Branded (1965–1966)
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Fill No Glass for Me: Part 1 

After trying to rescue Jason, Corporal Macon finds himself facing the biggest trial of his life. The Indians now have both the white and black soldier captured, and the test of the hawk versus the eagle will mean sure death to one of them.





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Episode complete credited cast:
Corp. Johnny Macon
Michael Keep ...
Duncan McLeod ...
Major Brackham
Dart (as Harry T. Lauter)


After trying to rescue Jason, Corporal Macon finds himself facing the biggest trial of his life. The Indians now have both the white and black soldier captured, and the test of the hawk versus the eagle will mean sure death to one of them.

Plot Summary | Plot Synopsis






Release Date:

7 November 1965 (USA)  »

Company Credits

Show detailed on  »

Technical Specs


| (DVD)

Sound Mix:

(Westrex Recording System)


Aspect Ratio:

1.33 : 1
See  »

Did You Know?


Chuck Connors has several shirtless scenes in both Part 1 and Part 2 of this episode, making it only the third episode in this series in which he's seen bare-chested and the first "beefcake" episode shown in color. His bondage scene, showing him tied spreadeagle-style between two trees, is Connors' first bare-chested-bondage scene since "The Vaqueros" episode of "The Rifleman." See more »


Jason McCord: There's something you don't understand, Wateekah. All men are brothers. The color of their skin doesn't have anything to do with the side that he fights on.
Chief Wateekah: We shall see... brother!
See more »


Soldier Fill No Glass for Me
(aka Comrades Fill No Glass for Me)
Written by Stephen Foster
Performed by Greg Morris
See more »

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User Reviews

A feast of masochistic beefcake
24 December 2014 | by (Minneapolis) – See all my reviews

A curious feature of programs from the Golden Age of TV Westerns was their tendency to strip their heroes to the waist and then subject them to bondage or even torture situations. In today's television, the hero usually exposes his chest in romantic encounters but in a more restricted era he often removed his shirt simply to demonstrate his manly prowess.

After Chuck Connors is captured by Indians in this episode, he's seen bound hand and foot in the Indian camp with his shirt half torn off. Chief Wateekah teasingly heats the blade of Connors' broken sword over a fire, implying that he'll soon be pressing the red-hot blade against Connors' bare skin. Such isn't done but it helps establish the sadomasochistic tone of this and later scenes.

Next Connors, shirt still half torn off, is pulled by a rope behind two horses. Connors, sweaty and stumbling, actually falls down at one point and must struggle to regain his footing. Then we see that Connors has been tied spreadeagle-style between two tree trunks. His shirt has now been completely removed giving us a full look at his torso. His pants have been left on but they're low enough on his waist to reveal his navel -- a sight often avoided in the television era of the late 50s and early 60s. To complete the bondage, a gag has been tied around his mouth.

The episode ends at this point, with viewers urged to tune in next week to see the story's conclusion. During the week, it's somehow assumed that poor Connors must sweat and strain and endure hours of torment under the scorching sun. This kind of "cliffhanger" wasn't used again in a TV western until Lee Majors, stripped to the waist, was readied for a flogging inside a Mexican prison in a "Big Valley" episode from 1966 called "Legend of a General." Chuck Connors, no stranger to beefcake-bondage -- remember "The Vaqueros" episode from "The Rifleman?" -- was 44 years old when this scene was filmed but that 45-inch chest of his still looked might impressive.

Why all this masochistic suffering by heroes of TV westerns? For one thing, it allowed the hero -- usually played by a fine specimen of manhood -- to show off his physique without seeming to preen. His suffering also made him a more sympathetic figure to the audience since it demonstrated, despite his obvious strength and vitality, a degree of vulnerability. Besides, the hero couldn't very well be shown acting sadistically toward his enemies but his enemies could be shown acting sadistically toward him which would, in the process, allow him to prove his courage.

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