"STAGECOACH" Screenplay by Dudley Nichols and Ben Hecht Based on the story "Stage To Lordsburg" By Ernest Haycox SHOOTING DRAFT Fade in to a scene of wild countryside. Menacing music begins as a stagecoach appears going away towards the horizon. Dissolve to the stagecoach crossing the screen against a dawn sky, followed by a cavalry troop. Dissolve to the cavalry troop riding against the dawn on the horizon. Dissolve to a similar shot of a band of Apaches, riding furiously towards us. Dissolve to a tremendous vista of desert and mountains against the sky with a glimmer of dawn on the horizon. The stagecoach appears and crosses the screen. Fade out. Title: 'Until the Iron Horse came, the Stagecoach was the only means of travel on the untamed American frontier. Braving all dangers, these Concord coaches -- the "streamliners" of their day -- spanned on schedule wild, desolate stretches of desert and mountainland in the Southwest, where in 1875 the savage struggle of the Indians to oust the white invader was drawing to a close. At the time no name struck more terror into the hearts of travellers than that of GERONIMO -- leader of those Apaches who preferred death rather than submit to the white man's will.' Fade in to another shot looking over the desert and mountains. In the distance we see riding rapidly towards us two frontier figures brandishing rifles -- typical scouts of the U.S. Army at the time. Dissolve to a U. S. cavalry camp set against a background of desert and mountains. It is early morning and the American colours are being hauled up. In the foreground, a bugler is sounding the reveille, and several soldiers pass, leading barebacked horses. An officer on horseback watches the colours being raised into position. The bugler sounds another salute, blowing the call for colours. In the distance, we see the two scouts riding rapidly towards the camp, one white, the other an Indian. They gallop in... and are joined by the officer on horseback. Dissolve to a bare room with whitewashed adobe walls -- the headquarters of Captain Sickels, the commander of a troop of cavalry stationed at the town of Tonto, Arizona. Capt. Sickels sits at his desk with Lt. Blanchard, a young officer just out of West Point, standing over him. We see the two figures who came riding in across the desert so furiously. The White Scout wears buckskin, his hair long in the frontier fashion of that day. He stands opposite the captain on the other side of the desk where a large map is laid out showing the Territories of Arizona and New Mexico as they were in 1885. The other scout is a full-blooded Cheyenne, a powerful-looking Indian who stands impassively. A Non-Commissioned Officer of the Signal Corps is also in the room; he sits at a pine table on which is a telegraph instrument. The White Scout sweeps his finger across the map, covering the area from the San Carlos Reservation. There is a feeling of tension in the room. WHITE SCOUT These hills are full of Apaches! They've burned every ranch in sight. His finger sweeps the map; his head nods to the impassive Indian. WHITE SCOUT He had a brush with them last night. Says they're being stirred up by Geronimo. The word has a striking effect on Sickels and Blanchard. Even the telegraph operator takes a step forward. CAPT. SICKELS Geronimo? He turns to the Indian, regarding him narrowly. CAPT. SICKELS How do we know... Cut to medium close-up of the Indian standing still. CAPT. SICKELS (continuing, off) ...he's not lying? WHITE SCOUT (off) He's a Cheyenne. They hate Apaches worse than we do. Resume on a medium shot of the whole group as before. Capt. Sickels swings round in his seat towards the N.C.O. There is a moment of tension as he looks at the two scouts, now convinced. The telegraph instrument begins to chatter, and Sickels turns to the N.C.O. decisively. CAPT. SICKELS Clear the wire to Lordsburg. N.C.O. (already sitting down to the telegraph key) That's Lordsburg calling. They seem to have something urgent for you, sir. Sickels goes and stands by the N.C.O. The others gather round watching as he clicks his key in reply and then takes up a pencil, writing as the instrument chatters. He has written only a few words before the instrument abruptly stops. He tries his key, but the sounder is silent. He tries it again, impotently. CAPT. SICKELS (sharply) Well? Cut to medium shot of the Captain standing beside the N.C.O. CAPT. SICKELS What's wrong? N.C.O. (still trying his key) Line's gone dead, sir. Sickels impatiently indicates the sheet of paper on which the N.C.O. had begun to write. CAPT. SICKELS What did you get? N.C.O. (handing the paper to Capt. Sickels) Only the first word, sir. CAPT. SICKELS (looking up) 'Geronimo'. Camera pans right as Sickels passes the paper across in front of the N.C.O. to Lt. Blanchard. The White Scout stands beside him. There is a silence that is heavy with menace as the men look at each other. Dissolve to the main street of Tonto, where a few cow ponies and buckboards are hitched along the racks in front of the stores. Three men stand on the sidewalk. As we hear the clatter of horses, camera tracks left, and round the corner at the end of the street comes the Concord stagecoach, bounding along behind six lathered horses. Camera pans right with it as it clatters down the middle of the street. We see the street in long shot, as the stagecoach comes near. Camera pans across the street as the stagecoach passes and goes off in foreground. Another long shot across the street shows: OVERLAND STAGE COMPANY, written in large letters over a gateway with the office to one side; the Oriental Saloon is next door. People are running out of the saloon and from the stores to see the biggest daily event there is in town -- the arrival of the stagecoach, which comes towards us and pulls up in front of the gateway. A crowd has gathered and more men rush up on horse and foot. The Shotgun Guard is seen from below getting down from the driving-seat. Various voices can be heard shouting greetings to the driver, Buck Rickabaugh. Buck is an important and proud man, and loungers call to him, eager for recognition. VARIOUS VOICES (off) H'ya, Buck!... Howdy, Buck!... How's things in Bisbee, Buck? Have a good trip? Meanwhile the Shotgun Guard, who has guarded the treasure box from Bisbee, jumps down to the sidewalk. SHOTGUN GUARD So long, Buck. Men begin unhitching the horses. Buck acknowledges the cheery greetings as the Wells Fargo Agent in Tonto pushes his way through the crowd. WELLS FARGO AGENT Howdy, Buck. Got that payroll for the mining company? Buck kicks the box which is under his seat. BUCK She's right here in this box. The Wells Fargo Agent climbs up to the top of the coach, calling to a colleague as he does so. WELLS FARGO AGENT Give us a hand with this box, Jim. BUCK Jim, I'll pay you that $2.50 when I get through. JIM Okay. The two agents get the box down and carry it off between them -- Buck looks over his shoulder to the other side of the coach. BUCK Now you kids, get away from them wheels! He starts to get down and calls out to the men who are leading the horses away. BUCK Well... sir, we ran into a little snow up there, quite bad, so you fellers better prepare for a good frost. He jumps down and disappears round the side of the coach. The Tonto Hotel is seen on the other side of the road. Medium shot of the stagecoach as Buck comes round to open the coach door. BUCK Passengers out for Tonto... A Tonto businessman climbs out and two figures remain sitting in the coach. Through the rear window can be seen Mrs. Lucy Mallory, her cloak drawn about her; she looks tired, yet there is great strength of character in her clear face. Through the other window can be seen a meek little man named Samuel Peacock, who is sitting on the front seat opposite her. There is something gloomy and parsonical about his whole appearance. He looks thoroughly uncomfortable and uneasy in this wild environment. Buck, with two or three little boys tagging at his heels, proud of being close to such a great man, sees that these last two are not moving to get out and calls in to them. BUCK You folks might as well stretch your legs... He looks at Lucy, coughs and corrects himself. BUCK ...your limbs, ma'am. We're changin' horses here. He helps Lucy out and she holds her cloak about her. Her voice is crisp and well-bred with just a trace of Virginia in it. LUCY Is there some place where I can have a cup of tea? Tea is not quite in Buck's lexicon. He removes his hat, scratches his head and speaks politely. BUCK Well, ma'am, you can get a cup o' coffee right there in the hotel. LUCY Thank you, driver. BUCK (who has a tender heart) You ain't looking very pert, ma'am. LUCY (as she leaves) I'll be all right, thank you. BUCK Yes, ma'am. A medium shot of the porch of the Tonto Hotel, at one side of the Oriental Saloon, shows an attractive young girl sitting with a U.S. Army Captain standing beside her. She gets up as Lucy Mallory appears, walking towards the door of the hotel. GIRL Why, Lucy Mallory! She runs towards Lucy. LUCY (gladly) Nancy! (to the officer who comes to join them) How are you, Captain Whitney? NANCY What are you doing in Arizona? Seen in medium shot, Lucy and Nancy stand by the door of the hotel. As she speaks, an immaculately dressed gentleman, wearing a white hat, comes through the door behind them. LUCY I'm joining Richard in Lordsburg. He's there with his troops. CAPT. WHITNEY (off) He's a lot nearer than that, Mrs. Mallory. He's been ordered to Dry Fork. NANCY That's the next stop for the stagecoach. You'll be with your husband in a few hours. Lucy's face lights up with pleasure and they all turn and start to go in through the door. The well-dressed gentleman, Hatfield, stops short in the doorway and stares for a split second at Lucy. She reacts to his stare. Hatfield recovers himself, lifts his hat politely and stands by to let them go inside. The tables and chairs beside the window of the hotel are seen in medium shot from the hotel lounge. Lucy, Nancy and Capt. Whitney come in and the two ladies sit down. NANCY I'm so glad to see you, Lucy. Sit down with us and have a cup of coffee. You must be tired from that long trip. As they sit down, Lucy looks out of the window and notices Hatfield standing in the street outside and looking through the window. She turns to Nancy, interrupting her. LUCY (curiously) Who is that gentleman? The Captain answers quietly as his wife looks indignant. CAPT. WHITNEY (standing, looking out of the window) Hardly a gentleman, Mrs. Mallory. NANCY I should think not. He's a notorious gambler. They all look curiously out of the window at Hatfield. He notices them and turns and walks away across the street, going with easy grace towards the saloon. A medium shot takes us inside the U.S. Marshal's office. It is a one-storey frame shack with a sign on the window. 'Curly' Wilcox, the U.S. Marshal, sits behind a desk littered with papers, his feet propped on one edge of it. A couple of deputy marshals are lounging in the office. One sits in the foreground on a chair; the other stands in the background leaning on the windowsill. Curly is lighting his pipe as Buck comes in, importantly. BUCK (to the deputies) Hello, Mick. Howdy, Frank. Well, Marshal, I'm looking for my Shotgun Guard. Is he here? Curly is seen from above in medium close-up, leaning forward and shaking his head. There is a rack of shotguns propped against the wall behind him. CURLY Out with a posse, Buck... tryin' to ketch the Ringo Kid. He pushes a picture across the desk. With the burning match he indicates the photograph. He shakes out the match and throws it on the floor. Buck, seen from below in medium shot, looks down at Curly. His hands are in his pockets, and he is surprised. BUCK Ringo! I thought Ringo was in the pen. CURLY (off) He was. Buck picks up the picture and grins. BUCK Busted out? Well, good for him. Resume on the group in the office. FIRST DEPUTY It's my guess the Kid's aimin' to get even with them Plummer boys. SECOND DEPUTY Yeah, it was their testimony sent him to the penitentiary. BUCK All I can say is he better keep away from that Luke Plummer. Gosh, Luke's run every friend o' Ringo's out of Lordsburg. Change to a low angle medium shot of Buck, who likes his unofficial job of carrying news from town to town. BUCK Last trip there I seen him hit a rancher with his gun barrel an' lay his head open like a butchered steer. Cut to a high angle medium shot of the Marshal, who leans forward. His feet have dropped to the floor with such a bang that Buck looks at him, wondering at the effect of his words. CURLY You seen Luke Plummer? In Lordsburg? Resume on Buck. BUCK Yes sirree. Close-up of Curly looking thoughtful. There is a pause as he looks from one to the other. Cut back to the shot of the group in the office. Curly gets to his feet, reaching out for a rifle which is leaning against the wall. The deputies watch him curiously as he addresses them. CURLY You boys take care of the office for a coupla days. He picks up the rifle. CURLY I'm goin' to Lordsburg with Buck. (as he gets his coat, he explains gruffly to Buck) Goin' to ride shotgun. They go out together, Buck protesting weakly. BUCK Oh lor', Marshal, when am I going to learn to keep my big mouth shut... Outside the Tonto Bank, we focus on the glass panels of the bank door. White letters on one side read: MINERS' AND CATTLEMEN'S BANK and on the other: CAPITAL $50,000 -- ASSETS $250,000. The bank is situated across from the Oriental Saloon and we can see the stagecoach reflected in the glass, with a crowd of people around it watching as fresh horses are hitched up. Dissolve to the interior of the bank. The two Wells Fargo agents appear, heaving the large iron treasure box onto the counter in front of Henry Gatewood, a prosperous-looking gentleman, who stands behind the counter. He seems to be an important man who commands respect in this Arizona frontier town. A big, old-fashioned iron safe is in a corner behind the counter. At the front of the office there is a wicket, and an old cashier is doing some business with a couple of ranchers. WELLS FARGO AGENT Payroll, Mister Gatewood. GATEWOOD You know, ever since I opened this bank, I've been trying to tell those people to deposit their payrolls here six months in advance. It's good, sound business. Gatewood begins to write a receipt as the Agent takes a package of money from the box and puts it on the counter. WELLS FARGO AGENT (pleasantly) It's good business for you, Mr. Gatewood. GATEWOOD Here's your receipt. Fifty thousand dollars. He smiles affably. GATEWOOD And remember this -- what's good business for the banks is good for the country. The two agents pick up the empty box and go out, watched affably by Gatewood. End scene on a close-up of Gatewood staring after them with a slight frown. On the Tonto street a group of stern-faced women, all wearing badges, march along in almost military order, camera tracking beside them as they go. In front of them, at a safe distance, walks a girl named Dallas, accompanied by a rather kindly, middle-aged and embarrassed Sheriff. Dallas is carrying a valise. Medium shot of Dallas, tracking beside her as she walks along the wooden sidewalk, the Sheriff just behind and the Ladies of the Law and Order League following. Medium shot of the Ladies of the Law and Order League marching grimly behind. A closer shot of Dallas as she walks. It is obvious that she is suffering some inner distress and seems close to tears, but her mouth is set hard in the attempt not to reveal her feelings. A sudden outcry off-screen makes them stop short. DOC (placatingly, off) Now, my dear lady... A sign, nailed beside the doorway of a house on the street, reads: DR. JOSIAH BOONE, M.D. The door opens and Doc Boone hurriedly appears, a hard-faced Landlady behind him. He is somewhat unsteady on his feet, but he has not lost his optimism and good nature. In his flight he has hurriedly grabbed up an old blue Union Army overcoat and a small bag which is his medicine case. Camera tracks back slightly as they come out onto the porch. LANDLADY (shrilly) Don't you 'dear lady' me, you old deadbeat! I'm keeping your trunk because you ain't paid your rent. Feature Doc Boone as he balances himself carefully on his two feet, gets a better grip on his overcoat and medicine case, and lifts his hand jovially to the angry woman. DOC 'Is this the face that launched a thousand ships...' Feature the hatchet-faced Landlady, hands on hips, as she looks at him sternly through her steel-rimmed spectacles. DOC (off) '...And burned the topless towers of Ilium?' Cut back to Doc Boone raising his hand dramatically to his lips and blowing her a kiss. DOC 'Farewell, fair Helen.' His eye catches sight of the sign fixed on the wall by the door and he leans over and wrenches at it, determined to take all his stock-in-trade with him. He rips it off and tucks it under his arm; then, with a last look at the Landlady, he walks off. Close-up of Dallas, backed by two of the Ladies of the Law and Order League. She looks distressed by the turn of events. They look rather pleased. DALLAS Doc! Doc!... She hurries forward. Doc Boone sways along in medium shot with his doctor's bag and overalls in one hand and his notice under his arm. Camera pans slightly right as Dallas rushes up to him. The Sheriff and the Ladies of the Law and Order League can be seen in the background, watching. DALLAS (desperately) Doc! Can they make me leave town? When I don't want to go? Do I have to go? The Sheriff comes forward, embarrassed, and catches Dallas's arm. His voice is plaintive. SHERIFF Now, Dallas, don't go makin' no fuss. Doc Boone, Dallas and the Sheriff stand together in medium close-up, with the Ladies in the background. The Sheriff is helplessly plucking at Dallas's arm, but she jerks free defiantly as she appeals to the amiable Boone. DALLAS Do I have to go, Doc? Just because they say so? She indicates the Ladies. SHERIFF Now, Dallas, I got my orders. Don't blame these ladies. It ain't them. DALLAS (almost screaming) It is them! (to Boone) What have I done, Doc? Haven't I any right to live? DOC (patting her arm paternally, quite unperturbed) We have been struck down by a foul disease called social prejudice, my child. These dear ladies... The Ladies look on, very distastefully. The Landlady has joined them and is looking particularly self-righteous. DOC (off) ...of the Law and Order League are scouring out the dregs of the town. Cut back to the shot of Doc Boone, Dallas and the Sheriff. DOC Come, be a proud, glorified dreg like me. SHERIFF You shut up, Doc. You're drunk. DOC (with dignity) I'm glorified, sir. The group of women still look on, sternly. LANDLADY Two of a kind. Cut back again to the shot of Dallas and Doc Boone standing on the boarding house porch with the Sheriff behind and the Ladies in a bunch to one side. LANDLADY Just two of a kind. She lifts her skirts and stalks off towards her front door. DOC (very dramatically, giving his arm to Dallas) Take my arm, Madame la Comtesse! The tumbril awaits. To the guillotine! They start to move forward as the Landlady calls back to the other Ladies of the Law and Order League: LANDLADY Wait till I get my badge, girls. I'll join you. Doc and Dallas walk along the street, arm in arm. Camera tracks along with them and with the Ladies, who follow in formation. The procession is seen coming along the sidewalk from between two men, who stand with their backs to camera in the doorway of the Oriental Saloon. The two men move out of the way as Doc and Dallas come to the edge of the porch and put down their baggage. Dallas sits down and Doc comes forward, pausing in the doorway. Inside the Oriental Saloon, halfway down the bar, Mr. Peacock is talking to the Bartender. PEACOCK If you ever go East, brother, come out to my house for dinner. Nobody in St. Louis sets a better table than my dear wife, Agatha. As he speaks, Doc Boone comes to the bar in the foreground and motions politely to the Bartender, who comes to him suspiciously. DOC Jerry. BARTENDER Yes, Doc? Doc Boone leans against the bar, and he and the Bartender look at each other. Peacock can still be seen in the background, silhouetted against a window. DOC Jerry, in the past I will admit, as one man to another, that economically I haven't been of much value to you. But... (he lowers his voice confidentially) ...you don't suppose you could... ahem... put one on credit? Bartender shaking his head. BARTENDER If talk was money, Doc, you'd be the best customer I got. DOC I'm leaving town, Jerry. BARTENDER Honest? DOC Yes, my dear fellow, and I thought you might, in memory of our many happy... BARTENDER (reaching for the bottle) All right, Doc, just this one. DOC Thank you, Jerry. The Bartender gives him a bottle and a glass, and Doc carefully and with relish pours himself a drink. He turns the glass in his hand, regarding the liquor with fond anticipation. Meanwhile the Bartender nods towards Peacock at the other end of the bar. BARTENDER Here's a man goin' with you on the stagecoach, Doc. He's an Easterner from Kansas City, Missouri. Peacock looks up and turns towards them. PEACOCK Kansas City, Kansas, brother. Doc Boone lifts his glass to Peacock, but his attention is on the glass rather than on the stranger. DOC Your health, Reverend! He drinks. Doc Boone continues to drink with relish, not taking any notice as Peacock speaks. PEACOCK (off) I'm not a clergyman, my name is Peacock. I'm a... ahem... He coughs hesitantly. BARTENDER (off) He's a whiskey drummer. Doc Boone coughs on his drink and sets down his glass. DOC (amazed) What? Peacock still stands at the end of the bar, with Doc Boone and the Bartender looking towards him. Doc Boone is delighted. DOC Well, well, how are you... He walks along the bar towards Peacock. Cut to Doc Boone as he comes right up to the whiskey salesman. DOC ...Mr. Haycock! PEACOCK Peacock! DOC You don't need to tell me, sir. A familiar name, an honoured name! I never forget a face of a friend. (he peers at the open case) Samples? He takes out a bottle, regards it critically as he uncorks it, and then half-drains it, nodding sagely. Peacock looks at him nervously. DOC Rye! At this, Peacock hurriedly closes the case. Doc Boone places a friendly hand on his shoulder and Peacock looks even more uneasy. Outside in the main street of Tonto, the luggage is being piled onto the stagecoach. The men finish hitching up the horses and Buck climbs onto the driver's seat. Another man brushes out the inside of the coach. Everybody bustles around. The passengers wait on the sidewalk. The banker, Gatewood, is standing behind the counter of his office as Mrs. Gatewood, a frigid-looking termagant, strides into the bank and comes up to him, her hand outstretched. She stands, her face turned away from him, her hand stretched out towards him. MRS. GATEWOOD I need five dollars, Henry. She holds her hand out, keeping her head averted. GATEWOOD (reaching in his pocket, all smiles) Why certainly, my dear, certainly. (he gives her five silver dollars) What is it this time, a new...? MRS. GATEWOOD (interrupting him as she puts the money into her purse) I want to pay the butcher. Dinner will be at twelve o'clock. I've invited the Ladies of the Law and Order League. GATEWOOD Don't you worry, my dear, I'll be there. Mrs. Gatewood strides off, leaving Gatewood standing behind his counter. Cut to a close-up of Gatewood frowning. He turns away thoughtfully towards the old iron safe behind his desk. He bends down quickly and picks up a parcel of money, the payroll package. A high angle shot looks down at Gatewood as he kneels beside the open safe holding the parcel of money. He takes a black leather bag and stuffs the money into it. In the main street, Buck sits up in the driver's seat of the stagecoach, holding the reins. In the background Lucy Mallory, Nancy and Capt. Whitney come down from the porch of the Tonto Hotel. BUCK (calling) All aboard for Dry Fork, Apache Wells, Lee Ferry and Lordsburg! As he shouts, the two women and the captain come across the road towards the stagecoach. The Sheriff accompanies Dallas as she walks along the sidewalk, carrying her valise. In the background, the Ladies of the Law and Order League hurry past. The Bartender and another man come into shot and watch them as they go past the saloon. Dallas and the Sheriff come up beside the stagecoach. Curly leans down from the driving-seat and takes her bag. CURLY I'll take that, Dallas. DALLAS Oh, thanks. The Sheriff opens the door for her. Her face is set and defiant now, her chin up. SHERIFF In you go, Dallas, and a pleasant voyage. Dallas lifts her skirt to step into the coach, revealing her ankle and part of her striped stockings. Someone whistles. She looks round, annoyed. The Bartender and the other man are seen in medium close-up, looking towards Dallas. The Bartender grins and nudges his friend, who grins back. Then they both look back towards Dallas. Dallas draws her skirt up a little higher, playing up to them and grinning. Then she gets in and the Sheriff moves away, shaking his head. Dallas is seen through the stagecoach window, sitting back in her seat. Peacock starts to climb into the coach, followed closely by Doc Boone. The Doc hands up his bag and his notice to be put with the rest of the luggage on the top of the coach. DOC Thank you, thank you, my friend. Doc Boone is also carrying Peacock's sample bag. Peacock leans out of the coach towards him. PEACOCK I'll take it, Doctor. DOC (raising a hand) Oh no, no, no trouble at all. I'll carry it on my lap. Peacock sits back weakly as Doc Boone, with much heaving and spluttering, hauls himself into the coach. Nancy, Lucy and Capt. Whitney stand together waiting, when a member of the Law and Order League comes up to them. LADY Mrs. Whitney, you're not going to let your friend travel with that creature. She turns round. Dallas, seen from the side through the coach window, ignores the remark. Lucy looks up towards the coach. NANCY (off) She's right, Lucy. Besides, you're not well enough to travel. LUCY (determinedly) It's only a few hours, Nancy. I'm quite all right. Dallas looks out of the window of the coach, then looks away. NANCY (off) But you shouldn't travel a step without a doctor. The two Ladies stand one on either side of Lucy, trying to persuade her. LUCY There is a doctor, dear. The driver told me. LADY Doctor? Doc Boone? Why, he couldn't doctor a horse! Capt. Whitney stands at the open door of the coach. Doc Boone looks out of the window on one side, while Dallas can be seen sitting on the other. Nancy and Lucy come up to the coach, then Nancy and Capt. Whitney help Lucy to climb inside. NANCY Now, Lucy darling, you must be very careful, take good care of yourself -- oh, watch that step, now! As she gets in, the Whitneys close the door and Buck calls down from the driving-seat. BUCK (off) Now, ladies, both ride facing forward, please! NANCY There we are! CAPT. WHITNEY Pleasant journey, Mrs. Mallory! LUCY Why, thank you. Goodbye! NANCY Goodbye! DOC Goodbye! Nancy looks away, embarrassed. In a corner of the saloon Hatfield sits at a table, smoking and playing cards. He turns and looks out of the window on his left. He sees Lucy in close-up, leaning round and looking through the window of the stagecoach. Now he is seen from the outside, looking through the saloon window. Lucy continues to look out of the stagecoach window. Then she sits back. Hatfield, still in his seat, continues to look. HATFIELD Like an angel in a jungle. He turns back to the cardtable and plays his hand. HATFIELD A very wild jungle. COWBOY What are you doing, Hatfield, talking to yourself? Hatfield, a cigarette dangling from his lips, leans forward. He puffs on his cigarette, then smiles coldly. His cultivated voice seems to have a cold, mocking edge to it. HATFIELD You wouldn't understand, cowboy. He shakes his head, still smiling. HATFIELD You've never seen an angel. Or a gentlewoman, [a thoroughbred]. He turns and looks out of the window again, camera panning with him. COWBOY Come on, ace bets. HATFIELD I raise, gentlemen. We can hear them putting coins onto the table. Buck and Curly sit up on the driving-seat of the stagecoach as it waits outside the Tonto Hotel, ready to pull out. Several townspeople stand around, shouting their farewells. A man waves an arm to them. MAN (shouting) So long, Buck, so long, Curly. Nice trip, boys. BUCK So long, boys, so long, kids. In the background, a detachment of ten cavalrymen lead by young Lt. Blanchard comes galloping down the street. Everyone looks round towards them, shouting in amazement. As they come up and pull in alongside the stagecoach, Blanchard wheels his horse so that he is by the driving-seat and holds out an envelope towards Curly. LT. BLANCHARD (crisply) Captain Sickels asks if you will deliver this despatch in Lordsburg the moment you arrive. The telegraph line has been cut. Buck and Curly lean down, a trifle mystified, towards Blanchard. CURLY (taking the despatch and looking at it) Sure. Blanchard looks up at Curly from his position astride his horse, while Curly leans over the side of the coach to face him. LT. BLANCHARD We're going with you as far as the noon station at Dry Fork. There's a troop of cavalry there. They'll take you on to Apache Wells. From Apache Wells you'll have another escort of soldiers into Lordsburg. You must warn your passengers that they travel at their own risk. Curly looks puzzled. CURLY At their own risk? What's the trouble, Lieutenant? LT. BLANCHARD Geronimo! The word has a dreadful effect on Buck, who half-rises, trying to get rid of the reins and speak at the same time, neither of which he accomplishes. And on the sidewalk, the crowd looks startled as the whisper runs among the people: 'Geronimo!' BUCK (wheezily) Geronimo! I... I ain't goin'. CURLY (gruffly) Sit down! Blanchard looks at Buck and his tone is cool with an edge of scorn. LT. BLANCHARD Of course, the Army has no authority over you gentlemen. If you think it unsafe to make the trip... Curly is stung by the tone of the young officer, and he stares Blanchard grimly in the eyes. CURLY This stage is going to Lordsburg. If you think it ain't safe to ride along with us, I figure we can get there without you soldier-boys. LT. BLANCHARD I have orders, sir. I always obey orders. Blanchard turns his horse and rides back towards the troop of soldiers, who have stopped a little way behind the coach. Curly climbs down and goes to the door of the stagecoach. Now Curly is shown from inside the coach, opening the door and looking in to address the passengers. CURLY Did you all hear what the Lieutenant said? Lucy looks at him. LUCY Yes, we heard. Curly looks round again. CURLY Well, me and Buck are takin' this coach through, whether they's any passengers or not. Now whoever wants to get out can get out. Inside the coach, Doc Boone is busily inspecting the contents of Peacock's bag. Peacock leans across anxiously, but Doc Boone pushes him away, closing the bag. DOC Courage, Reverend. Ladies first. Peacock looks anxiously over at the two women. Curly also looks at them. CURLY How 'bout you, Dallas? Dallas looks round at him, her face set. DALLAS (harshly) What are you trying to do... scare somebody? They put me in here. Now let 'em try and put me out! There are worse things than Apaches. The Ladies of the Law and Order League stand in a grim row looking on. Curly looks over at Lucy, his voice softened with respect. CURLY If you take my advice, ma'am, you won't take this trip. Lucy's face, when she looks at him, is determined. LUCY My husband is with his troops at Dry Fork. If there's danger I want to be with him. Now it is the turn of Peacock and Doc Boone. Peacock clears his throat and speaks meekly. PEACOCK Well, you see, brother, I have a wife and five children... DOC (slapping him on the hand) Then you're a man! By all the powers that be, Reverend, you're a man. Doc Boone grips the whiskey-sample bag firmly and Peacock sits back with a pious expression. Curly stands at the stagecoach with his back to camera. He closes the door. CURLY All right, folks. HATFIELD (off) Marshal... Curly turns at the sound. Hatfield is seen in medium shot, standing between two of his gambling cronies. HATFIELD Make room for one more! He starts to move forward. Curly stares at him, astonished, as Hatfield comes up to the door of the coach. [Lucy looks out of the window curiously.] HATFIELD I'm offering my protection to this lady. He takes his hat off to her. HATFIELD I can shoot fairly straight if there's a need for it. CURLY That's been proved too many times, Hatfield. (growling) All right, get in. We're late. Curly goes off, watched by Hatfield. The gambler climbs in urbanely. HATFIELD (to Peacock) May I trouble you to move over, sir?... PEACOCK Why, yes, of course. CURLY (off) Close the door. Buck sits nervously ready on the driving-seat as Curly climbs up beside him. BUCK Oh, Curly, we can't... CURLY (sitting down) Get going, Buck. Buck resigns himself. BUCK (shouting and whipping up the horses) Hey up! Bessie, Brownie, Bill! Doc Boone leans out of the stagecoach window to wave goodbye. The Ladies of the Law and Order League stand in medium shot, all firmly in a row. DOC (off) Farewell, ladies. The Ladies scream in horror and one of them covers her eyes. DOC (off) Sweethearts! Cut back to the same close-up of Doc Boone leaning through the window, waving and smiling. Now we see the main street of Tonto in long shot, as the music begins. The stagecoach moves off, coming down the street towards camera, the soldiers wheeling into position behind. Camera pans left with it as it passes and goes out of shot, followed by Lt. Blanchard leading his troop of cavalry. The scene dissolves to a high angle medium long shot of Gatewood standing by the road with the heavy valise. The stagecoach can be heard approaching, and, as it comes into shot, Gatewood raises his arm to flag it down. Buck pulls the horses up beside him. GATEWOOD (pleasantly) Room for another passenger? BUCK Sure, Mr. Gatewood. Goin' to Lordsburg? GATEWOOD That's right. Just got a telegram. Had to pack this bag and didn't have time to catch you at the Oriental. He opens the coach door. GATEWOOD Well... I've made it anyway. Their words are partly muffled by the noise of the horses champing at the bit and stamping and snorting. Gatewood climbs in and Buck urges the horses on again. Dissolve to a long shot of the road that leads out of town. The stagecoach appears in the foreground, the horses going at a good clip down the winding road into Monument Valley. Behind the stagecoach the detachment of cavalry is strung out, dust rising behind the horsemen in a cloud. It is a hot, clear morning. Buck and Curly are seen from behind in medium close-up on the driving-seat. Curly looks over his shoulder, rearranging the baggage on the roof of the coach, while Buck chatters and larrups the horses. BUCK (yelling) Hi, Susy! Hi there, Billy! Gitty Ap! Git alang! Git alang, Susy! Nervously to Curly If there's anything I don't like, it's drivin' a stagecoach through Apache country. Now we reverse the angle of Buck and Curly so that they are facing camera. Buck looks around nervously, making sure the cavalry is near. [Then, reflectively, he reaches into his bulging pocket, takes out a stone and throws it with sharp aim at one of the lead horses, catching it on the rump.] Curly, who has his rifle in the boot and the muzzle between his knees, is sunk in thought, trying to puzzle out something. CURLY Sure funny, Gatewood ketchin' us outside town that way. BUCK I took this job ten years ago so's I could get enough money to marry my Mexican girl, Julietta. I been workin' hard at it ever since. (yelling) Barney, git on there! CURLY At marriage? BUCK Why, certainly; my wife's got more relatives than you ever did see! I bet I'm feeding half the state of Chihuahua! CURLY Don't it seem funny to you? About Gatewood? BUCK And what do I get to eat when I'm home in Lordsburg? Nothing but frijole beans, that's all. Nothing but beans, beans, beans! Gitty ap, Sam! Inside the stagecoach, Gatewood is squeezing his bulk into the seat between Lucy and Dallas, both of whom look at him with some distaste. GATEWOOD Excuse me, ladies. He chuckles. GATEWOOD Warm today. Peacock and Doc Boone sit side by side, seen in medium close- up. DOC (slurring his words) Your wife made it warm fer me today, Gatewood. Dallas, seen in close-up, looks down. DOC (off) She was chairman of our farewell committee. Dallas looks round towards Gatewood. He is now shown sitting between Lucy and Dallas. He clears his throat uncomfortably, trying to break the ice. GATEWOOD Fine-looking bunch of soldier-boys back there. It always gives me great pride in my country... Doc Boone opens Peacock's bag again, looking at Peacock with a wicked grin. GATEWOOD (continuing, off) ...when I see such fine young men in the U. S. Army. Anybody know where they're going? Doc Boone places an exploratory hand inside the bag. PEACOCK (closing the bag, but not before Doc extracts a bottle) Brother, aren't you aware of... (he coughs nervously) ...what's happened? Gatewood, sitting importantly between Lucy and Dallas, looks over at him. GATEWOOD I don't follow you, Reverend. Doc Boone looks pleased with himself, while Peacock protests feebly. PEACOCK I'm not a clergyman... DOC (cutting in) My friend is a whiskey drummer. We're all going to be scalped, Gatewood. Massacred in one fell swoop. Cut back to the same shot of Gatewood between the two women. DOC (off) That's why the soldiers are with us. GATEWOOD (smiling patronizingly at Lucy) He's joking, of course. Cut back to the same shot of Peacock and Doc Boone. PEACOCK (fluttery) Oh no, he's not. Oh dear no. I wish he were. DOC (cheerfully) It's that old Apache butcher... Cut again to the same shot of Gatewood and the women. Gatewood looks very uneasy as Doc Boone continues: DOC (off) Geronimo. Now back again on Peacock and Doc Boone. DOC Geronimo, that's the name of our butcher. He's jumped the reservation. He's on the warpath. Again back to Gatewood and the women. GATEWOOD (appalled) Geronimo? Well, why weren't the passengers notified? Why wasn't I told? Peacock and Doc Boone look at the banker. PEACOCK We were... DOC We were told, Gatewood. PEACOCK (nodding) Yes, yes. DOC Weren't you told when you got that message... Now Gatewood looks suddenly agitated, while Lucy and Dallas sit silently on either side of him. DOC (off) ...from Lordsburg? GATEWOOD (blustering) Oh yes, yes, yes, of course, of course, I forgot. The stagecoach and the cavalry troop are now seen in long shot, trotting across the prairie, silhouetted against the evening sky. Camera pans with them as the coach goes out of shot, followed by the cavalrymen. Cut to a medium close-up of Buck and Curly on the driving- seat. Curly holds the rifle across his knees, deep in meditation, [while Buck, still grumbling, takes a stone from his pocket and tosses it with unerring aim at one of the horses]. BUCK Now, doggone it, her grandfather's comin' up from Mexico to live with us! CURLY I can't figure out how he got that message. BUCK Who, my grandfather? CURLY No, Gatewood. BUCK Sweetheart! CURLY Said he got a message. BUCK Sweetheart! CURLY The telegraph line ain't working. Now part of the prairie is seen in medium long shot. The horses, pulling hard, come into view hauling the stagecoach up a short sandy slope, throwing up clouds of dust as they go off followed by the cavalry. Dissolve to a high angle very long shot over another part of the prairie with the stagecoach lurching towards camera. The horses gallop up the slope towards a tree in the foreground. As they come up, a shot rings out. Meanwhile the cavalry troop is seen fording a river, far behind the stagecoach, camera panning across with them as they go up the other bank. The stagecoach is still being hauled forward, Buck pulling wildly at the reins to bring the horses to a stop. They whinny and buck. Curly jerks up his gun. BUCK Hey look, it's Ringo! CURLY (with relish) Yeah. The Ringo Kid, seen in medium shot, is standing with a rifle in one hand and a saddle in the other. He shouts out. He swings his rifle round, and camera tracks in to medium close- up then to close-up of him. Buck can be heard steadying the horses. Buck and Curly are seen in low angle, up on the driving-seat. Curly grins slightly and raises his shotgun. CURLY Hello, Kid. Ringo stands calmly looking on. The desert stretches out into the distance beyond him. If Ringo is taken aback by Curly's shotgun, he doesn't show it. RINGO Hiya, Curly. Hiya, Buck, how's your folks? Cut back to the same low angle shot of Curly and Buck. Buck's eyes are popping with surprise. BUCK Fine... (he clears the frog out of his throat) ...Fine, Ringo, except that my wife's grandfather... CURLY (gruffly) Shut up! The stagecoach is seen from the side, showing Lucy, Peacock and Hatfield staring curiously out of the windows. RINGO Didn't expect you to be ridin' shotgun on this run, Marshal. Ringo stands in the foreground with his back to camera, looking up at Buck and Curly. RINGO Goin' to Lordsburg? CURLY I figured you'd be there by this time. Ringo starts to move towards the stage. RINGO No, lame horse. (looking up at Curly) Looks like you got another passenger. CURLY Yeah. He stretches out his hand. CURLY I'll take the Winchester. Ringo looks up at him. He makes no move to surrender his gun though his manner is friendly. His eyes smile up at Curly as he drawls. RINGO You might need me and this Winchester. I saw a coupla ranches burnin' last night. Curly looks down at Ringo. Buck, behind him, is looking over his shoulder. CURLY I guess you don't understand, Kid. You're under arrest. Ringo looks up good-naturedly. RINGO Curly... He turns suddenly as a horse whinnies off. Beyond the stagecoach, with Ringo standing beside it, the soldiers come clattering into view, rounding a wall of rock at a canter. Ringo turns right round to look at them. CURLY (off) Gimme that gun, Kid. Ringo is seen in close-up, looking up towards Curly. His eyes flick back towards the approaching cavalrymen. He sizes up the situation and with a good-humoured shrug looks again up to Curly and uncocks his gun to throw it up. Lt. Blanchard now leads his troop up to the stagecoach in the foreground. Ringo throws his Winchester rifle up to Curly, who catches it. As the lieutenant rides up to them, Ringo throws his saddle up onto the top of the stage. LT. BLANCHARD Everything all right, Marshal? CURLY Everything's all right, Lieutenant. The stagecoach is seen from the side as Ringo goes up to it and opens the door. Through the window, Peacock watches him in some alarm. RINGO Hope I ain't crowding you folks none. He climbs in with them and they close the door. Lt. Blanchard waits by the stagecoach, as Buck starts the horses up again, and the cavalry troop come up round the bend behind them. The soldiers follow the stagecoach as it moves off. Dissolve to a long shot of the stagecoach coming up a track, silhouetted against the sky. The landscape is very bleak; only a small dead tree is visible, in the foreground. The stagecoach, followed by the cavalry, goes off on the right. Dissolve to Buck and Curly sitting on the driving-seat. BUCK (cheerfully) Ain't Ringo a fine boy? CURLY I think so. BUCK Hey, you're just smarter'n a trade rat -- you knew all the time he was going to Lordsburg. Hey, reckon what he meant, he saw ranch-houses burnin'? CURLY Apaches. Inside the stagecoach, the occupants openly or covertly inspect the newcomer. Through the window behind Lucy, the countryside can be seen going past. Gatewood, sitting the other side of Lucy, picks up his bag of money from the floor and puts it on the seat beside him. He breaks the silence in a friendly way. GATEWOOD So you're the Ringo Kid. Ringo has seated himself on the floor with his back against the door between Hatfield on the front seat and Lucy on the rear seat. He looks straight at Gatewood, his voice casual. RINGO (drawling) My friends just call me Ringo. (he smiles) Nickname I had as a kid. My name's Henry. He takes off his scarf as he speaks. Cut to a close-up of Gatewood in the foreground with Dallas beside him. They both look towards Ringo. DOC (off) Seems to me I knew your family, Henry. Doc Boone and Peacock are seen, squashed together in the corner of their seat. [Doc Boone has been lighting a long stogie. He shakes out the match and chuckles at Ringo.] DOC Didin't I set your arm once when you were, oh... (he holds his hand knee-high off the floor) ...bucked off a horse? Ringo looks at him, sizing him up with keen eyes. RINGO (grinning) You Doc Boone? DOC (off) I certainly am. Peacock and Doc Boone are seen from the same angle as before. DOC Let's see, I'd just been honourably discharged from the Union Army after the War of the Rebellion. Hatfield turns sharply to look towards Doc Boone. HATFIELD (haughtily) You mean the war for the Southern Confederacy, suh. DOC (suddenly bristling) I mean nothing of the kind, sir. Ringo, still looking at Doc Boone with sharp interest, disregards the interruption. RINGO That was my kid brother broke his arm. You did a good job, Doc, even if you was drunk. He ties his scarf back round his neck. The shot of Peacock and Doc Boone now shows Boone grinning. DOC Thank you, son. Professional compliments are always pleasing. PEACOCK Yes, they are. DOC (flicking ash from his stogie) What became of the boy whose arm I fixed? There is a pause. The smile goes from Ringo's face and his voice is quiet as he looks straight ahead of him. RINGO He was murdered. Dallas looks round sympathetically. Peacock and Doc Boone look down, obviously moved. Ringo looks saddened by the memory. Now the stagecoach is seen in medium long shot as it comes towards camera out of a slope against the sunset, with a large rock formation in the Arizona desert rising up behind. Lt. Blanchard and the cavalry troop follow closely. Inside the stagecoach, Doc Boone smiles cheerfully at Peacock, his arms wrapped protectively round the whiskey-sample bag. Peacock smiles back rather wanly. Lucy, sitting by the window, with Gatewood partly in shot beside her, looks pale and uncomfortable. She raises a handkerchief to her face, then turns away and looks out of the window. Hatfield watches her covertly, with a worried frown. Smoke drifts from Boone's stogie and Hatfield raises his handkerchief to try and blow it away. [Lucy coughs,] and Hatfield looks coldly at Doc Boone. HATFIELD Put out that cigar. Doc Boone has the stogie stuck in the corner of his mouth. He puffs on it absently. Then he turns somewhat nervously in Hatfield's direction [as Lucy can be heard stifling another cough]. Hatfield stares at him firmly. HATFIELD You're annoying this lady. Doc Boone looks across towards Lucy. He does not like Hatfield's tone, but he is a kindly soul and he takes the cigar-butt out of his mouth, at the same time nodding towards her with great dignity. DOC Excuse me, madam. Lucy smiles at him graciously. Doc Boone tosses the butt out of the window. DOC Being so partial to the weed myself, I forget it disagrees with others. Lucy smiles, then lowers her eyes and looks away out of the window again. Hatfield fixes a cold eye on Doc Boone. HATFIELD A gentleman doesn't smoke in the presence of a lady. Doc Boone leans back and folds his hands over his plump belly, addressing no one in particular in an amiable tone. DOC Three weeks ago I took a bullet out of a man who was shot by a gentleman. The bullet was... Hatfield's eyes blaze as he stares at Boone, half-rising in anger. DOC (off) ...in his back. HATFIELD affronted Do you mean to insinuate... Ringo looks over at Hatfield and speaks to him with quiet authority. RINGO Sit down, mister. Hatfield sits back, rather put out. Ringo is shown looking up at him with a half-smile. But there is no doubting the determined character that lies concealed behind his casual manner. RINGO Doc don't mean any harm. The stagecoach and the escorting cavalrymen are seen in very high angle long shot as they go along the trail in Monument Valley, the fantastic and majestic scenery rising up all around them. Camera pans slowly with them as they go on down the trail. Fade out. Fade in to the station at Dry, Fork, a wide yard in which there is a low adobe building with a corral. There are fresh horses for the stage in this corral, together with mustangs belonging to those at the station. [A Mexican boy, who has been standing on the gate and peering down the road, lets out a cry in Mexican and three or four Mexican vaqueros, picturesque in their high peaked hats and coloured shirts and high boots, appear and hurriedly swing open the big gate.] There is a clatter as the stagecoach comes into view at a good clip and Buck, yelling at his horses, steers the stagecoach skilfully in through the gate, the cavalry escort cantering up behind. Camera pans with the stagecoach as Buck pulls the horses to a stop in front of the long low adobe building in the station yard. The soldiers file across past them as Buck and Curly begin to climb down. The stagecoach is seen in low angle medium shot from the side. The cavalry horses continue to ride past in the foreground, partly obscuring the business behind -- people getting out and luggage being hauled off the roof of the coach. Ringo gets out first, followed by Hatfield, who brushes down his cloak fussily. Then Peacock gets out, keeping a firm hold on his sample bag, which he has by now retrieved from Doc Boone. Hatfield waits and helps Lucy down; she looks weary and holds her cloak about her. Buck attends to the horses. BUCK (shouting to the men) Be careful of ol' Bessie up there, now... Take it easy, hold it -- steady there, girl. Take a look, see if there ain't a stone in the hoof of that hoss down there. Cut to a medium shot with the stagecoach just visible on the left and men bustling around the horses. Ringo is standing at the doorway of the station-house. Billy Pickett, the manager of the station, stands by the stagecoach as Doc Boone gets down. They greet each other like old friends. Camera pans slightly right as Doc and Billy grasp each other and shake hands in delight. DOC Well, if it isn't my old friend, Sergeant Billy Pickett... How are you, Billy? Billy's wife comes up and joins them, smiling happily. MRS. PICKETT He's fine, Doc, and mighty glad to see you. Everybody bustles around in the station yard. Doc and Billy go off arm in arm, and Hatfield and Ringo follow them. Mrs. Pickett goes forward, towards the stage. MRS. PICKETT Great heavens to Betsie, we didn't figure on no stagecoach coming through with them Apaches raising Cain. I was just telling Billy there to hitch up the buckboard... Gatewood interrupts her. GATEWOOD Now wait a minute -- you mean to say there are no troops at this station? Hatfield and Lucy are going away towards the station-house door. Lucy turns suddenly at Gatewood's words as Mrs. Pickett continues off. MRS. PICKETT There ain't no soldiers here but what you see. LUCY (anxiously) But my husband, Captain Mallory. I was told he was here. MRS. PICKETT (off) He was, dearie. Got orders night afore last to join the soldiers at Apache Wells. Lucy, very upset, turns away, trying to be courageous, but the strain shows. BUCK (off) Well, that means we got to turn back. GATEWOOD (off) I can't go back. (he catches hold of himself and blusters) See here, driver, this stage has started for Lordsburg and it's your duty to get us there. As they speak, camera pans right with Lucy, who slowly goes over to a bench by the wall and sinks down. Gatewood and Lt. Blanchard face one another, with Buck standing between them. Curly watches in the background. GATEWOOD (loudly to Blanchard) And it's your duty, my boy, to come along with us. LT. BLANCHARD (politely) It's my duty, Mr. Gatewood, to obey orders. I'm sorry. BUCK (hopefully) If you soldiers go back, Lieutenant, we all gotta go back. Dallas leans wearily against a hitching post, listening impassively, just letting the dispute wash over her. LT. BLANCHARD (off, to Curly) Captain Sickels ordered me to return from here immediately. I can't disobey orders. Lucy is sitting on the bench with Hatfield beside her. Ringo stands in the foreground looking over towards Lt. Blanchard and the others. RINGO I think we can get through all right, Curly. Buck stands in the centre of the group, Lt. Blanchard, Gatewood, Curly and Mrs. Pickett gathered around. BUCK (plaintively) Don't egg him on like that, Kid. I'm drivin' this outfit and if the soldiers are headin' back so am I. He plonks his hat back on his head and stomps off petulantly. Gatewood and Lt. Blanchard face one another again. GATEWOOD I call this desertion of duty, young man. I'll take it up with your superior officers! I'll take it up with Washington if necessary. LT. BLANCHARD (quietly) That's your privilege, sir. But if you make any trouble here I'll put you under restraint. GATEWOOD (collecting himself) Now don't lose your temper, don't lose your temper. The others watch as Gatewood stalks off in a rage. CURLY I'll tell you how we'll settle it. We'll take a vote. Inside, everybody. The stagecoach stands in the middle of the yard. The horses have been unhitched. A group of chickens are pecking about in the dust behind it. All the passengers follow Curly towards the door in the background. CURLY Come on, Buck. BUCK (plaintively) Oh, but Curly, I don't want to go... Inside the station guest-room, the long table is set for a meal. Doc Boone comes in first, followed by Hatfield and Lucy. Then Dallas enters, with Peacock and Mrs. Pickett, who hurries across and into the kitchen as she speaks. MRS. PICKETT Now, come on, girls, set yourselves down; I'll get you something to eat. In the foreground, his back to camera, Hatfield pulls a chair out for Lucy. Dallas sits herself down by the wall at the far side of the table as the others continue coming through the door in the background. Curly comes forward, taking control of the situation; the others gather round the table as he speaks. CURLY Now, folks, if we push on we can be in Apache Wells by sundown. Soldiers there will give us an escort as far as the ferry, and then it's only a hoot and a holler into Lordsburg. BUCK I... He stops to clear the frog out of his throat and Curly goes right on. CURLY We got four men can handle firearms... five with you, Ringo. Doc Boone and Billy Pickett are seen in high angle, both leaning on the bar; Billy has his mouth wide open and Doc is examining it, holding Billy's tongue down with the back of a spoon. CURLY (off) Doc can shoot, if sober. At Curly's words, they both look over at him. DOC (sarcastically) I can shoot, I can shoot. A low angle shot of Curly shows him standing by the table with Lucy sitting in profile beside him. Ringo lounges against a doorpost in the background. CURLY (taking off his hat) Now, Mrs. Mallory, I ain't goin' to put a lady in danger without she votes for it. Lucy is seen from above sitting with her back to the window. LUCY (firmly, but with a tremulous catch in her voice) I've travelled all the way here from Virginia and I'm determined to get to my husband. I won't be separated any longer. A low angle medium shot shows Curly in the foreground, Ringo and Buck standing behind Dallas, who is seated at the table, with Peacock visible in the background. They are all looking towards Lucy. Curly turns to Peacock. CURLY What's your vote, mister? PEACOCK (clearing his throat) Well, I... RINGO (interrupting him) Where's your manners, Curly? Curly, who is just putting his hat back on his head, stops in his tracks and turns to look at Ringo, who is regarding him sternly. RINGO Ain't you going to ask the other lady first? Dallas looks up towards Ringo in amazement. Ringo and Buck are seen from below as they face Curly, who stands almost back to camera. He looks down towards Dallas. CURLY Well, what do you say? Dallas looks up. There is a pause. Her eyes move back towards Ringo, then she looks down. DALLAS (sighing) What difference does it make? It doesn't matter. Ringo, Buck and Curly face each other again. GATEWOOD (off) I vote we go on. Gatewood is standing with Peacock beside another window. GATEWOOD I demand it, I'm standing on my legal rights. The group is seen in a low angle medium shot. Lucy and Hatfield are seated at the table in the foreground, while the others stand around anxiously in the background, except for Dallas who is sitting against the wall near the door beside Ringo. Curly looks towards Hatfield. CURLY What do you say, Hatfield? Hatfield, idly playing with some cards on the table, looks towards Lucy, off-screen. He picks up the cards, laying the top one face upwards. It is the ace of spades. HATFIELD Lordsburg. GATEWOOD (standing with Peacock behind him) Four. He is obviously very pleased. Curly, standing with his back to camera, looks across the room to the bar where Doc Boone and Billy are standing. CURLY (pointing) You, Doc? Doc Boone steps forward, Billy following him. DOC I am not only a philosopher, I am also a fatalist. Doc Boone and Billy stand together. Billy has by now provided Doc with a drink and he is very cheerful. He also knows that he is the centre of attraction and that this is his great moment. DOC Somewhere, some time, there may be the right bullet or the wrong bottle waiting for Josiah Boone. Why worry when or where? CURLY (off, very impatient) Yes or no? Billy is urging Doc Boone on. DOC Having this wisdom, sir, I have always courted danger. During the late war... when I had the honour, sir, to serve the Union... Hatfield looks up sharply at these words. DOC (off) ...under our great President Abraham Lincoln... Billy and Doc Boone salute each other. DOC ...and General Phil Sheridan, I fought midst shot and shell and the cannons' roar... Curly, seen from the side, looks stern. CURLY Do you want to go back or not? Doc Boone and Billy continue their salute. DOC No! He looks indignantly at Curly and turns back towards the bar. DOC I want another drink. Billy and Doc Boone giggle together and hurry back to the bar. Curly and Peacock are now seen from below. CURLY That's five. He looks at Peacock. How about you, Mr. Hancock? PEACOCK (meekly correcting) Peacock. Cut to a medium close-up of Peacock. PEACOCK I... I would like to go on, brother, I want to reach the bosom of my dear family in Kansas City, Kansas, as quick as possible... but I may never reach that bosom if we go on. Under the circumstances... I... you understand, go back with the bosoms... (he coughs hastily) ...I mean with the soldiers. Cut back to the previous shot of Curly facing Peacock with Gatewood nearby. CURLY One against! Well, Buck? Curly turns towards Buck, and camera pans swiftly with his gaze, to include Ringo in the shot, with Buck. BUCK I... He clears his throat to try again, but Curly cuts in promptly. CURLY Buck says aye. That's six! Buck makes futile motions of protest, but Curly has already turned to Ringo. I'm votin' your proxy, Kid. You go with me. RINGO Nothin' gonna keep me out of Lordsburg, Curly. He goes out of shot. CURLY (looking after him grimly) There sure ain't. (he addresses them all) Well, folks, that settles it. We're goin' through. Buck, you get them horses changed. Set down, folks. Eat your grub. He strides off through the door, followed by a protesting Buck. BUCK But, Curly, ain't we gonna eat? CURLY We'll eat later. The room is now seen in medium long shot with Lucy sitting in back view nearest to camera, Hatfield just beyond her. Doc Boone and Billy can be seen at the bar in the background. Gatewood and Peacock stand at the far end of the table as Mrs. Pickett comes through the door near the bar carrying a steaming soup tureen. MRS. PICKETT Here y'are, folks, food's on the table. Help yourselves, you got a long ride ahead of you. She puts the soup on the table and turns to go back to the kitchen, passing Doc Boone and Billy as she goes. MRS. PICKETT You ain't drinking, Billy. Ringo is standing by the table. Dallas is uncertain whether she should sit down, knowing she is not expected to sit with 'respectable' people. So she passes behind Ringo, going towards the door. He turns round to her, pulling out a chair for her opposite Lucy. RINGO Set down here, ma'am. She spins round to face him, stopping in her tracks. Lucy, seen in profile, is sitting at the end of the table, Gatewood a seat away at her side. Hatfield stands at the bar. They all look round towards Ringo and Dallas. Dallas hesitates for a split second. Then she gets her courage up and takes the chair. DALLAS Thank you. Ringo sits down beside her as camera tracks in to a medium close-up of them. Lucy, seen in close-up, looks across in distaste. A close-up of Dallas shows her looking back towards Lucy in embarrassment, before looking away miserably. Across the table, Lucy still looks disapproving and Gatewood looks superior. Hatfield comes forward and stands stiffly beside Lucy. Gatewood passes Lucy a plate which Hatfield intercepts to place with great courtesy in front of her. Dallas is still acutely embarrassed. Ringo, unaware of the tension, passes her a plate with equal courtesy. Trying to brave out the hostile glances, Dallas reaches for her cup of coffee and Ringo passes her the sugar with a smile. Hatfield breaks the tension. He looks from Lucy to Dallas, then bows stiffly to Lucy. HATFIELD May I find you another place, Mrs. Mallory? It's cooler by the window. Ringo raises his eyebrows in surprise. There is a pause as Lucy decides how to act. LUCY (rising) Thank you. Lucy rises from her seat and sweeps off round the table behind Gatewood, watched incredulously by Doc Boone and Billy Pickett from the bar. The table is now seen from above in a long medium shot, with Dallas and Ringo sitting on one side, Gatewood on the other. Ringo stares, amazed. Dallas spills some of her coffee and the cup rattles as she sets it back in the saucer. Gatewood, not to be outdone, gets up and goes to sit at the far end of the table, as far away from Dallas and Ringo as possible. This whole episode takes place in complete silence. Mrs. Pickett bustles in with a jug of coffee and pours a cup for Lucy. Hatfield sits down beside Lucy in their new places. Dallas and Ringo are conspicuously isolated at the end of the table. Dallas is miserably embarrassed. Ringo looks perplexed as he watches the others off-screen, then all at once he thinks he understands and turns to look apologetically at Dallas. He cannot face her, and stares uncomfortably at her plate instead. RINGO (sheepishly) Looks like I got the plague, don't it. DALLAS No... it's not you. RINGO Well, I guess you can't break out of prison and into society in the same week. As she does not raise her eyes from her plate he begins to stand up apologetically. She catches his arm and suddenly there are tears in her eyes. DALLAS Please!... Please. Ringo sits down again, looking at her with a straight grateful gaze. She collects herself and passes a bowl for him to help himself to some stew, but he takes it from her and gives her some instead. Hatfield and Lucy are now seen at the far end of the table from us behind Ringo and Dallas, who sit with their backs to us. Camera tracks in past Dallas and Ringo to a medium shot of Lucy and Hatfield eating their meal. Lucy, suddenly overcome, lays down her fork and rests her head in her hand, looking pale. Hatfield addresses her anxiously in a low, polite tone. HATFIELD You're ill, Mrs. Mallory? Lucy straightens up, fighting off nausea. LUCY No... it's just... I'll be all right. He regards her anxiously. LUCY You're very kind... Why? HATFIELD In the world I live in one doesn't often see a lady, Mrs. Mallory. [I'm only doing my duty as a Southern gentleman.] Close-up of Lucy, who looks at him curiously. LUCY Have you ever been in Virginia? Hatfield hesitates as if to evade the question or shape a lie. He drops his voice. HATFIELD I was in your father's regiment. Lucy looks at him wonderingly with her clear, direct gaze. LUCY I should remember your name. You're Mr... Hatfield? Lucy looks questioningly at Hatfield. HATFIELD That's what I'm called, yes. She turns away, puzzled, and sips her coffee. Ringo and Dallas are seen in medium close-up as they eat. Ringo looks at her and she looks down self-consciously. DALLAS Why do you look at me like that? Buck is now seen from below coming through the door in the background behind Dallas and Ringo, who are sitting at the table piled with the glasses and bowls used for the meal. He takes off his hat as he comes towards the table and addresses the company. BUCK (cheerfully) All aboard for Apache Wells, East Ferry... Curly comes up behind him and interrupts. CURLY The horses are changed... we'd better get going. BUCK (determined to have his say) ...and Lordsburg. Round the table, the passengers are all waiting. Lucy sits at the far end of the table, Ringo and Dallas nearer to camera on the other side. Hatfield gets up and goes towards the bar. Lt. Blanchard comes in the door as Ringo looks up at Curly. CURLY (to Ringo) Okay, Ringo, get going. (to Mrs. Pickett) Mrs. Pickett, tell Billy the buckboard's all ready. Let's get going. There is a scraping of chairs as all except Lucy rise and make for the door. Ringo accompanies Dallas. Blanchard comes up to Lucy and addresses her politely. LT. BLANCHARD Have a pleasant journey, Mrs. Mallory, and my compliments to your husband. Buck hurriedly grabs something to eat off the table as Curly hustles him out. Billy and Doc Boone are the last to leave, arm in arm and very merry. Dissolve to a high angle long shot of a fork in the trail on the prairie which spreads out into the distance. The stagecoach comes into shot from the foreground and the horses gallop off down the right-hand fork while Lt. Blanchard breaks away from his men to follow it a little way. The soldiers go off to the left, followed by the Picketts' buckboard. Lt. Blanchard watches the stage as it goes off into the distance. Lucy is seen from below in medium shot leaning out of the window of the coach. Curly is just visible sitting up on the driving-seat. Lt. Blanchard turns on his horse to face camera, smiling and waving his hat to the retreating stagecoach. Lucy, still leaning out of the stagecoach window, smiles and waves her handkerchief. Lt. Blanchard continues to wave for a moment. Then his smile fades. He lowers his arm and replaces his hat on his head, then turns away from camera. From where the trails cross, we can now see the stagecoach disappearing into the distance down one trail and Lt. Blanchard galloping off down the other trail after his cavalry troop. The cavalry troop and the buckboard with its outriders are seen from above in long shot, galloping away across the prairie. Lt. Blanchard canters into shot from the foreground, catching up with them as they ride along the trail. The flat plain is now seen with the sky above stretching away into infinity. The stagecoach trundles into shot in the foreground with its six horses trotting along unhurriedly. There is no soldier escort now and the people are on their own. The stagecoach rattles away down the track and into the distance towards the horizon. Fade out. Fade in to a medium close-up of Buck and Curly up on the driving-seat. Curly, his gun across his knees, scans the horizon vigilantly. Buck chucks a stone at Nellie, shouting a little to spur on the horses. He clears his throat, inviting conversation, but Curly pays him no heed. Finally Buck can't stand the silence and turns as if Curly had spoken. BUCK What'd you say? CURLY (looking at him as if he were crazy) Nothin'. BUCK (meekly) Oh, excuse me. Well, why don't you say somethin'? A man gets nervous settin' here like a mummy, thinkin' about Indians! CURLY You say somethin'. You been talkin' all day without makin' any sense. BUCK (belligerently) All right, here's somethin' that makes sense! If I was you I'd let 'em shoot it out! CURLY Let who? BUCK Luke Plummer and the Kid. (curly merely looks straight ahead) They'd be a lot more peace on the frontier if Luke Plummer was too full o' lead to hold his liquor. CURLY I ain't sayin' I don't share your sentiments, Buck, but you're a born fool. First place Luke would kill the Kid in a gun-fight. Second place if Luke did get shot he's got two brothers jest as ornery as he is, and if Ike Plummer didn't kill the Kid then Hank Plummer would. (he spits off disgustedly) Nope, safest place for Ringo is in the pen and I aim to get him there all in one piece. Time he gets out Luke Plummer will of picked a fight with the wrong man and it'll all blow over. BUCK (looking at Curly with astonishment) Well, I'll be doggoned! I done you an injury, Curly. I thought you was after the reward. CURLY (reproachfully) Reward! Why, the Kid's old man and me was friends. (he stares off into the horizon) Besides, I can use that five hundred in gold. Inside the stagecoach, the passengers are seated in the same positions as during the morning. The heat is stifling and dust drifts in through the open windows. The coach jolts and bounces as it whirls along at fourteen miles an hour. Gatewood, seen in medium close-up with Dallas beside him, is playing the indignant man-of-affairs. GATEWOOD (blustering) I can't get over the impertinence of that young lieutenant! I'll make it warm for that shavetail! Doc Boone, again with the sample bag in his lap, is very thoughtfully attempting to rearrange Peacock's scarf round his neck. The wind is blowing it about so much that it is a futile exercise. GATEWOOD (off) I'll report him to Washington! We pay taxes to the government and what do we get? Not even protection from the Army! Peacock is now seen in close-up with Doc Boone just in shot, his hand rearranging the scarf so that it practically covers Peacock's face. While Gatewood continues to hold forth, Doc Boone cleans the dust from Peacock's face. GATEWOOD (off) I don't know what the government's coming to! Instead of protecting businessmen, it's poking its nose into business. Cut back to the same shot of Dallas and Gatewood. GATEWOOD Why, they're talking now about having bank examiners... (he snorts) ...as if we didn't know how to run our own banks. The stagecoach is going really fast and a stiff breeze is coming through the windows. Dallas desperately tries to rearrange her hat, which is being blown about. Cut back to Peacock and Doc Boone, who pulls a bottle from the sample-case and holds it up to Peacock ingratiatingly. Peacock does not protest. So Doc Boone takes a large swallow. GATEWOOD (off) I actually had a letter, from some popinjay official, saying they were going to inspect my books! I have a programme, gentlemen, that should be blazoned on every newspaper in the country. Gatewood now addresses his remarks to Lucy, as the most worthy of attention. GATEWOOD America for Americans! Don't let the government meddle with business! Reduce taxes! Our national debt is shocking... Lucy leans against the side of the coach, as far away from him as possible. Doc Boone is staring lovingly into Peacock's face. GATEWOOD (off) ...over a billion dollars! What the country needs is a businessman for President! DOC (amiably, holding up a bottle) What the country needs is more bottle. He points to the bottle. PEACOCK What? DOC (affably) Bottle! Dallas, sitting next to Gatewood, has her eyes closed and her head leaning against the back of the seat. GATEWOOD You're drunk, sir. Doc Boone's smile fades as he turns indignantly to Gatewood. DOC I'm happy, Gatewood. Woof! He giggles. Now it is early evening. The stage comes into shot in the foreground, the horses trotting away down the track which stretches way into the distance across the flat desert. Again we see Curly and Buck on the driving-seat, Curly nearer to camera. He looks over his shoulder. CURLY (turning back) How come you're using this road? It's gonna be cold up there. BUCK (grinning) I'm using my head. Those beach-crowd Apaches don't like snow. Curly looks at him, but says nothing. In the stagecoach, the passengers are all weary, their shoulders covered with dust. Lucy, seen in medium close-up, is in obvious distress, looking very ill and worn out. Dallas is shown leaning back against her seat. Gatewood is sitting next to her with an unpleasant frown on his face and clasping his bag of money. Dallas, who has been looking in Lucy's direction, suddenly ventures for the first time to address her. She sits up and leans sympathetically across Gatewood. DALLAS Wouldn't you like me to sit beside you? You could lean on my shoulder. You look so tired. Lucy pulls herself together and her cool tone rebuffs Dallas. LUCY No, thank you. Dallas shrinks back into her seat, flushing. Hatfield, seen sitting in profile with Peacock nearest to camera beside him, leans forward. Camera pans left with his movement to include Ringo, who is sitting on the floor between the seats. HATFIELD How are you feeling, Mrs. Mallory? Lucy looks over towards Dallas. Then she turns to Hatfield. LUCY Is there any water? Ringo looks up at Hatfield, who is seen in profile. Hatfield turns away and, cupping his hand round his mouth, leans out of the window to shout up to Buck. HATFIELD Driver! Canteen, please! The coach is seen in low angle from the outside as it trundles along. Curly, just visible up on the box, passes a canteen down to Hatfield, who is reaching out of the window to receive it. Lucy can be seen leaning back wearily through the opposite window. Inside the coach, Ringo takes the canteen and undoes the cap as Hatfield fumbles in his jacket for something. Ringo offers the canteen to Lucy. Medium shot of Lucy with Ringo passing her the canteen. HATFIELD (off) Just a minute, Mrs. Mallory. Hatfield takes the canteen from Ringo and pours some of the water into a small silver cup, which he has in his hand. He fills the cup, then passes it to Lucy. Lucy takes the cup from Hatfield's outstretched hand and gracefully drinks. Then she closes its little lid and looks at it. She looks again, more closely, scrutinizing its crest and Latin inscription: 'Ad astra per aspera', as if trying to recall something from her memory. She then looks up at Hatfield and leans forward, pointing to the cup as she questions him. LUCY Haven't I seen this crest before? (holding out the cup) Isn't this from Ringfield Manor? Hatfield takes the cup. HATFIELD I wouldn't know, Mrs. Mallory. I won that cup on a wager. Lucy seems disappointed by his reply. Ringo, sitting in his position on the floor, breaks the silence. RINGO (looking up at Hatfield) How about the other lady? Dallas is lying back against the headrest with her eyes closed, next to Gatewood. He looks down disapprovingly. She slowly opens her eyes and looks up with a grateful smile. Ringo takes the canteen from Hatfield's extended hand, pulls off the cork and offers it up towards Dallas. Cut to the same shot of Dallas next to Gatewood. Dallas brushes some hair out of her face. DALLAS Thanks. Ringo's eyes flick across towards Hatfield, then, still grinning, he passes the canteen over to Dallas. RINGO Sorry -- no silver cups. Dallas leans forward a little to take it. DALLAS (quickly) This is fine! She raises the canteen to her lips. Gatewood wat