"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"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 watches her disapprovingly as she drinks deeply
from it. Then with a pleasant smile she offers him the
canteen.

GATEWOOD
(shaking his head in
disgust)
No!

Dallas looks down towards Ringo, smiles bravely and hands
him back the canteen. Then she sits back, leaning her elbow
on the edge of the window and covering her ear with her hand
to protect it from the breeze.

Dissolve to a very long shot of the stage galloping towards
camera along a dusty track. The sky is stormy above them.

Dissolve to a medium shot of Dallas, Gatewood and Lucy sitting
hunched up in the front-facing seat. Dallas has a blanket
wrapped round her shoulders. Gatewood still sits stiffly
with the bag of money on his knee. Lucy is also huddled up
in a cloak and is turned slightly away from the others.
Ringo's head can be seen in front of Lucy, his face obscured
by his large hat.

Now we see a close-up of Dallas with the blanket held up in
front of the window to protect her face from the breeze. She
stares fixedly in Ringo's direction, off-screen.

Cut to a close-up of Ringo's head bending forward so that
only his hat can be seen. He raises his head slightly and
looks up under the brim of his hat.

Dallas now looks up, embarrassed to have been found out.
Ringo, smiling slightly, drops his head again, trying to
sleep.

Cut to Lucy as her eyes close, then open; her mouth opens
slightly. She is obviously very unwell. She pulls the cloak
closer round her face.

Now we go to Peacock and Doc Boone. Doc Boone gets another
bottle out of the bag. He exchanges glances with Peacock and
grins at him, then pulls the cork out of the bottle, but
Peacock lays a hand on his arm.

PEACOCK
Please...

Doc Boone looks at him reproachfully, pushes away Peacock's
hand with his other arm and drains the bottle, tossing it
empty out of the stagecoach window. Then, after regarding
the interior of the sample-bag lovingly, he folds his arms
across the top of the bag and lays his head on them to go to
sleep, watched sadly by Peacock.

On the driving-box, Buck and Curly are huddled up in their
coats against the cold wind. Curly looks over his shoulder,
down towards the passengers in the coach below them. Buck
shouts at the horses, trying to make himself heard above the
howling wind. Fade out.

Fade in to a long shot of the Apache Wells station, seen
from above at sundown. The stagecoach can be seen lurching
along the track in the distance. Three or four Mexican
vaqueros in the compound rush towards the gate to open it.

The gateway is seen in medium shot with the trail stretching
away into the distance. In the foreground the men open the
gate, chattering in Mexican among themselves all the time.
The stagecoach comes through the gate and rolls off-screen
in the foreground. One of the Mexicans closes the gate while
the others, all armed with shotguns, run shouting after the
stagecoach.

Buck pulls the horses up outside the station-house. Camera
pans slightly left with the stagecoach as it comes to a halt,
then holds as the station manager, a pot-bellied Mexican
named Chris, comes up. He opens the door of the stagecoach
and, as Ringo lowers himself out, he runs round to stand
staring up in amazement at Buck and Curly. Buck is full of
the joy which follows averted danger.

BUCK
(cheerfully)
Howdy, Chris. Seven hours from Dry
Fork. That's fast driving, amigo!

CURLY
(as the passengers
climb out)
Get the folks a bite to eat, Chris,
while we change horses. We're pushin'
right on to Lordsburg.

CHRIS
(waving his arms)
You come without soldiers?

Buck and Curly are now seen looking down from the driving-
seat.

BUCK
(a hero)
Sure, we wasn't scared. Never seen
an Apache, did we, Curly?

CURLY
(looking round
anxiously and ignoring
Buck)
Where's the cavalry, Chris?

BUCK
Yeah, where is the soldiers?

Buck's jubilant expression is fading rapidly as he looks
more closely at Chris's uneasy face.

Chris is seen from above with the back of a horse between
him and the stagecoach. He looks up.

CHRIS
(shaking his head,
his eyes wide)
Ain't no soldiers.

He gestures helplessly.

Buck and Curly look down in horror.

BUCK
Huh?

CHRIS
(off)
Soldiers gone.

Lucy and Hatfield are standing together. Lucy steps forward,
face taut, her voice shaky.

LUCY
Where's Captain Mallory? Where's my
husband? Where is he?

Lucy now comes beside the stagecoach; for the first time she
shows signs of cracking up. Peacock leans through the window
listening, as Chris steps forward and faces her.

CHRIS
You his wife... I think?

LUCY
(frantically)
Yes, where is he? Did he go with his
men?

Close-up of Chris.

CHRIS
Si, seņora.
(he motions towards
the hills)
Leetle... what you call it...
skirmish...

Lucy's eyes open wide with incredulity.

CHRIS
(off)
...with Apaches last night.
(hesitantly)
Soldiers take Captain Mallory to
Lordsburg...

Close-up of Chris.

CHRIS
...I think. He get... hurt, maybe.

Close-up of Lucy.

LUCY
(standing very still)
Badly?

Close-up of Chris.

CHRIS
(nodding unhappily)
...Yes, seņora. I think so.

Hatfield, standing just behind Lucy, watches her with concern.
She stands looking at Chris, off-screen, for a moment, then
slowly turns away from camera and walks off behind the
stagecoach. Hatfield follows her anxiously.

Dallas is standing by the door of the station-house, with
Gatewood on the other side of her, as Lucy comes up. Dallas's
heart goes out to Lucy and she steps forward sympathetically.

DALLAS
Mrs. Mallory, I'm awfully sorry. If
there's anything I can...

Lucy stops and faces Dallas as she speaks.

LUCY
(coldly)
I'm all right. Thank you.

She turns away and goes on into the station-house, watched
unhappily by Dallas. Hatfield steps gallantly up and follows
Lucy into the house.

Lucy comes in through the door that leads from the yard into
the lunch-room. It is a fairly large room with bare white-
washed walls, a bar at one side and some tables and chairs.
Lucy looks terribly sick and is fighting for strength and
self-control. But as she reaches out for a chair to steady
herself, she suddenly puts her other hand to her head and
without warning she collapses in a dead faint, sinking to
the floor out of sight behind a table. Just then, Hatfield
comes through the door; he starts forward to help, looks
down, then hurries back to shout through the door.

HATFIELD
Marshal! Come here. Quickly!

Then he rushes back to Lucy, bending down over her.

Curly is seen from below, hurrying through the door. At first
he cannot see Hatfield and scans the room anxiously until
his eyes light on him, off-screen. He pauses, laying his
shotgun down on the bar beside him.

Hatfield is kneeling down beside Lucy's inert body on the
carpet. Curly's shadow can be seen against the far wall.
Hatfield gently lifts Lucy's head off the floor, as Curly
hurries into shot to kneel down beside him. They exchange
glances and Hatfield nods slightly. Curly bends down and
starts to pick Lucy up gently in his arms as though she were
a child.

Dallas now hurries through the door, coming towards camera,
then stops, looking down anxiously. Doc Boone and Gatewood
follow her closely.

Curly, holding Lucy in his arms, carries her towards the
door at the back of the room, which leads into a passage and
bedrooms. Hatfield turns, picks up the oil-lamp from the
table beside him and follows them through.

Gatewood, Dallas and Doc Boone turn their heads to watch
them go, as they stand in a helpless huddle. Peacock joins
them, while Hatfield and Curly are seen going out with Lucy
through the door in the background.

Dallas is standing by Doc Boone, who is leaning against the
bar. They are both watching very tensely. Dallas turns to
Doc Boone and lays her hand on his arm.

DALLAS
Come on, Doc.

She hurries out of shot in the foreground, but Doc Boone
remains leaning against the bar. His eyes close in anguish
for a moment. He covers his face with his hands, and at that
moment Ringo steps up to him.

RINGO
(quickly but firmly)
Let's go, Doc.

Doc Boone wipes his forehead with his hands and then with a
set expression starts to walk towards camera, followed by
Ringo.

Outside in the dim passage, Dallas speeds urgently down to a
lighted doorway halfway along. She stops and looks through,
then hurries into the room. At that moment, Doc Boone comes
into shot from the foreground, padding unsteadily along the
passage after her. He goes through the same door and, as he
disappears inside, Hatfield's shadow falls on the opposite
wall from where he is standing on guard. Then he steps out
of the room, looking back over his shoulder.

GATEWOOD
(off)
A sick woman on our hands!

The remaining passengers are moving with Buck towards the
warm fire in the large fireplace.

GATEWOOD
That's all we needed!

BUCK
I... I feel kinda sick myself.

Ringo goes to close the door as Gatewood continues to bluster.

GATEWOOD
(raging)
We're in a fine fix, my friends.
It's a fine country we're living in.
The Army has no right to leave a
public place like this undefended!

RINGO
(coming back and
silencing him)
Looks to me like the Army's got its
hands pretty full, mister.

As Ringo speaks, standing back to camera in the foreground,
Dallas hurries into the room. Hatfield can be seen through
the open door, standing on guard in the passage behind her.
Dallas hurries up to Chris, who has been bending down beside
the fire. He stands up.

DALLAS
Have you a wife?

CHRIS
Si, seņora.

DALLAS
Call her.

Chris goes off, shouting in Spanish to his wife. Dallas turns
towards Ringo in the foreground, with Buck watching in the
background.

DALLAS
(turning to Ringo)
Go into the kitchen and get some hot
water -- lots of hot water.

RINGO
Yes, ma'am.

Ringo turns to go as Dallas hurries off again, leaving the
men standing in a stunned silence. Just at that moment Doc
Boone stumbles back into the room, followed by Hatfield. Doc
Boone wipes his mouth and without a word goes off towards
the bar, watched by Hatfield and Gatewood. Dallas closes the
door to the passage behind her.

Doc Boone slouches unhappily against the bar, watched by
Peacock, who stands in the corner holding his sample-bag
tightly. Doc Boone, swaying slightly, looks at the nearly
full bottle in his hand.

Hatfield looks over at him with a kind of suppressed fury.

HATFIELD
A fine member of the medical
profession!

Cut back to Doc Boone and Peacock at the bar.

HATFIELD
(off)
Drunken beast!

At these words Doc Boone firmly replaces the cork in the
bottle and presses it home with the palm of his hand. Only
then does he turn, steadying himself on the bar, to look
purposefully in Hatfield's direction. He starts taking off
his jacket.

DOC
Coffee... gimme coffee... black
coffee... lots of it...

He drops his jacket and staggers off, watched by Peacock
from the corner.

Dissolve to the station kitchen, where Doc Boone, shirt-
sleeves rolled back, is desperately trying to sober himself
up. Curly pours him another cup of black coffee from the
coffee pot on the range while Ringo holds him steady round
the chest. Doc Boone hands Curly back a tin cup, demanding
still more coffee; Curly refills it from the pot.

CURLY
That makes four, Doc.

Doc Boone drains the tin cup, his face turning purple with
the effort, but he holds the cup out manfully again.

DOC
More, and blacker!

CURLY
(looking apprehensive)
Ain't that enough? You'll have it
coming out of your ears in a minute!

DOC
Keep'er comin', Curly!

Curly splashes the cup to the brim again and Doc Boone puts
it to his lips heroically, gasping with the effort.

RINGO
Drink it down.

CURLY
It'll make you feel better.

Suddenly Doc Boone gasps and looks up at Ringo, clasping his
stomach.

RINGO
All right, now!

He heaves Doc Boone bodily across to the right, where he
bends over to vomit.

In the lunch-room, Peacock and Gatewood are the only two
sitting at table eating dinner. Hatfield stands in the
background guarding the door to the passage. Suddenly, unable
to contain himself a minute longer, he lunges over to the
kitchen door behind Peacock and kicks it open.

Standing at the open door, he sees the group within clustered
round Doc Boone. Ringo holds him over a basin while Curly
and Chris stand helplessly watching. They all spin round as
Hatfield shouts.

HATFIELD
(yelling)
Isn't that drunken swine sober yet?

CURLY
(retorting)
We're doing the best we can!

HATFIELD
(yelling)
Well, hurry!

Hatfield stumps off impatiently. Then camera pans left as
Doc Boone straightens up, puffing, his eyes rolling. Curly
moves off to the left and throws a glass of cold water in
his face. Doc Boone blows and splutters, but he urges Curly
on with a wave of the hand.

DOC
That's it! Again!

Curly throws another glass of water in Doc Boone's face, and
he shakes his head and blows, trying to clear out his
alcoholic fuddle. Ringo steps back out of the range of the
water. Then he grabs Doc Boone's arm and pulls him down on a
seat.

RINGO
Sit down here, Doc.

As Ringo wipes Doc Boone's face and head with a cloth, Curly
urges Chris to the fire.

CURLY
Keep the fire going, Chris! Plenty
of water!

Chris hurries across to attend to the fire. Curly kneels
down in front of Doc Boone.

Peacock and Gatewood are seen sitting at the table. Hatfield
paces up and down behind them, running his fingers impatiently
through his hair. Suddenly Peacock's face drops and he leaps
to his feet with a blood-curdling yell.

PEACOCK
Savages!

Hatfield and Gatewood spin round, startled, as Chris comes
calmly through the door of the kitchen.

CHRIS
That's my wife...

In the yard doorway stands a full-blooded Apache girl, a
certain savage beauty in her figure. She stands there like
an evil shadow, her eyes darting around at the strangers.
Two Mexican vaqueros stand behind her.

CHRIS
(off)
Yakima.

Peacock is terrified as he quavers to Chris in a high key

PEACOCK
But she... she's a savage.

CHRIS
Si, seņor, she's leetle bit savage...
I think.

Chris speaks to the girl in Spanish, waving his arms.

The vaqueros go off outside and Yakima comes forward from
the doorway.

The agitated Peacock stands near Gatewood, who is sitting by
the table. Chris is beside them, addressing Yakima as if she
were a chattel. The girl slips into the room with the grace
of a snake and walks through to the kitchen. Hatfield watches
in the background. Then Gatewood turns sternly on Chris.

GATEWOOD
There's something about this. That
girl's an Apache!

BUCK
Yeah.

He clears a frog out of his throat.

CHRIS
(pouring coffee)
Sure, she's one of Geronimo's
people... I think.
(grinning)
Maybe not so bad to have Apache wife.
Apaches don't bother me... I think.

Peacock appears not at all convinced. But at that moment Doc
Boone comes through the door and strides towards the passage
at the back of the room, followed by Curly and Ringo; he is
a different man now, a good professional, as sober as a judge.
Everyone turns to watch them as they go.

Cut to a medium long shot looking up the passage towards the
door of the lunch-room as Doc Boone comes towards camera,
followed by Ringo and Curly. Hatfield watches them from the
threshold. Doc Boone dries his hands on a towel, then throws
it over his shoulder. As the men reach the door of the bedroom
in which Lucy is lying, he stops and turns back to Ringo and
Curly. Ringo moves off, but Curly shakes Doc Boone's hand
sympathetically.

CURLY
All right, Doc?

DOC
(in a courageous
whisper)
All right.

He turns and disappears through the doorway, watched by the
men in the passage. Curly turns to go.

Inside the bedroom, Dallas stands waiting with an oil-lamp
in her hand. Doc Boone pauses in the doorway, holding two
buckets of hot water. He looks up at Dallas nervously, then
pulls himself together.

DOC
(in a low voice)
All right, now listen.

He puts down the buckets and wipes his forehead with the
towel, then goes off to the right as Dallas moves past him
and closes the door. She comes back and puts the lamp on a
side table, looking towards Doc Boone, now off-screen.

Cut to Curly standing in the passage, with Ringo and Hatfield
beside him on the threshold of the lunch-room door. All are
staring towards the closed door on the left. They stand there
waiting for whatever is going to happen.

Dissolve to one of the Mexican vaqueros playing a guitar in
front of the fire outside in the compound. It is night. A
voice starts to sing, off. Camera pans slowly left to a long
shot of the horses in the corral. Yakima sits on the fence,
singing.

Close-up of Yakima singing. She looks over her shoulder as
if hearing some significant noise, but nothing other than
the stamp and shuffle of horses can be heard. Still singing,
she walks towards the Mexicans sitting round the guitar
player; camera pans right with her and holds as she stops,
leaning against a wooden post.

Cut to a medium close-up of Yakima singing. Suddenly she
stops and speaks in Spanish in a low voice, telling them to
go. The group of Mexicans under the covered shelter by the
fire get up, wrapping their cloaks around them. Yakima, again
singing, does not move. The Mexicans go off on the right
with the guitar player still playing, looking back at her as
she sings. Cut back to the shot of Yakima singing. Suddenly
there is the sound of hoof-beats. She listens, a curious
smile glinting in her black eyes.

Curly, Ringo, Buck and Hatfield come rushing out of the house.
As they run towards camera, Curly hands Ringo a shotgun.
Camera tracks in closer as they run forward and stop suddenly.
The stillness of the night is broken by whooping, and the
hoof-beats get louder.

From their point of view, we see a vaquero galloping away
under the gate into the night.

Hatfield, Curly, Buck and Ringo watch impotently.

BUCK
It's them vaqueros! They've run away!

A pause.

CURLY
Yeah! With the spare horses.

Buck and Ringo look at him worriedly. Then they look back
towards the corral.

Out on the prairie, where the full moon is rising over the
mountains, a coyote howls its long-drawn-out cry. It howls
again, the cry echoing mournfully across the long lonely
vista. In the gloomy lunch-room, Ringo, lighting a cigarette
from an oil-lamp, looks up slightly as the coyote howls again.

In the lunch-room the men are sitting around in varying
degrees of agitation. Hatfield is playing patience at the
table behind Ringo, who moves away. Suddenly the howl of the
coyote changes, and we hear, mingled with it, the sound of a
baby crying. Both men look round slowly towards the door to
the corridor.

Now we look along the table with Curly and Hatfield sitting
at the end, Peacock sitting in the foreground and Ringo
leaning against the chair opposite him. They all look round
at the door to the passage in the background. The wail comes
again. Buck edges round into shot at the end of the table.

BUCK
Them coyotes gimme the creeps. They
sound jest like...
(again the high wail,
louder)
...jest like a baby.

They look up at him slowly, then Buck looks down at Hatfield's
patience game and points.

BUCK
Black eight!

Hatfield looks down at his game again, but his mind is not
on it. As they all turn to look down at Hatfield's cards,
the passage door slowly opens and Dallas appears silhouetted
against the light. She is holding a bundle in her arms. Slowly
they all become aware of her. The last trace of hardness has
vanished from Dallas as she holds the infant in her arms,
and there is a wonder in her face. She stands a moment in
the doorway, a smile in her eyes, then comes into the big
room with the little bundle of wailing life wrapped in a
bigger bundle of blanket. The men all get up and go towards
her, surrounding her.

Seen from below through the door from the passage, Dallas
stands three-quarters back to camera as she holds the baby
and looks up to the men grouped around her -- Ringo nearest
camera, then Hatfield, Curly, Peacock trying to see his way
between Curly and Buck. They all smile tenderly and in
delight. Curly puts out a finger to touch the new-born child,
carefully, as if he weren't sure it was real.

The new-born baby, seen close from above, screws up its face.

Dallas, seen in medium close-up from below, is smiling up
towards Curly, whose hand holds the blanket away from the
baby's face, while Buck and Peacock look down excitedly.
Buck is completely overcome; he looks up.

BUCK
(amazed)
It's a baby!

Dallas's voice is as proud as if the child were her own, her
smile tender and maternal.

DALLAS
It's a little girl.

Ringo and Hatfield look down, quite speechless.

BUCK
(off)
It's a little girl. Well I'll be
doggoned!

Curly, Peacock and Buck all crowd round Dallas, looking down
at the baby in Dallas's arms. Dallas is three-quarters back
to camera and the baby cannot be seen.

BUCK
(outraged)
Why didn't somebody tell me?

Hatfield and Ringo look over at him, off-screen. Hatfield is
the only one of the group who has not been smiling; his eyes
are intense with anxiety.

HATFIELD
How is Mrs. Mallory?

Cut back to the shot of Dallas, Peacock, Curly and Buck.
Dallas looks up towards Hatfield.

DALLAS
She's going to be all right.

BUCK
(grinning)
Well I'll be doggoned.
(to Peacock)
Did you know?

Peacock looks up and is about to say something, then changes
his mind and looks down at the baby again, grinning. Dallas
looks up towards Ringo.

Extreme close-up of Ringo staring at Dallas.

Close-up of Dallas smiling slightly as she looks up towards
Ringo. She looks very beautiful.

BUCK
(off)
Well, I'll be doggoned!

Cut back again to the men crowding round the baby. Dallas is
still smiling up towards Ringo. Buck looks down at the baby
and wiggles his finger on his lips, making a funny gurgling
noise, but Peacock stops him.

PEACOCK
(sternly)
Don't do that.

Buck stops, looking rather put out.

Dallas leaves the men and hurries away with the baby just as
Doc Boone comes through the passage door into the room. He
looks weary and terribly sober. As he comes forward the men
all surround him admiringly; even Hatfield's eyes show a new-
found respect. But Doc Boone seems oblivious of the excitement
and enthusiasm, heading single-mindedly past the men to the
bar. Curly comes up and puts a hand round his shoulders;
Peacock waylays him, standing in his path, and grabs his
hand, pumping it and staring into his face.

PEACOCK
(fervently)
Doctor Boone!

He seems about to say something else, but obviously words
fail him. Doc Boone does not reply, but starts to move on
again, with Peacock holding his arm on one side and Curly
holding his arm on the other.

Doc Boone takes up the same position he had occupied before
the emergency where his bottle of whiskey still stands on
the bar. His face grey and lined. He puts his cigar back in
his mouth. The others are all jubilant; Peacock and Curly
smile at him from either side; Hatfield and Buck, also smiling
broadly, come up and stand by the bar. [Chris takes up a
position behind the bar.] Doc Boone disregards them and seems
unaware of anything but his own weariness.

CURLY
Come on, boys, three cheers for old
Doc Boone! Hip, hip...

PEACOCK
(raising a finger)
Sssssh! Quiet!

Buck and Curly have drawn breath to cheer but Peacock cuts
them off.

BUCK
Well, we ought to be...

PEACOCK
(smacking the bar top)
Quiet!
(he looks reproachfully
at Buck and adds)
Mrs. Mallory.

They all subside, conceding the point. In the meantime, Doc
Boone has poured himself a drink and with much relish downs
it in one. Then he slowly lowers the glass, blows his breath
out sharply and for the first time looks round at the others
and grins. Ringo is standing shadowed in a doorway out in
the passage. Dallas comes out of a door farther down the
passage, putting a shawl round her shoulders, and walks down
the corridor away from camera without seeing Ringo. Ringo
starts to follow her. Just before he reaches her, Chris comes
out of another door carrying a lamp. Ringo stops.

Chris, seen from the side holding the lamp, stands close up
to Ringo, his manner secretive.

CHRIS
(in a low, warning
voice)
Kid, I know why you go to Lordsburg,
Kid. I like you. I knew your poppa.
He was a good friend of mine. If you
know who's in Lordsburg you stay
away... I think.

RINGO
(guardedly)
You mean Luke Plummer?

He lights his cigarette from Chris's lamp.

CHRIS
Luke... Ike... Hank... all there
together. I saw them.

A wild shine comes into Ringo's eyes and he grips Chris's
arm eagerly.

RINGO
You sure of that, Chris?

CHRIS
Sure I can tell you the truth.

As Chris nods, Ringo's eyes gleam.

RINGO
Thanks, Chris. That's all I wanted
to know.

He moves away towards the door, watched by Chris.

CHRIS
You crazy if you go... I think. You
stay away, Kid. Three against one no
good.

Ringo takes no notice and goes outside. Dallas is seen in
long shot, standing in the dark compound. In the moonlight
the vast expanse of desert seems ghostly, yet strangely
beautiful. Ringo comes into shot from the foreground and
silently watches her as she walks slowly out of sight. He
starts to follow.

Cut to low angle medium shot of part of a fence as Dallas
comes up, walking slowly and thoughtfully past camera, her
arms folded. The experience of the last few hours has affected
her deeply, taken all the defiance out of her face and
softened it into beauty.

Ringo quietly follows her.

Dallas walks along by the fence, followed at a small distance
by Ringo. She stops and rests a hand on the wood. Thoughts
of what she might have been seem to be crowding into her
heart as she stares off into the moonlit distance. Ringo
calls out to her in a low voice.

RINGO
You oughtn't go too far, Miss Dallas.

She turns at his voice and he comes towards her on the other
side of the fence.

RINGO
Apaches like to sneak up and pick
off strays.

He leans against the fence and looks down at her. She does
not look at him at first.

RINGO
(conversationally)
You visiting in Lordsburg?

DALLAS
No, I... I have friends there.
(she turns towards
him)
And maybe I can find work.

She turns to face him properly and suddenly speaks to him in
a rush.

DALLAS
Why don't you escape, Kid? Why don't
you escape?

Ringo and Dallas face one another across the fence.

RINGO
I aim to, Miss Dallas... in Lordsburg.

DALLAS
Why Lordsburg? Why don't you make
for the Border now?

Ringo leans forward in close-up.

RINGO
My father and brother was shot down
by the Plummers. I guess you don't
know how it feels to lose your own
folks like that.

Cut back to the shot of Ringo and Dallas, as she looks off
over the moonlit plains. Her voice is dull and flat.

DALLAS
I lost mine when I was a kid. There
was a massacre in the Superstition
Mountains.

He looks at her in surprise, but she is looking back at her
own dismal childhood.

RINGO
That's tough, especially on a girl.
[It's a hard country.]

DALLAS
You have to live, no matter what
happens.

RINGO
Yeah, that's it.

They look off for a moment into the moonlit distance, each
deep in their own thoughts. Ringo is trying to muster courage
to express what he feels. Finally he turns to her, with his
voice, at first awkward and halting, growing in emotion.

RINGO
Look, Miss Dallas...

Close-up of Ringo.

RINGO
...you got no folks... neither have
I. Maybe I'm taking a lot for
granted... but I watched you with
that baby... that other woman's
baby... and you looked...
(he grins)
...well...

Close-up of Dallas.

RINGO
(off)
...but... well... I still got a ranch
across the Border. It's a nice
place... a real nice place... trees...
grass... water... a cabin half-
built...

Close-up of Ringo.

RINGO
...a man could live there... and a
woman.

Dallas's eyes are brimming with tears, as she looks up at
Ringo.

RINGO
(off)
Will you go?

Dallas looks at him as if she cannot believe her own ears.

DALLAS
You don't know me! You don't know
who I am!

Dallas and Ringo face one another in profile.

RINGO
I know all I want to know. You're...
the kind of girl a man wants to marry.

They stare at each other for a few moments, then Dallas turns
away.

DALLAS
(tearful)
Oh, don't talk like that!

Dallas, overcome by the rush of feeling that possesses her,
gathers up her skirt and dashes off.

Curly is now seen approaching from the house. His voice,
when he speaks, is gruff with suspicion.

CURLY
What you doin' out here, Kid?

We look along the fence, with Ringo on one side and Dallas
hurrying away on the other. She stops at the sound of Curly's
voice, then moves off as Curly strides up to Ringo.

CURLY
Stick close to the reservation.

Fade out.

Fade in to a room at the Apache Wells Station. It is early
next morning. The men of the party are bunked down on the
floor in various positions. Suddenly a voice galvanizes them
into action.

CHRIS
(Shouting off)
Curly!

He rushes in.

As he opens the door, the daylight coming through the doorway
lights up the people in the room. Everybody sits up. Curly,
who is lying by the door, looks up at Chris.

CURLY
What's wrong, Chris?

CHRIS
(excitedly)
My wife, Yakima. She run away.

Ringo and Curly sit, looking up towards Chris, off-screen.
Curly is holding a gun.

CHRIS
(off)
When I wake up she's...
(making a wide gesture
with his hand)
...gone.

Curly moves his leg and yanks Ringo across with him. We see
that they are handcuffed together round the ankles.

CURLY
(apologetically)
'Scuse me, Kid.

He pats Ringo's leg and turns to Chris again, growling at
him reassuringly.

CURLY
The way you come bustin' in here
you'd think... we was bein' attacked.
You can find another wife, Chris.

CHRIS
(off)
Sure I find another wife. But she
take my rifle and my horse! I never
sell her, I love her so much.

Doc Boone sits up on the bar buttoning his trousers. Chris
addresses him passionately.

CHRIS
I beat her with the whip and she
never get tired!

DOC
Your wife?

CHRIS
My horse! Find wife easy, yes, but
not horse like that!

Gatewood and Hatfield are sitting in a corner of the room.
Hatfield looks elegant, even in his prematurely disturbed
sleep. Gatewood stands up; an awful thought has struck him.

CHRIS
(off)
Mala Yakima!

GATEWOOD
I knew that woman was a thief.

The words are no sooner out of his mouth than he starts
stumbling about, feeling all around for something. It is
obvious that his bag has gone. Curly looks over at him from
his place on the bunk.

CURLY
(suspiciously)
What's the matter with you, Gatewood?

Hatfield gets up and moves away as Gatewood shouts
frantically.

GATEWOOD
My valise! Where's my valise?

In a general shot of the room, everyone is looking round
towards Gatewood as he shouts off-screen.

GATEWOOD
(off)
Which one of you has got it?

Buck, sitting down on the floor near Doc Boone and Chris,
holds up the valise.

BUCK
Here. I been usin' it for a pillow.
Thought you wouldn't mind.

Gatewood rushes into shot and grabs the valise, standing
threateningly over Buck.

GATEWOOD
Didn't I tell you to keep your hands
off my things?

BUCK
Well, I'm sorry I...

No one speaks. Buck starts to get up.

Buck is now standing up in front of Doc Boone, with Chris
visible standing near the door. Buck sticks out his tongue
rudely at Gatewood, who is off-screen, and then moves off
towards the door, looking back at Chris as he goes. An
unpleasant thought has struck him too.

BUCK
That squaw of yours will find some
Apaches and bring 'em back here.

CHRIS
(indignantly)
My wife's people they won't bother
me... I think.

BUCK
(wheezily)
They bother me... I think!

He goes out.

Chris turns back to Doc Boone. Doc Boone is sitting on the
bar and pats it with his hands stiffly.

DOC
Chris... is this bar open?

CHRIS
Sure, all the time, seņor, si.

Doc Boone jumps down, and as he lands on the floor it is
obvious that the short jump has jarred every bone in his
body. Camera pans slightly right as Chris goes round behind
the bar and gets out a bottle and a glass for him. Doc Boone
turns round towards him and uncorks the bottle.

Gatewood, puffing angrily, puts on his jacket. Curly, who is
standing by him, is still dressed only in his shirt-sleeves.
Hatfield can be seen in the background, leaning against the
doorpost and looking through the open door.

GATEWOOD
(impatiently)
What are we wasting time for? Let's
make a break for it.

HATFIELD
(staring at him coldly)
We got a delicate woman to consider.

GATEWOOD
Well, do you want her to stay here
and be butchered, with the rest of
us?

Ringo comes into shot and stands with Curly facing Gatewood.

He sits down preparing to put on his boots as Hatfield and
Gatewood continue to shout at one another.

HATFIELD
Why don't you think of anyone else
for once?

GATEWOOD
(shouting)
Are you insinuating...?

Curly intervenes.

CURLY
Easy, easy, easy! Quiet, boys, quiet.
(Gatewood stalks off)
We ain't butchered yet. But you're
right...

Ringo looks up.

CURLY
(off)
...we'd better get goin' for Lordsburg
soon as we can.

Ringo looks towards the door of the corridor, then back
towards Curly, off-screen.

RINGO
Might be a good idea, Curly, if --
uh...

Doc Boone is standing at the bar, drinking, with Gatewood
beside him and Buck in the background.

RINGO
(off)
...if Doc took a look at the patient.

BUCK
(grinning)
Yeah, and Little Coyote.

Gatewood gets himself a glass and pours himself a drink. He
holds out his glass to Doc Boone.

GATEWOOD
(clearing his throat)
If you'll join me, Doctor...

He drinks.

Doc Boone looks at him, then shakes his head.

DOC
No thanks.

Camera pans left with Doc Boone as he moves away from the
bar, leaving Gatewood drinking on his own. The pan continues
as Doc Boone passes the fireplace where Peacock is standing.
He throws his drink into the flames. The fire roars up and
Doc Boone goes out of shot, watched by a rather startled
Peacock, who looks round towards the bar, then down at the
flaring grate.

Dissolve to a close-up of Lucy in the bedroom. Her head is
propped up on the pillow and Dallas's hands are in shot
braiding her hair.

The bedroom is now seen in medium shot. Lucy lies in bed,
with Dallas sitting on the bed beside her. The door in the
background opens and Doc Boone comes in cheerily.

DOC
Good morning.

Dallas gets up and goes to close the door as Doc Boone stands
at the end of the bed looking down at Lucy.

DOC
You're looking chipper today.

Now Doc Boone is seen in close-up as he looks quietly at
Lucy, then turns his head towards Dallas, both off-screen.

DOC
You're up early, Dallas.

Dallas is leaning against the wall by the door. She looks
pale and drawn. Her cloak has dropped away from her chest
and she draws it up again, but does not reply.

Close-up of Lucy, who knows better.

LUCY
She didn't go to bed, Doctor.

Close-up of Doc Boone, looking down at Lucy.

LUCY
(off)
I'm afraid she sat up all night,
while I slept.

His eyes flick up towards Dallas again.

Close-up of Dallas.

DALLAS
(apologetically)
Oh, I slept in the chair a lot.

Close-up of Doc Boone looking at her. He does not believe
her. Doc Boone and Dallas are now seen in medium shot across
the room. Dallas moves away from the wall and crosses the
room behind Doc Boone as she speaks.

DALLAS
Well, it was nice to stay awake and
hold the baby.

Camera pans right with Doc Boone as he goes across to the
bed where the baby is lying next to Lucy. He bends down to
look at the baby.

DOC
(poking the baby)
We've got to get you to Lordsburg,
Little Coyote.
(he chuckles as Lucy
looks at him, puzzled)
That's what the boys christened her
last night from the way she squalled.

The baby is shown close from above, asleep in the bed.

DOC
(off)
Little Coyote. How do you feel?

LUCY
Fine, Doctor. A bit tired.

Doc Boone is now seen bending over the bed, with Lucy lying
on the pillow below him.

LUCY
Doctor, do you think my husband...

DOC
(cheerily)
Never mind. The best medicine he can
have is to see you two safe and sound.
You make up your mind to get there.

LUCY
(quietly)
I have, Doctor.

DOC
That's the talk. You need more
strength. Rest all you can. Dallas,
maybe you can fix up some broth.

LUCY
(indicating a plate
and cup on a chair)
She has already.

DOC
Good!
(to Dallas)
How about some coffee for the boys?

He gets out a cigar.

Dallas, who is sitting down beside the window, nods and gets
up wearily.

DOC
Try and sleep for a while, little
lady.
(he beams at her
teasingly)
And don't look so proud. I've brought
hundreds of 'em into the world...
(a pause)
...once upon a time, and each new
one is always the prettiest.

He goes out and Lucy watches him go.

In the passage outside the bedroom Dallas stands against the
wall waiting for the doctor as he comes out to go towards
the lunch-room. She calls to him, her voice low and intense.

DALLAS
Doc...

He turns back and comes towards her, leaning on the wall
opposite her

DALLAS
...Ringo asked me to marry him.

Close-up of Dallas.

DALLAS
Is it wrong, for a girl like me? If
a man and woman are in love, it's
all right, ain't it, Doc?

Doc Boone frowns back at her.

DOC
(quietly)
You're going to get hurt, child,
worse than you've ever been hurt.
Don't you know that boy's headed
back to prison?
(She is silent and he
goes on)
Besides, if you two go into
Lordsburg...

Cut back to Dallas listening worriedly.

DOC
(off)
...together, he's going to find out
all about you.

She stares at him, then makes an inward decision.

DALLAS
(quietly)
He's not going to Lordsburg.
(after a pause)
All I want is for you to tell me
it's all right.

Doc Boone looks at her with a depth of understanding. There
is something regretful in his eyes; they see that Dallas is
on ice that is too thin.

DOC
Who am I to tell you what's right or
wrong, child? All right, go ahead.

Close-up of Dallas.

DOC
(off)
Do it, if you can. Good luck.

DALLAS
(almost with tears in
her eyes)
Thanks, Doc.

He looks after her for a moment as she hurries away down the
passageway, goes out through the door at the end and closes
it behind her, then himself turns to go back to the lunch-
room.

In the lunch-room, the men are gathered in a tense group.
Hatfield leans against the bar with his back to the others;
Gatewood stands at the end of the bar drinking. Ringo is
near the fire, where Buck is busily gathering up his things.
Curly joins the rest as Doc Boone appears and taps Ringo on
the shoulder.

DOC
Ringo...

CURLY
(interrupting)
Well, Doc?

DOC
Both doing fine. She's a real
soldier's wife, that young lady.

He goes over to the bar and picks up his bottle and glass.
Gatewood and Doc Boone are now seen at the end of the bar,
with Buck behind them near the door.

GATEWOOD
(eagerly to Curly)
That means we can go.

DOC
(pouring a drink)
Not for a day or so, if you want my
professional opinion.

GATEWOOD
What do you mean a day? Stay another
day? Why?

DOC
Where were you when the stork came
last night, Gatewood?

Hatfield adds his support.

HATFIELD
I refuse to allow Mrs. Mallory to
travel until she and the child are
out of danger.

Gatewood looks furious.

GATEWOOD
What d'you mean 'danger'? Aren't we
in worse danger here?

Peacock intervenes nervously.

PEACOCK
(clasping his hands)
I don't wish to intrude... I've had
five children...
(coughing)
...I mean my dear wife has... and...
much as I dislike to say it at this
hour of our trial, I... ahem... I
believe the doctor is right.

In the group, Hatfield is leaning back against the bar, Curly
is standing a little apart in the middle of the room, and
Doc Boone by Gatewood at the end of the bar. The doctor
strikes the top of the bar with one hand.

DOC
Spoken like a man, Reverend.

GATEWOOD
I say we've got to get out of here
before the Apaches find us. That's
common sense!

Hatfield turns to Gatewood as Doc Boone walks away to the
door into the yard, through which Ringo has now disappeared.

HATFIELD
(vehemently)
I wish you were ten years younger,
Gatewood!

GATEWOOD
Don't let my white hairs stop you!

Buck and Curly move forward and intervene.

CURLY
Quiet! Quiet!

BUCK
(petulantly)
Now, Curly, I haven't said a word.

Gatewood moves away.

CURLY
(shouting at Buck)
Will you shut up!

Buck waves his hands in frustration and moves away as Curly
tries to make everyone see reason.

CURLY
If we argue this thing out right
we'll get somewhere. Now let's all
sit down and talk sensible.

The station-house door is seen from the outside, as Doc Boone
comes out puffing on his cigar.

CURLY
(continuing, off)
Come on, Buck, sit down.

Camera pans right with Doc Boone as he shuffles forward and
joins Ringo, who is busily tying his neck scarf.

DOC
(to Ringo)
In that case you better make yourself
useful, my boy. There's a young woman
out in the kitchen. She's making
coffee. She needs help.

RINGO
Thanks, Doc.

Ringo starts to move away, camera panning slightly with him,
but Doc Boone grabs him by the arm. Ringo turns towards him
and they stand facing each other a moment.

DOC
Say, Kid, how old were you when you
went to the pen?

RINGO
Oh well, I was going on seventeen.

Ringo goes off, leaving Doc Boone looking after him. Doc
Boone sticks his cigar into his mouth and then puts his hands
into his trouser pockets and stands, looking thoughtful, for
a moment.

Dallas is at the range in the kitchen, grinding coffee. Ringo
comes through the door at the back and stands leaning against
the doorpost looking at her. She does not notice him. He
waits there awkwardly for a moment and then speaks, self-
consciously polite.

RINGO
Mornin', ma'am.

Dallas looks up towards him.

DALLAS
Good morning.

Camera pans slightly left as she picks up the coffee-grinder
and goes across to the stove and starts spooning the coffee
into the big coffee pot. Ringo comes forward and stands behind
her, holding his hat.

RINGO
(shifting his weight
hesitantly)
I laid awake most the night wondering
what you'da said if Curly hadn't
busted in. Guess you was up too. I
could hear you movin' around.
(a little awkwardly)
You didn't answer what I asked you
last night.

Dallas goes on measuring the coffee in the pot. Finally she
stops what she is doing and drops her hands onto the stove.
Close-up of Dallas as she swings round to face Ringo.

DALLAS
(her voice growing
urgent as the words
pour out)
Look, Kid, why don't you escape?
There's a horse out there in the
corral.

Cut to a reverse medium close-up with Dallas in the foreground
three-quarters back to camera and Ringo facing her.

DALLAS
Curly won't go after you... he can't
leave the passengers in this fix!

RINGO
But I got to go to Lordsburg. Won't
you go to my ranch and wait for me?

Dallas looks at him intensely.

DALLAS
(bitterly)
Wait for a dead man?
(she turns away)
You haven't got a chance.

Dallas goes back to her coffee-making, leaving Ringo standing
awkwardly behind her.

DALLAS
It was three against one when the
Plummers swore you killed their
foreman and got you sent up. It'll
be three against one in Lordsburg.

RINGO
There's some things a man just can't
run away from.

Camera pans round slightly left as Ringo comes towards camera
and sits down in the foreground by the stove, partly out of
shot.

DALLAS
How can you talk about your life and
my life when you're throwing 'em
away?
(vehemently as he
comes to her)
Yes, mine too! That's what you're
throwin' away if you...

Ringo sits on the window-sill, looking at her.

DALLAS
(off)
...go to Lordsburg!

RINGO
(helplessly)
What do you want me to do?

Dallas leans forward urgently from the stove towards Ringo,
while he looks at Dallas in confusion.

DALLAS
(pleadingly)
Would it make us any happier if Luke
Plummer was dead? One of his brothers
would be after you with a gun. We'd
never be safe. I don't want that
kind of a life, Ringo.

RINGO
(slowly)
I don't see what else I can do.

DALLAS
Go now... get away... forget
Lordsburg... forget the Plummers.
Make for the Border and I'll come to
you.

She pleads intensely.

RINGO
You mean that?

DALLAS
I do, I do!

RINGO
Won't you come along with me?

DALLAS
I can't leave Mrs. Mallory and her
baby. I'll come to you from Lordsburg.
I swear it.

Dallas leans against the stove watching Ringo as he gets up
from the window-sill. He looks round the room and then back
again at Dallas, trying to adjust his mind to this tremendous
change.

RINGO
I oughta have a rifle.

DALLAS
I've got one right here.

Camera pans right as Dallas rushes across the room and moves
a coat from a rack of pegs on the wall, which is hiding a
rifle. She takes it down.

DALLAS
(eagerly)
I got it for you last night, while
you were all asleep.

Ringo stares at her in wonder.

RINGO
(as he takes it)
You thought of this last night?

DALLAS
Yes, don't ask any more questions,
not now!

Ringo cannot take his eyes from her excited face. She is a
complete wonder to him.

In the lunch-room, Curly stands holding a council of war
round a large pine table, where Hatfield, Gatewood and Peacock
are seated. The plaintive Buck stands beside Curly.

BUCK
Oh gosh, Curly, there ain't no Apaches
behind us. We can still go back to
Tonto.

GATEWOOD
(hitting the table
with his fist)
No! I insist we go on to Lordsburg.

CURLY
What do you think, Chris?

Doc Boone is standing at the bar with Chris on the other
side facing camera.

CHRIS
Geronimo between here and Lordsburg,
with my horse... I think.

DOC
(raising his voice in
song)
'My horse is young, she has gone
astray...'

Chris covers his ears.

Curly and Buck are seen close from below.

BUCK
Quiet. This is a serious matter,
ain't it?

Doc Boone looks from the bar over his shoulder at the others,
off-screen.

DOC
(raising his glass)
Buck -- if I have only one hour to
live, I'm going to enjoy myself.

He drinks.

PEACOCK
Doctor, I don't begrudge you my
samples, but...

BUCK
(interrupting, wagging
his finger at Peacock)
Now you hush -- I stood enough of
you. Now this is a serious problem
and I'm the only one who is talking
sense. Now if Curly...

Cut back to the shot of Buck and Curly as he interrupts Buck.

CURLY
Once we get across that ferry we'll
be all right.

Cut to a medium shot of the five round the table.

CURLY
The question is, what we gonna do
about the lady and her baby?

Curly goes towards the door to Lucy's room.

HATFIELD
Doctor Boone has settled that for
us, suh. I demand respect for his
professional opinion.

Doc Boone is seen at the bar, spinning round.

DOC
(looking up in surprise
at Hatfield)
Hatfield!

Hatfield is now seen from below, sitting at the table playing
patience, with Curly standing behind him and looking through
the door into the corridor. Suddenly Curly remembers.

CURLY
Ringo.
(turning back urgently)
Ringo!

Camera pans slightly right as Curly rushes off down the
passage shouting for Ringo.

Dallas and Ringo are outside in the corral, leading a saddled
horse out from under the covered shelter. Dallas hands Ringo
the rifle, which he sticks in the saddle-boot as he prepares
to mount. They look at each other for a moment. They have no
words for the things they feel. It is all in their eyes.

DALLAS
Hurry, Ringo, hurry!

He takes one last look at her, then digs his spurs into the
mustang and the horse leaps forward. Camera pans left slightly
as he canters off, leaving Dallas watching him ride away,
her arm lifted in a little gesture of farewell.

Pan left with Ringo as he rides his horse hard, jumping the
fence that rings the compound and galloping to the top of a
rise a hundred feet away. As he tops the rise, galloping
straight forward, he suddenly sees something that makes him
saw on the bit. The horse comes to a dead stop as if it had
four-wheel brakes. He dismounts again, looking around.

Dallas is watching anxiously from outside the corral. Her
arm is still half-up in her incomplete gesture. From behind
her comes Curly's voice.

CURLY
(off)
Ringo!

Curly rushes into shot coming round the corner of the house.
Dallas looks round and sees him coming; he is holding a gun.
He rushes off in the foreground, shouting. Terror comes into
Dallas's face and she cries out.

DALLAS
Ringo, don't stop! Go on, go on!

Curly rushes off after her.

Buck comes running out of the house after Curly, followed by
Doc Boone. Buck stops at the end of the stagecoach and watches
as Dallas goes on shouting.

DALLAS
(screaming, off)
Keep riding!

Ringo's riderless horse comes cantering back into the
compound, jumping the little fence by the wall. As it goes
off, Dallas rushes into shot, shouting at Ringo.

DALLAS
Ringo, go on, go on, don't stop!

She is closely followed by Curly. Camera pans left with them
as he catches up with her and she grabs his arm desperately,
trying to stop him; but he throws her roughly to the ground
and runs off towards the desert.

Ringo is standing motionless at the edge of the desert which
stretches out beyond him, staring into the distance. Curly
charges into shot and grabs him, taking his fists to handcuff
them. Curly is hopping mad, but Ringo holds out his wrists
calmly.

RINGO
You don't need them, Curly. I'm not
running away.

CURLY
(with an angry scowl)
I'll say you ain't!

He snaps the cuffs.

RINGO
(nodding past Curly)
Look at them hills.

Just then Dallas comes tearing up and grabs Ringo's arms
wildly. She sees what they see in the distance, and stops
struggling.

Curly steps forward, a look of real concern on his face.
From a distant summit far across the desert, a thin white
spiral of smoke is rising into the still air. It is
interrupted sharply. Then another puff rises, like a
telegraphic flash.

Curly turns back to look at Ringo.

CURLY
Apaches?

Ringo's jaw tightens.

RINGO
(nodding)
War signals.

Dallas clings even more tightly to Ringo's arm. A look of
despair comes into her eyes; she stands there, beyond all
speech, beyond all hope now, as the scene dissolves.

The passengers are all gathered round the stagecoach in the
yard, prepared to set off once again. Camera pans right with
Hatfield as he carries Lucy up to the stagecoach, followed
closely by Doc Boone. They all help Lucy inside. Dallas
follows them into shot; she has the swaddled baby held tight
to her breast.

Dissolve to a high angle medium long shot of the stagecoach
galloping out through the gate away from camera, going towards
the hills in the distance.

Dissolve to the stagecoach galloping round the foot of a
hill in another part of the prairie and disappearing into
the distance. Dissolve to Buck and Curly sitting side by
side on the driving-box. Buck is working to get all he can
out of the horses; Curly sits alert with the rifle across
his knees. As Curly scans the horizon, Buck, without turning
his attention from the horses, calls to him.

BUCK
Don't you think you oughta take them
cuffs off the Kid? He's mighty handy
with a gun.

CURLY
(growling back loudly
without turning his
attention from the
dangerous horizon)
You drive them hosses! I'll take
care of the Kid.

Curly keeps looking round the whole time, his gun at the
ready.

Inside the coach, it is very crowded. Doc Boone is sitting
on the floor, Peacock is squashed into one corner, while
Gatewood, seen almost in back view, leans heavily on Doc
Boone as he yells out of the window.

GATEWOOD
Can't you drive any faster?
(he pulls his head in
and addresses the
group)
Thick-headed lout! We've got to make
that ferry!
(bitterly)
A man works all his life to get hold
of some money so he can enjoy life
and then runs into a trap like this.

He takes off his stiff collar.

PEACOCK
(starting and leaning
towards Gatewood
nervously)
A trap, brother? You mean the Apaches?
There's been no sign of them.

GATEWOOD
(yelping at him)
You don't see any signs of them!
They strike like rattlesnakes.

Gatewood, his fear making him belligerent, glares at Hatfield,
off-screen.

GATEWOOD
If you hadn't insisted...

Hatfield is sitting in the corner with Lucy's head on his
lap.

GATEWOOD
(Off)
...on waiting for her...

Lucy looks round.

Ringo is sitting on the floor against the door, his hands in
their cuffs laid carelessly across his knees.

GATEWOOD
(off)
...we'd have been across the ferry
by this time.

Hatfield cradles Lucy's head in his arms.

HATFIELD
(his eyes burning)
You talk too much, Gatewood.

Gatewood's edginess is making things uncomfortable for Peacock
sitting beside him, and for Doc Boone squashed down on the
floor, only his head and shoulders in shot.

GATEWOOD
(with a snap)
Your threats don't faze me, Hatfield.

Cut back to the close shot of Hatfield and Lucy. Lucy starts
to sit up.

GATEWOOD
(off)
You're nothing but a tinhorn gambler.

HATFIELD
(leaning forward,
murder in his eyes)
How would you like to get out and
walk?

Cut back to the same shot of Gatewood, Peacock and Doc Boone.

GATEWOOD
You can't put me out of a public
conveyance!

DOC
(placatingly)
Gentlemen! Gentlemen!

Ringo looks up.

RINGO
Take it easy, Gatewood. We may need
that fighting before we get to the
ferry.

Now back again to Gatewood, Peacock and Doc Boone.

GATEWOOD
(angered by the boy's
tone, looking at the
handcuffs)
You wouldn't be much good in a fight,
you jailbird.

Ringo just looks at him with a thin smile and says nothing.

HATFIELD
(off)
Oh, leave the kid alone. He's
handcuffed.

PEACOCK
(off)
Gentlemen, please!

Peacock sits by the side of Dallas, who holds the baby.

PEACOCK
(meekly)
Let's not forget the ladies, bless
them.

He looks at the baby.

Dallas looks at him in grateful surprise.

Dissolve to a medium long shot of the stagecoach toiling up
some rough dusty ground and going off in the foreground.

Dissolve to a medium shot of Buck and Curly on the driving-
box. They look very happy and Curly leans down to shout
through the window to the passengers.

CURLY
Well, folks, we're coming into East
Ferry now.

BUCK
Lordsburg next stop!

He giggles.

Dissolve to a long shot of the ferry as seen from the
stagecoach as it comes down the road. In the foreground there
are some dark posts and fencing. Smoke wafts across the
screen. The horses canter in, and camera pans left and tracks
back as they pull into the open space in front of what was
once the ferry building, now engulfed in flames. East Ferry
is a scene of desolation; there is no one around, the houses
are in ruins, burned to the ground. The stagecoach stops in
the centre.

Buck and Curly are seen from the side on the driving-box.
Buck and hardly speak for fright as he suddenly notices the
ferry ahead of them.

BUCK
Curly, look! Look at the ferry.

Long shot looking across the still water of the river where
the ferry lies burnt and broken on the opposite bank. All
that remains is the thin cable across the water and the
smoking ruins of the ferry wharf.

BUCK
(off)
It's burnt too.

Curly jumps down from the driving-box of the stagecoach.
Ringo jumps out, followed by Hatfield. Curly hands a rifle
to Hatfield.

CURLY
Hatfield, stand guard over there.

Hatfield runs off in the foreground as Gatewood gets out.
Suddenly everybody starts to talk at once. Gatewood is
complaining as usual and his tone implies that Curly is
responsible for the whole predicament. Doc Boone comes out
of the stagecoach after him.

GATEWOOD
(harshly)
Where's the Army? What are the
soldiers doing?

DOC
Anything I can do, Curly?

GATEWOOD
(at the same time)
Are they going to let Geronimo do
nothing but pillage and burn?

CURLY
(putting a hand out
to stop Doc Boone)
Ringo, come here, I need you.

Curly faces Ringo, takes out his key, and starts to unlock
the handcuffs.

CURLY
Will you give me your word you won't
try to escape no more?

Ringo holds out his wrists, looking straight into Curly's
eyes.

RINGO
I give you my word... to Lordsburg.

Curly's response is sharp; he jerks his thumb over his
shoulder.

CURLY
Get back in the coach with the women.

Ringo's wrists are still held out and Curly is starting at
him scornfully. For a moment they fight each other with their
eyes. Doc Boone can be seen standing on the steps of the
coach, and Gatewood, as Curly starts to move away from Ringo.
But the boy holds out his manacled hands and stops him.

RINGO
I give you my word.

Dallas calls from inside the coach.

DALLAS
(off)
Ringo, don't!

But Curly immediately unlocks the handcuffs, tosses them up
into the box, and shouts at Buck at the same time.

CURLY
Drive in the river till she's up to
the hubs.

Long shot of the stagecoach in the clearing heading for the
river; one of the burned huts is smouldering in the
foreground. Camera pans left as the stagecoach moves off
towards the water behind some rocks.

High angle long shot looking down onto the river from the
near bank. The stagecoach comes into shot and halts as the
horses stand on the bank, urged on by Buck.

Hatfield is standing amidst the ruins of one of the huts,
taking off his cloak. Camera tilts down with him as he bends
down, to show the body of a woman grotesquely perched on all
fours, partly scalped. He covers the body with his cloak.
Then camera tilts up again as he straightens up and stares
into the distance. Something catches his eye.

In the hilly countryside, all appears to be still.

Hatfield looks anxiously over his shoulder towards the others,
then back up to the hills again.

Dissolve to the side of the stagecoach, seen from behind.
Curly and Ringo are struggling with a large log which they
roll towards the stagecoach and begin to lash to the wheels
and underside of the vehicle. Curly shouts quick instructions
to Ringo, who hurries off. Buck, on the driving-box, has
cleared most of the luggage from the top. He picks up Ringo's
saddle and throws it down into the bushes beside him. Then
he looks down towards Ringo again and shouts.

BUCK
Sorry about the saddle, Kid.

Another angle from above shows Buck with Ringo standing beside
the horses and Curly by the side of the stagecoach.

CURLY
Ready, Kid?

RINGO
All set!

CURLY
Ready, Buck?

BUCK
Oh, I'm ready, Curly.

Curly jumps up onto the driving-box beside Buck, and Ringo
starts to hurl pebbles at the horses to get them to go down
into the water.

CURLY
Ready, Buck! Here we go, folks.
(He leans down to
shout through the
stagecoach window)
Just sit tight, folks, it'll be all
right.

The stagecoach starts to move forward. The camera is in fact
mounted on top of the stagecoach and it lurches and shakes
with the vehicle's motion as the horses move forward and
struggle into the river. Camera swings round to the right so
that it is shooting straight ahead, looking along the horses'
backs as they plunge belly-deep into the water.

From the roof of the stagecoach, Buck and Curly are urging
the horses through the water ahead of them. Curly hurls
pebbles at them, Buck keeps shouting. Ringo is perched on
the back of the roof.

Long shot looking over the river to the stagecoach, the horses
now swimming. The stagecoach is hub-deep in the water,
floating across on two big logs which have been lashed to
each side of it and buoy it up.

The heads of the four leading horses are seen just above the
water as they swim through the river, camera panning left
with them. The horses are now swimming powerfully and pulling
the stagecoach across the river. Camera pans across left as
the horses reach the opposite bank and start to clamber out
of the shallow water beside the broken ferry.

Dissolve to a medium shot looking along the dusty trail.
Track along behind the stagecoach as it moves away into the
distance. Now the coach is entering a new kind of country,
desolate, with giant cacti pointing fingers up at the
cloudless sky.

Dissolve to a medium shot of Buck and Curly on the driving-
box, Curly looking back the way they have come.

BUCK
(singing happily)
All aboard for Lordsburg, Lordsburg,
Lordsburg...
(he breaks off)
Hey, Curly!

CURLY
(turns back to him)
What?

BUCK
Do you think I ought to charge Mrs.
Mallory's baby halffare?

Curly gives him a look, then goes back to his watch.

A high angle very long shot looking over the desert shows
the stagecoach like a small toy pressing on alone through
the desolate expanse towards the mouth of a canyon. It is
early evening. Buck can be heard, off, shouting at the horses.
Suddenly, camera pans swiftly across to the rim of the canyon
wall to reveal a large band of savage-looking Apache Indians,
their foreheads smeared with white war-paint, lurking in
ambush, waiting for the stagecoach to enter the canyon below.
At their centre, looking down into the valley, stands the
most dreaded figure in the South-west, Geronimo, powerful of
frame, and with a craggy face that seems to have been carved
out of red rock.

Another Apache is seen close, with still others of the band
on horseback behind him.

Now Geronimo is seen from below in front of a group of
Apaches. One of them points off.

The stagecoach is seen far away and below, as its horses
gallop along in the middle of the valley. There is little
cover for miles around. Camera swings round to the left and
tilts up to the ridge to reveal the Apache warband turning
away. Most of those on horseback ride out of shot, leaving
Geronimo and two or three of his warband standing and watching
them go.

Inside the coach the atmosphere is fairly relaxed and even
Gatewood makes an attempt at cheerfulness.

GATEWOOD
Well, we'll soon be in Lordsburg.
Sorry I flew off the handle, Hatfield.
Just nervous, you know how it is.

Hatfield eyes him sardonically and says nothing. No hard
feelings, I hope.

PEACOCK
(sitting up, rather
proud of himself)
Well, all in all, it's been an
exciting...
(coughing)
...but very interesting trip, now
hasn't it?

Doc Boone looks up at him from his place on the floor of the
coach.

DOC
Well, now that the danger's past,
Mister...

Peacock looks down helpfully, while Gatewood looks on.

PEACOCK
Er, Peacock.

DOC
(off)
Ladies and gentlemen, since...

Cut back to Doc Boone on the floor.

DOC
...it's most unlikely that we'll
ever have the pleasure of meeting
again socially, I'd like to propose
a toast.

He looks up, then takes the cork out of his bottle and looks
at each of them in turn.

DOC
Major, Gatewood, Ringo... Your health.

HATFIELD
(off)
Thank you, sir.

Doc Boone takes a swig at the bottle, but as he does so there
is a strange whistling sound and a thudding noise; Doc Boone
chokes on the bottle, looking up with his eyes wide in
amazement. He looks round and camera pans swiftly left, now
showing Peacock and Gatewood. Peacock has an arrow stuck in
his shoulder. The little man is sitting bolt upright, a look
of disbelief on his face. He utters no sound as his right
hand gropes to the arrow and holds it by the shaft, while
blood pours down his hand. His face is frozen in agony for a
moment, then, with a slight gurgle, he falls forward, watched
in horror by Gatewood. Camera tilts down with him as he falls
across Doc Boone. Doc Boone, now in close-up, leans forward,
hurriedly trying to remove the arrow. He pulls it out and
looks down aghast at Peacock.

Buck and Curly are driving along, unaware. A shot rings out
and Curly looks round anxiously.

A medium long shot looks up a slope to where several Apaches
are galloping down towards camera, silhouetted against the
sky. Curly immediately raises his gun and fires twice; the
shots explode with a shattering report. Buck, in horror,
urges his horses onwards to renewed effort.

Now the Apaches are seen galloping over the horizon. The
first one gallops out of shot, but the two that are coming
over the hill fall, hit by Curly's bullets; camera pans
slightly right as they roll, slipping down among boulders.
Yet more Apaches appear behind them.

Buck is yelling at the top of his wheezy voice, urging the
horses on, and Curly is yelling at Buck. Then Curly turns
down to the door of the stagecoach behind him.

The ravine is now seen from below and in long shot. The
Apaches appear at the rim as the stagecoach hurtles through
the bottom of the ravine, coming towards camera and going
off to the right.

Three Apaches now zigzag down the side of the ravine on their
horses and pursue the stagecoach.

The wide flat plain stretches away to the far distant
mountains on the horizon. The stagecoach speeds away from
camera as Apaches swarm down the canyon slope, riding wildly
in pursuit. The noise of yelling and the constant gunfire is
deafening.

The team of horses is now seen from the roof of the
stagecoach, with Buck and Curly in back view in the
foreground. Curly is frantically chucking stones at the horses
to urge them on.

Track beside the stagecoach to show Buck yelling wildly at
the horses, as Curly continues to chuck stones at them.

Now track rapidly backwards in front of the pursuing Apaches,
who gallop across the plain, leaving the canyon far behind.

Buck continues to urge his horses on wildly. Curly removes
his gun-belt. He yells for Hatfield, and camera pans slightly
right as the latter emerges from the window of the stage and
takes the belt from him. While the exchange takes place,
Dallas peers anxiously out of the window for a moment. Then,
as Buck goes on screaming at his horses, Curly turns back
and settles himself on the box, taking aim backwards over
the roof of the stagecoach.

The Apaches, some with bows and arrows, some with old rifles,
and a few with lances and buffalo-hide bucklers on their
arms, are riding furiously, gaining ground on both sides of
the stagecoach. They are still behind, but their intention
is plain... to come alongside on both sides and rake the
passengers with their fire.

The stagecoach is now going full speed, Buck yelling the
horses on, Curly shooting over the back of the stage.

The Apaches thunder up in pursuit. One of them falls from
his horse as the others charge on.

Track in front of the stagecoach, as the door at the side
opens and Ringo crawls out precariously onto the exposed
roof. He makes it, crawls forward, and reaches into the boot,
getting his rifle. An arm appears from the stagecoach window
firing at the pursuing Apaches. The stagecoach continues to
hurtle forward, everyone except Buck firing back at the
Apaches. Loud 'chase' music adds to the noise of gunfire and
war whoops.

Now pan left with the pursuing Apaches.

Cut back to Ringo sitting upright on the back of the
stagecoach, seen in profile, aiming down at the pursuing
Apaches. He fires.

Seen from below, an Apache bites the dust; his gun flies in
the air.

At the side of the stagecoach, Dallas looks anxiously out of
the window as two arrows thud into the woodwork just beside
her. One of the men inside hauls her away from the window.

Track again below and beside the pursuing Apaches.

Inside the coach, Doc Boone is bandaging Peacock's shoulder
while Gatewood stands in back view in a mad panic. He pushes
at Doc Boone, trying to get past him to the door.

DOC
Gatewood, will you shut up! I've got
a patient here!

GATEWOOD
Stop this stage! Let me out of here!

DOC
Gatewood! Gatewood!

GATEWOOD
Let me out of here, I tell you, stop
this stage!

As Gatewood continues to struggle, Doc Boone finally puts
down his dressings and turns towards the hysterical man.

Doc Boone is seen from below, as he suddenly punches Gatewood
hard on the chin.

DOC
You shut up!

Camera pans slightly right as Gatewood sinks down out of
shot. Doc Boone turns back to his patient again. Through the
window, the plain seems to fly by.

The stagecoach and the pursuing Apaches are seen in long
shot from above, all charging towards camera, which tracks
in slightly as the stagecoach goes off to the left. The
Apaches chase after it, spread out in a row and firing
constantly at their target.

From ground level, we see the team of horses and the
stagecoach charge right over the camera lens, followed by
some Apaches.

The stagecoach is now seen from the side. Ringo is lying
full length on the roof, firing out over the back. Curly is
firing past him from the box. Doc Boone, also holding a
pistol, is visible at the window. Buck yells wildly at the
horses, driving for all he is worth. As a bullet whistles
past him, Doc Boone ducks back slightly.

Track with several of the pursuing Apaches, seen from below.

Ringo is lying on his side, aiming out over the back of the
coach. He fires.

Track rapidly left with an Apache who falls to the ground as
he is hit by Ringo's shot. His horse charges off left and
several other Apaches pass over his body.

Doc Boone leans out of the window of the stagecoach, takes
careful aim with his pistol, and then fires. Ringo is leaning
back reloading his gun from the ammunition box, while Buck
continues to yell wildly at the horses. Doc Boone takes aim
again.

Lucy, seen in close-up with a scarf round her head, looks
grimly out of the window. Doc Boone's hand with the gun is
visible on the left. Lucy winces slightly as the gun fires.

From above the stagecoach, we see Ringo on the roof in the
centre of shot. The Apaches are clearly gaining ground as
the men are now aiming more or less sideways out from the
stagecoach. Ringo and Curly fire, then Doc Boone does the
same.

Two more Apaches bite the dust, while another gallops past.

Track rapidly out in front of the coach. More gunshots.

Track sideways with the pursuing Apaches.

Track with one Apache who is reloading a rifle as he gallops
along. Clouds of dust and more Apaches behind.

Track sideways again with several mounted Apaches.

The stagecoach and horses are now seen in medium long shot,
galloping furiously across the plain to the right. Two Apaches
approach at the gallop from the left, followed by another
intercepting from the side.

On the driving-box, Buck yells at Curly, who turns to the
other side to aim at the intercepting Apaches. He fires.

BUCK
(yelling wildly at
the horses)
Come on, get on, ho, go on, go!

Now the Apaches are shown galloping away from camera. One of
them falls from his horse in the foreground and is dragged
along by the reins.

On the driving-box, Buck continues to yell wildly at the
horses while Curly starts chucking stones at them again.

BUCK
Get on there, hoa, hoa, go!

From Buck's point of view on the box, the horse team is seen
galloping wildly along.

Track out in front of the coach, as an Apache on a piebald
horse draws level with the team, throws away his lance and
leaps from his own horse onto the leading pair.

Cut back to Buck and Curly, who is now turned towards the
back of the coach again. Buck, seeing the Apache land on the
horses off-screen, yells to Ringo.

BUCK
(shouting)
Ringo!

Ringo leans forward behind him and aims across his shoulder.
Track sideways with the team of horses, the Apache crouched
on the shaft between the leading two.

Ringo fires across Buck's shoulder.

Cut back to the horses, to show the Apache brave hit and
falling down onto the shaft between the first pair.

Ringo aims lower and fires again.

Now the Apache falls to the ground between the horses, who
gallop on over him followed by the stagecoach. They go out
of frame to the left. Camera holds on the Apache, who
scrambles painfully up to a kneeling position as more Apaches
gallop past.

Close-up of Hatfield leaning from the window of the coach.

He aims his pistol, then fires and smiles.

Track left as one of an Apache group bites the dust. Camera
holds on the body as the others charge off.

Hatfield looks round, teeth bared, then aims again.

Track slightly left as more Apaches gallop past and away
from camera. Two gunshots; two more Apaches bite the dust.

Hatfield now withdraws inside the carriage for a moment.

Track left with a bunch of Apaches who are catching up with
the stagecoach, the back wheels of which show on the left.

Low angle close-up of Ringo on the roof of the stage. He
aims and fires twice.

Cut back to the Apaches close to the stagecoach. Two more
bite the dust.

Doc Boone is now seen close from below, leaning out of the
window of the stagecoach and aiming his pistol. He withdraws
inside again as two bullets hit the door before he can fire.

Now a low angle long shot shows the stagecoach hurtling
towards camera. The Apaches have now almost drawn level with
it on all sides.

Doc Boone leans out, aims and fires.

Again we see the back of the stagecoach on the left, the
pursuing Apaches behind, as one of them bites the dust in
the foreground. Track slightly left as the horse rolls over,
then gets up again and gallops off.

A group of Apaches is galloping after the stage, camera
tracking left and slightly above them. Then pan slightly
right as the top of the stage comes into view with first
Ringo, then Curly, taking aim and firing.

Track rapidly left with two of the pursuing Apaches. The
horse of one of them is shot from beneath him and he is flung
forward over its neck.

The stagecoach is now seen in three-quarter front view. Track
rapidly out in front of it, panning slightly at the same
time to keep it in frame. The pursuing Apaches are now all
level with the coach.

Track rapidly left with two Apaches. One of them has a rifle
raised. He aims and fires.

Cut to Buck and Curly on the box. There is the crack of a
gun and Buck almost pitches off the box as he is hit in the
arm. He slumps forward with a moan. Curly tries to pull him
up again, calling to Ringo to help. Ringo sees what has
happened and crawls forward to aid Curly in pulling him up.

Cut to a low shot as from the front of the stagecoach. The
reins hang slackly from Buck's hand, off-screen, as the horses
gallop along.

The men look down helplessly towards the horses. Curly yells
at Ringo.

CURLY
(frantically)
The leader, get the leader!

The reins of the leader are dragging on the ground. Ringo
leaps forward between Curly and Buck, letting go of the
wounded man.

Track sideways with the stage. We see Ringo jump off the box
onto the back of the first pair of horses. Gunshots scream
through the air and the music gets louder. Camera pans ahead
of the first pair of horses as Ringo jumps onto the next
pair, then onto the head pair. The attacking Apaches can be
seen through clouds of dust in the background. Having landed
on the shaft between the leading pair, Ringo scrambles onto
the back of the nearest horse.

Track with Ringo on the back of the leading horse. He is
seen in medium close-up and three-quarters back view. He
gathers up the loose reins and starts to whip the horse on
with the end of them.

On the box, Buck continues to hang onto the other half of
the reins with his good hand, feebly urging the horses on,
while Curly reloads his gun. But it is really Ringo who is
doing the driving now.

BUCK
Go on, go on... go on... go on.

Curly gives Buck a hand dragging on the reins. Hatfield stands
at the stage window following an Apache round with his pistol,
off-screen. He fires, but there is a click.

The pistol is empty. Looking horrified, he withdraws inside
the coach. A gunshot explodes.

Doc Boone is leaning out of the other window, also aiming
his pistol.

Track sideways with the galloping Apaches, one of them aiming
a rifle with one hand. He fires.

Cut back to Doc Boone following the Apaches round with his
pistol. He fires. A click. His gun is also empty. He looks
desperately round, then calls up to Curly, off-screen.

DOC
Curly! More ammunition!

Curly turns round from the box and shows the empty magazine
of his rifle. He shakes his head.

Doc Boone now looks round in horror. He withdraws inside.

An Apache with a rifle is seen through the other window of
the stage, drawing closer.

Track with the attacking Apaches. One of them fires his rifle.

Dallas, seen in close-up huddled in the corner of the smoke-
filled stagecoach, clasps the baby to her. A bullet whistles
through, making a hole in the woodwork. She turns in horror
to look at it.

Track with the attacking Apaches.

Dallas looks anxiously down at the baby, while the attacking
Apaches draw ahead, seen through the windows of the stage
behind her.

The baby is seen close from above, its eyes closed. The
gunshots continue, off.

Dallas suddenly drops her head forward and buries it
hopelessly in the baby's shawl.

Hatfield is looking grimly down at his gun, off-screen.

Hatfield's gloved hands are seen, close from above, opening
the gun. There is one bullet left in the chamber. He spins
it round to the firing position.

Cut back to Hatfield's face. He looks up and across at first
Dallas, then Lucy off-screen, his face desperate and forlorn.
As he raises the gun, camera pans right and tilts down to
show Lucy huddled in the corner, muttering prayers. Hatfield's
gun comes into frame on the left, pointing straight at her
head. A pause, then there is a gunshot off, and the gun drops
and falls to the ground as Hatfield is hit, off-screen. Lucy
continues to mutter her prayers, apparently without noticing.
Suddenly we hear the sound of a bugle and she looks up, hope
dawning in her eyes.

LUCY
Can you hear it? Can you hear it?
It's a bugle! They're blowing the
charge!

Track right with the bugler and standard-bearer of the U.S.
Cavalry galloping to the rescue. The bugler turns from side
to side, sounding the charge, while the music turns to a
triumphant cavalry theme.

Now we see from above the whole detachment of cavalry charging
to the rescue, camera tracking right with the horsemen.

Cut to a cavalryman galloping along with the flag, others
behind him, their sabres drawn.

Now we see the bugler in a high angle close-up, sounding the
charge at the head of his troop.

In the distance, the stagecoach comes toward camera surrounded
by the remaining Apaches, while the near cavalry stream
towards it. The Apaches pull their horses to their haunches
and begin to scatter and run, as the cavalry charge towards
them. They flail their ponies with their moccasined feet as
they head back the way they have come, leaving the horsemen
behind in a cloud of dust. Ringo leaps from the leading horse
and holds the team's head, while a small group of cavalrymen
ride up to the coach.

From the inside, the door of the coach is jerked open and
Ringo looks in eagerly. His eyes turn to Hatfield off-screen
and his face falls.

Hatfield is leaning back against the side of the coach, with
Doc Boone and Lucy supporting him on either side. He tries
to smile, looking up at Lucy, and she leans down close to
him, pity in her face. It is an effort for him to speak but
he manages his last words to her.

HATFIELD
If you ever see Judge Ringfield...
(fighting for breath)
...tell him his son...

He does not finish his sentence, but closes his eyes and
slumps forward on Doc Boone's shoulder. We hear the sound of
the cavalryman's bugle, off.

Ringo is still looking anxiously through the door. Behind
him the bugler circles round on his horse, still blowing his
bugle.

Dissolve to medium long shot of the cavalrymen riding in
formation across the plain.

Dissolve to a street in Lordsburg, seen from above at night.
It curves to the left so that one cannot see its full length.
Oil-lamps light the store and saloon fronts, creating the
usual Western atmosphere with an eerie effect of shadows
from stark points of light. There are several buckboards and
a number of cow ponies hitched to the racks that line the
street on either side. It is Saturday night and Lordsburg is
full of ranchers and miners, cowboys, businessmen and diverse
town characters. There is a thudding of hooves, and around
the turn in the distance come a group of cavalrymen, their
horses lathered and their uniforms covered with dust, as
they sweep past at a trot. Then two quartermaster's waggons
come round the turn at a sharp trot. As the quartermaster's
waggons draw near, the uniformed driver pulls the horses to
a halt in front of the Army building, which is opposite the
biggest and brightest saloon in town, the El Dorado.

One of the waggons is drawn up in front of the Army building.
Several Army officers and four or five ladies have been
waiting on the sidewalk in front of the Army office, and
they flock to the waggon.

Two cavalrymen, one of them a captain, lift Lucy out; she is
laid on one of the stagecoach seats. The ladies crowd round
anxiously. Camera pans left as the cavalrymen carry Lucy
towards the door.

CAPTAIN
Thank heaven you're safe, Lucy.

LUCY
Where's Richard? Is he all right?

CAPTAIN
He's all right, don't you worry.

Camera holds on a high angle shot of Lucy looking up from
the stretcher as the ladies crowd round sympathetically.

FIRST LADY
It isn't a bad wound.

CAPTAIN
We'll take you to him immediately.

SECOND LADY
Where's the baby, dear?

Lucy looks up anxiously and everyone turns to look off to
the right.

Dallas is standing in the doorway of the carriage with the
baby bundled protectively in her arms. Two cavalrymen,
standing one on each side of her, help her down the steps,
and camera pans left as she comes up to the group of waiting
ladies. A woman dressed as a nurse hurries forward and takes
the baby away from her.

NURSE
I'll take the baby.

Then the woman goes off into the background followed by the
other women, all cooing over the baby, and Lucy is revealed
on the left still lying on the stretcher held by the
cavalrymen.

LUCY
Dallas.

Dallas, seen close from below, moves forward, looking down
at Lucy off-screen.

Lucy's head, seen close from above, lies on the stretcher on
a pillow. She looks up at Dallas.

LUCY
If there's ever anything I can do
for...

She falters, lowers her eyes and looks away.

Dallas looks down at Lucy sympathetically.

DALLAS
I know.

She takes off her shawl and throws it over Lucy on the
stretcher.

Lucy looks up at Dallas as she gently draws the cloak over
her.

CAVALRYMAN
(off)
All right, lady.

Lucy's head goes off at top of frame as the cavalrymen carry
her away on the stretcher.

Dallas backs away as the cavalrymen move off into the
background with Lucy. She pauses for a moment looking after
them, then camera pans right with her as she goes over to
the waggon and takes down her belongings from inside. She
starts dusting off her hat, then looks up as a commotion is
heard, off. Piano music comes from the saloons down the
street. In the background, more cavalrymen ride across from
left to right followed by the stagecoach itself, the tired
horses walking, as some cowboys crowd round to watch. Camera
pans slightly right as the stagecoach comes towards it.

Two seedy-looking characters are watching, leaning on a rail.

One of them mouths something.

The stagecoach comes forward slowly, seen in three-quarter
front view with Ringo driving on the box, Buck, his arm in a
sling, at his side, and Curly on the roof behind.

The two men watch in amazement. One man is thin with a
drooping moustache, a cigar clamped in his teeth; the other
is a short, fat little man whose eyebrows are raised in
childish astonishment.

FAT MAN
(with a wheezy gasp)
It's the Ringo Kid!

Suddenly he turns and rushes away through the crowd behind
him, hastily followed by the thin man. The other cowboys
crowd forward to watch.

Ringo is driving slowly, Curly sitting silently beside him.
The stagecoach moves slowly off, followed by a long procession
of curious bystanders, mainly cowboys.

In the El Dorado Saloon, a piano is banging out honky-tonk
music amid the racket of a frontier saloon on Saturday night.
Luke Plummer is sitting at a table playing poker, surrounded
by the other players. A woman leans against his shoulder on
one side. The last chip has been thrown into the pot.

LUKE
Aces and eights.

COWPUNCHER
(with a laugh as Luke
reaches for the pot)
Dead man's hand, Luke.

The two rabbity men who were watching Ringo in the street
rush up to the tables, the fat one coming round beside Luke
and addressing him.

FAT MAN
Ringo Kid's in town.

THIN MAN
Yeah, drivin' the stage.

Luke looks up at someone off-screen and we see his face for
the first time: hard, unpleasant, dangerous. A Mexican in a
broad sombrero now looks anxiously down at Luke off-screen.

Luke rises slowly to his feet, camera tilting up with him as
his face moves into shadow. The woman looks up anxiously at
his side.

LUKE
Mis hermanos! (My brothers!)

Cut back to the low angle close shot of the Mexican.

MEXICAN
Si, patron, un momento!

He turns and runs off.

Luke stands with his cards in his hands. He looks at them
for a moment, then throws them down on the table.

A close-up shows the cards lying on the table: two black
aces and two black eights.

Luke starts to move away.

The saloon is now seen in a reverse angle shot with the table
in the foreground. Luke moves away from camera, pausing
briefly to address his fellow players.

LUKE
Cash in.

Then he goes over to the bar in the background, his woman
sidling after him. He puts an arm on the bar and turns back
towards the room.

Cut on motion to Luke at the bar turning towards the room.
Another cowpuncher moves past in the foreground as the
Bartender, a fat man wearing a top hat, places a bottle of
whiskey in front of Luke and pulls out the stopper. Looking
rather apprehensive, he produces a glass and Luke pours
himself a slug of whiskey.

A long line of men stand in profile at the bar, the one
nearest camera moving out of frame to the left.

Luke puts down the bottle and raises his glass.

Luke, now seen in a low angle close-up, tosses the whiskey
back in one gulp and swallows.

The men at the bar all look round uneasily and gradually
start to move away.

Luke looks meanly to and fro.

At the piano at the rear, the pianist is pounding away
stolidly, gazing at Luke off-screen; the woman stands behind
him.

Luke looks from side to side with a vicious expression on
his face, but he is obviously scared and trying to hide it
under the show of meanness.

Dallas is still standing out in the street by the Army
building. Two cavalrymen pass in front of her, carrying a
stretcher with Hatfield's body on it. She watches it pass,
then camera pans right with her as she moves towards a waggon,
from which another stretcher is being taken carrying the
wounded Peacock. The stretcher-bearers halt as Peacock
addresses Dallas, holding out his hand to her, which she
takes.

PEACOCK
Goodbye, Miss Dallas. If you ever
come to Kansas City, Kansas, I want
you to come out to see us.

DALLAS
Oh, thanks, Mister... er...

PEACOCK
Peacock.

The stretcher is carried off. Camera tracks slightly right,
then out in front of Dallas as she moves away from the Army
building. She suddenly stops and peers forward as we hear
the jingle of a harness off. Seen across a rail fence, the
stagecoach now comes up the street to join the waggons outside
the Army building. We can hear the piano from the El Dorado
Saloon playing somewhere nearby. Two men in shirtsleeves
hurry up to the stagecoach and numerous bystanders crowd
around.

ONE OF THE MEN
Hello, Buck! You got through all
right!

BUCK
All right, Bill.

MAN
All right, folks, you're all right.
Unload.

The door of the stagecoach opens and Gatewood steps out. One
of the men advances towards him, brandishing a piece of paper.

MAN
Here y'are, Doctor, will you sign
this?

The door half-closes and then opens again as Doc Boone begins
to emerge in the background.

Ringo and Buck are seen from below on the box. Buck leans
forward wearily.

BUCK
Well...

GATEWOOD
(off)
Thank you.

BUCK
...Lordsburg.

He looks up at Ringo.

MAN
(off)
And you, Doctor.

Curly is now coming forward, holding his rifle and looking
up at Ringo off-screen.

MAN
(off)
There you are, thank you.

CURLY
Well, Kid?

Cut back to Ringo and Buck on the box, as Ringo leans forward.

RINGO
Curly, how long'll they give me for
breakin' out?

Curly looks up at him.

CURLY
(quietly)
Oh, 'bout another year.

Ringo's expression hardens a fraction. Buck watches him
anxiously.

RINGO
(after a pause)
You know where my ranch is?

CURLY
(off)
Yeah.

RINGO
Will you... see she gets there all
right?

Curly is a little surprised.

CURLY
Dallas?

Ringo looks straight ahead.

RINGO
Yeah. This is no town for a nice
girl like her.

He looks down at Curly.

Curly is touched.

RINGO
(off)
Will you do it?

CURLY
(slowly and gravely)
Sure.

At the front of the stagecoach, Doc Boone is visible behind
the three men. The Sheriff, wearing a large stetson hat,
comes up, followed by an inquisitive bystander.

SHERIFF
How are you, Marshal? Get my man
through all right?

He brandishes several pairs of handcuffs.

CURLY
I don't need them.

Gatewood, still rankling, taps the Sheriff's arm importantly
and points up at Ringo, as they form part of a group which
includes a portion of the crowd.

GATEWOOD
If you don't want to lose your
prisoner, Sheriff, you'd better take
him yourself.

The Sheriff, puzzled by having the driver of the stagecoach
pointed out to him, turns and looks at Gatewood.

SHERIFF
What's your name, mister?

GATEWOOD
My name is Gatewood. Ellsworth H.
Gatewood.

SHERIFF
Gatewood. You didn't think they'd
have the telegraph wires fixed, did
you?

The Sheriff and a Deputy who has appeared on the left
instantly leap upon Gatewood, who starts to struggle
violently. Close-up of Gatewood struggling wildly as the
Sheriff and his Deputy try to get the handcuffs on him. They
finally succeed and camera pans left slightly as Gatewood is
hustled away, followed by a crowd of delighted bystanders.
As they go, Dallas is revealed standing by the wheels of the
stagecoach. Soft music. Camera pans right and tracks out as
she comes forward, to show the stagecoach in medium shot.
Doc Boone is standing by the door, with the other three in
their previous positions. Dallas stops by Doc Boone and Ringo
climbs down from the box. He looks first at Dallas and then
at Curly on the right.

Ringo and Curly are seen in profile.

RINGO
Can I meet you here in ten minutes?

Curly doesn't answer. He just stands looking at Dallas.

RINGO
I gave you my word, Curly. I ain't
going back on it now.

Curly looks hard at Ringo, then hands him his rifle.

CURLY
No ammunition.

Ringo takes the gun and starts to take off his hat.

RINGO
I lied to you, Curly.

He takes some cartridges out from the inside of his hat, and
shows them to Curly.

RINGO
I got three left.

He puts his hat on again and walks off.

By the stagecoach, Dallas and Doc Boone stand on the left,
Curly on the right. Ringo walks towards Dallas, loading his
gun.

RINGO
(to Dallas)
Come on.

He takes her by the arm and leads her off as Doc Boone walks
towards Curly.

Track low in front of Dallas and Ringo as they walk off down
the street. Ringo works the catch on his gun. Slow music.

Doc Boone is facing Curly, with Buck on the box of the
stagecoach behind them. They all turn and watch the couple
go.

Stay on tracking shot of Ringo and Dallas, now seen in three-
quarter front view. They pass the saloon. Camera pans slowly
round so that it is tracking alongside and just ahead of
them.

By Ringo's side, Dallas fumbles feverishly with her bag.

The doorway of the El Dorado Saloon is seen from behind the
bar. Luke Plummer stands back to camera on the left at the
bar. He whips out his pistol as two horses draw up at the
door and two hard-looking men rush in -- Ike and Hank Plummer.
They come up to Luke, who puts away his pistol and nods
towards the door, where a group of bystanders are crowding
round looking in anxiously. The farthest brother, wearing a
hat, looks in the direction of Luke's gaze; at the same time,
he grabs the whiskey bottle and reaches nervously for a glass.
It clatters over the side of the bar and onto the floor. He
looks scared at Luke and pours himself a drink. Luke comes
round beside him and grabs the bottle. The man drinks and
looks nervously from side to side again.

A line of men at the other end of the bar look on nervously.

Luke and his brother are now shown leaning on the bar in
profile. They whip round towards camera, reaching for their
guns as a noise is heard at the door.

Doc Boone wanders in, slamming the saloon door behind him.
He comes up to the end of the bar facing the three men; he
puts his black bag on the counter. Then he points at the
whiskey bottle.

DOC
Can I have that?

A pause. Luke Plummer slings the whiskey bottle along the
counter.

Doc Boone catches the bottle, looking quizzically up at Luke
off-screen. He reaches for a glass and pours himself a slug,
then raises the glass, his eyes still on Luke.

Cut back to Luke and his brothers, seen in profile, all
looking meanly at Doc Boone off-screen.

Cut back to Doc Boone. He puts down his glass and looks
innocently at Luke.

Cut back again to the Plummer brothers. Luke's face is
contorted with anger and tension. He looks from Doc Boone to
the Bartender and back again.

Now the bar is seen slightly from above with Doc Boone in
back view in the foreground; Luke and his brothers are lined
against it on the right. The Bartender stands behind the
bar, still in his top hat, one hand in his pocket. Luke
stretches out his hand to the Bartender, his eyes still on
Doc Boone.

LUKE
Give me the shotgun.

The Bartender does not react. Luke turns to him and says it
again, this time louder.

LUKE
Shotgun!

The Bartender produces a shotgun from beneath the counter
and hands it nervously to Luke, who grabs it compulsively,
smashing several glasses on the counter as he does so. The
Bartender snaps his fingers at his fat assistant who appears
on the left. They both go to a large ornate mirror which
hangs on a wall behind the bar.

Looking anxiously at Luke off-screen, the Bartender and his
assistant carefully lower the ornate mirror down below the
bar counter.

Doc Boone and Luke keep on eyeing each other across the bar.
Camera pans briefly right as the woman, seen earlier with
Luke, rushes up behind him and seizes him by the arm.

WOMAN
Luke, please don't.

Luke thrusts her away savagely, camera panning right again
as she lands in the arms of another woman and, recovering
herself, rushes off upstairs.

Ringo and Dallas are still walking down the street, camera
tracking in front of them. Neither looks at the other. Neither
says anything. Her feet seem to drag as she walks, as if she
never wanted to come to their destination. As the sequence
continues, they walk in and out of shadows while music from
bars and whorehouses comes and goes. Drunken laughter is
heard off. They are obviously approaching the sleaziest
quarter of town.

Pan and track slowly past a cat-house on the sidewalk; a
girl sits on the steps. Bawdy laughter comes from inside,
while a 'professor' can be seen pounding the piano through
the cracked glass of the doorway.

Cut back to Ringo and Dallas still plodding forward. Here
the music changes to a violin and piano playing a waltz.

Track sideways past a couple of similar establishments, Dallas
walking ahead of Ringo in the foreground. Then track in behind
them as they go towards the top of some steps, where Dallas
halts and looks up at Ringo. Behind her is an alley of sleazy-
looking houses with lighted windows. Dallas looks desperately
up at Ringo, who is partly visible in back view.

DALLAS
(hopelessly)
Well, Kid, I...
(she pauses)
...I told you not to follow me.

Her face is hard and bitter with despair.

Dallas starts to go away down the steps into the alley, as
Ringo stands watching in the foreground. She breaks into a
desperate run, then halts as Ringo calls to her.

RINGO
Dallas!

She does not turn as Ringo comes down the steps after her.
Slow music.

Dallas has her hand on the rail as Ringo comes up just behind
her, too bewildered to say anything. Close-up of Dallas from
the side looking away from him silently.

Low angle close-up of Ringo looking at her, full of concern.

RINGO
I asked you to marry me, didn't I?

Cut back to Dallas seen in profile. She finally turns towards
Ringo with tears in her eyes.

DALLAS
(choking)
I'll never forget you asked me, Kid.
That's something.

RINGO
(holding out his
wrists, his voice
calm)
See them scars? Handcuffs... Scars
wear off, Dallas.

He puts his hands on her shaking shoulders

RINGO
I ain't gonna give you a chance to
forget me. You wait here.

He turns and strides off to the left. Dallas turns to watch
him go, looking after him as if she can't believe what she
has heard. The quiet music ends.

In the El Dorado Saloon, everybody waits in a tense silence.
Luke Plummer stands on the left of the bar with his brothers
Ike and Hank. A card game is going on at a table on the right.
The door suddenly opens and everybody dives down, their hands
over their heads, as the Plummer brothers whip round, their
guns out. Buck appears at the door, his arm in a sling. He
gives a hoarse shout of fear as he sees the Plummer brothers
turned towards him, their guns at the ready.

Buck stands at the door, petrified. He waggles his fingers
placatingly and speaks in a terrified falsetto.

BUCK
...Er... er... Ringo said he would
be passing this way in six or seven
minutes.

He grins again placatingly and suddenly bolts out of the
door, slamming it behind him.

Cut back to Luke and his brothers, who pocket their pistols.
Luke swings the sawn-off shotgun into the crook of his arm
and jerks his head to his brothers.

LUKE
(Urgently)
Come on.

They stride towards the left, camera panning with them, and
come up against Doc Boone, who has come round from the end
of the bar to block their way. His tone is amiable, but firm.

DOC
I'll take that shotgun, Luke.

Close-up of Luke facing Doc Boone, who is in back view.

LUKE
You'll take it in the belly, if you
don't get out of my way.

Doc Boone stares grimly at Luke, off-screen.

DOC
[If it can stand the kind of whiskey
they sell here, it can stand lead.]
I'll have you indicted for murder if
you step outside with that shotgun.

He holds out his hand as if he were only asking for the wrist
of a patient.

Luke stares at Doc Boone hard for a moment, then grins.

The two of them stand by the end of the bar, Luke's two
brothers behind him, the fat Bartender in the background.

Luke tosses the gun on the bar with a clatter.

LUKE
Well, I'll tend to you later.

He thrusts Doc Boone brutally aside, camera panning left
slightly, then strides off, followed by his brothers. Doc
Boone comes forward to the bar again, grinning; he mops his
brow and takes the whiskey bottle from the fat Bartender,
who has come forward and thrust it towards him. He pours a
slug, drinks it fast, then sets the glass down with a sigh.
He gasps to the Bartender, who has been watching with bulging
eyes:

DOC
Don't ever let me do that again.

The Bartender grins sympathetically and pushes the whiskey
bottle towards him again.

In the street outside, Luke's woman is leaning over the third-
floor balcony above the bar.

WOMAN
Luke!

She tosses down a rifle. Camera tilts rapidly down with it
to the sidewalk, where Luke catches it, his brothers standing
on either side. Luke cocks the gun and they all look warily
from side to side, then stride off to the left past a lamp.

LUKE
(calling up)
Thanks.

And the three brothers move forward again, scanning the empty
street ahead of them.

The Plummer brothers come round the side of the saloon,
looking warily around them. A cat runs across in front of
them. Medium close-up of the trio. Hank draws his gun and
fires at the cat.

The cat scuttles away round a corner.

Cut back to the three brothers, as Ike gives a high-pitched
laugh.

IKE
Hank missed him with four feet.

At a street corner, people scatter. A man rides towards camera
on horseback with two other horses in tow.

Outside the El Dorado Saloon, cowboys are unlooping the reins
of their mustangs from the hitching posts and leading them
into corrals. The street is rapidly emptying.

Through the open door of a print shop, we see an old Type-
setter in shirt-sleeves, a green eyeshade on his brow, bent
over a type box beside an old-fashioned printing press. Track
in as the Editor hurriedly enters from the street, taking
off his jacket as he goes. On the window is lettered:
LORDSBURG SENTINEL. The old Type-setter straightens up as
the Editor bustles in, and camera holds on them as they face
each other across the press.

EDITOR
Hey, Billy! Billy! Kill that story
about the Republican Convention in
Chicago. Take this down.

He points out into the street.

EDITOR
'The Ringo Kid was killed on Main
Street in Lordsburg tonight...'

He slaps his hand on the press and points his finger at the
surprised Type-setter.

EDITOR
'...and among the additional dead
were...' Leave that blank for a while.

Camera pans slightly right as the Editor comes forward and
looks out into the street.

TYPE-SETTER
(following him)
I didn't hear no shooting, Ed.

He puts his hands anxiously on the Editor's shoulders and
looks out past him.

EDITOR
You will, Billy, you will.

Cut to a long shot of the street, a gas-lamp in the
foreground. Two women scurry across the street, while a
rancher drives a buckboard hitched to two horses at a tearing
pace down the street out of town. The street empties as the
three Plummer brothers, now spread out, stalk warily towards
camera. Low music. The brothers look behind them as they
advance, then pause and look round, standing closer together.

Cut to another long shot of the street, where the Plummers'
shadows loom against the far walls. They walk slowly into
view. Simultaneously, Ringo appears from the shadow in back
view in the foreground. Everyone pauses as they see each
other, then Ringo and the trio start to move slowly towards
each other.

Ringo is now seen in reverse angle, stalking slowly towards
camera, his footsteps loud on the board sidewalk in the empty
night; he comes into a shaft of light, cocking his gun as he
goes. He goes out of frame to the left.

Now the Plummer brothers are seen from below, stalking
forward, their guns levelled. The music gets louder. They
move out of shot.

Ringo is still coming slowly forward in the gloom. The music
gets louder still, pounding in time with his feet. Suddenly,
Ringo throws himself to the ground, firing as he goes, then
feverishly starts reloading his rifle.

Dallas is still standing at the foot of the steps where Ringo
left her. She turns and looks up anxiously, as a volley of
shots rings out, echoed by a chorus of screams from the whores
in the nearby cat-houses. Silence falls. Dallas reacts with
anguish. She hurries anxiously up the steps towards camera,
calling Ringo's name as she goes.

DALLAS
Ringo... Ringo... Ringo!

She halts at the top of the steps, looks anxiously off to
the right, then her shoulders droop and she sinks her head
despairingly down against the post at the side of the steps.
There is a look of death in her face.

In the interior of the El Dorado Saloon, cowboys are crowded
round the door, looking out. The door is flung open and Luke
Plummer stands unsteadily in the doorway. He looks from side
to side, then advances towards the bar with leaden feet. As
he reaches the end of the bar, he staggers and falls, grabbing
at the bar as he goes. He lands on his back, dead. Camera
tilts down to show his corpse from above.

Dallas stands, dejected and beaten, at the top of the steps,
her head resting on her hands. Track in as she raises her
head when slow heavy footsteps are heard off. She rushes
towards Ringo, as he appears from the right of frame in back
view, and falls in his arms. Ringo holds her close to him;
Dallas is crying in earnest now, her throat too full of
feeling for a word to pass. The music, which has been playing
softly, now reaches a climax. They stand locked in each
other's arms.

As they stand clasped in one another's arms, a buckboard
drives into frame from the left with Curly at the reins and
Doc Boone behind. Doc Boone gets out.

CURLY
Ready, Kid?

Curly is seen in medium close-up on the front of the buckboard
with the couple standing behind him, looking round at him.
Ringo comes forward, followed by Dallas.

RINGO
Thanks, Curly.

Curly gets down from the driver's seat. Ringo starts to get
up, then pauses. He turns to Dallas.

RINGO
Curly's going to see that you get to
my place across the Border.

She nods, looking up at him. Ringo gets up onto the vehicle
and Doc Boone comes forward in the background beside Dallas.

RINGO
Well.

He puts out his hand.

RINGO
Goodbye, Dallas.

Dallas leans forward and clasps his hand in both of hers.

DALLAS
(almost in a whisper)
Goodbye.

CURLY
(in back view in the
foreground)
Maybe you would like to ride a way
with the Kid.

DALLAS
Please.

She gets up beside Ringo. Curly moves out of frame to the
left. Doc Boone arranges a shawl around Dallas's shoulders,
then does likewise. They sit there, waiting for Curly to
climb up, too.

Curly and Doc Boone both move towards the back of the vehicle
and each picks up a stone from the ground. Then they seem to
go insane, for suddenly they both hurl their stones at the
horses' rumps, yelling. The horses gallop off with the
buckboard, nearly spilling Dallas from the seat and leaving
Curly and Doc Boone shouting and waving their hats in the
air.

DOC BOONE AND CURLY
Hiya, giddap, hiya, hiya, hiya!

Now the two men both take a step towards camera, shouting
and waving their hats and grinning as the buckboard moves
away off-screen. They chuckle contentedly and put their hats
back on their heads.

DOC
Well, that's saved them the blessings
of civilization.

CURLY
Yeah.

He laughs, then taps Doc Boone on the shoulder.

CURLY
Doc...

He removes his Marshal's badge from his lapel.

CURLY
I'll buy you a drink.

He puts the badge in his pocket.

DOC
(waving a finger)
Just one.

The two men laugh. Curly puts his arm round Doc Boone and
they walk off to the left.

Darkness still lies over the land, but sunrise lightens the
clouds on the horizon, as the buckboard moves swiftly away
from camera into the distance, carrying Ringo and Dallas to
their new life. Loud music and the words THE END appear and
fade out before the end credits.

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