"RIDE THE HIGH COUNTRY" Screenplay by N.B. Stone Jr. with Robert Creighton Williams and Sam Peckinpah 1962 SHOOTING DRAFT OUT Sequence omitted from original script. EXT. HIGH SIERRA TRAIL - CLOSE ON BIRD - DAY as it flutters helplessly about on the trail. A string, tying the bird's leg to a root, NOT VISIBLE FROM THIS ANGLE. Beyond the bird A MINER rides into view. The miner's only weapon is a rifle, in the saddle boot. A sizeable pouch of gold dust hangs from the saddle horn. Seeing the bird, he halts and reacts sympathetically. Dismounts, walks cautiously toward the bird, trying not to frighten it. Two SHOTS ARE HEARD. Both bullets hit the miner, who falls face down on the trail, and lies still. ANOTHER ANGLE as a man (HENRY HAMMOND) comes out of the underbrush, takes the gold pouch, unties the bird, COOS to it, then WHISTLING TUNELESSLY, happily disappears into the rocks. A SERIES OF ANGLES FOR TITLES Leaving the body, the CAMERA PANS to the mountain slopes, beginning a SERIES OF PAN SHOTS, EACH SHOT SHOWING A DIFFERENT TYPE OF TERRAIN, to ESTABLISH that we have covered a four day mountain trip to the foothills far below. OUT Sequence omitted from original script. EXT. HORNITOS STREET - DAY As STEVE JUDD rides into the town of Hornitos. Judd is a tall, imposing figure of a man. In his mid-fifties, he holds his age remarkably well. Still, little things are seen that reveal his years. Thinning hair, gray at the temples, and a slight limp, memento of a gun fight years before. Judd dresses with dignity, yet in his clothes is reflected evidence, however slight, of the adversity that has dogged him since the era of the 'town tamers' died a natural death. The cuffs of his shirt are frayed, there is a patch on the sleeve of his coat, and the boots are run over at the heels. EXT. HORNITOS - ON JUDD - RIDING INTO TOWN A scattering of TOWNSMEN, MINERS and FARMERS line the board walks, all looking down the street in the direction Judd rides. They are waving and smiling. Judd reacts, looks around. Finally he is convinced that he is the focus of attention. MED. SHOT - POLICEMAN As he chases some CHILDREN out of the street, then turns, looks off and yells: POLICEMAN Get out of the way! Clear the street! MED. SHOT - JUDD He does not hear. Continues to react to his apparent welcome. FULL SHOT - REVERSE As the Policeman runs up to Judd and shoos him to a side street. POLICEMAN Clear the street! Can't you hear -- Old Man? There's a race going on... JUDD (interrupting) All right. They move aside, then turn as the crowd ROARS. HIS POV - CAMEL-HORSE RACE Racing at full speed down the street are a CAMEL and three HORSES. With their RIDERS urging the animals on to even greater speed. The spectators CHEER ON their favorites. The horses, foam-flecked and slightly in the lead, are being overtaken by the camel. BACK TO JUDD as the camel and horses pass by. A SERIES OF ANGLES COVERING THE RACE EXT. CARNIVAL AREA AND FINISH LINE - DAY In a vacant lot off the main street. Consisting of four booths, three of them advertising, by posters, 'THE WILD MAN FROM BORNEO', 'HERCULES, STRONGEST MAN IN THE WORLD', and 'LITTLE SHEBA, BELLY DANCER'. Some TOWNSMEN, MINERS, FARMERS wander in and out of the booths. Most are grouped around the finish line. We HEAR HURDY-GURDY MUSIC FROM LITTLE SHEBA'S BOOTH. The fourth booth is an open air affair, consisting of a counter, a rack of six-guns, and a home-made apparatus, similar to a modern skeet arm, which hurls objects into the air. Its posters, on a rack at the rear, depict a gentleman with long hair flowing from under his hat. He wears a Van- Dyke beard. In appearance and dress this could easily be 'Buffalo Bill' Cody at the height of his Wild West Show fame. But the legends on the posters read: THE OREGON KID in PERSON! Match Your Gun Skill With The Frontier Lawman WHO TAMED Dodge City & Wichita and who SINGLE-HANDEDLY Sent the Infamous OMAHA GANG to their GRAVES! OVER the street is a banner marking the start and finish line of the camel horses contests. The legend reads: THE PHANTOM of THE DESERT! Takes on All Comers Match Your Prize Racing Stock Against the Pride of Araby No Wagers Less Than One Dollar! Judd RIDES INTO THE SHOT and pulls up near the finish line as the racers turn the final corner and move TOWARD HIM. NEW ANGLE - RACE The camel overtakes the sweat-lathered horses and wins going away. HECK LONGTREE, the camel rider, dismounts, as do the riders of the horses. Heck is a handsome young man of twenty- three, rugged, brash, cocky. Two of the losers pay up and move away. The third, HANK, stands looking at the camel. MED. SHOT - JUDD He dismounts and starts toward Carnival area, only to be stopped by the Policeman. POLICEMAN Watch out, Old Man! He pulls Judd back, as a vintage automobile races past. CLOSER ANGLE - HECK AND HANK HECK You got a good horse, cowboy. But not good enough. (holds out a hand) I'll have that dollar. HANK (softly) I'm beginning to figure these races smell pretty bad. That thing never loses and it's been runnin' since breakfast. HECK (his hand still out) You had your chance. HANK Not an even-money chance. I suspect as how that animal could run all day without raisin' a thirst. HECK All day -- and all night. HANK That's how it is? HECK (losing patience) That's how it is -- now pay up! Hank brings a silver dollar from his pocket, flips it, catches it. HANK Let's say I'm a poor loser -- you want the dollar -- you come after it. ANOTHER ANGLE He puts it back in his vest pocket, prepares for a fight. Heck turns away as if to pick up the reins. Hank gives a snort of contempt. Heck whirls, swings a fist, knocking him flat. Hank lies on the ground, dazed. Heck takes the dollar out of his vest pocket, leads the camel away. Judd is about to leave when the Oregon Kid begins his spiel. Judd listens for a moment then grins and dismounts. MED. SHOT - BOOTH THE OREGON KID keeps up an almost constant spiel to WES, a cowboy, as he gets a tin can from a pile on the ground, places it on the pan of the hurling arm. OREGON KID All you got to do is hit the can and you win the money. You miss -- I've got to hit it -- or I lose! Squeeze the trigger, don't jerk it. Keep your elbow close to your body. WES (putting down his money) Forget the sermon and turn her loose. The Kid pulls a cord, which releases the hurling arm, tossing the can high in the air. Wes aims with a six-gun, FIRES, misses. While the can is still in the air, the Oregon Kid draws his gun, FIRES. CLOSE ON CAN as it is hit. TWO SHOT The Kid shakes his head, and holsters his gun and scoops a quarter off counter into a cash drawer. OREGON KID (loudly) Tell you what I'm going to do. I'll hit it twice, to your once, that is, if you hit it -- but I don't believe you can or you will -- my grandaddy would say shootin' against you is like sneakin' licorice whips from a baby girl. Why don't you just forget it -- throw away that pistol and pick up a plow -- save my conscience and your money? Wes, mad enough to use skunk scent for soap, slaps two dollars on the boards. The Kid pulls down the hurling arm, locks it in place, puts another can on the pan. NEW ANGLE OREGON KID (kindly, overly concerned) Don't hurry your shots, son. Pulls cord. Wes FIRES, again misses. Oregon Kid shakes his head hopelessly. OREGON KID My boy, I keep telling you... He draws, FIRES TWICE, each shot hitting the can. OREGON KID But you don't seem to listen. Care to try again... WES (stalking off) I'll be back. Oregon Kid grins, scoops two dollars into cash drawer, as Heck joins him. CLOSE SHOT - JUDD watching. MED. SHOT - BOOTH HECK I'm fed up with it, Gil -- racing that double humped water tank is bad enough -- (looks off -- reaches for money) -- but knockin' somebody down for a slim dollar only to give most of it away is poor rations for Mrs. Longtree's first born. He falls silent as JAKE, a real carny, complete with derby and cigar, steps up and holds out his hat. Heck drops in four silver dollars. Jake gives him one back and turns to The Oregon Kid. OREGON KID I'll settle up tonight. JAKE Now. The Kid hesitates, then puts part of his cash box money in. JAKE Sweeten it, gunfighter, or you're through. OREGON KID (after a long moment) Don't say anything more, you mean mouthed, two bit, chicken hearted son -- of greed and envy. Just get out. And Jake does. NEW ANGLE HECK (after a moment) You sure told that Jake what he could do. OREGON KID (dryly) And how can man die better, Than facing fearful odds, For the ashes of his fathers, Or the temples of his gods -- (then) It was a poor excuse for a job anyway, Heck -- time I was movin' on. You want big money you go where the big money is. HECK I'm going with you. They are silent for a moment. OREGON KID All right -- get the horses. Heck moves away. The Oregon Kid watches him go, then turns to the passing crowd. Judd WALKS INTO SCENE. Stops at the counter, keeping his head bowed so his features aren't visible to The Kid. Speaks with a mountain twang. JUDD If it's all right with you, mister, I would surely like to make a ten cent bet? OREGON KID A whole dime? You are a plunger, sir. He tries to see under Judd's hat. Judd keeps his head lowered. JUDD Well, you see, I'm not just altogether sure I could hit a movin' target without using buckshot. I used to be fair to middlin' with a shotgun. If the bird was movin' slow and not too far away. (beat) But, them tin cans move too fast -- I just don't see how you manage. NEW ANGLE The Oregon Kid, puzzled, still tries to see under the hat. Moves his head from side to side, then down as low to the counter as possible. With Judd evading him. Finally grabs Judd by the coat lapels with one hand, pushes his hat up with the other. Sees Judd grinning at him. OREGON KID Well, I'll be damed! They shake hands. JUDD How are you, Gil? OREGON KID No great complaints. How long's it been? Lordy, I'd hate to say. JUDD Quite some time. OREGON KID Where you been all these years? JUDD (after a moment) Here and there. (looks around) Nice little enterprise you've got. OREGON KID Well, Steve, it's easier than punching cows. And it pays off with free drinks every time I walk into a saloon -- Would it surprise you to know The Oregon Kid is the envy of every small- minded ribbon clerk and shirttail towhead from here to Pocatello? NEW ANGLE JUDD (indicates the Oregon Kid's poster) Why not, with all these single-handed exploits -- tell me, Gil, who was 'the Omaha Gang' -- I don't recollect ever hearing about them fellows. (Gil doesn't answer) Hondo and Monterey and Flagstaff -- we worked them places -- but Dodge City and Wichita -- you spend some time with the Earp brothers, Gil? OREGON KID Got to allow for a little exaggeration. That's part of playing this game. JUDD Not much of a game. OREGON KID Well, no danger of getting rich, but I do all right when you consider I never lose. Judd breaks open the cylinder of the gun fired by Gil. Extracts cartridge. Removes wax. Pours out several buckshot. They BOUNCE one by one on the counter. JUDD A blind man couldn't miss, shooting buckshot. OREGON KID (embarrassed -- angry) Must be something important to bring you here -- looks to me like you been riding a long time -- and not getting very far. JUDD Job. OREGON KID A 'job'? You mean to tell me you're still at it? (Judd nods) Federal Marshal? JUDD Working for the Bank. OREGON KID A bank guard? JUDD (stiffly) I'm transporting gold. From a mining camp up on top down here to the bank... Gold bullion -- in the neighborhood of two hundred and fifty thousand dollars, was the way the letter put it. OREGON KID (with admirable restraint) A quarter of a million. JUDD I'll need some help. Can you recommend anyone? OREGON KID (after a moment) I'll give it some thought. JUDD Do that, will you? And let me know. OREGON KID I will, Steve, I surely will. Judd walks off. The Oregon Kid is already giving it a lot of thought. Heck reappears with horses. HECK What do you figure we're going to do. OREGON KID (absently) Hmmm? HECK Food, clothing and shelter -- What have you got in mind? OREGON KID (softly) Champagne, kid -- and only the best -- about $250,000 dollars worth. DISSOLVE TO: INT. BANK - MED. SHOT - DAY Behind the teller's window, ABNER, a sharp-tongued diminutive clerk in his sixties, counts money (silver). Judd advances, stops at the counter. The clerk glances up, then continues his work. Judd RAPS GENTLY on the counter. In the far corner, is LUTHER SAMSON, a dignified, frock-coated man in his eighties. ABNER (not too politely) Yes. JUDD I'd like to see Mr. Samson, please. ABNER He's busy. What about? JUDD The name is Judd. Stephen Judd. Abner looks at him thoughtfully. ABNER Oh. Just one moment. He crosses to Samson. CLOSER ANGLE ABNER Excuse me, sir. Mr. Judd is here. Samson looks up and nods. Abner crosses back to Judd and opens the railing gate. ABNER Mr. Samson will see you -- Judd enters and crosses toward the two men. JUDD (nods) Good afternoon. SAMSON I'm Luther Samson, Mr. Judd. (shakes hands) And this is Abner, my son -- our vice president. Judd, Abner shake hands. AD LIB "How do you do's." While shaking hands, Abner notices Judd's frayed shirt cuff. This noticed in turn by Judd, who 'shoots' the cuff, concealing it under the coat sleeve. Samson indicates a chair, and all sit down. The bankers regard Judd in silent appraisal. The man they see is not all they expected. Samson doesn't wish to offend. Still, he must say it: SAMSON Somehow, I pictured you as being a younger man. JUDD I used to be. (after a moment) We all used to be. SAMSON Yes, of course. Judd looks from one to the other, waiting. Senses what they are thinking -- is he the man he once was? ABNER (sharply) Mr. Judd, we're more than familiar with your reputation. But it was made many years ago and we're dealing in the present, not the past... JUDD (interrupting) Thank you. What's the problem, gentlemen? SAMSON The Coarse Gold Strike is on the crest of the Sierras. Only one trail in and out. Six miners have been killed trying to bring their gold down here. Killed and robbed, of course. Weeks ago we petitioned for a Federal Marshal. And received nothing. ABNER The only law up there is too drunk to hit the ground with his hat. SAMSON The man we send up there must be completely reliable and not just from the standpoint of honesty. ABNER We're speaking of gold, Mr. Judd. -- Twenty thousand dollars worth. JUDD Twenty thousand? From your letter I expected... ABNER (interrupting) Our original estimate was... overly enthusiastic. The strike is not a mother lode -- but it is productive. Slow but steady. SAMSON The day of the Forty-niner is past, Mr. Judd. The day of the steady businessman has arrived. JUDD My usual fee is twenty dollars a day. I'll have to charge you forty. ABNER (appalled) Forty dollars a day? SAMSON Just what does that...? JUDD Two other men. Four days is a long time to go without sleep. SAMSON The question is -- JUDD The question is, can I do it? Can't answer that by talking. Only by doing it. If you want to talk about it, go ahead. I'll read the contract. Abner looks at Samson, who nods. Brings a contract from a drawer, hands it to Judd. JUDD In private, if you please. Bankers are mildly surprised at the request. Abner indicates a door at the side of the room. SAMSON You can go in there. Judd rises, walks out, limping slightly as before. INT. WATER CLOSET - DAY Judd enters, closes the door. Produces a wooden spectacle case from an inner pocket. Glances back at the door, then dons the spectacles. Quickly reads the contract. Returns the spectacles to their case, the case to his pocket. Opens the door. INT. BANK - DAY Judd returns to the desk. The bankers have obviously been whispering. JUDD Contract's all right. How about me? Any doubts? (silence) If not, I'll borrow your pen, sir. Samson pushes quill pen and ink toward Judd. He places the contract on the desk. Standing erect so he can view his signature, stiff-armed, he signs the contract. As they react with dismay to this evidence of failing eyesight we -- DISSOLVE TO: INT. EATING HOUSE - NIGHT Judd, at a table, is eating supper. An attractive WAITRESS serves half a dozen other DINERS. EXT. WINDOW - OF THE EATING HOUSE - NIGHT Outside the window, LOOKING THROUGH AT JUDD, are Heck and The Oregon Kid, minus his disguise of wig and Van-Dyke. This is GIL WESTRUM, a 'kid' no longer, but a big, jovial, graying man in his fifties. Gil possesses a happy-go-lucky quality, a friendly warmth instantly sensed by others and reflected by the twinkle in his eyes and the half smile almost constantly on his lips. HECK That old man? He don't look like much to me. GIL (after a moment) Son, I wore a star with "that old man" for six years -- I was his deputy most of the time -- once he was mine. (he grins at the memory; then roughly) Don't ever play him short! HECK I just don't figure him to be any trouble. GIL I hope you're right, boy -- I surely hope you're right. (then) I'll beard the lion -- you demonstrate how impressed you are -- and do it with your mouth shut! He crosses toward the door, Heck following. INT. EATING HOUSE - FULL SHOT (NIGHT) As they enter, DOLLY, the waitress, has a smile for Heck. DOLLY Hello Heck -- Mr. Westrum. GIL Evening, honey. As Dolly walks by, Heck removes his hat and slaps her on the fanny. DOLLY Stop it! HECK What did I do? DOLLY Never mind what you did. Don't do it in here! HECK All righty. How about down at the livery stable in an hour? Can you get away? DOLLY I think so. GIL Too bad, because Heck won't be there. Gil takes him firmly by the arm, steers him away toward Judd's table. HECK Why not? Gil thinks it over for a minute. GIL Because if I can't, you won't. They move past and the CAMERA HOLDS ON A GROUP IN THE b.g. Seated at a table in the corner are Hank and Wes. With them is a friend. Hank whispers to his friend, indicating Heck with a nod of his head. JUDD'S TABLE From a coin purse, Judd has counted out the amount of his check. Brings out a notebook and a pencil. Leans back to bring the notebook into focus. Enters the amount. Gill and Heck arrive at the table. GIL Still keeping records, eh? JUDD You know me. Creature of habit. GIL Here's someone else wants to know you. My partner, Heck Longtree. You'd blush to hear the way he admires you. JUDD (rises, shakes hands) How do you do? HECK (dully) Howdy. JUDD (indicates) Have a chair. (all sit down. To Gil) Kind of showing your age, aren't you? GIL Huh? JUDD Interfering with a young man's love life. FEATURING GIL GIL He's got more important things on his mind. (to Heck) Haven't you? (before he can answer) Yes, sir, and so have I. (pauses to light a cheroot) Been considering your problem. Think I can solve half of it. Maybe the whole thing. I know a fellow who's got an overwhelming hankering for a little old time activity. JUDD It seems to me a man would have to be pretty hard up to risk his life for ten dollars a day. HECK Ten dollars a day --? GIL (as Judd nods) Not hard up. Just fed up. (scornfully) Out-shooting the rubes for nickels and dimes... takes all the free drinks I can get to put me to sleep at night. My partner here feels the same way. JUDD (looks at Heck, but speaks to Gil) Don't know as I'd want to hire a boy. HECK Boy? What do you -- GIL Steve, this boy's a good deal less than green. FEATURING JUDD JUDD Couldn't have too much behind him. GIL That's where you're wrong. He's been dogging after me for better than three years. Judd again studies Heck who is doing a slow burn at Judd's questioning, and manner of it. Judd drops his hand below the table, comes up with Heck's silver mounted pistol, holds the gun to the light. JUDD (to Gil) Pretty. Too bad he don't keep it clean. Without looking at Heck, Judd puts the gun on the table. Heck, getting madder by the minute, holsters it. JUDD (a sigh) Boys nowadays. No pride. No self- respect. Plenty of gall, but no sand. Take that race today -- HECK What about those races? JUDD At that distance, no horse in the world can beat a camel. HECK (explodes, rises) You calling me a cheat? Wes and Hank and their friend ENTER SCENE, behind Heck. WIDER ANGLE HANK If he don't, I surely will. Heck turns. Hank lashes out, knocks Heck down. Heck struggles to his feet. Heck charges with the ferocity of a young bull. He floors Hank. Gil nods approvingly. But now Heck is assaulted from two sides as Hank's friends join the attack. Heck is strong, agile and totally unafraid. But sadly outnumbered. He knocks a man down, but another one sends him sprawling onto Judd's table which shatters. Heck is groggy. Gil, without leaving his chair, hoists him back to his feet. GIL Go get 'em, tiger, you're doin' fine. Judd and Gil remain seated. Facing each other across empty space. Heck returns to the melee. Knocks the fight out of the friend, is holding his own when Hank deals him a wicked blow from behind. Down he goes. Hank, Wes and friend leave much the worse for wear. DIFFERENT ANGLE Dolly arrives with a pitcher of water which Gil tosses in his face. GIL (to Judd) What do you think? DOLLY I think he's wonderful. JUDD He'll do. He'll do just fine. Judd looks around at the shattered table, broken chairs. JUDD (to Dolly) Sorry about the damage. GIL Send the bill to the bank, honey -- Stephen Judd's account. Out they go, dragging Heck by his heels. DISSOLVE TO: OUT Sequence omitted from original script. EXT. FOOTHILL COUNTRY - DAWN The upper foothill country at sunrise. (STOCK) EXT. FOOTHILL TRAIL - DAY Steve Judd's Party rides upgrade. Judd in the lead. One pack horse, laden with supplies, bedrolls, a tent, etc., is led by Heck. Canteens of water hang from saddle horns. They carry standard armament, six-guns, and rifles in saddle boots. Gil, hot and saddle sore, pulls up and dismounts, easing his sore muscles and taking a drink from the canteen. JUDD (calling back, enjoying himself) What's the trouble, Partner? Have you got the rheumatism? GIL (yelling back) I'm used to working with my brain, not my butt. Judd laughs and rides to the top of a nearby rise. HECK (joining Gil) You think you can talk him into it? GIL (nodding) One way or another. They ride to join Judd on top of the hill. OUT Sequence omitted from original script. EXT. FOOTHILL TRAIL - LONG SHOT - JUDD'S P.O.V. - THE KNUDSEN FARM - DAY INT. BARN - DAY JOSHUA KNUDSEN stands on a wagon pitching hay into the loft. Joshua is a heavily muscled farmer, stern and austere. We catch glimpses of his daughter, ELSA, as she scatters hay about the loft with a pitchfork. Elsa is lovely as the wild flowers that would dot the surrounding hills if this were spring. And as untamed. She wears jeans, soiled shirt, heavy working shoes, and her hair hangs to her shoulders in twin braids. Glancing out the door opening, she sees the Judd party approaching. Wide-eyed, she watches. EXT. FARM HOUSE - ELSA'S P.O.V. THROUGH LOFT DOOR On Judd's party, riding TOWARD CAMERA. INT. BARN Elsa jumps from loft to wagon, to floor and runs out barn door. Joshua, puzzled, calls: JOSHUA Elsa! EXT. FARM HOUSE Elsa, ignoring her father's call, runs from the barn to the house, enters. INT. BARN - JOSHUA comes off wagon and crosses to barn door, looks after her. Notices the Judd party riding toward him in b.g. INT. FARM HOUSE Elsa tears out of her shirt and into a dress. EXT. FARM - BARN AREA - JUDD PARTY Nearing barn. EXT. FARM HOUSE Elsa bolts out the door. She's donned a 'revealing' dress over her other clothes, stops to adjust it as she looks off at the barn. Realizes she still has 'brogans' on, kicks them off. ELSA'S POV The Judd Party are dismounting, talking to Joshua. BACK TO ELSA Dress adjusted to her satisfaction, she hurries from the house toward the barn. BARN - WHERE JOSHUA TALKS TO JUDD AND HIS MEN now dismounted. Joshua is anything but cordial. What hospitality he offers comes from a sense of duty. JOSHUA -- don't have room in the house, but I've no objection if you want to spend the night in the barn. JUDD Much obliged. (notices chicken coop) If you could spare us a few fresh eggs, be glad to pay for them. JOSHUA One you can have as the Lord's bounty is not for sale. Any more are a dollar each. HECK (astonished) A dollar each? (as they look at him) How in the world do those short-legged chickens lay eggs so high? JOSHUA Levity in the young -- But Heck is not listening, LOOKS OFF, struck dumb. The others turn. ELSA HURRIES toward the men. Then recovers herself, approaches with a fair semblance of ladylike poise. The dress is quite fetching. Heck eyes Elsa appreciatively. Joshua disapprovingly. JOSHUA (stiffly) My daughter, Elsa. JUDD How do you do? GIL Pleased to meet you. HECK Likewise. Elsa nods, smiling at each. Gives Heck a longer look than the others. Noticed by Joshua. JOSHUA Go start supper. And change that dress. ELSA Change it? What for? JOSHUA For the good reason I told you to. (before she can speak) Did you hear what I said? She turns and sulks off toward the house. HECK I think it's a real pretty dress. ELSA (stops, glances back, smiles) Thank you. (goes on) NEW ANGLE Heck finds himself the target of Joshua's level gaze. HECK (innocently) Shouldn't I have said that? GIL (to Joshua) You'll have to forgive the young man. I've tried to teach him that silence is golden, but he's a slow learner. JOSHUA 'Train up a child in the way he should go and when he is old he will not depart from it.' (then) Put your horses in the corral yonder. Supper'll be ready in an hour -- no charge -- 'The Lord's bounty -- GIL -- is not for sale.' JUDD Thank you, sir. Joshua goes into the barn. JUDD, GIL, HECK Heck looks off at Elsa, who is entering the house. HECK Think of all that going to waste up here. GIL Like the fellow said, gold is where you find it. JUDD (to Heck) And if it isn't yours don't covet it. He turns and leads the horses toward the corral. Gil turns to Heck who still looks after the girl. GIL Don't worry, boy, the Lord's bounty may not be for sale -- but the Devil's is -- if you can pay the price. Heck looks at him blankly as we -- DISSOLVE TO: INT. FARM HOUSE - NIGHT - CLOSE ON JOSHUA with bowed head, saying Grace. The room is large, including kitchen and Elsa's bed. On the wall of the room is a large tintype of Elsa's mother, in her wedding dress. Very similar in looks to Elsa. Picture is wreathed with black crepe faded and dusty. On the opposite wall, a framed religious tract reads: "When Pride Cometh, then Cometh Shame, But with the Lowly is Wisdom.' Joshua's Bible rests on a stand in the corner. JOSHUA Heavenly Father, we thank Thee for the food on this table. Teach Thy children to be grateful for Thy goodness, to walk in Thy path, that they may not suffer Thy wrath and Thy vengeance. WIDEN. Joshua is at the head of the table, Judd at the end. On Joshua's left sit Gil and Elsa. She has changed into her 'plain' dress. Heck sits across from Elsa. All have their heads bowed as Joshua continues Grace. However, Heck's eyes are raised, peering at Elsa. She glances up, quickly lowers her eyes. Heck smiles to himself. JOSHUA Bless us, Oh Lord, and these our guests, and forgive them the mercenary desires that brought them here. Amen. Which brings a reaction from Gil and Heck, who exchange glances. Joshua serves himself first, passes the platters of food on to Gil. GIL I thank you, Mr. Knudsen, for entering a plea in our behalf. But what's this about mercenary desires? JOSHUA On your way to Coarse Gold, be'n't you? GIL Yes. ANOTHER ANGLE JOSHUA Those that travel there do so for one reason only. To traffic in gold. Which to possess is to live in fear; to desire, to live in sorrow. JUDD We're not trafficking, sir. Merely transporting. JOSHUA (not hearing) It says in the Book, 'Gold is a stumbling block unto them that sacrifice to it, and every fool shall be taken therewith.' JUDD (dryly) 'A good man is rather to be chosen than great riches and loving favor rather than silver and gold' -- Proverbs, Chapter 22. JOSHUA (flaring back) 'Into the land of trouble and anguish come the old lions (looking at Heck) and they will carry their riches upon the shoulders of young asses to a people that shall not profit them'. Isaiah, Chapter 30, verse 6. They are silent. Judd can't think of a topper. JOSHUA That mining camp is a sinkhole of depravity, a place of shame and sin. HECK (happily) Well, like the fellow said, sin is where you find it. This gets him a cold stare from Joshua, a KICK UNDER THE TABLE from Gil. NEW ANGLE ELSA According to my father, everyplace outside this farm is a place of sin. JOSHUA (sternly) That will do. ELSA You don't have to preach at everybody. JOSHUA That will do! There's an awkward silence. Elsa burns with resentment. Gil breaks the tension. GIL You cook a lovely ham hock, Miss Knudsen. Just lovely. (as Judd looks up) Appetite -- Chapter One. DISSOLVE: INT. FARMHOUSE - KITCHEN AREA - NIGHT Where Elsa washes the dishes. Turning to rinse a platter, she sees Heck, at the open window, grinning. HECK Give me a towel and I'll dry. ELSA (anxious glance at the door) You hadn't better. Thanks all the same. HECK Must be pretty lonely, living up here. ELSA (mournfully) Sometimes I get to thinking there's no one left in the world but my father and me. HECK It's a crime, you being stuck here on this old stump ranch. Girl like you, you ought to be living in the city. San Francisco, say. ELSA You've been there? HECK Plenty of times. ELSA I've never been anywhere. He won't even take me to Hornitos when he goes after supplies. Says the men would stare at me. HECK Supposing, on the way back, I was to pick you up? Take you to San Francisco... Denver... Chicago even. JOSHUA'S VOICE (from the dining room) Elsa! Who you talking to in there? ELSA (calls) To myself. (whispers to Heck) You'd better go. HECK (whispers) Meet you outside later. ELSA I can't. HECK I'll wait by the corral. He leaves. DISSOLVE: EXT. FARM - CORRAL AREA - NIGHT Heck leans against a rail, watching the house o.s. INT. BARN - NIGHT Judd and Gil have removed coats and shirts, are down to long woolen underwear. Gil takes off his boots, climbs into a bedroll, using his saddle as a pillow. Carries an unsmoked half of a cheroot which he lights at a kerosene lantern on the floor. Judd stands at the barn door, looking off at Heck JUDD That boy you trained personally shows a substantial lack of judgment. GIL Kind of showing your age, aren't you? (at Judd's expression) Interfering with a young man's love life? Judd sits on his bedroll, takes off his boots, massages a foot. JUDD I'm not paying him ten dollars a day to go mooning after a girl whose father is getting ready to hind end him with a load of buckshot. GIL (smokes, looks at ceiling) Know who she reminds me of? Sara Truesdale. Judd turns his head slowly, peers at Gil JUDD There's no resemblance at all. GIL Oh, maybe not in the features. But the way she smiles... And there's the same look in her eyes when you're talking. The kind of look that makes you feel you've said something real important. Judd examines the hole in his boot. JUDD Wonder if I can get these fixed in Coarse Gold. GIL Probably not. You and Sara always looked so right together. Course, can't say I blamed her for not marrying you -- Forgetting the lousy money we made, what woman wants to sit around waitin' for her husband to be brought home with his head shot off? Judd climbs into his blankets, turns his back. JUDD (brusquely) That was all a long time ago. Gil knows he has the knife in. Now he twists it. GIL Guess losing Sara's what you might call a hazard of our profession. That rancher she married -- Stacey? Hear he's doing fine up in Idaho. Got a big ranch there. Raises blooded horses. And children, too, I hear. JUDD Grandchildren now -- three of them. GIL That so, Steve? JUDD Yep, that's right. (then) If my sleeping bothers you, don't bother to let me know. GIL Sorry. Not 'sorry' at all, but quite pleased with himself. Crushes out cheroot. Blows lantern out. EXT. FARM - CORRAL AREA - NIGHT - MED. SHOT - HECK waiting at the corral. Elsa hurries INTO SCENE. HECK You surely took your time. ELSA Shh. I shouldn't be here at all. HECK Why, the night air bother you? If it does, we can climb up to the hayloft. ELSA I love the night air. The thing is, I'm what you might call engaged. HECK Sure you are. ELSA It's the truth. His name is Billy Hammond. He asked me to marry him. Several times. And I said I probably would. You'll see him in Coarse Gold. He's a miner there. And doing very well. HECK Well, if he's in Coarse Gold and you're here, I don't see any harm in us -- Breaks off as Joshua walks out of the shadows. Joshua stares hard at Heck, then jerks him away from Elsa. JOSHUA You! Get in the barn and stay there. (to Elsa) And you -- go to the house! Elsa, with a cry of anger, runs to the house. Joshua stares at Heck, then follows. Heck, muttering, stalks to the barn. ENTRANCE TO BARN - DARK Heck enters, stumbles against a pail, kicks it. JUDD 'The mouth of a strange woman is a deep pit; and him that is abhorred by the Lord shall fall therein -- ' Gil begins to laugh quietly. Judd grins, and rolls over. INT. FARMHOUSE - NIGHT Elsa runs in, SLAMS the door, goes to a window, stares angrily out into the night. The door opens and Joshua enters, approaches. JOSHUA (surveys her coldly) Will you never learn any decency? ELSA We were only going to talk. Talk. JOSHUA The likes of him don't stop at talking. ELSA (bitterly) The likes of him. Every man I meet becomes 'the likes of him'. JOSHUA He's no good. I can see it in his face. ELSA That's all you see in anyone. Billy Hammond came here twice. You said he was evil -- sinful. JOSHUA I'm your father. I've got to keep the dirt away. Protect you from the wrong kind of men. ELSA That means everyone, doesn't it? Every single man in the world is the wrong kind of man. (beat) Except you. He gives her a stinging SLAP across the mouth. No sign of pain. Only fury. ELSA I promised next time you hit me, you'd be sorry for it. JOSHUA For my mouth shall speak truth and wickedness is an abomination to my lips. All the words of my mouth are in righteousness. He falls silent, but she stares at him defiantly. JOSHUA Go to bed. She stands unmoving. After a moment he picks up the lamp and goes to his bedroom muttering: JOSHUA 'Receive my instruction and not silver, and knowledge rather than choice gold. For wisdom is better than rubies.' CLOSE ON ELSA Looking after him, her face expressionless. DISSOLVE: EXT. GRAVE - DAWN - JOSHUA On the hillside above Joshua's farm house. At the uphill end of the grave are a few wild flowers, in a tin can. On a wood grave marker is carved: HESTER Wife of Joshua Knudsen 1845-85 'Wherefore, O harlot, hear the word of the Lord: -- I will judge thee as women that break wedlock and shed blood are judged: I will give thee blood in fury and in jealousy.' Behind the grave marker, with his forehead almost touching the top, kneels Joshua in silent prayer. WIDEN. In B.G., Judd's party rides up the hill. DISSOLVE: EXT. HIGH SIERRA STREAM - DAY Judd stands in midstream, his pants-legs rolled up as he lets the cool water soothe his feet. From Judd's blissful expression we PAN TO HECK, who is seated on the other side of the stream, watching Judd disgustedly. JUDD In about thirty years you'll like the feel of it, too. Heck ignores him, takes out a sandwich, throws the wrapping away. JUDD Pick it up. These mountains don't need your trash. Heck scowls, picks up the paper, crosses to a pack horse. Judd walks to the bank, sits on a rock, carefully dries his feet with a bandana. His boots lie flat on a rock, the soles exposed. One boot has a hole in it. Gil ENTERS SCENE, picks up the boot, peers through the hole at Judd, as through a telescope. GIL Dandy pair of boots you got here. CLOSER ANGLE JUDD Juan Fernandez made these for me in San Antone -- made them special -- had a hell of a time convincing him to put that hole in -- fine craftsman, Juan -- But he never understood the principle of ventilation. GIL I remember Juan -- always felt the boot should cover the foot. JUDD Short-sighted. They grin at each other. GIL Remember old Doc Franklin, the fancy boots he wore? With the flaps over the toes? Had them made, in Boston. (reminiscently) Old Doc. Know what happened to him? JUDD Heard he died. GIL That's right. It would've touched your heart to see the funeral. Old Doc. Gave thirty years of his life to make the West safe for decent people. You'd've wept to see the way they turned out to pay tribute to him. All three of them. The mortician, the grave digger and me. HECK Listening intently. BACK TO GIL AND JUDD JUDD (laconically) When I'm buried, I won't much care who comes to the funeral. GIL I was commenting on the fairest flower that grows within the human heart... gratitude. JUDD (donning boots) Only gratitude I expect is my paycheck. Twenty dollars worth. GIL That satisfies you? JUDD I guess it's all I can hope for. GIL Is it? JUDD According to the terms of my contract, it is. (rises) Let's get moving. He mounts, rides up the trail. Heck joins Gil. HECK (sotto, to Gil) You're just wasting your breath. He don't even know what you're talking about. GIL (easily) He will. In time. HECK When we're ready, let's just bend a gun barrel over his head and take off with the gold. GIL In the first place, boy, you couldn't get close enough to Steve Judd to saddle his horse. HECK That old man --? (then as Gil looks at him disgustedly) Well, you could -- Gil thinks about this for a moment. GIL Yes, I could -- but I won't. (Heck turns away) Unless I have to. They mount and, leading the pack horses, follow Judd. SLOW DISSOLVE: EXT. HIGH SIERRA (ROCKY AREA) - GROUP SHOT - DAY A steep gravel and rock section of trail. Judd, Gil, and Heck are afoot, leading the horses. Slipping occasionally on the treacherous footing. Gil stumbles, falls to a knee. Rises, shakes his head ruefully. CLOSER ANGLE GIL I hope Heaven forgives us for earning this easy money. JUDD I seem to remember a man saying he hankered for some old-time activity. GIL I'd like to see some old time mountains. As I recall, they were a lot easier to get around in. JUDD You do a lot of complaining in your old age. GIL I got something to complain about. You're earning twice as much for the same risk. (then) Plus possessing all the other rewards you've gathered during your years of loyal service. A bluegrass thoroughbred, silver mounted saddle, magnificent wardrobe. What more could a man expect -- hope for? JUDD You forgot to mention my two dollar watch. They reach the top of the incline. Judd mounts, rides on. HECK (undertone) Waste of breath. They mount, lead the pack horses, catch up with Judd, who rides his horse at a walk. MOVING SHOT - JUDD, GIL, HECK JUDD (to Gil) What more could a man expect? (dryly) I got to thinkin' about that one time -- well, sir, I keep records. When I became a lawman, the world lost a first-class bookkeeper. (as Gil looks at him) So, to pass the time one day, I sort of calculated, what it's worth to get shot at. Figured it about a hundred dollars a shot. GIL (raises his head, peers at Judd. Quietly) You would have earned quite a sum by now. JUDD Getting hit, I figure that's worth anywhere from a thousand on up. GIL (urging him on) That's three thousand I know you got coming. He glances at Heck, who has his hat pulled down over his eyes, shows no reaction to Judd's words. JUDD Four brings it up to date. Then tally up all the fights, bush-whackings, cold camps and the like... that time in Lincoln County -- five weeks in the hospital, six months out of work. Add it all up, I'd say I was owed about all the gold we could carry out of these mountains... That's something to hope for. Reaction from Heck as he stares at Gil, who responds with a smile. This unseen by Judd, who rides on. DISSOLVE TO: EXT. HIGH SIERRA HORSESHOE LAKE - DAY The Judd Party rides across the dry lake bed, only to halt when there is a CALL FROM BEHIND. THEIR P.O.V. as Elsa rides toward them. OUT Sequence omitted from original script. TWO SHOT HECK My luck has surely turned -- ELSA (as she joins them) Do you mind if I keep you company on the trip? HECK I don't mind. JUDD I do. GIL I'll second that. You've run away, haven't you? (she doesn't answer) Well, my advice to you, honey, is turn that horse around and ride back home where you belong. ELSA (touching a bruise on her face) I'm not going back to my father -- I'm going to Coarse Gold to marry Billy Hammond. HECK (reversing himself) What do you want to do a foolish thing like that for? ELSA That is my affair. JUDD She's right, Heck. Our business is transporting gold. Not girls. ELSA (sarcastic) Thank you for paying back our hospitality. (to Gil) Those lovely ham hocks, and everything. GIL I'm a strong believer in young love and gratitude, but -- ELSA (interrupts) Not strong enough to let me ride with you --? I'll ride by myself. JUDD (glance at sun, to Gil) We can get in another three or four miles before it gets dark. GIL Right. Got to cover ground. (to Elsa) Do you have a gun? ELSA No, I don't have a gun... OUT Sequence omitted from original script. NEW ANGLE GIL Too bad. (to Judd, quietly) This is mountain lion country, if I've ever seen any. (as Judd nods wisely; to Elsa) Well, build a good fire. Chances are it'll scare them off. HECK You both go on ahead... I couldn't sleep tonight with the thought of Elsa out here all by herself... I'll stay with her and meet you in Coarse Gold... Go ahead. Judd and Gil exchange glances. GIL Those mountain lions, some don't scare so easy. JUDD (after a moment, to Elsa) Come along. They ride out, Elsa all smiles, Heck not at all pleased. DISSOLVE TO: EXT. HIGH SIERRA - GROUP SHOT - LATE AFTERNOON As they ride by. DISSOLVE TO: EXT. MOUNTAINS (LAKE AREA) - TWO SHOT - NIGHT as Judd crosses with the coffee pot and pours Gil another cup. In the B.G. Elsa kneels, washing tin plates and cups, with Heck's help. JUDD Do you remember Old Man Teaford? Gil grins at the memory, then begins to laugh. JUDD (Indian dialect) All night, Logan. GIL (Indian dialect) Oh, yeah... Way up, Logan. They grin at the memory, then fall silent. GIL (finally) That was a long time ago. TWO SHOT - HECK AND ELSA HECK You know, the way you do your hair, it looks real nice. ELSA Think so? -- Pa had me cut it short. HECK Sort of fits in with the shape of your head when you see it from the side. (turns her head so it's in profile) Like that... Most girls don't have the first idea how to wear their hair. ELSA I guess you're an authority on what most girls do. HECK I've studied the subject. Not just what they do, but why. Take this getting married. You think that's a good idea? ELSA If I didn't, I wouldn't be here. HECK My guess is, you're doing it to get away from your Pa. Maybe to get even. ELSA I guess your guess is as good as anybody's. HECK If it's wrong, how come you run away? ELSA Because my father doesn't want me to get married. Oh, he says he does. If I can find a decent young man. (bitterly) But nobody's decent, according to him. (beat) You included. Said you were no good. Said the likes of you don't stop at talking. HECK (moves closer) Well, he might have a point there. (as Elsa turns her face toward him. Sharply) Don't move! Alarmed, she doesn't. Heck pretends to see something in the vicinity of her ear. Moves a hand slowly that way. Which brings his face close to hers. She follows his hand with her eyes, is suddenly kissed. For a few seconds Elsa doesn't resist. Then she fights, bites his lip. Heck yells in pain. Elsa rises, runs off. Heck touches his lip with his fingers, sees blood. Angry, he grabs her. She struggles, not too hard, to get free as Heck tries to kiss her. JUDD'S ARM ENTERS FRAME, grabs Heck, jerks him away from Elsa. OUT Sequence omitted from original script. DIFFERENT ANGLE - TO INCLUDE JUDD AND GIL (WITH COFFEE CUP) Heck tries to break away from Judd's grasp, suddenly lashes out with the fist of his free hand, knocking Judd to the ground. GIL Oh my -- oh my. From his reaction, it's evident he thinks Heck has made a big mistake. He leans against a tree, LIGHTS a cheroot, watches Judd's preparations for battle. JUDD AND HECK The older man rises, removes his coat, carefully folds and places it on a log. Advances on Heck, who lunges toward him, swinging punches, which Judd avoids, or takes on shoulders and elbows. GIL smoking, enjoying his coffee, watching Heck's comeuppance. BACK TO THE FIGHT Heck throws another series of punches, all skillfully parried by Judd. Who waits for the opening, finds it, throws his first and last punch, knocking Heck down. He's too groggy to rise. ELSA watching, sorry for Heck. FULL SHOT - GROUP Judd picks up his coat, puts it on, then speaks to Gil. JUDD When I questioned you about the boy, I should've gone a bit deeper into the subject of character. Hope that's a mistake I won't live to regret. GIL A bird in the hand -- Then falls silent as Judd turns to him. JUDD (with strange intensity) What are you trying to say, Gil? GIL (after a long moment) Good fight. I enjoyed it. Judd grunts, leads Elsa toward the fire. Heck is helped to his feet by Gil, who brushes off his clothing. GIL "That old man?" HECK (barely able to talk) That old man is about half rough. GIL You learned a lesson. HECK I surely did. GIL Got room for another? HECK Let her fly. Gil belts Heck, knocking him flat. Then picks him up and helps him to his feet. GIL (pleasantly, but firm) We're not here for romance -- do you understand me, Son? HECK (after a moment) I understand. DISSOLVE: EXT. MOUNTAIN (LAKE AREA) - TWO SHOT - ELSA AND HECK - NIGHT Elsa bends over Heck who is bedded down. ELSA (softly) I hope Mr. Judd didn't hurt you too bad. He turns away. She tries again. ELSA I guess it's kinda my fault... HECK (sourly) What do you mean, kinda? ELSA I acted silly. I'm sorry. I do like you... HECK Save the sugar talk for your Billy- boy. I don't need it. ELSA (angered) I guess not. What you need is the kind of a girl who'd go off with you to San Francisco or Denver... HECK That's right. And there's plenty of them. ELSA I changed my mind. You got just what you deserve. Elsa stamps off to her bedroll. Heck rolls over, sees Gil grinning at him. DIFFERENT ANGLE HECK You got something to say? GIL No, I think she about covered everything. DISSOLVE: EXT. HIGH SIERRA - DAY Judd's Party is profiled against the sky, moving up an incline. SLOW DISSOLVE: EXT. COARSE GOLD - DAY A gold-mining camp in the raw Granite High Sierras. Hub of the business and social life of some one hundred miners who operate penny ante claims in the area. A narrow street wanders between a row of tents. The camp boasts one new frame building, bearing the legend KATE'S PLACE. Seated on a camp stool beneath the sign, taking an occasional drink from a bottle is KATE. She is a big woman, full of bourbon enthusiasm. With her are two of her Girls. OUT Sequence omitted from original script. KATE'S P.O.V. Judd's Party rides into camp. MOVING SHOT THEIR P.O.V. Judd's Party notes the following activity: an Indian SQUAW, trimming the beard of a MINER outside a tent; a MINER, passed out and sleeping it off; the slops from a bucket, thrown from inside a tent, narrowly missing the Party, draws a dry comment from Gil. MOVING SHOT ON GROUP GIL Lovely place. A beauty spot of nature -- a garden of Eden for the sore in heart and short of cash. JUDD We didn't come here to admire the scenery. Shrill LAUGHTER and GUFFAWS come from Kate's Place. GIL The High Sierra Crochet and Garden Society seem to be having their weekly meeting. JUDD (ignores this) Pass the word around we're in camp and ready for business. (to Heck) Find out where the Hammond claim is and take -- (indicating Elsa) -- her there. HECK Why me? GIL Because Steve and I are going to be busy weighing gold dust. JUDD (to Elsa) It's not too late to change your mind... ELSA (angry glance at Heck) I came to be married and that's what I'm going to be -- married! JUDD Good luck, then. GIL All the happiness in the world. Judd takes the lead rope on Heck's pack horse and stays with Gil while the young people ride on. More SHRIEKS AND LAUGHTER from Kate's Place -- draws Gil's attention. GIL (as they ride O.S.) This seems to be the place to find it. HECK AND ELSA HECK You might be in for a surprise... How do you know Billy-boy still wants to marry you --? ELSA What do you care? HECK (snapping back) I don't! DISSOLVE: EXT. HAMMOND CLAIM - DAY Three tents are pitched in the rocks. Water from a distant and unseen stream flows down a wood flume to spill into a sluice box, where gravel, transported to the box by wheel- barrow, is 'panned' in the swiftly flowing water. Beside the sluice box is a wash stand, soap, razor, towels, and mirror. Occupied with various chores are the HAMMOND BROTHERS. Clannish Southerners, they share a sardonic attitude toward life in general, and a latent appetite for violence. ELDER HAMMOND, thirty-five, the bearded 'head' of the family, also the largest. Powerful physique, impassive countenance, his decisions are accepted by his brothers without question. SYLVUS, next in age, sports a big moustache, lean, wiry, smiles often, but only with his lips, not the eyes. HENRY, mid-twenties, the 'dirty' one of the group, badly in need of a haircut, wears filthy clothes, chews tobacco, parts his thin beard with thumb and forefinger of a hand when spitting, called 'Henery' by the others. At present he is not in evidence. BILLY, twenty-five, dark and handsome in a wild, flamboyant way. A smiling, devil-may-care personality. More colorfully dressed than his brothers, in a manner calculated to draw attention to him. While not the oldest, the unofficial leader of the group. JIMMY, nineteen, gangling and fuzzy-cheeked. What he lacks in brains, he makes up for in petty meanness. Billy is behind a tent, chopping wood. Sylvus stirs a pot on an outside cook stove. Elder works beside the sluice box. Jimmy wheels a barrow load of gravel to the box, dumps it on the ground. ANOTHER ANGLE Excepting Billy, the brothers are alerted by the CALLS OF A MAGPIE. Sylvus disappears in a tent to reappear with a rifle. Presently Heck and Elsa ride out of the granite into the clearing. Are regarded with suspicion by the Hammonds. HECK This the Hammond claim? ELDER Who wants to know? HECK Me. I'm looking for Billy Hammond. Billy appears, carrying a load of wood. ELSA Billy! Dismounts, runs toward him. Billy drops the wood, runs to embrace her. They kiss. JIMMY (to Elder) Must be the girl he's been going down the mountain to see. ELDER I'll say one thing, she's sure worth the trip. JIMMY Wish I'd got there first. (spits) Looks like a warm one. BILLY Where's your Pa? ELSA Back home, where do you think? BILLY You run away, just to see me? ELSA (little worried) See you? Don't you remember what you said? BILLY I said a lot of things. ELSA I mean about us. (indicates laundry bag) I brought my mother's wedding dress. (quickly) If you still want to. ANOTHER ANGLE BILLY (yelling to brothers) Hear that? Prettiest girl in California, and she says, if I want to. SYLVUS (to Elsa) If he don't, you got four others to choose from. ELDER Girl like you deserves the pick of the litter. So there's no rush about making up your mind. BILLY (kisses Elsa) Don't listen to them. We're getting married tonight. ELSA (radiant, looks at Heck smugly) I guess that'll be all, Mr. Longtree. BILLY Just who is Mr. Longtree? ELSA I rode up with him from the farm. BILLY That's a couple of days on the trail, ain't it? HECK That's right -- and a coupla nights. The brothers eye Heck coldly. ELSA There were two other men with us from the bank, in Hornitos. Besides, (faint note of irony) Mr. Longtree was a perfect gentleman. SYLVUS How come? Something wrong with him? BILLY I don't think I ever met a perfect gentleman before. I am truly honored Mr. Longtree. Truly. Faint, contemptuous grins from the brothers who nudge each other. The grins broaden. Heck, doing a slow burn, turns his horse, rides off. Stops when he HEARS DERISIVE LAUGHTER from behind. Glares back, then rides on. CLOSE SHOT - FEATURING BILLY AND ELSA Billy picks her up and swings her -- she squeals excitedly and provocatively. Billy stops -- looking off. BILLY Sylvus, Jimmy -- come over here. I want you to meet my woman. Elder -- come here. ANOTHER ANGLE The three brothers move up to Billy and Elsa -- stop, grinning a little. BILLY That's Jimmy. He's our youngest. Next is Sylvus, he's our cook -- as you can see. And that there's Elder -- he's head of the family. (after a moment) Well, boys -- say hello to the gal. JIMMY (after a moment) How do... Sylvus grins. Elder nods and moves away. BILLY Now I want you to meet my favorite brother. Henry -- you come on down and meet my gal. HIS POV - CLOSE SHOT - THE MAGPIE CAMERA PULLS BACK to INCLUDE HENRY talking to the bird on his shoulder as he walks into camp. HENRY (to Elsa) What he meant to say was the richest. BILLY Henry's our banker. The brothers ROAR with LAUGHTER -- then: BILLY Come on, Honey. I'll show you my tent. He and Elsa cross toward the tent. The brothers look after Elsa appreciatively. EXT. COARSE GOLD - FULL SHOT - TENT - DAY Half a dozen MINERS are in a line entering the tent. And more approach from both directions on the street. Each miner carries his poke of gold dust, a buckskin or leather pouch. Beside the tent entrance a proclamation has been pinned. It says: NOTICE The Hornitos National Bank has authorized MR. STEVE JUDD to accept deposits of gold dust and issue receipts for same. The Bank agrees to be liable for such deposits, and to honor all receipts in full. LUTHER SAMSON, Pres. INT. TENT - FULL SHOT - DAY where Judd, seated at a rickety table, writes out receipts for dust weighed by Gil. And tagged with the owner's name. Kate takes a receipt from Judd. GIL (dryly, to Kate) Looks like you've got a pretty good claim. KATE (flouncing out) It's a gold mine, honey. Come on over and take a look. She leaves. Heck, still angry, enters. GIL (putting weights on the balancing pan) Find Billy Hammond? HECK Yeah. JUDD What's he like? HECK What difference does it make? She wanted him, now she's got him. GIL Count your blessings, brother. (has balanced gold. To Judd) 6 pounds, 8 ounces, 3 pennyweight, 14 grains, total. JUDD (jots this down) 6 pounds, 8 ounces, 3 pennyweight, 14 grains. DISSOLVE: EXT. HAMMOND CLAIM - DAY - CLOSE ON JIMMY HAMMOND bound and tied protests as Henry and Elder lather his face with a shaving brush. JIMMY Damn the both of you, I don't want to be shaved. HENRY Well, you're gonna be, whether you like it or not. ELDER You been running around with peach fuzz long enough. We want that girl to know she's marrying into a family of men. Henry exchanges brush for razor. Grabs Jimmy's nose, starts to shave a sideburn. ELDER If you don't stop wiggling you'll likely lose an ear. EXT. TENT - FULL SHOT - SIGN It reads: HONEYMOON HOUSE. INT. TENT - FULL SHOT - DAY Billy gathers up Sylvus' belongings, wraps them in blankets taken from one of two cots. Elsa glances around, appalled at the filth and litter -- an empty tin can, broken bottles, socks and underwear hanging from a string clothes line, etc. She starts to pick up litter as Sylvus enters, takes his belongings from Billy. Sylvus starts out, then stops. Tosses his gear back onto the cot. SYLVUS Nossir. Don't see no reason to move out, just 'cause you're honeymoonin' in here. This dismays Elsa. BILLY (to Sylvus) I don't have time to explain it. SYLVUS Well, I ain't goin'. Billy smiles and knocks Sylvus out of the tent. BILLY You just did. Then he picks up Sylvus' belongings and throws them after his brother. EXT. TENT as Sylvus rises in time to catch the clothes in his face. Discouraged, he wanders over to where his brothers are shaving Jimmy, picking up a jug on the way. SYLVUS (taking a drink) You know, I think Billy's getting small minded about that woman. INT. TENT - TWO SHOT - DAY Billy embraces Elsa. They kiss. After a moment, Elsa breaks out of the embrace. ELSA (flushed) I've got to clean up in here. BILLY (kissing her) Plenty of time for that later. ELSA (after a moment) No, I want to do it now. The place is filthy and -- (still struggling) Let go, Billy. (a little angrily) Let me go! Billy releases her. Smiles gently, reassuring Elsa. BILLY All right. See you later. (starts for entrance, pauses) If you need any help fastening up your wedding dress, just holler. ELSA I can manage. Billy leaves. Elsa glances around, discouraged at the sight. EXT. HAMMOND CAMP - FULL SHOT - SLUICE BOX - DAY HENRY Well, now he's had his first shave, let's make a complete man out of him. (proffers jug) Time for your first drink. JIMMY (irritably) I don't want a drink. Henry, Elder, Sylvus exchange glances. ELDER It ain't so much what you want. (again seizes Jimmy's arms) It's what your brothers tell you to do. Jimmy struggles as Sylvus forces his mouth open and Henry pours whisky down his throat. Then all step back, LAUGHING, as the boy chokes and gags to his first taste of hard liquor. JIMMY (trying to spit out whisky) Damn you! Damn you! DIFFERENT ANGLE Billy joins the group. BILLY You plan to bathe, Henry? HENRY No, sir. ELDER You won't clean up for Billy's wedding? HENRY No sirree. Didn't wash when Cousin was wed back home... (grins) Didn't seem to bother his bride none. BILLY (removing shirt) There'll be none of that. HENRY (innocently) None of what? NEW ANGLE Billy ignores the question and getting a bar of soap, starts to wash in sluice box. Henry, Sylvus, Elder exchange smiling glances. HENRY You're right. Billy's becomin' small minded about that female. SYLVUS Small minded and feisty. ELDER A few drinks under his belt, he'll change his mind. Liquor has a softening effect on Billy. Billy glances back at his brothers, resumes washing. BILLY (pointedly -- looking at Henry) Hate to get married with one of my brothers smellin' bad enough to gag a dog off a Gut Wagon. ELDER (nods) That's so. (to Henry) Want that sweet little girl to think we're less than quality? HENRY After tonight she won't be able to think enough about... They laugh for a moment -- then jump him. Elder grabs the jug as Sylvus pushes Henry into the sluice box. To the HILARITY of all but Henry, who emerges, sputtering, from the water. Glares at Elder and Billy, then grins slyly. And hurries off. DISSOLVE: OUT Sequence omitted from original script. EXT. COARSE GOLD - MOVING SHOT - THE WEDDING PARTY As they ride into town. The brothers are dressed in their Sunday best. Elsa wears riding-boots, and the wedding dress, old and faded. The horses are held to a walk, as Elsa must ride side-saddle on a conventional saddle. The brothers are all singing: THE BROTHERS (singing) On that bright and shining morning When the dead Christ shall rise When the morn shall break eternal bright and fair And the saved of earth shall gather Over on the other shore When the roll is called up yonder We'll be there. When the roll is called up yonder When the roll is called up yonder When the roll is called up yonder We'll be there. Oh, the Hammond Boys are comin' With a maiden young and fair And our Billy's got that love-light in his eyes Old Tolliver's awaitin' with a prayer book in his hand To tie the knot that binds them till they die. (Repeat chorus) MED. SHOT - JUDD'S TENT ILLUMINATED BY A LANTERN. A line of MINERS are at the entrance. Heck glances out, sees the wedding procession, steps outside, stands beneath the lantern, watching. HECK'S POV SHOT - WEDDING PARTY halting at Kate's Place, also ILLUMINATED BY A LANTERN. Elsa, lowered to the ground by Billy, sees Heck down the street. Looks at him for a few seconds. CLOSE SHOT - HECK looking at Elsa. INT. KATE'S PLACE - FULL SHOT - NIGHT Garishly furnished, with shabby rococo chairs and divans, a plank bar, and a Mexican guitar player -- El Quite. TINKLING JAPANESE LANTERNS hang from the ceiling. Seated at a table and now well into his cups is JUDGE TOLLIVER, a traveling, self-appointed dispenser of justice. The Judge wears "formal", if seedy, garb. From a corridor at the rear emerges KATE and the four GIRLS, BELLE, ROSE, CANDY and SAM. The Girls lined up facing the door have pale faces, dead eyes. All have been drinking and are more than a little sentimental. They are dressed in the manner of dance-hall girls fancied up for a wedding of that period. The room is full of miners, and a few squaws all dressed in their finest. KATE (to Tolliver) Stand up, Judge -- here comes the bride. NEW ANGLE - THE WEDDING PARTY - ENTERING KATE'S PLACE Billy leads Elsa to the Judge's table. BILLY (proudly) Here she is, my bride-to-be. Elsa, this is Judge Tolliver. And Kate, your bridesmaid. KATE Welcome to Kate's Place. JUDGE Pleased to make your acquaintance, my dear. BILLY I want you to meet Belle, Rose, Candy and Sam. BELLE We're your flower girls, Honey. KATE (to the girls -- meaning it) You look beautiful -- just beautiful. Aren't they beautiful, Elsa? Elsa finally nods. KATE (calling off) Let her go, Charlie. She waves to the piano player and he begins. Kate and her girls sing: KATE AND GIRLS For she's a jolly good fellow She's a jolly good fellow For she's a jolly good fellow Which nobody can deny. GROUP SHOT As the miners and brothers begin to sing the second verse: MINERS AND BROTHERS (singing) Which nobody can deny Which nobody can deny For she's a jolly good fellow She's a jolly good fellow Which nobody can deny. Elsa is silent, numb. KATE (as the song breaks up in CHEERING) All right, girls, take care of your customers. (to the crowd) Drinks are on the house. (to Elsa) Now, child, sit down, be easy -- and we'll all of us have a little drinkie before the formalities. Elsa sits. KATE Drink up, Honey -- go ahead. Don't be afraid. Elsa looks at her without speaking, then turns to Billy, who takes a long drink from a quart bottle and grins at her. INT. JUDD'S TENT - FULL SHOT - NIGHT The last depositor leaves. Gil lights a cheroot, watches Heck drop a tagged poke into a pouch. GIL All in all, I'd say it's been a reasonably productive day. (to Judd) Although it's a little closer to eleven than 250 thousand. JUDD Fortunes of war. GIL (lost in thought, after a moment) Hardly worth it. JUDD It all depends on where you stand. GIL I guess that's right. To a poor man 11 thousand is just as far away as 250 thousand. Heck goes toward the entrance. JUDD Where you going? HECK Out for some fresh air. Any objection? (leaves) OUT Sequence omitted from original script. EXT. COARSE GOLD - FULL SHOT - TENT Heck stops outside, looking down the street at Kate's Place. INT. KATE'S PLACE - NIGHT Judge Tolliver, somewhat taken with drink, reads the wedding service. Faces a wide-eyed apprehensive Elsa, a bleary-eyed Billy. Kate stands behind Elsa. Behind the couple are Billy's four brothers. Almost everyone is crying. JUDGE TOLLIVER We are gathered here in the high mountains, and in the presence of this august company, to join together this man and this woman in matrimony... Now matrimony is an honorable estate, instituted, blessed, and commended and commented on by almost everybody. (then to Billy and Elsa -- gently, simply) I am not a man of the Cloth, and this is not a religious ceremony. It is a Civil marriage. But none-theless, it should not be entered into unadvisedly, but reverently and soberly... You know, a good marriage has a kind of simple glory about it. A good marriage is a rare animal, hard to find -- almost impossible to keep... (stumbling, remembering) I don't know -- you see... Well, people change. It's important for you to know at the beginning that people change. You see, the real glory of marriage don't come at the beginning. It comes later and it's hard work. GROUP SHOT - FEATURING SYLVUS as a miner turns to him. MINER I wish they'd liven things up a bit. I'm getting awfully dry. Sylvus turns and with one short punch, knocks the man unconscious. MED. SHOT - JUDGE He reacts, then hurries on with the ceremony. JUDGE TOLLIVER Do you take this woman to be your lawful wedded wife? And promise that you will perform unto her all the duties that a husband owes his wife -- until God, by death, shall separate you? BILLY I do. JUDGE TOLLIVER (to Elsa) And do you -- (he hesitates) What did you say your name was? ELSA Elsa Knudsen. JUDGE And do you, Elsa, take this man to be your lawful, wedded husband until death shall separate you? ELSA I do. JUDGE (to Billy) Do you have a ring? Billy gets a ring from Kate, places it on Elsa's finger. JUDGE TOLLIVER Then by the 'thority vested in me I pr'nounce you man and wife. KATE All right, girls -- change your clothes. Billy kisses Elsa. Henry SHOUTS THE REBEL YELL. The MUSIC starts a fandango and two of the brothers begin to dance with two of the girls. The others pull Billy away from Elsa, take turns kissing her. Then one dances with her, trying to kiss her at the same time. The rest of the crowd breaks up -- some dancing with squaws -- others with each other. All drinking and all having a hell of a good time. EXT. COARSE GOLD - MED. SHOT - HECK - NIGHT Heck has moved to a place near Kate's door. Scowling, watches the activity through the open door. INT. KATE'S PLACE - FEATURING ELSA - NIGHT Dancing with Sylvus who nuzzles her neck, tries to kiss her. Billy pulls Sylvus away, takes no more than two steps with Elsa when he in turn is pulled away by Elder and pushed into the arms of one of the girls. The other girl leads Henry into the corridor. Kate drinks with the Judge, both enjoying the action. EXT. COARSE GOLD - HECK - NIGHT Judd approaches, stops, sensing his feelings. JUDD No use standing here tormenting yourself, Son. Come on, I'll buy you a drink. Heck reluctantly goes back with him. INT. KATE'S PLACE - FULL SHOT - NIGHT where the party gets wilder. Elsa, beginning to panic, tries to fight free of Elder, whose dancing is confined to a few shuffling steps as he tries to kiss her. Sylvus pulls Elder away, starts for Elsa, is knocked down by Elder, which gives Billy the opportunity to join her. BILLY Let's get out of here. She is only too happy to. Billy guides Elsa toward the corridor, flattening Sylvus, who makes a grab at her. Sylvus gets up and has a drink. Around him, other fights break out. Billy stops, watching the fights, drinking. Notices Jimmy and one of the girls enjoying themselves. BILLY (to Elsa) Tonight's sure making a man out of Jimmy. The fight continues and he moves toward it. Elsa grabs him. ELSA Don't leave me. He looks at her a moment, then grins and pulls her into the corridor. INT. CORRIDOR - KATE'S PLACE - ELSA AND BILLY - NIGHT as they hurry the length of the corridor and enter a room near its end. The corridor is doorless, a cul-de-sac. INT. BEDROOM - KATE'S PLACE - NIGHT Elsa and Billy enter. She is surprised at finding herself in a bedroom, starts to protest. Stopped by Billy's embrace and kiss. Struggles when his pawing hands try to remove her clothing. Fights, crying softly. Billy tears a sleeve of her gown, finally pushes her onto the bed. Staggers to the door, SLAMS it closed. Steps atop a rickety chair to draw down the window shade, but the chair collapses and Billy falls to the floor, momentarily unconscious. The DOOR BURSTS OPEN and Henry stands in the opening -- swaying, grinning at the terrified girl. INT. JUDD'S TENT - FULL SHOT - NIGHT Judd pours three drinks from a pocket flask. The SOUND OF REVELRY from Kate's Place is HEARD. JUDD I wish I'd known more about those brothers. HECK (softly) Too late now -- she's married. GIL (happily) Glad they didn't invite me to the ceremony. I always cry at weddings. HECK (flatly) You know, Mr. Westrum, the more I am around you the more I can do without your sense of humor. Gil reacts to Heck's