"STATION WEST" Screenplay by Frank Fenton & Winston Miller Based on a novel by Luke Short SHOOTING DRAFT JULY 22, 1947 EXT. OPEN COUNTRY - DAY FADE IN The sky is pure blue, exquisitely blemished by huge cumulus clouds, floating lazily. A single bird sails past. From the sky the CAMERA MOVES TO earth. Here, too, all is tranquil. The trees, bright green in the sunlight, move only to the slight but constant breeze. Now the CAMERA MOVES DOWN, revealing a wagon to which is hitched a team of horses beside the road. The wagon is at an awkward angle, but upright. It is wedged between two rocks where the horses have pulled it as they tried to reach some forage. Its seat is empty. In the bed of the wagon several sacks lie, bearing the legend: From: Argus Mine - Rock Pass To: U.S. Assay Office San Francisco The sacks are empty and slashed as by a knife. The ropes that bound them are cleanly severed. The disorder in the wagon indicates haste. Two horses are hitched to it, munching grass or the high leaves of a tree overhead. All that is odd or unnatural is that the reins have fallen askew and trail the ground. Now the CAMERA MOVES AWAY and ALONG tracks made by the wagon when it left the road. ON THE ROAD two horses stand. These are saddled, but riderless. The rifle holsters are empty. CAMERA MOVES TO the ground. There on the road lies the rifle. The dust is slightly blowing across it, moved by the persistent summery little breeze. From the rifle, the CAMERA MOVES ON A LITTLE and STOPS ABRUPTLY ON the sprawled dead figure of a soldier, then another, face down in the road. CLOSE SHOT of the dead soldiers, as the CAMERA HOLDS ON them. Near the hand of one a revolver lies, the fine dust coating it. Dust blowing over the uniforms, as though seeking to hide the shame of a murder. As it blows over their still figures, the SOUND of BIRDS coming over: FADE OUT FADE IN ROCK PASS - NIGHT This is a western mining town of the Eighties that has mushroomed up around a gold strike. On the streets prospectors and miners mingle with merchants. As the CAMERA PICKS UP the scene, a lumber wagon passes, bearing logs, a ten team wagon, its trailer filled with ore from the stamp mills and bearing the legend: ARGUS MINE. A stage coach comes in as we: DISSOLVE INT. HOTEL - NIGHT On the hotel clerk, as he sits behind the desk, playing a guitar and singing pensively the ballad of the story. As he sings, JOHN HAVEN, newly arrived on the stagecoach, walks in, gazes at the clerk with a slight smile, finding the clerk completely indifferent to the arrival of anybody, at last leaves the bag and saunters out. DISSOLVE EXT. SALOON - NIGHT As Haven leaves the hotel and has reached the saloon, a well- lighted, plush-looking spot, illumined by kerosene flares. Sticking a pipe in his mouth, Haven saunters in. INT. CHARLIE'S SALOON - EVENING It is a huge elaborate room, lit by overhead chandeliers. A long mahogany bar runs the length of it. To one side there is a big stove and the gambling tables. Beyond can be seen pool tables in an alcove. To another side, a man grinds away at a piano. A stairway near the end of the bar leads to an upper floor. The place is crowded and noisy with people. Haven saunters towards the dice table, pauses, watches; he is looking the crowd over carefully -- missing no detail of the place or the people in it. When his turn comes, he picks up the dice, bets all over the place -- on the line, on the odds, on the seven, then on the come, the hard way, etc. His point is eight. STICKMAN Eight the hard way! Pay the line! Haven bets again, doubling all over the table. STICKMAN Seven a winner. Players glance at the newcomer. Prince appears from nowhere, standing behind the stickman, watching. Prince is slender, black-haired, handsome and impassive. Haven throws again. Stellman, an Army officer, watches curiously. There is a little rising murmur as Haven tosses another natural. He does it without enthusiasm or any lost movement. The bettors get down on him. Prince touches the stickman's arm; the man stands aside and Prince takes his place with the stick. Prince tosses the dice back to Haven. Haven's eyes are fixed on him. With a little smile, Haven throws the dice to the next man, picks up his winnings. HAVEN No, thanks... His eyes meet Prince's again and then he turns away, Prince's gaze following him curiously, Stellman looks at Prince. STELLMAN Know him? PRINCE No. Why? STELLMAN He just seems kind of free with that money. CAMERA FOLLOWS Haven, as still smiling slightly, he heads towards the bar, searching the faces of the crowd as he goes. Two miners are squared off for a fight and Haven, going his way, walks between them, very indifferent, not even glancing back at the SOUND of scuffle behind him. AT THE BAR - Haven alone is not watching the fight. All the others have turned to see it; even the barman is busy watching. But Haven's eyes are resting on the figure of a woman now at the piano, singing. Softly, as if to herself and for her own enjoyment. He is near the end of the bar and near the piano, and since no one else listens to her at this moment, she sings, half smiling, directly for him, and then, self-consciously, she stops and turns to sit at a table, as Haven watches her. Behind them the fight is being stopped and Charlie's eyes follow the huge bouncer, Mick Marion, as he drags the offenders out to the door and the street. All is as usual. The bartender is back at work. As Haven turns, he finds that the place beside him is now occupied by the young Lieutenant (Phil Stellman). Haven glances at the uniform, then at the pleasant face of the officer, as the barman comes up. HAVEN (to barman) Whiskey -- like you'd pour it for yourself. A girl sidles up to him, blonde, brash and pretty. BLONDE Don't you know it's no fun to drink alone? HAVEN Not till after the first one. He turns his back to her; she gives him a look and saunters off. The barman produces the drinks -- a beer for Stellman, the young officer. The barman folds his arms. Stellman looks at Haven. STELLMAN You a stranger here? HAVEN (to barman, after gulping it in one gulp) What kind of whiskey was that? BARMAN On the bottle it says Rye -- but the way you take it, I don't see what difference it makes. Haven smiles at him. HAVEN Another Rye. The barman turns to get it. Stellman is still looking at Haven. STELLMAN (easily) You didn't answer my question. HAVEN I'm a stranger everywhere. STELLMAN Got a job? The barman gives Haven another Rye. HAVEN Listen, soldier. I know that one, too. Got a job, stranger? No? Why don't you join the Army? Three meals a day, a place to sleep, a nice warm uniform -- STELLMAN It has a little more than that. HAVEN (deliberately) Yeah, it has one thing more, and that's what I could never take -- (looking at Stellman's stripes) It's got Second-Lieutenants. The barman, listening, senses trouble and signals with his eyes to a big bouncer down the bar. The bouncer moves up quietly. STELLMAN If you want to make it a personal matter -- HAVEN (coldly) I don't make it anything, soldier. You tried to sell something and I didn't buy it -- so why don't you just beat it? They stare at each other for a long second, then Stellman speaks icily: STELLMAN If I weren't in uniform, I might teach you some manners. HAVEN If you could teach me anything, you wouldn't be in a uniform. Stellman's jaw tightens; then he turns and exits abruptly. The barman sighs with relief; the bouncer turns away. BARMAN You couldn't be looking for trouble, could you? HAVEN I could, but I'm not. BARMAN That's fine, because this is one of the best places West of the Atlantic Ocean to find it. HAVEN That was my first impression. BARMAN (as Haven looks at him) That Lieutenant's a nice young boy. HAVEN I don't doubt it, but his mouth is too big -- like your ears. He turns away from the bar, after flipping a coin on to it, while the barman stands there not knowing whether to be angry or philosophical. CAMERA FOLLOWS Haven, as he threads his way through the tables towards the door. His eyes catch sight of the girl who sang at the piano, Charlie. She is sitting at a table with Prince. Prince murmurs to her and she glances at Haven, then looks away again. Haven notes it. As he comes near the table, the blonde who spoke to him at the bar, accosts him again. BLONDE How is it now? HAVEN What? BLONDE Drinking alone? HAVEN (flipping her a coin) It's all right -- try it. Haven is looking at Charlie. She is checking a stack of coins the blonde has turned in to her. She glances up with a fleeting smile at Haven. CHARLIE It's not a good habit if it makes you pick fights. HAVEN Only with Second Lieutenants. CHARLIE We like Second Lieutenants here. Their gazes meet and Prince notes it with narrowing eyes. The gaze holds like a spell, and then Charlie's smile comes back, from nowhere. CHARLIE You see -- here everybody fights, except the Army. Haven looks at her, fascinated. She can feel a fascination herself. Now Haven smiles a little. HAVEN I wouldn't know -- CHARLIE (still smiling) So anyone who doesn't like the Army -- HAVEN I know what you mean, but I'm afraid I'll have to come back. I like the way you sing. She looks at him in a second's silence. Haven turns and leaves. She watches him go. Prince studies her face, his own grim. A croupier comes up and places a paper before her. She hardly notices it. CROUPIER Okay, Charlie? Charlie snaps out of it long enough to initial the paper. CHARLIE That's his limit. CROUPIER There's a sucker getting hot with the dice at Ed's table. He turns away. Prince sits still, his eyes on Charlie, his slim fingers at an habitual trick, that of idly stacking dice in a little pillar and then picking the pillar aloft by holding the lowest dice pinched between the thumb and forefinger, NOT by the edges, but by the sides. Now he does it as he watches Charlie's face. Her eyes glance again at the disappearing back of Haven. The sense of fascination seems to have gotten her, too. Then she realizes the presence of Prince and his shrewd gaze. She looks at him coolly. CHARLIE Well -- cool him off. Prince flips the dice into his palm and rises... EXT. OUTSKIRTS OF TOWN - NIGHT The board sidewalk has given way to a rutty dirt road. Now the racket of the saloon street is just a ghost of noise, the road dark and silent. Haven has emerged from the saloon. He glances up the street. Fifty yards ahead, Stellman is walking slowly. Stellman pauses, shoots a quick glance backwards, then goes on. Haven follows, going leisurely up the street after Stellman. ANGLE on a corner as Stellman turns it, pauses and waits. When Haven reaches it, Stellman goes on in silence. EXT. MRS. CASLON'S MINE-CABIN - NIGHT As Stellman reaches it, pauses and glances behind him. Then he rings a bell. Haven comes up and waits in silence, glancing at the dark interior. A woman's face now peers through the door window and then the door opens. Stellman enters quickly and Haven follows. INT. MRS. CASLON'S MINE-CABIN - NIGHT As Stellman and Haven follow Mrs. Caslon to a rear door. Looking around, Haven notes in the shadows a desk and in a corner the big safe. (This room is described in a subsequent scene.) So as to emit the least light, Mrs. Caslon lets Stellman and Haven go through, then quickly follows them and quickly shuts the door. INT. MRS. CASLON'S LIVING ROOM - NIGHT It is remarkably neat and elegant inside. As Haven, glancing around, pauses inside, he finds himself facing a burly uniformed cavalry officer, captain's bars gleaming on the side of his collar. The captain is big and broad and scowling. He is standing by the fireplace and his eyes are boring into Haven's with curiosity and perhaps, suspicion. Stellman steps forward as Haven and the captain are measuring each other. STELLMAN Captain Iles -- the Commanding Officer of the Post. Haven gives a casual nod. STELLMAN Mr. Haven -- sir. Iles looks him up and down. Haven hands him an envelope which he slips into his tunic without removing his gaze from Haven. ILES I see you finally got here. HAVEN (pleasantly) I seem to finally get everywhere. They eye each other, Iles scowling, Haven thinly smiling. The sense of conflict is already between them. ILES (introducing) Mrs. Caslon, -- Mr. Haven. She nods and smiles warmly. ILES You've met Mr. Stellman. Haven nods. STELLMAN It came off beautifully. He picks a very good fight. In fact, I think I'm still a little sore at him. ILES (grunting) Sit down, Mr. Haven. HAVEN Thank you, Captain. He sits down. Iles is still studying Haven. ILES So you're operating under sealed orders. Haven nods agreeably. ILES (disgruntled) All this mumbo jumbo is characteristic of the Military Information Department. HAVEN We use it as sparingly as possible. Iles pulls out a cigar, lights it, sizing Haven up. ILES I've been in this territory for a number of years -- and I think it might be a little rougher here than a suburb of Washington, D.C. HAVEN Very possibly. ILES Then why is M.I.D. sending you out here? HAVEN Because two soldiers have been murdered. ILES And they think I can't handle that? HAVEN They merely know you haven't. There is a tight little silence, while Iles formulates his dislike for this newcomer. ILES I have only ninety-four men on the post, with Indian trouble up north. The War Department has refused to send reinforcements, or am I boring you? HAVEN (looking bored) I'm not the War Department. ILES (explaining) The two soldiers were killed while escorting one of the gold stages. HAVEN (quietly) Is escorting gold a function of your command? ILES Young man, the functions of my command look very pretty on paper, but they're not very practical in a territory like this. Do you have any illusions about that? HAVEN I have no illusions about anything. Haven takes out his pipe and fills it. HAVEN What's happening to the gold? ILES I've permitted it to be stored in a warehouse on the post. Now everybody is waiting to see what I do next. HAVEN What do you do next? ILES (with sarcasm) Aren't you here to tell me? HAVEN (lighting the pipe) Captain, you're in a bad way. (going over to discard the match) Wells Fargo won't convoy gold. You tried and failed and two men are dead. The gold is piling up on the post and you can't move it. Your post is under-manned. You want the Quartermaster at Platte to replace seventy uniforms sent to the freight office at West Rim City -- ILES The freight building burned down with the uniforms! I'm not operating a fire department -- and if I was, West Rim City is sixty miles away! HAVEN That doesn't concern me either. ILES What does? HAVEN The killing of two soldiers. ILES They were my men, Haven, and I'm trying every way I know to find out who murdered them. HAVEN So will I. For the first time Iles looks amicably at him, as though realizing that after all the man isn't there to criticize him. ILES You'll find it harder than you think. I don't know how you operate, but it's a dangerous job that can get you killed. He smiles slightly at Iles, who gives him a slight smile in return, somehow intrigued by this nonchalance. Haven rises from the chair, lighting the dead pipe in vain. HAVEN Perhaps I can get some help from the Sheriff. ILES You can forget him. He's a miserable man that somebody is using to keep the law a joke. HAVEN You make it sound very difficult. Why don't you just wrap up your flag and take it back East with you? ILES (smarting) Tell me, how will I know what you're doing? HAVEN I'll let you know from time to time. ILES (coldly) That's very obliging of you. HAVEN But I don't want to visit the Army post. ILES Then report to me through Mrs. Caslon here. You can be a friend of her husband's. He owned the Argus mine and died last year. If that meets your approval. Haven glances at Mrs. Caslon, smiles back at Iles. HAVEN Only if it meets with hers. MRS. CASLON I'd be delighted to help. (she smiles at Haven) ILES (grim at the smile) Is that all? HAVEN I think so. Iles marches out abruptly, followed by Stellman. The door shuts. Haven smiles after him, then at Mrs. Caslon. MRS. CASLON He really isn't that abrupt -- he -- The door opens again, smartly, Iles marches back in, kisses Mrs. Caslon on the cheek. ILES Goodnight, Mary. MRS. CASLON (warmly) Goodnight, George. Then he marches out again, shutting the door after him. MRS. CASLON You see? HAVEN I see. MRS. CASLON I think he secretly likes you. HAVEN He's a man who can sure keep a secret. MRS. CASLON (smiles) Would you like a little sherry? HAVEN Only if you have some too. She goes over to a sideboard and pours a little from a decanter into two wine glasses. Haven watches her. For the first time he realizes she is a very attractive woman. She smiles as she brings him the wine. HAVEN Thank you. MRS. CASLON To your good luck. Haven nods and they sip. HAVEN What mine did the two soldiers try to convoy the gold from? MRS. CASLON My mine -- The Argus. HAVEN (smiling a little) That brings me to a question I decided not to ask. MRS. CASLON (smiling back at him) Then I'll answer it first. Captain Iles has asked me to marry him. HAVEN I can understand that. MRS. CASLON (quietly) But you can't understand why Captain Iles should be involved in the gold business. HAVEN (smiling) I do now. MRS. CASLON It isn't just mine. You must realize there's a lot of gold from all over the territory stored at the post warehouse. HAVEN How much. MRS. CASLON Perhaps as much as half a million. (worried now) In fact, I have about fifty thousand in my safe now. HAVEN Who is doing all this? MRS. CASLON I don't know... that's the worst part of it... not knowing. HAVEN (puts down the glass, pats her shoulder with casual reassurance) I might find out. He starts for the door and she follows him. At the open door he pauses. MRS. CASLON Don't get into trouble -- HAVEN That's why I'm here. MRS. CASLON I know, but -- HAVEN Don't worry about it. Trouble and I are old enemies. We understand each other. (he grins at her) Goodnight. MRS. CASLON (smiling again) Good luck. Haven walks out and she closes the door thoughtfully and turns away. In a moment the door opens and Haven reenters and crosses to her much in the manner that we have seen Captain Iles do so. Haven stops. HAVEN You didn't tell me your husband's name. MRS. CASLON Ben. HAVEN (repeating it) Ben. He turns and goes out the door. Mrs. Caslon stands smiling after him. The smile fades for a moment -- then she dismisses it with a shrug. DISSOLVE EXT. MAIN STREET - NIGHT As Haven saunters along. He pauses, glances up at a sign that reads: HOTEL. Then he enters the dingy building. INT. HOTEL - NIGHT As Haven enters the small dismal lobby, and goes over to the desk, where a little man, Orville Weekly sits, singing to himself softly and strumming an accompaniment on a battered guitar. As Haven stands there the clerk finishes the verse about the stranger. Haven nods approval. The clerk looks at him shrewdly. ORVILLE Evenin' stranger. HAVEN You must know everybody in town. ORVILLE Everybody but one. I don't know you. HAVEN What's your name? You seem to be a pretty clever fellow. ORVILLE Orville Weekly, and I can't be a total blank. I been here six years and I ain't dead yet. HAVEN Have you got a vacant room? ORVILLE Day, week, month? HAVEN I don't always know. And the way you talk a man couldn't be very sure. ORVILLE Then it's eight bucks, cash in advance. Haven puts down the money; the clerk spins the registry to him, watches as Haven signs it. And he can read that way. ORVILLE From Arizona, huh? HAVEN No -- I always put down where I'm going next -- so I won't forget. The clerk spits, hands him a key. ORVILLE Room ten -- end of the hall. Make your own bed. Furnish your own towels. Your bag's over there. HAVEN (picking up the key) Thanks a lot for the key. I'll be back later. Haven crosses to exit into the street. DISSOLVE INT. CHARLIE'S SALOON - NIGHT As Haven enters. It is crowded. Haven pauses by a table. He sees Charlie at the piano singing. He sees Mick cross to Prince and say something, then Prince gazes in his direction. Haven's eyes meet those of Prince suddenly turned to him, cold as glass. Charlie, seeing that Haven is watching and listening to her impromptu singing, stops and makes her way through the crowd towards a booth off the dance floor. Haven's eyes follow her. MED. SHOT - of booth as Charlie sits down. A sandwich is waiting for her. She takes a bite of it, then glances up to see Haven standing beside the table. HAVEN How about eating alone? Is that a bad habit too? CHARLIE Just when you have to pay for it. HAVEN It's only money. (sitting down) I've changed my mind since I left here awhile ago. I don't want to pick a fight -- or break the bank -- or -- CHARLIE (evenly) What changed your mind? HAVEN (grins) That's what I came back to find out. Charlie glances at him, then at the crowd where Mick Marion stands beside Prince. Both are looking coldly towards the booth. Haven's gaze follows hers towards Mick, as Prince leaves the big man. CHARLIE Maybe it would be better if you found another girl. HAVEN (smiling) No, it wouldn't... I looked. She smiles slightly back at him, glances away towards Mick. Haven looks too, curiously. Mick is still watching, coldly. Others glance too, as though this were an unexpected thing. Mick takes a drink from a passing waiter; kills it in one gulp. Haven looks back at Charlie's face and smiles. HAVEN That man in ape's clothing -- could he be Charlie? CHARLIE No. HAVEN His eyes follow you around like a couple of flies. CHARLIE They follow me to see that strangers don't annoy me. HAVEN Only strangers? CHARLIE No one else would be so foolish. HAVEN First, you're beautiful. Then I like the way you sing -- and now you're a woman of mystery. (to a passing waiter) Champagne? The waiter nods and leaves. Charlie is still gazing at Haven with that slight provocative smile. HAVEN I don't want to be a stranger, so I'll have to be foolish. CHARLIE You like to take chances, don't you? HAVEN If I feel lucky. CHARLIE Then I'd advise you to try the dice table. HAVEN I'd rather get lucky here. CHARLIE (shrugging) Every man has a right to go to his own funeral. HAVEN (as the waiter sets down the champagne and glasses) I could be your cousin from Waxahatchio. I could be cousin John, a missionary on his way to China. The waiter leaves, as Charlie still regards Haven with a curious interest. Haven is glancing again toward Mick, just as that animal barrels down another whiskey. HAVEN He seems to be a lot of man. CHARLIE The most in town. At this moment Prince comes into scene and sits at the table. Haven looks at him but Charlie offers no introduction. HAVEN It's a very small town. (he sips and gazes around) You could get it all in this saloon. CHARLIE We usually do. HAVEN So Charlie probably runs the town. PRINCE (toying with his dice) Why do you care? HAVEN I'm going to spend some time here. I want to know who winds the clock. He glances up and a slow smile comes over his face as Mick Marion is seen approaching deliberately and with cold menace. Her eyes follow his, then back to his face. CHARLIE It's been a nice conversation. I hate to have it end. Blank-faced and big, Mick arrives at the booth. He stares from Charlie to Haven. Haven looks at him then at Charlie. Charlie watches Haven's face, but the smile remains. It seems to sway her, this little test of expression. MICK Who's this? CHARLIE (after a taut pause) Mick -- this is -- cousin John. HAVEN (relieved) From Waxahatchie. Mick is not quite sure. MICK What's keeping him? PRINCE I think he's wondering if he couldn't do more good here. Haven senses now it is a little game they're playing together on him. His smile remains. He reaches for the bottle, his hand grasping the base of it, just as Mick reaches for it too, clenching the top. Mick lifts at it; Haven's hand holds. They look at each other as this little game of strength goes on. MICK You aren't very friendly, are you, mister? HAVEN (quoting) A friend to all is a friend to none. PRINCE You ought to learn not to pick 'em so easy, like you do your cousins. HAVEN (indicating Charlie) Ask her? CHARLIE (coolly) I never saw him before in my life. That does it. Mick wrenches at the bottle, and as he does so, Haven releases his grip. The bottle shoots up. The wine spills over Mick's face and clothes. Infuriated, Mick flings the bottle at Haven, but Haven ducks as he comes out of the chair. The bottle crashes against the wall, and Haven's fist crashes against Mick. The big man grunts and staggers back, but he doesn't drop. As Haven sets himself, he is suddenly pinned from behind by two bouncers. Mick stands still, staring at him, his cut lip bleeding. MICK (icily) You're too little to make that big a mistake. HAVEN You want to correct me or just bleed at the mouth? There is a dead silence. At the crap table the dice read seven but no one looks at them, all turning toward the scene. A minor rises and the girl on his lap hits the floor. A drunk steals a drink and no one sees him. (Business with glass) Prince looks on coldly. Mark Bristow, moving up from the dice table, pauses and stares. MICK (coldly) Bring him outside. The two bouncers start with Haven toward the door, Mick following. A rear rises and men begin following in their silent wake. Only the guy at the piano keeps on playing: he never stops. ANGLE on Charlie as she rises. Bristow and Prince have sauntered over to her as the place empties, leaving only the piano player. BRISTOW What happened? CHARLIE (casually) A misunderstanding. PRINCE Did you find out what he wants? CHARLIE (starting out) He wanted to be my cousin. (they follow her) Only I haven't any aunts or uncles. (still casually) But you never know -- and the least I can do is bury him. Prince lets go with one of his rare smiles as he looks admiringly at Charlie. They reach the door. The crowd opens for them a little. EXT. SALOON - NIGHT As Mick and Haven come out; the crowd makes a noisy clearing. There are bets going down. As soon as the crowd has formed an open space, Haven wheels and smacks Mick across the face hitting with the heel of the hand, so that Mick rocks back almost going down. There is dead silence. Mick sets himself for the Kill, as he peels his coat. Bristow is shaking with excitement. BRISTOW Mick will kill him. CHARLIE That's ten to one. BRISTOW (grinning) I don't like the other fellow's chances, but I'm a sucker for odds. CHARLIE You should always bet on a champion. Then you can only lose once. BRISTOW You give ten to one...? (she nods) I'll take it. CHARLIE You're down. A thousand to a hundred. As they stare at the fight -- FULL SHOT - fight scene. As Mick is slowly advancing toward Haven. He suddenly swings a haymaker which Haven easily ducks, another and another that Haven evades. HAVEN Don't miss so much. You'll got tired. Mick misses again, fiercely and Haven cracks him one in the midriff. Then steps out fast and waits. Mick charges and Haven catches him full in the mouth. It stops Mick, and then Haven socks him again, this time with the butt of his hand -- open palm -- on the nose. Mick is surprised, tasting the blood on his hurt lips. ANGLE on Charlie, Mark and Prince, as they watch. Charlie's eyes are fixed with a kind of admiration on Haven. Prince watches without interest. Mark is tense and excited. BRISTOW He can fight a little. CHARLIE A little won't be enough. But you feel she wishes it might... ANGLE on the fight. MICK Stand still and fight. As Mick closes again, Haven stops quickly to one side, clipping him behind the ear as he goes by. But this time Mick keeps after Haven and finally connects. It is more of a push than a clean hit, but even so the force of it drives Haven off balance and he sprawls on his back. As Mick, sensing victory, charges, Haven knows he can't get to his feet in time, so he turns his body and springs at Mick's knees shoulder first. The impact spills Mick on his face; before he can recover, Haven dives on him, hands flat on his own chest and palms turned out. His body crashes heavily, angling across Mick's head, and Haven's savagely pushing hands mash the other man's face into the hard ground. Then he rolls clear and comes to his feet, breathing easily, waiting. Mick gets up, shaking his head to clear it, mad and hurt. As he closes ponderously in on Haven, his booted foot suddenly shoots out. Haven twists his knee cap away but takes the blow on the inside of his thigh, numbing the leg so that he almost goes down. And now Mick gets to him. His great arms close around Haven's waist, his hands locked in the small of Haven's back. Haven braces himself against the crushing squeeze, tensing his back muscles and stiffening his spine, but there is nothing he can do against the implacable brute power of the other man. The sweat stands out on Haven's face as Mick's great strength bends him over farther and farther. He must do something, and soon, or his back will be cracked like a barrel stave. Suddenly he bends his knees and lifts his feet up from off the ground. Mick, suddenly finding Haven's full weight pulling him forward, crashes down on top of him. With all the strength left in him, Haven brings his knee to the pit of Mick's stomach; as Mick's hold breaks, Haven rolls clear. Now they are both hurt. Haven's ribs and chest are so bruised that it is agony to take a breath. He knows it has to end quickly or he is done for, and he goes all out. As Mick tries to close with him again, he stands his ground and throws pile-driver punches to Mick's midsection; as Mick finally lowers his arms to cover his body, Haven shifts his attack to the face. This is not Mick's style of fighting, but as he lashes back clumsily and angrily, each time he touches Haven it is with punishing power. Toe to toe, they slug it out, the belt now unwound and dangling from Mick's fist, both men groggy but both refusing to go down. Finally Mick is helpless to protect himself, but Haven hasn't got power left to knock him off those sturdy legs. Gathering himself, Haven hurls his body shoulder first at Mick's chest but he miscalculates, glances off and falls flat on his face. As he rolls over, dogged and slow with exhaustion, he sees that his weight has staggered Mick; the big man has taken a step back, and now he starts to walk forward. Dazed and blind with pain, he passes Haven, staggers forward until the tie-rail stops him. There he stands, his hands on the rail, moving his head from side to side like a wounded animal. The crowd is silent now, waiting. Haven gets to his feet, drunk with weariness. He puts a hand on Mick's shoulder, but hasn't the strength to whirl him around. He braces himself with one hand against the tie-rail, and almost in slow motion pulls Mick around and clips him one last time with his remaining strength. Mick goes down. MICK (getting up very slow) You can't do this. Before he is up he goes down again, unable to make it. MICK (in the dirt) Nobody can do this... to me. The crowd is transfixed. They can't even cheer. The two bouncers lean over the fallen Mick. BOUNCER Somebody just did. They pick up Mick as Haven stupidly watches. Then as Haven turns and goes away, swaying and weak, the roar rises. He pushes aside people who try to assist him. They move aside and watch him leave. The crowd goes back in the saloon behind the vanquished Mick... ANGLE on Charlie, Bristow and Prince. Prince watches the beaten Mick go by with a smile of contempt. Charlie's eyes are fixed on the vanishing lonely figure of Haven. Mark's eyes are dancing. BRISTOW I can't believe it. Mick Marion losing a fight and me winning a thousand! CHARLIE (to Prince) Give it to him, Prince -- in chips. Bristow follows Prince, wiping his forehead. Charlie remains, looking down the now empty street where Haven vanished, a strange soft look in her eyes, a slow smile mounting her lips. INT. HOTEL - NIGHT Orville behind his desk is strumming softly on the guitar, his eyes following Haven as the latter slowly and somewhat painfully walks in and across the lobby. All the way to the desk the clerk watches Haven, strumming softly. Haven pauses and smiles very faintly at him. The clerk puts the guitar aside. There is a coffee pot and cup on the desk. ORVILLE Have some coffee? HAVEN (leaning on the desk) Thanks. Orville pours it quickly. ORVILLE (turning back to pick up a pitcher and a bottle) They told me who was fightin'. I was getting ready to rent your room. Cream or sugar? HAVEN Cream. Orville pours the "cream" from a whiskey bottle. Haven sips gingerly. ORVILLE (looking with mild curiosity and admiration) Myself, I'd rather fight a forest fire. HAVEN (softly) So would I... He finishes the coffee, turns and starts for his room. Orville tosses two towels on Haven's shoulder as the latter goes. Strumming the guitar again softly, he watches with admiration the retreating form of Haven. INT. HOTEL ROOM - NIGHT Haven stands in the darkness only lighted by lights of the saloon next door. He stands there looking vaguely out the window, sucking his knuckles absently as he listens to the piano playing. Then he goes wearily to the bed and falls on it gratefully, shutting his eyes, the towels still across his shoulder. There is a moment of silence and then a soft KNOCK at the door. Another KNOCK, and painfully Haven lifts himself on one elbow and drags out his gun. The door opens and Charlie enters. She shuts it behind her and stands looking at him. He lets the gun fall and turns over on his back. Charlie walks across to the bed and stands looking down at him. CHARLIE How do you feel? HAVEN Like a million dollars. CHARLIE You just cost me a thousand. You lost your pipe in the fight. I brought it to you. She puts it on the table beside the bed. Haven's eyes follow her. She sees the towels, takes them to the washstand, soaks them and brings them back and compresses them gently on Haven's bruised face. When she takes the towel away, he pulls himself up a little, propped against the pillow, looking at her curiously. She sits down on the edge of the bed. HAVEN Do you always get sweet with the men who fight over you? CHARLIE Only the winners. He watches her as she wets the towels again, returns and wraps his hands in them, sitting again on the edge of the bed. HAVEN Tell me something -- CHARLIE (quietly, smiling) What? HAVEN (he lies back) That fellow might have killed me -- (sleepily) Where do you bury the losers? He is almost asleep. She takes the now unused towel and puts it back in the basin, soaks it, returns with it and tucks it against the side of his face. CHARLIE You talk too much. HAVEN (bitterly) What do you want -- the next dance? CHARLIE I think you'd better sit this one out. He is sound asleep the next second. She stares at him; rises, puts the blanket over him and goes quietly out. FADE OUT FADE IN INT. HOTEL LOBBY - DAY Haven comes to the desk from his room. Orville is singing another verse of the ballad. The clerk favors Haven with an admiring smile. The coffee pot is there. ORVILLE Have some coffee? HAVEN Thanks. Orville strums the strings as Haven drinks, having a little trouble with his sore hands. HAVEN The way you run this dump I knew you must be good at something else. ORVILLE Some call me the town poet -- and some the village idiot. Who am I to question either? How you feel today? HAVEN Like I crawled here from Kansas City. ORVILLE Well, it figures to make you pretty famous. Fact, people been askin' for you already. HAVEN Who? ORVILLE That gold mine lady -- Mrs. Caslon. HAVEN That's nice. ORVILLE Couldn't do better. And Charlie. HAVEN Charlie? ORVILLE No. less. HAVEN You seem impressed. ORVILLE Why not? Charlie owns a piece of everything, includin' the undertaker and the sheriff. HAVEN The stage line too? ORVILLE Everything but the Wednesday Bible Class. Even owns a piece of me. (grins) Takes your money while you're here, and makes you pay to leave. HAVEN (putting down the cup) When you get the next verse I'd like to hear it. ORVILLE Can't find no word to rhyme with Mick Marion. HAVEN (as he turns away) Carrion. He walks off. Orville ponders this, scowling into space. DISSOLVE INT. MRS. CASLON'S MINE-CABIN Iles is pacing the floor. Mrs. Caslon is occupied with some minor domestic chore. Stellman is standing by the door. Iles is a ball of fire. ILES Of all the stupid bonehead plays! What did he fight about -- don't tell me a woman? STELLMAN That's what they tell me. ILES Who started it? STELLMAN I don't know, but Haven finished it. ILES That probably strikes you as a very admirable thing. Stellman shrugs. ILES Well, I don't think so! I have men who can use their fists. Why didn't they send a man who could use his brains! There is a knock at the door. Iles gives her a look; then glares at Stellman. ILES Well -- open it up! Stellman opens the door and Haven walks in. He pauses, glances around and smiles. Mrs. Caslon smiles at him. HAVEN Hello, Mrs. Caslon. She smiles and nods. Irons. Haven can feel the surcharged air. Deliberately he assumes that casual manner that so burns the Captain. HAVEN Captain... Lieutenant... ILES (coldly) Mr. Haven, we may not have very much around here that pleases you, but we do have a strict post regulation against brawling in the town. Now would you like to explain what happened last night? HAVEN (smiling) I came here to return Mrs. Caslon's call. Iles glances sharply at Mrs. Caslon, and then to Haven. ILES (indicating a chair) Sit down. Haven sits, wincing a little. But he beams at Iles, who now picks a book off the table. ILES This book I have in my hand is the Army Register, 1882. Haven inspects his knuckles. ILES I am now going to read from it. (finds the place; reads) "Haven, John Martin, born Ohio 1852. Appointed Second Lieutenant. Promoted First Lieutenant 20th Infantry, March 1880; reduced in rank to 2nd Lieutenant January 12, 1881." He tosses the book on the table, glaring at Haven. ILES Is that correct? HAVEN It's the Army Register. ILES Haven, you've lost your rank once. It may very well happen again. HAVEN To almost anybody. MRS. CASLON Maybe if you'd let him explain... He might have a good reason. ILES Even a bad reason would delight me. HAVEN What would you like to know? ILES Did you pick that fight? HAVEN Those things can become very vague. Iles scowls to him. ILES (shrewdly) And where do you expect all this to get you? HAVEN (rising wearily) That is a question I prefer not to answer. ILES (snaps it) I think you're trying to carry your authority too far. Haven goes to the door, gently touching his sore jaw. At the door he turns. HAVEN Perhaps, but there's one thing, Captain Iles... We had an arrangement that we wouldn't meet -- you and I -- except through Mrs. Caslon... I think it's important to keep it that way... (one more glance back) And I like it better. He smiles and leaves, closing the door as he goes. Iles stands there frozen with rage a moment. Then his face relaxes in a grim smile. He glances at Stellman as he takes a cigar out and bites it off. DISSOLVE INT. SALOON - DAY Business is slack. Girls drink coffee and knit at a table. Ernie polishes glasses at the bar. A colored man cleans a crap table. All look up with curiosity and esteem as Haven enters; all but Sam, the piano player, who goes on playing. Haven goes to the bar. Ernie nods at him. HAVEN Doesn't he ever stop playing? ERNIE Sam? It don't bother him. He's deaf. HAVEN Where do I find the boss? ERNIE First door top of the stairs. HAVEN Mick been around? ERNIE He's undisposed. Haven goes to the stairs. The eyes of the girls follow him. Top of the stairs -- as Haven reaches the door, wincing at the climb. He KNOCKS with the heel of his hand, hurts it, then uses his boot toe. PRINCE'S VOICE Come in. Haven opens the door. INT. CHARLIE'S OFFICE - DAY This is a big corner room, the windows of which look out over the main street. The chairs are big and there is a roll- top desk in the corner, a big leather sofa, and on the walls some framed pictures. At a table Prince sits. He has six dice stacked on top of each other and he is lifting the column. Charlie is seated behind the desk smiling. Haven looks from one to the other. HAVEN (to Prince) You wanted to see me? CHARLIE I did. HAVEN They said Charlie -- CHARLIE Yes. She seems to enjoy Haven's momentary confusion. Prince is indifferent. HAVEN You're Charlie? CHARLIE That's right. (nods toward Prince) This is Prince. Don't ever gamble with him. HAVEN You mean with his equipment? Prince gives him a thin smile and rises. PRINCE She means either. (he crosses to door) See you later, Charlie. Prince saunters out. Haven sits in a big chair, very gingerly; takes out his pipe and tobacco. HAVEN You surround yourself with very affable characters. CHARLIE It makes me feel at home. HAVEN You're not that sinister. Last night with the wet towels you were Florence Nightingale in silk stockings. (stretching his legs, looking at her) Have you got a match? She comes over with one and lights his pipe. HAVEN There's one in my pocket but I hate to reach for it... thanks. She takes his hand and looks at the cut knuckle. CHARLIE Sit there. She walks out of the room and he watches her; then around the room. In a moment she returns, pulls up a chair in the front of him and sits down. She has bandages and a little jar of ointment. HAVEN (smiles) Now you're Florence Nightingale again. She takes one of his bruised hands, and as she bandages his hands slowly, carefully and rather expertly, they talk. CHARLIE Why did you pick that fight? HAVEN I thought you did. CHARLIE (smiling) Really? HAVEN You could have insisted I was your cousin. CHARLIE Perhaps that isn't the way I felt about you. HAVEN (as his knuckle hurts) Ouch! She smiles at him and then goes on. HAVEN Where did you get the name of Charlie? CHARLIE It was my father's. My name is Charlene, but -- He watches her face. HAVEN I like that better... Charlene... (she doesn't answer) This'll be the first time I ever worked for a woman. CHARLIE (giving him a glance) What makes you think you're going to work for me? HAVEN You sent for me. CHARLIE (finishing the bandage) How's that? She stands up. Haven looks at her and ignores his bandaged hands. HAVEN Beautiful. CHARLIE (walking towards the window) All right, I sent for you. I was doing a nice quiet business. That was because everybody was afraid of Mick. Now every time a man has enough drinks in him to feel rugged he'll try to do what you did. HAVEN I wouldn't. CHARLIE But they will. HAVEN That's not the job I want. I don't intend to start at the bottom. I've been there. It's too crowded. CHARLIE (coolly) Where do you want to start? HAVEN With the money. CHARLIE And what will you do for it? HAVEN Anything -- except hang. How did you get -- all this? CHARLIE I learned one thing from my father. As long as men think they can beat the tables, all you have to do is get a table. Sometimes they run out of cash and I find myself with new responsibilities. HAVEN Such as -- CHARLIE A couple of stores for one thing. HAVEN I can't see myself behind a counter. CHARLIE A sawmill, and a logging camp. The logging camp's a long way from town. Haven gets the meaning and shakes his head. CHARLIE I own the stage line from here to West Rim City, but that's a dud. HAVEN Why? CHARLIE Outlaws. The money was in gold shipments. Now the mines won't ship it. HAVEN I'll take that job. CHARLIE You mean ride shot-gun? HAVEN I mean run the line. CHARLIE Don't force your luck. You won a fight last night. You could lose one tonight. HAVEN Today I'd hate to tangle with a butterfly. CHARLIE What do you think you'll get out of running the stage line? HAVEN A commission on all the gold I get through. CHARLIE That should buy you a small beer. HAVEN Glad to get it. CHARLIE It's pretty dangerous. Even Wells Fargo locked up their station and quit trying. HAVEN (leveling) Who steals the gold? CHARLIE Who doesn't? All they have to do is put a mask on and they all look like Black Bart. HAVEN (rising) Give me a letter of authorization. CHARLIE (going to the desk) I can't bet against you twice, can I? As she writes out the authorization, Haven saunters to the window, then over to the desk. Charlie finishes and hands him the paper. Haven scans it, pockets it. CHARLIE (smiling at him) You know I forgot to ask you one thing. HAVEN I'm working for you now. You can ask me anything. Haven is moving to the door and she beside him. They pause. CHARLIE How do I know I can trust you? HAVEN You don't. CHARLIE Can I? He looks at her face, neck and hair. She looks pretty good. HAVEN Only with money. Haven looks squarely at her a moment, then smiles. He reaches out one bandaged hand and pats her shoulder. HAVEN (quietly) Okay, boss? He walks out, and Charlie remains standing there, staring after him, just a little hazily. DISSOLVE EXT. STAGE LINE DEPOT - DAY As Haven walks through the wide gate into a compound. There are several unhitched stages and freight wagons, one or two in partial disassembly and being serviced. A colored boy is readying a horse and buggy and beside him, overlooking the yard activities, is a bespectacled man with rubber sleeve garters. He is the manager. He has eyes like Armadillo and claw-like hands; otherwise, he could be your loan agency man. Seeing Haven he crosses to him. HAVEN (looking him over) Are you the manager? MANAGER I am. HAVEN My name's Haven. MANAGER I've heard about you. You're the fellah who took Mick Marion apart. (looking at him) Almost knocked me off my feet. But my feet ain't been any good since I followed Stonewall Jackson. (keenly) What business you got with me? HAVEN (handing him the note) I'm the new boss. The manager glances at the note, after moving his spectacles out of the way. He gives it back without a word, and turns toward the rear office door. Haven halts him. HAVEN Wait a minute. You're not fired. MANAGER I got to be. There ain't enough work around here for one man, let alone two. HAVEN Two can loaf as easy as one. Jim Goddard and Jerry enter from the rear office door. Jerry is the younger. Goddard walks a little stiffly with the aid of a cane. JERRY Mr. Leonard! They halt and look at Haven. The Manager jerks a thumb at Haven. MANAGER Talk to him. He just took the reins. (indicating the two lads) This is Jim Goddard. He's a regular stage driver. Jerry here runs freight to the sawmill. Boys, your new boss. HAVEN Hello, boys. JERRY (with a grin of hero worship) I gotta start out of here for the sawmill before daybreak. Is that all right, Mr. Haven? Haven nods, after a glance at the manager. JERRY I seen that fight last night. It was sure a beauty. HAVEN Glad you enjoyed it. JERRY What I liked was the way you -- HAVEN Let's not talk about it. Right now it hurts my hands to listen. JERRY Yes, sir. He walks out, looking back with an awesome smile. Haven looks curiously at Goddard, who has been standing in silence, a thin smile on his lips. HAVEN What happened to you? GODDARD My last run. I stopped a bullet. HAVEN Did you get a look at them? GODDARD I wish I had. HAVEN I think I'm going to need you and not on one leg. So sit down and give it a rest. GODDARD (slowly smiling) Yes, sir. He obeys. Haven watches and then turns to the manager. HAVEN I'm coming back later and sit behind your desk. I'll need the keys. MANAGER (taking keys from his pocket) Only things here that work. The manager, gives them to him. Then looks at him. MANAGER Son, I waste my time. I might as well waste some advice. You're full of blood and vinegar, but this whole thing has got something wrong with it. Goddard only got nicked in the shin. You might not be so lucky... HAVEN I might depend on something besides luck. MANAGER Like for instance? HAVEN Well the fact that they don't seem to shoot too straight. MANAGER They don't need to when they shoot so often. He turns, takes a few steps -- and turns back to Haven. MANAGER Worry it over. The manager turns to go, shaking his head. EXT. OFFICER COMPOUND Haven, whistling softly, crosses to the colored boy who is polishing the last specks of dust off the buggy. It is a beautiful buggy attached to a beautiful horse. Haven pauses and gazes at it. HAVEN What's this? The colored boy steps back and admires his work. COLORED BOY Sumpin', ain't it? HAVEN Who's it for? COLORED BOY Miss Charlie, Mr. Haven. HAVEN Where do you drive her? COLORED BOY Same places. Around the hills, down the river, every afternoon. HAVEN I think I'll give you this afternoon off. COLORED BOY I shouldn't let you do this, suh... (looking Haven over, especially the bandaged hands) But ah am. Haven climbs in the buggy, and the Colored Boy watches him go. DISSOLVE INT. CHARLIE'S OFFICE - DAY Charlie is dressed to go somewhere. She looks much nicer in these clothes than in her show garments of the night. She is listening to Prince who sits in a chair, the inevitable dice in his fingers, two this time. There is a silence except the rattle of the cubes. Then Prince speaks coldly. PRINCE Does this Haven move me out? Is that the plan? CHARLIE Prince, you know I wouldn't part with you. PRINCE But I always come up empty. CHARLIE Not quite empty. I gave you what is probably the one honest feeling you ever had in your life. PRINCE I keep forgetting that. Pardon me. CHARLIE What's the matter, Prince? PRINCE I don't like John Haven or anything about him. CHARLIE You've said that. PRINCE What do you know about him? CHARLIE You want me to have him looked up in the Social Register? She gets up, goes to the window testily. Prince looks at her coldly as she gazes at the street. PRINCE A man walks in out of nowhere -- CHARLIE (turning) And went against your table. Did he play like a gambler? PRINCE He knew something. CHARLIE Yes -- and he took Mick. PRINCE So he can fight. (shrewdly) You like that part, don't you? He looks straight at her and she stares back, staring him down at last. As his eyes lower, she turns again to the window. CHARLIE I'll tell you one thing, Prince, I don't like this part. She is silent and Prince gets up and walks out. She does not turn. Down in the street she can see Haven riding up in the buggy, and the hard look on her face softens to a smile as Haven climbs out of the buggy. Some people passing stare at him, and whisper together. His fame has spread. He walks inside, smiling a little. INT. SALOON - DAY As Haven enters. There is no play at the tables. Some at the bar. The deaf pianist is pounding the keys softly. Prince has just descended the stairs and gone to the dice table, where he leans, his cold eyes fixed on Haven as the latter goes to the foot of the stairs. At this moment Charlie appears and descends the stairs, adjusting her hat. Haven stares at her with admiration, as she descends, smiling at him. MED. SHOT - Haven and Charlie, as she reaches the last step. HAVEN Stand there a second. She looks at him. HAVEN Every time I see you, you look different, but you always look beautiful. Why is that? CHARLIE I always have somebody to lie to me. HAVEN Take my hand -- (offering it) But don't squeeze it. She takes his arm instead and they walk towards the door. MOVING SHOT - Charlie and Haven, as they go. CHARLIE Tell me what you're doing with my buggy. HAVEN My work. I'm the new transportation boss. You hired me. MED. SHOT of Prince, as he stands at the table, watching them go. EXT. CHARLIE'S BUGGY - DAY As Haven helps Charlie into the carriage. HAVEN I presume you're going shopping? CHARLIE I wouldn't wear anything sold this side of Chicago. I'm going to call on a gentleman. HAVEN At this hour? CHARLIE His name is Mark Bristow -- and any hour, it would be strictly business. He glances at her. HAVEN The way you say it -- he may need a lawyer. CHARLIE He's a lawyer himself, but it won't help him. HAVEN No? CHARLIE (with a smile) What good is a lawyer if he never gets in a court? HAVEN Like a doctor in a graveyard. Where is this unlucky man? CHARLIE Across the street. As Haven shrugs and turns the carriage to front of Bristow's office. EXT. BRISTOW'S OFFICE - DAY The letters on the window read: Mark Bristow, Lawyer As Haven pulls up in front of it with the carriage. He goes around and helps Charlie alight, making it a little slow for the sake of added intimacy and causing her to smile as though she didn't resent it. HAVEN Shall I take the horses back and rub them down? CHARLIE Do you think they've gone far enough? HAVEN I haven't. CHARLIE Then maybe you better wait and come with me. As Charlie starts in, Mrs. Caslon comes out and they pass. Mrs. Caslon pauses to smile and Haven tips his hat. Charlie, flashing a backward look, sees this. EXT. BRISTOW'S OFFICE - DAY MED. SHOT of Haven and Mrs. Caslon. Haven is talking to her with apparent casualness because he realizes that Charlie can see him. HAVEN I wonder if you'd do me a favor? MRS. CASLON Why, surely. HAVEN It's a big favor, and I wouldn't blame you if you refused. MRS. CASLON What is it? HAVEN I want to haul some gold from your mine. MRS. CASLON That IS a big favor. HAVEN I know it seems impossible to you, but that's one reason why I'm here -- to find cut what makes it impossible. MRS. CASLON Isn't that very risky? HAVEN That's why I couldn't go to anyone but you. MRS. CASLON (hesitating) I'm just wondering if we shouldn't speak to Captain Iles first. HAVEN You know what he'd say. (she smiles grimly and nods) He'd advise against it -- but if it works my way, it may clear everything up -- for all of us -- and for Iles too. The War Department doesn't like all that gold around an Army Post. He watches her face as she thinks it over. HAVEN (softly) We're working too much in the dark. This may be the only way to see something. It's a risk -- but someone has to take it... MRS. CASLON (firmly) Who else will know of it? HAVEN Just us. That'll be all who know -- and that's the idea. MRS. CASLON (simply) I'll arrange it. HAVEN (grinning) Don't look so grim. It's only your gold and my skin. And smile when you walk away as though we'd been talking about what a dry summer it's been. She smiles and Haven pats her shoulder. INT. OFFICE - DAY As Bristow is talking. Charlie, looking through the window, sees Haven and Mrs. Caslon part, Haven patting her shoulder with that familiar gesture of his, then coming into the office door. BRISTOW ...You know I'll always cooperate -- as much as possible. But I haven't the money. Haven has entered in silence, seated himself in a chair. Charlie does not look at him; her face, hard now, looks straight at Bristow. He pauses as he glances at Haven with a little nod Haven doesn't return. CHARLIE (rising and going to the desk with a sheaf of papers, which she places on his desk) These are I.O.U.s for gambling. They add up to six thousand dollars. Do you want to count them? BRISTOW No. CHARLIE (returning them to her pocket) Your credit's over, Mark. BRISTOW My luck can turn, can't it? CHARLIE Not on my tables. BRISTOW I've seen other people fall in this trap -- but I didn't think it would get me. He is sweating a little. CHARLIE Nobody does. I'll have Prince drop in and go over your books. Maybe we can work something out. BRISTOW But I told you -- CHARLIE That's the way it is, Mark. I pay off on the line and I expect to get paid. Give it some thought. She whirls and walks out the door. Haven, fumbling for his pipe and putting it in his teeth, follows her with a parting glance at Bristow. For a long minute Bristow sits there alone, his eyes staring at nothing; then as he mops the mildew of sweat from his forehead: WIPE INT. CHARLIE'S CARRIAGE - DAY As Charlie and Haven drive in the country. The road winds between hills now and a stream tumbles along beside the winding road. The horse is moving at a snail's pace and Charlie is gazing around at the scenery, relaxed and thoughtful. HAVEN You know, you remind me a little -- back there -- of a character I once read in a book. CHARLIE I had an idea you'd read a book. What was the character? HAVEN Simon Legree. CHARLIE Mark is mixed up. He's either crooked without being smart, or honest without being lucky. And that's no good. HAVEN I don't think I'd want to owe you money -- even if I was honest. CHARLIE Even? HAVEN When I was seven I robbed my own piggy bank. CHARLIE It's hard to imagine you being seven. HAVEN I was very fat and ate a lot of candy. CHARLIE Is that why you robbed your bank? HAVEN No... I robbed it to run away from home. CHARLIE Did you do it? HAVEN Yeah, but I had to go back. CHARLIE Why? HAVEN It got dark. She laughs. They stop and get out. DISSOLVE STREAM BANK - DAY FULL SHOT as Haven helps her down the bank to the edge of the water. She sits on the edge of a huge flat boulder and Haven stretches out beside her. MED. SHOT of Haven and Charlie. As she looks at the stream and then at him. CHARLIE This is my favorite place in the world... I always come here to think about it. HAVEN What? CHARLIE The rook here and the stream. The stream is always running away and the rock is always watching it go. It's two ways to be -- and I always wonder which is the best. HAVEN They probably envy each other. CHARLIE Do you suppose any woman could envy me? HAVEN I know it. CHARLIE But not a good woman? HAVEN Nobody is any good. You mean respectable. CHARLIE Maybe. HAVEN Respectable people are very useful -- but they bore me. CHARLIE With certain exceptions. HAVEN (curiously) Like who? CHARLIE Like Mary Caslon... HAVEN I thought we might get to that. CHARLIE How did you happen to know her? HAVEN I knew her husband. CHARLIE That's curious, considering -- HAVEN Considering what? CHARLIE Ben Caslon was a very upright citizen. HAVEN Meaning I'm not? CHARLIE (adds thoughtfully) She's certainly not hard to look at -- and now she has the money and is -- (looking away) -- also very respectable. HAVEN Then why would she be interested in me? CHARLIE Because you're no good. And good women like men who are bad for them. HAVEN Flattery will get you nowhere. CHARLIE Fooling with her will get you nowhere too -- except in trouble. HAVEN With whom? CHARLIE The army. Why is it you're always getting mixed up with the army? Haven has been idly flipping pebbles into the stream. He sees a leaf float by. HAVEN (idly) What are the odds I hit the leaf? CHARLIE (absently) Four to one. HAVEN Pass -- (he flips the pebble, misses) What's the army got to do with Mrs. Caslon? CHARLIE She's engaged to Captain Iles. HAVEN Iles? CHARLIE He's the army boss here. HAVEN (smiling) If you're going to frighten me, the least you can do is hold my hand. He holds out his hand and takes hers. Abruptly she starts to rise, very piqued and unable to disguise it. Haven rises too. Takes her hand to help her from the boulder. Then stops and gazes at her, smiling. HAVEN This is where you ought to slip -- and I should catch you and kiss you. CHARLIE No chance. She starts down; Haven moves too, but it is he who slips and she who has to catch him. Her arms go automatically around him. His around her. Before he can act himself, she holds him tight and kisses him. It is a long kiss and on it we: FADE OUT FADE IN INT. HOTEL LOBBY - EVENING Orville is strumming the guitar as Haven enters. He pauses as Haven comes near on the way to his room. ORVILLE Hey. Haven halts, walks over. HAVEN You finish that song? ORVILLE Never do. HAVEN Why not? ORVILLE It's my fatality. I never finish nothin'. HAVEN Maybe it's just as well. ORVILLE Maybe so. I thought I'd tell you. Goin' back to your room will be a waste of time. HAVEN It will? ORVILLE I don't know what happened on that buggy ride, but somebody came and took all your truck. He strums the strings. HAVEN And, naturally, you didn't do anything about it? ORVILLE What could I do? HAVEN You could have called the sheriff. ORVILLE Set a thief to catch a thief, eh? HAVEN I paid my rent and I think I'm entitled to know who stole my clothes. He starts to his room. ORVILLE (calling after him) A man couldn't ask for no prettier thief. INT. HAVEN'S ROOM Haven enters, glances around, sees the bag is missing. He goes to the window, sees Charlie at saloon window across the areaway. He leans out. HAVEN Hey! Charlie moves the window, smiling. CHARLIE (leaning out) Hello... I've been wondering where you were. HAVEN I lost my shirt. CHARLIE You didn't imagine that I'd let you live in that hotel, did you? I want you available -- in case of trouble. HAVEN Where did I move? CHARLIE In a very nice room upstairs. HAVEN (taking out his pipe) When can you get my things back to the hotel, Charlie? She stares at him, the smile fading on her face. CHARLIE Why don't you take them yourself? HAVEN (calmly) Because that's not how they got here. A slight pause. CHARLIE You're really hard -- aren't you? HAVEN No. CHARLIE You have to play everything alone? HAVEN This hotel is no good. The service is bad. The clerk's a poet, and the mattress is not quite as soft as a marble slab. But I'm beginning to like it... and if I open this window, and hear you singing... CHARLIE Is that the way you want it? HAVEN That's the way. CHARLIE They'll be there. She turns abruptly from the window. Haven smiles and turns away. DISSOLVE EXT. STAGE LINE COMPOUND - NIGHT Haven is finishing preparations for the ride. ANGLE ON Goddard as he stands in shadow, watching. He carries a shotgun. As Goddard moves from the shadow, Haven whirls, going for his gun -- then relaxing as he recognizes the other man. MED. SHOT of Haven and Goddard. HAVEN What brings you here? GODDARD (smiling) I had a dream. HAVEN Yeah? GODDARD That you'd be back here tonight. HAVEN Why? GODDARD Maybe because you took the keys. HAVEN Don't they go with the job? Haven stares at him a long moment; Goddard returns the stare steadily. GODDARD You know how it is with dreams. I got the crazy idea you were going to try something -- HAVEN How crazy? GODDARD Like running a shipment. HAVEN Then what happened? GODDARD I wanted to be some help with it. HAVEN All right -- you've been some help. Now you can go back to sleep and I'll finish the dream for you. The coach is ready. Goddard doesn't move. GODDARD I'm riding with you, Haven. HAVEN You are? GODDARD (grimly) I'm riding. HAVEN (slowly) You got more than your leg hurt, didn't you? GODDARD Maybe I just like to ride in the moonlight if nothing happens. HAVEN And if it does? GODDARD Then I think I got a little better right than you to be there. HAVEN (gazing at him) I was just thinking -- a nice guy like you probably has a nice girl somewhere -- or a wife. GODDARD What are we gonna do -- have a little chat about women? Haven slowly grins at him; Goddard smiles back. HAVEN Some other time -- Let's go -- out the back gate. Goddard climbs up with his shotgun as Haven clambers up into the driver's seat. As the coach turns and heads for the back of the corral. WIPE EXT. OPEN COUNTRY - NIGHT FULL SHOT - the stagecoach, travelling across open flat country, heading toward the distant hills. CLOSE SHOT - Haven and Goddard in the driver's box, keeping an eye about him as the teams gallop along in the moonlight. HAVEN What makes you so anxious to take this chance? GODDARD What makes you? HAVEN I'm on commission. With me it's a matter of money. GODDARD And you think it's something else with me? HAVEN I can't think of anything else -- except curiosity. GODDARD (gazing out drily) Some moonlight after all... FULL SHOT as the stage rockets off into the darkness. DISSOLVE EXT. MOUNTAIN COUNTRY - NIGHT The stage is now heading uphill, the gentle slope at the beginning of the foothills. EXT. MOUNTAIN COUNTRY - NIGHT The road is steeper now, and winding. ANOTHER ANGLE. The road is cut out of the side of the mountain, leaving a sheer slope on one side, and high, thick trees and brush on the other. As the stage follows a bend in the road, a rider leaps out and grabs the lead horse. The stage lurches crazily and almost overturns as it slows to a stop. Before Haven can free his hands from the reins to go for his gun, two shadowy figures, handkerchiefs helping the darkness mask their faces, have jumped out onto the road ahead and have him covered. BANDIT All right -- stretch! Haven and Goddard raise their arms. Another bandit, from the hillside, calls out: SECOND BANDIT Pile out with the hands up. Two shotgun barrels cover the side of the stags. Goddard gets off, hands in air. FIRST BANDIT (to Haven) Get down. Haven obeys, to join Goddard in the road, as the bandits converge on the stage. There are five or six of them. Two come up behind Haven and Goddard. FIRST BANDIT Turn around and keep 'em high. The sacks are being loaded on a pack horse. Haven turns around. HAVEN Take it easy. They hang you just the same. SECOND BANDIT You, Goddard, start walking. He gives Goddard a none too gentle shove. Goddard moves on up the road in the darkness. A FEW YARDS UP THE ROAD. Mick is waiting by his horse, his gun drawn. We hear the steps of Goddard and the bandit. SECOND BANDIT'S VOICE That's far enough. The footsteps halt. Mick aims and fires. BY WAGON. There is a half grunt, half groan from Goddard. Haven turns as if to protest and then crumples as a gun fells him. CLOSE SHOT - Haven, lying face down on the ground, unconscious. FADE OUT FADE IN EXT. SKY As day breaks. EXT. MOUNTAIN ROAD - DAWN CLOSE SHOT - Haven. Haven comes to, gradually clearing the cobwebs. Then suddenly he remembers Goddard and the shot. He makes his way to where Goddard's body lies a few feet up the road. Goddard's right hand is half in his hip pocket, as if in his last dying moment he was reaching for something. As Haven pulls the hand out, he sees that Goddard's fingers have closed around his wallet. Puzzled, Haven opens the wallet. There is a stiff-backed daguerreotype of his wife, an expired Union Pacific Railroad pass, an express receipt, a souvenir bank-note of the Confederacy, and a small, closely- folded piece of paper. Unfolding this, Haven sees the top line: "To Whom It May Concern" HE READS FURTHER: "This certifies that the bearer, James Goddard, is operating as a legally deputized detective for Wells Fargo Stage and Express Company." Haven replaces the papers and lifts Goddard's body, carries it to the stage and places it on the floor. He removes Goddard's gun and shell belt and straps it on, closing the stage door. Haven's face is grim as he studies the ground nearby. The sticky mud shows clearly the new tracks of the bandits' horses. As he starts unhitching one of his horses from the wagon traces, we DISSOLVE EXT. MOUNTAIN COUNTRY - MORNING A tiny clearing on a brush-filled knoll, where the remains of a cooking fire are still visible, the ashes scattered over the tamped-down ground. CAMERA PANS OVER TO Haven, on horseback, as he studies the scene. This is where he evidently made camp for the night. He dismounts, sifts the ashes through his fingers to feel their warmth. He cannot be far behind. Then he turns his attention to the trail loading away. Inspection reveals that it divides, one group of fresh tracks heading towards town, another smaller group further into the mountains. He decides to follow the latter. As he mounts and rides off: DISSOLVE EXT. MOUNTAIN COUNTRY - MORNING A high spot from which Haven can get a good view. Off in the distance he sees: LONG SHOT - FROM his ANGLE. A lone rider, leading a pack horse, barely visible through the timber. He is heading away from him. CLOSE SHOT - Haven. He spurs his horse forward. FULL SHOT - Haven, in pursuit of the man ahead. EXT. STREAM - MORNING The bandit, unaware of his pursuer, puts his horse and the gold-laden pack horse through the stream. He comes out into a meadow on the other side. PAN SHOT - WITH Haven, as he comes to the stream. Half way across, his horse momentarily loses his footing on the slippery rocks. MED. SHOT - bandit. Hearing the noise of Haven's horse, he turns and sees his pursuer, takes a quick shot back at him, then heads