys mother in that movie, he said, I saw my mother. Thats how I identified her, while I was growing up as a boy. Of course, now that I have more life experience, I have a greater appreciation as to who she was, and what she persevered to do. Had it not been for the mother of a Boy Scout, Tracy Little would have never met Jeffrey Gast, Sr. Rose Gast and Tracy Little worked together in a munitions factory, where Tracys trust in others began its restoration. Knowing Jeffreys distaste for prissy girls, Mrs. Gast managed to introduce her young friend to her son. Like Tracy, Jeffrey also loved stories; only he preferred history and mythology, as Gast was studying to become an archaeologist. The younger boy was both optimistic and bookish, and failed to come across as a threat to her; and the two of them would thereafter talk for hours on end. As Jeffrey, Jr. tells it: Mom was on her way over to visit our grandmother, to share with her this movie idea she hadwhich wound up becoming her first short story (Run, Mountain Man)and my grandmother had arranged it so that dad would be there. Since he had a knack as a scout leader for finding merit in others efforts, mom soon lowered her defenses, and eagerly waited for him to finish deciphering her scribble. In fact, she always said that our father was the one that
21
david@mykindofstory.com

Copyright 2011 by David Arrate

taught her self-worth; and had encouraged her that there was fun to be had by fully cultivating what she was setting down on paper. Left to her own devices, Tracy Little became determined to impress and excite the knowledgeable, young Gast. But within a short period of time, she decided to redirect her efforts to satisfy her own growing ambitions; and began to stretch out her inner-canvas. What I admired most about mom was that she was very appreciative, said Tracys daughter, Hannah. She had trouble articulating herself when she was younger, but whenever someone corrected her, she was always quick to thank them. Mom had a genuinely sweet disposition, and whenever she would say thank you in her Southern accent, and smilemy brothers and I thought she was the most beautiful woman in the whole world. When the Second World War ended, Jeffrey Gast was returned home; having been spared from being shipped overseas. Arriving at the bus depot, both he and Tracy became so excited to see each other, they found themselves embracing for the first time; and Tracy wound up kissing his cheek. As their younger son comments: Moms face started glowing, while dads got red. And not long after that,following the magazine publication of Pick Up the Gun the stork flew by to drop off Theo. She didnt believe in obligating us to be good, or peaceful, or to love our neighbor, for the sake of simply doing so, the then Senator Theo Gast wrote his nephew. What she did was indicate the direction that I decided to take, which allowed me to recognize the value of those qualities within myself. And with this appreciation, comes the flame to prompt all who desire the same, by developing my own potential to become what I prize. This is what she did. In her writing, she chose to receive and transmit meanings which she felt to be concrete, as opposed to seeking refuge in a temporary retreat. And what she saw cast in her own reflection was a unique treasure with a new relation to the world that made it a pleasure in which to live. My parents grew to eventually share this appreciation, as there was the foundation of love. And there is the land from where our family came, to which I
22
david@mykindofstory.com

Copyright 2011 by David Arrate

care to share and serve my neighbors and their families, with whom our children shall inherit the universe. So that all may inspire one another. In 1974, Tracy Little oversaw the release of a single-volume anthology, collecting her entire canon of short fiction. On the dedication page, she wrote: For all who desire to live, to pursue and experience the power of creation. Tracy Little passed away in 1976, as did director Fritz Lang two months later. Little was fifty-three years old. Lang was eighty-five. The closing caption to Pick Up the Gun, My Son reads thus: Neither peace nor harmony shall ever flourish upon the Earth, unless the root is nourished within thee. He that listens to the voice of the heart, which yearns to realize his ultimate potential, shall by way of reason and practice embark upon the path, which will prepare him for the greatest collaboration to come. Namely, the apex of man.

23
david@mykindofstory.com