"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 ]

"TALL IN THE SADDLE"

Screenplay by

Michael Hogan and Paul P. Fix

Story by

Gordon Ray Young

1944

SHOOTING DRAFT



EXT. GARDEN CITY STATION - DAY

CLOSE SHOT -- station signboard. It reads:

"GARDEN CITY"

CAMERA PANS to show the dusty platform of a typical small
Arizona town of the late nineties.

CAMERA TRUCKS ALONG platform PAST a line of sleeping figures,
consisting of a couple of drunks, an Indian, two Mexicans
and a mongrel dog.

CAMERA STOPS on the window of the ticket office. Inside the
office can be glimpsed the Station Agent dozing in a chair
with his feet up against the grill of the ticket window. The
clicking of the signal indicator is heard. The agent opens
his eyes, flips up the indicator and begins to get to his
feet sleepily.

MED. SHOT

line of sleeping figures, with dog in f.g. The sound of a
distant train whistle is heard o.s. The dog, which up to now
might have been dead, opens one eye and looks past camera.

LONG SHOT

railway track with the three-car train approaching.

MED. SHOT

line of sleeping figures. The dog jumps up barking furiously
and runs out of shot past camera. The sleeping figures come
to life and look toward camera. At the same time, the door
of the ticket office opens and the agent appears.

FULL SHOT

railway track. The train is now almost at the station.

EXT. PLATFORM - DAY

FULL SHOT -- with the line of men now standing on the edge
of the platform looking toward camera. Train steams slowly
in past camera, and stops, with a tall, wide-shouldered man
of about 28 (Rocklin), dressed in new store clothes, cowboots
and a broad-brimmed white hat, in f. g. standing on steps of
day coach with a small valise and saddle in his hands. Behind
Rocklin a conductor.

MED. SHOT

baggage car. The baggageman is standing at the open door of
the car with two sacks of mail. He drops them to the platform
and waves to the conductor o.s. and begins to close the doors
of the baggage car.

MED. CLOSE SHOT

on Station Agent and conductors. The latter signals the
engineer. The train whistle sounds again o.s. and the shadow
of the moving train begins to pass across the Station Agent's
face.

TRUCKING SHOT

As Rocklin comes along the platform carrying the valise in
one hand and balancing the saddle on his shoulder with the
other, a man behind him picks up the two mail sacks and exits
from scene. The station bums look at Rocklin curiously. His
expression giving no encouragement, they slink back out of
the sun and begin to settle down in their old places again.
At the ticket office, Rocklin pauses and looks around
uncertainly.

STATION AGENT
(at office door)
Expectin' someone?

ROCKLIN
(after a second's
pause)
I guess not. Where's the stagecoach
office?

STATION AGENT
(pointing)
Back of the depot.

EXT. GARDEN CITY STAGE DEPOT - DAY

The stage is drawn up in front of the depot, over which is a
sign --

RED ROCK STAGE

J. Harolday Proprietor

Rocklin, making his way along the walk, almost reaches the
depot when his attention is arrested by the sight of Dave,
the stage driver, who has just rounded in front of the lead
horses. He pauses close to one horse's head. Rocklin sees
Dave take a bottle from his person, uncork it as he glances
around, and raise it to drink. The bottle is almost to Dave's
lips when the horse shies, swinging its head. The bottle is
knocked from the old fellow's hands and smashes on the ground.
Now Rocklin witnesses a scene of intense fury, which he finds
amusing despite its seriousness. Old Dave rants and snorts --
beats his thighs, his heads, flings his arms wildly and
exhibits his utter disgust generally.

DAVE
(to horse)
Consarn you, Blossom -- lookit that --
jus' lookit what you done --
(some more pantomime)
I'm tellin' you, Blossom that --
(indicating broken
bottle)
-- makes you the most aggravatin'
female as ever I had a despise fer --
I've got a good notion to pizen you --
an' what's more --

He stops talking abruptly because his hand has, quite by
chance, felt the spare bottle he carries, which he has
forgotten in his anger. A most satisfying smile lights his
bewhiskered face as he brings the bottle into view. He uncorks
it, and stepping a few paces from the horse, raises the
bottle.

DAVE
(to Blossom)
Heh-heh -- fooled you, didn't I? --
(chuckles)
Fooled myself, too.

ON ROCKLIN

who has been watching Dave's performance. He smiles his
amusement and now proceeds toward the stage office.

INT. GARDEN CITY STAGE DEPOT - DAY

PAN SHOT. Rocklin enters and moves over to the counter, behind
which is the stage agent, a mild-looking man with pebble-
lens glasses. During the scene, the character who picked up
the mail sacks from the platform, comes in, dumps the sacks
on the counter and leaves.

STAGE AGENT
(to Rocklin)
Howdy.

ROCKLIN
(indicating stage)
That the stage for Santa Inez?

STAGE AGENT
(nods)
Leaving any minute.

Rocklin puts his saddle on the counter, and taking out a wad
of bills, drops them on the counter. The Stage Agent counts
out the fare.

STAGE AGENT
Santa Inez -- seventeen-fifty --
(returning the balance)
Name?

ROCKLIN
Rocklin.

The Stage Agent turns to make out the ticket. Rocklin takes
some tobacco and paper from his vest pocket as he glances
outside.

ROCKLIN
Mind if I ride alongside the driver?

STAGE AGENT
(over his specs)
It's all right with me -- if it's
all right with Dave -- He's mad --
His last trip -- Had a row with
Harolday, the boss -- Old-timer,
Dave -- an' a grumpy old cuss.

ROCKLIN
(soberly)
I like grumpy old cusses -- Hope to
live long enough to be one.

STAGE AGENT
(puzzled)
Yeah?

He shakes his head and hands Rocklin the ticket, and moves
over to the door with one of the mail sacks in his hand.

EXT. GARDEN CITY STAGE DEPOT - DAY

The Stage Agent, carrying a mail sack, and Rocklin come from
the stage depot and reach the stage as Dave is in the act of
climbing up to the driver's seat.

STAGE AGENT
Here's your mail, Dave --

Dave looks over his shoulder at the Agent and steps to the
ground, as Rocklin climbs up to the driver's seat.

ROCKLIN
(as he steps up to
the seat)
-- and a passenger.

Dave glares at Rocklin climbing up to the seat, and he is
about to order him down when Rocklin, now seated, looks down
at him and asks rather wistfully --

ROCKLIN
Mind if I ride up here?

Dave does mind, but his better judgment tells him to step
carefully in his attitude toward this stranger, who does
things first, then asks permission. His only answer to Rocklin
is a characteristic grimace which is eloquent enough. And
now Dave turns on the Agent, who becomes the target of his
pent-up wrath.

DAVE
Where's them wimmen?

STAGE AGENT
Up at the hotel.

DAVE
(yanking mail sack
from Agent)
Why ain't they here? -- This is the
stage depot, ain't it -- ?
(heaves sack into
boot)
Ain't it?

STAGE AGENT
You can pick 'em up there -- it's
only up the street --

DAVE
On'y up the street -- an' they cain't
walk it -- What's the matter -- don't
Easterners have laigs like other
folks?

Dave stalks around the rear of the coach. The Agent meantime
stretches himself up toward Rocklin.

STAGE AGENT
(so Dave won't hear)
Hold tight when you git in the
mountains, mister -- When he gits
riled you can hear the passengers
prayin' for miles.

Dave has climbed to his seat, and now the coach lurches away,
leaving the Agent shaking his head dubiously.

EXT. GARDEN CITY HOTEL - DAY

From the porch of the hotel. We see the stage approaching as
the hotel handyman brings a trunk and a couple of bags from
the hotel to the street. The coach pulls up and stops.

DAVE
(to handyman)
Whar's them wimmen? -- They waitin'
for you to carry 'em out?

Before the handyman can answer, Dave's attention is taken by
someone calling his name from across the street. Meantime,
an Indian squaw wobbles from the hotel with bow and arrow,
etc. Rocklin buys bow and arrow.

SADDLER
(as he comes to Dave)
Dave -- Dave -- tell Arly Harolday
her saddle ain't ready yet, will ya?

DAVE
(getting to the ground)
I ain't tellin' that crazy female
nothin' -- Last time I seen her she
threatened to rip the hide off'n me
and bat me dizzy with it.

Dave goes to the rear of the coach.

SADDLER
(looks up to Rocklin)
Mister -- will you tell the Agent at
Santa Inez to tell Miss Harolday her
saddle ain't ready yet?

ROCKLIN
(nods)
I'll say that.

PORCH OF HOTEL

Miss Martin steps out onto the porch followed by Clara and a
gentleman, presumably the hotel manager or clerk. The women
are obviously Easterners and are attired in the good taste
of the period. Miss Martin is a domineering woman, approaching
middle age. Her niece, Clara, is a well-bred, attractive
girl of twenty-one and completely under the influence of the
older woman.

CLERK
(as group comes through
door)
By next year, madam, we expect to
have a bathtub on each floor.

Miss Martin stops short and looks o.s.

ON DAVE AT REAR OF THE COUCH

having a time lifting the trunk up into the boot. Miss Martin
and the others come into the scene.

MISS MARTIN
Now don't drop it --

Dave pauses to see who is talking.

MISS MARTIN
At your age you'd best not be lifting
things so heavy.

DAVE
(grimaces)
Mebbe you're young enough to hoist
her up your own self.
(tries to lift trunk
again)

CLOSE SHOT

on Clara. She is looking rather timidly up at Rocklin.

CLOSE SHOT

on Rocklin. He is grinning appreciatively at old Dave. Now
he notices Clara and regards her soberly a moment.

FULL SHOT

Dave has heaved the trunk in place and is securing it.

Miss Martin, about to enter the coach, notices Clara staring
up at Rocklin.

MISS MARTIN
Clara!

Clara snaps her attention from Rocklin to her aunt. The Clerk
steps to the side of the coach and opens the door. He assists
Clara inside -- and now Miss Martin.

INT. COACH - DAY

Miss Martin and Clara. Miss Martin is just sitting. She looks
coldly at Clara.

MISS MARTIN
(in low voice)
Staring as though you'd never seen a
man before.

EXT. GARDEN CITY HOTEL - DAY

Dave, Rocklin and Clerk. Dave is at the moment climbing to
his seat on the other side of the coach. The Clerk swings
the door closed and looks up to Rocklin and speaks more or
less confidentially.

CLERK
Try to hold him down or he'll scare
the women to death.

ON ROCKLIN

He is looking down at the Clerk and answers quite casually,
but loud enough to be heard by the women.

ROCKLIN
I never feel sorry for anything that
happens to a woman.

INT. COACH - DAY

THROUGH window of door -- Miss Martin and Clara. The women
have obviously overheard Rocklin's remark. Miss Martin smiles
vindictively at Clara, who flushes.

CAMERA PULLS BACK to include the Clerk, who moves to the
coach door.

CLERK
Well, I hope you have a nice trip,
ladies.

MISS MARTIN
I hope we get there -- wouldn't
surprise me if we didn't.

EXT. GARDEN CITY HOTEL - DAY

On Dave and Rocklin.

DAVE
(mutters)
Wait till I get you on the road, you
old buzzard, you'll be surprised all
right.

He takes up the reins and shouts the team away.

DISSOLVE OUT

DISSOLVE IN

EXT. ARIZONA COUNTRY - DAY

EXTREME LONG SHOT -- with the stage hardly more than a black
dot below, its curl of rising dust in the midst of the whole
broad expanse. As the coach disappears from shot, the two
mounted men appear riding at an easy pace and continue in
the same direction as the coach.

EXT. DRIVER'S SEAT OF COACH - DAY

MED. CLOSE SHOT -- Dave and Rocklin, the latter staring
straight ahead. As they roll with the roll of the coach,
Dave steals a look at his companion.

DAVE
I wonder why a young feller who don't
have to wants to come into this God
danged country?

Rocklin ignores Dave's question and continues staring ahead.
Dave glances down toward the women.

DAVE
Say -- did you mean what you said
back there about wimmen?

ROCKLIN
(grimly)
Every word of it.

DAVE
(chuckling)
Then you're smarter than most.

ROCKLIN
Maybe I seen more of 'em than most.

DAVE
(looking at him
admiringly)
Shouldn't be surprised. Shouldn't be
a leetle bit surprised.
(reflectively)
All the same...

He breaks off and chuckles again.

ROCKLIN
(unsmilingly)
All the same -- what?

Dave doesn't reply, but lifting the pint of whiskey, jerks
out the cork with one movement of his thumbnail.

DAVE
(offering bottle to
Rocklin)
Take a slug.

Rocklin drinks and gives the bottle back to Dave, who all
but empties it in one pull.

DAVE
(holding up the bottle
and squinting through
it)
Whiskey and wimmen -- ever think how
much alike they are? Both fool you,
but you never figger out how to do
without 'em.

Rocklin makes no reply. Dave offers the bottle again.

DAVE
Take another.

ROCKLIN
Not just yet.

DAVE
(unoffended)
Well...
(putting the bottle
to his lips)
Here's to her.

ROCKLIN
Who?

DAVE
The next one that fools you.

He empties the bottle and shies it away. At the same time,
the coach hits a particularly bad patch of road and there is
muffled exclamation from inside the coach. Dave leans over
and looks down o.s.

INT. COACH - DAY

MED. CLOSE SHOT -- Clara and Miss Martin. The former is
showing the effects of the rough ride, but the old lady is
hanging on grimly.

EXT. DRIVER'S SEAT - DAY

Dave straightens up, grinning.

DAVE
(with relish)
Mighty rough stretch along here.

He whips up the team, at the same time weaving a little
unsteadily in his seat.

ROCKLIN
Like me to speel you a while?

DAVE
Nope. I've had a few snorts but that
don't make no difference. Leas'ways,
never has...
(after a second's
pause)
Don't ever git wore out, and useless,
like me.

ROCKLIN
Who're them as say you are?

DAVE
Harolday, for one. Oh, I ain't belly-
aching. Reckon he's entitled to his
opinion. But him and me never did
see eye to eye.

ROCKLIN
What's wrong?

DAVE
It's constitootional, I reckon. Like
that step-daughter of his is crazy --
he's too sane. Believes In law and
order.

ROCKLIN
(grinning)
What's wrong with law and order?

DAVE
Depends on who's a-dishin' it out.
Never was good at takin' orders
meself. As for the law -- well, you'll
soon find out what that means 'round
these parts.

The coach hits a particularly bad bit of road and there is
an exclamation from inside. Dave grins and urges the team on
cheerfully.

DISSOLVE OUT

DISSOLVE IN

EXT. RIM - ARIZONA COUNTRY - DAY

FULL SHOT -- as Dave pulls up the stage at the top of a long
downgrade and looks out appreciatively at the view. From
this crest of the rim, a vast expanse of country is visible.

CLOSE SHOT

stage. Miss Martin thrusts her head out of the window.

MISS MARTIN
Driver? Driver, what's the matter?

DAVE
Nothin'. Restin' hosses. Git out and
stretch yore laigs if you want.

MISS MARTIN
Resting horses? What for? I can see
with my own eyes it's downhill.

Dave brightens visibly at this challenge.

DAVE
You in such an all-fired hurry, lady?

MISS MARTIN
Certainly, we are in a hurry.

DAVE
(beaming)
Well -- we'll hurry some.

His whip cracks like a rifle shot and the startled horses
literally jerk the heavy stage over the rim and down the
grade.

LONG SHOT

grade, with the stagecoach bounding and reeling down the
narrow road and around the sharp bends.

CLOSE FULL SHOT

Dave and Rocklin on stage as it thunders downhill. Dave is
leaning out and listening hopefully for the outcries from
within. None come. Rocklin is hanging on with both hands and
mildly amused.

INT. STAGECOACH - DAY

The two women are really being scrambled.

EXT. STAGECOACH - ARIZONA COUNTRY - DAY

CLOSE TWO SHOT -- Dave and Rocklin. Rocklin is as calm as if
he were walking. Dave is more and more pleased with himself.
He again leans out to listen.

LONG SHOT

grade, with coach approaching in b.g. In f.g. the road narrows
and makes a sharp turn at the very edge of a precipice. There
is no possible way of getting the coach safely around this
turn except at a walk.

LONG SHOT

road, from point of view of driver's seat, establishing the
same menace ahead.

CLOSE TWO SHOT

Dave and Rocklin, as Rocklin glances out of the corner of
his eyes as if wondering whether or not Dave is too drunk to
perceive the disaster. He makes no move, however, to advise
or interfere.

FULL SHOT

road; at danger corner, as stage comes in. At the very last
second, Dave pulls in the horses and negotiates the turn in
safety.

CLOSE SHOT

stage. Dave grins at Rocklin, then listens for the outcry he
expects from the women within. The old lady's head bobs out
of the window.

MISS MARTIN
(fiercely)
Now what's the matter. Why are we
stopping again?

Old Dave's mouth drops open, and as Rocklin begins to grin
at his discomfiture.

DISSOLVE

EXT. STAN'S PLACE - DAY

FULL SHOT of lonely adobe which serves as a combination
roadhouse, stage station and bar. As the coach rolls into
f.g., a little Mexican boy (Pablo) runs out to change the
horses.

PABLO
(as Rocklin swings
down)
Buenas noches, senor.

ROCKLIN
Buenas noches, amigo.

PABLO
(grinning at the
friendly tone)
Ha llegado anticipademente, senor.

ROCKLIN
Tuvimos suerte en haber llegado.

He glances pointedly at Dave who is climbing down unsteadily
and Pablo bursts out laughing.

MED. CLOSE SHOT

on door of coach. As Dave comes into shot, Miss Martin's
head pops out of the window.

DAVE
(gruffly)
We stop here.

MISS MARTIN
Why do we stop here?

DAVE
If you wanta eat and stretch yore
laigs.

MISS MARTIN
Will you please stop referring to my
legs!

DAVE
You got some, ain't you?

He turns and lurches toward the roadhouse.

INT. STAN'S PLACE - DAY

FULL SHOT from doorway. It is a large barn-like room on one
side of which is a bar. On the other side is a fireplace and
a partition behind which is a rough dining table and benches.
Standing at the bar drinking with his back to the door is a
wizened little man, dressed in an odd assortment of ragged
garments of unrecognizable origin. On the counter is a
travelling prospector's pack, to which is strapped an
assortment of prospector's equipment, including a pick and
shovel. As Dave enters, the man (Zeke) turns around and
reveals a face even hairier than Dave's.

ZEKE
(holding out his arms)
Dave!

DAVE
(letting out a yell
and rushing to Zeke)
Why, Zeke, you two-legged old coot!

CLOSE SHOT

Zeke and Dave as they beat one another on the back.

DAVE
Whar you been all these months?

ZEKE
Up in the hills workin' my way down
the biggest hole you ever seed.

DAVE
Good -- What's at the bottom of it?

ZEKE
Nothin'!

DAVE
(roaring with laughter)
What, again!!

MED. SHOT

Rocklin has entered and moved to the fire. Miss Martin and
Clara enter and stand in the doorway watching the scene at
the bar. A pale-faced, dyspeptic-looking man of about 45
(Stan) comes from the kitchen and approaches them
ingratiatingly.

STAN
Good evening, ladies. How about
something to eat?

MISS MARTIN
(with a dubious look
toward the pair at
the bar)
Well -- if it won't take too long.

STAN
(leading the way toward
the partition)
This way, ladies.

MED. CLOSE SHOT

bar. Dave has just fitted a cylindrical record of "She Was
Only a Bird in a Gilded Cage" to an old-type phonograph.

DAVE
Yep -- this is my last trip.

ZEKE
Why?

DAVE
Old Harolday won't take back what he
said.

ZEKE
What'd he say?

DAVE
"You're fired."

They both yell with laughter and slap one another on the
back.

MED. SHOT

from fireplace. Rocklin is standing in f.g. looking down at
the fire and making the inevitable cigarette from his pocket
dip. Seated at the table are Clara and Miss Martin. From
o.s. comes the sound of Zeke and Dave singing to the
phonograph record. Miss Martin glares indignantly in the
direction of the bar, obviously about to make a protest. At
this moment Stan comes from the kitchen with a large dish in
his hand which he dumps on the table.

STAN
There you are, folks. Dig in and
help y'rselves.

Miss Martin, sitting forward eagerly, suddenly sees the dish
of meat and freezes.

CLOSE SHOT

dish of meat. It is swimming in greasy brown gravy.

MED. SHOT

Miss Martin as she shudders dyspeptically and closes her
eyes.

MED. CLOSE SHOT

bar, as Stan comes from the table to Dave and Zeke.

STAN
Supper, Dave?

DAVE
(noisily)
I'm drinkin' mine. Set 'em up.

MED. SHOT

table. Clara has filled a plate with food, which she offers
to her aunt.

CLARA
Auntie --

MISS MARTIN
With my dyspepsia? Do you want to
kill me?

Clara hesitates for a second, then looks across to Rocklin.

CLARA
Aren't you going to have any supper?

ROCKLIN
Reckon so.

He comes to table and begins to help himself. There is a
loud burst of laughter from the bar.

MISS MARTIN
Young man, that driver's had all the
liquor he can take.

ROCKLIN
Has he?

MISS MARTIN
You know he has. You're not a complete
fool, are you?

ROCKLIN
Frequently.

MISS MARTIN
(to Clara, furiously)
The rudeness of people in these parts
is appalling!

Clara looks apologetically at Rocklin, then away again
nervously. Suddenly, she sees something o.s. and drops her
knife and fork with a little start.

MED. CLOSE SHOT

window. A thin, unpleasant-looking face is seen through the
glass. The windowpane is defective and so distorts the lower
part of the face into a hideous smile. It is the younger of
the two men who were watching the coach outside the hotel.

PANNING SHOT

on kitchen door as Stan comes through with a dish of potatoes.
A man's voice is heard o.s. and he pulls up abruptly.

BOB CLEWS' VOICE
Well, well -- smells like a mighty
nice bit of veal.

CAMERA HAS PANNED TO include the side door next to the window
and almost opposite to the dining table. The owner of the
face at the window (Bob Clews) is now standing in the doorway.
Behind him is the man with the sheriff's badge on his dirty
vest (Jackson). As they come forward toward Stan, the latter
shows obvious signs of nervousness.

BOB CLEWS
Doin' yourself well these days, Stan.

STAN
A friend of mine was by an' sold me
a quarter of beef.

JACKSON
(insinuatingly)
The same friend as sold you that
hide Bob, here, found stashed in
your barn yesterday?

STAN
Hide -- What hide?

BOB CLEWS
The one that might send you to the
penitentiary.

JACKSON
(smugly)
What did you do with it, Stan?

STAN
I never had no hide stashed --

BOB CLEWS
(harshly)
I saw it yesterday under the hay.

STAN
Then it must still be there.

JACKSON
No it ain't -- we looked -- Where is
it?

STAN
I tell ya --

MISS MARTIN
(who has been an
interested witness)
What is all this?

Jackson, as though noticing the women for the first time,
raises his hat.

JACKSON
Afternoon ma'am. Miz Caldwell ain't
it?

MISS MARTIN
No -- Martin -- Miss Martin -- This
is Miss Caldwell.

JACKSON
(to Clara)
Glad to know you, miss -- Been
expectin' you at Santa Inez. I'm
Sheriff Jackson. Any relation of Red
Caldwell's a friend of mine.

BOB CLEWS
(that oily smile)
You're sure gonna brighten things up
considerable around the K.C. Ranch.

Miss Martin gives Clews an icy stare and snaps her eyes to
Jackson.

MISS MARTIN
(indicating Stan)
What's going on with him?

JACKSON
Just a little matter of the law.

BOB CLEWS
(hastily)
Rustlin'.

MISS MARTIN
Wrestling?

BOB CLEWS
Rustlin' -- cattle stealin'.

MISS MARTIN
Oh -- a thief --

STAN
(visibly worried)
I tell ya I never --

BOB CLEWS
(quickly)
Save it --

JACKSON
(to Miss Martin)
Matter of fact -- Bob, here, says
that the hide he saw yesterday had
the K.C. brand on it.

MISS MARTIN
Oh -- hmmm -- well, what do you intend
doing about it?

BOB CLEWS
(looking at Stan)
Law's pretty harsh 'round here on
cattle thieves.

JACKSON
(being the kind man)
Course, we don't want to make a
mistake with an old-timer, but --

Rocklin speaks from where he leans against the wall, casually
smoking.

ROCKLIN
How about the owner of that beef --
mightn't he have somethin' to say
about it?

There's a pause in which all have turned their attention to
Rocklin.

JACKSON
Meanin'?

ROCKLIN
Red Caldwell -- he's the owner of
the K.C., ain't he?

BOB CLEWS
(after a short chuckle)
You're 'way behind the herd, mister --
Red Caldwell died three weeks ago.

MISS MARTIN
(glaring at Clews)
Was murdered, you mean.

JACKSON
That's right -- shot in the back --
not far from here.

BOB CLEWS
(significantly to
Stan)
Maybe he was gettin' on to things
about the cattle that's been missin'
from the K.C. lately.

STAN
I tell ya I ain't never had any hide --

BOB CLEWS
(quickly)
Well, you got beef --

STAN
(meekly defiant)
Yes -- an' I got a bill of sale fer
it, too.

Jackson and Clews exchange a quick glance.

JACKSON
S'pose you let me see that bill of
sale.

STAN
(starts for kitchen)
It's right out here.

Jackson follows, looking at the women.

JACKSON
Like I said -- I wouldn't want to
make a mistake with an ole-timer.

Jackson follows Stan into the kitchen. Clews moves to the
fire and lunges there picking his teeth and eyeing Clara,
who stirs uneasily under the man's gaze.

MED. SHOT

as Rocklin comes out of the thoughtful mood in which he has
been plunged by the information about Red Caldwell and notes
the by-play between Clews and Clara. He frowns and makes a
movement as if about to rise. At the same time, Dave and
Zeke, whose voices have been heard throughout In the b.g.,
stagger into the shot.

DAVE
(chuckling and pointing
to Miss Martin)
See that one?
(confidentially)
She ain't got no laigs.

MISS MARTIN
Hold your tongue.
(to Zeke, who is gaping
at her)
And you -- stop staring as if we
were monsters.

Zeke takes it and staggers into the b.g. near Bob Clews.

DAVE
(to Rocklin)
Where's Stan? We got to have another
drink.

ROCKLIN
He's outside tryin' to explain away
a hide.

DAVE
Eh?

ROCKLIN
(indicating food)
Seems we're eatin' stolen beef.

DAVE
Somebody's loco. Stan might have
given house-room to bit o' dead beef,
but he'd never be fool enough to
leave the hide lyin' around.
(to Zeke)
How 'bout it, Zeke?

Zeke opens his mouth to speak, and slowly folds up, sliding
down the wall to the floor.

MED. SHOT

as Clews comes from the fireplace and joins the group.

BOB CLEWS
That's the way it is, Dave.

Dave has gone to Zeke's aid and now peers at Clews closely,
recognizing him for the first time.

DAVE
(disgustedly)
Oh -- it's you.

BOB CLEWS
That's right -- your old pal Bob
Clews.

DAVE
(shoves Clews)
Git away from me -- you two-timin'
horse thief.

BOB CLEWS
(grinning)
Them's fightin' words, pardner.

Stan and Jackson come from the kitchen. Dave is again picking
up Zeke, but seeing Stan, lets Zeke drop.

DAVE
(moving to Stan)
Hey, Stan -- don't let 'em hang
nothin' on you, you ain't done.
They're just a couple of fourflushers --
the pair of 'em, everybody knows
that.

Jackson addresses everyone present with an indulgent Smile.

JACKSON
Crazy drunk.

DAVE
(wheels on Jackson)
Mebbe I am drunk -- mebbe that's why
I'm tellin' the truth -- I'm drunk
an' I'll say what I think -- I'll
say what I know.

Zeke, on the floor, takes up Dave's belligerent mood for a
flash.

ZEKE
So will -- I --
(goes out again)

Jackson goes to Dave.

JACKSON
Don't act up this ways, Dave -- They's
women watchin'.

Clews moves in to Jackson and Dave, and now both men urge
Dave toward the door.

DAVE
(attempting to throw
them off)
Git your hands off me --

BOB CLEWS
(to company in general)
What he needs is a short lay-down.

ROCKLIN
(taking a step forward)
I'll lend a hand.

JACKSON
(brushing past him)
Me an' Bob'll look after him. We're
his friends -- come on, Bob.
(as they steer Dave
through door)
Careful now -- don't hurt him.

They exit. Rocklin stands frowning a second, then turns toward
the table where Stan is making a show of clearing dishes,
etc.

ROCKLIN
(quietly to Stan)
How are things standin' now between
you an' the law?
(indicates direction
Jackson went out)

STAN
(not wanting to talk
about it particularly)
All right, I reckon --
(looks at Rocklin;
more confidently)
I guess this bill of sale --
(indicates it in Vest
pocket)
-- kinda winded him.

Rocklin's lips curl in a wise smile.

ROCKLIN
Good thing you saved it.

Zeke is discovered on all fours crawling around on the floor
near the table where the women sit. He seems to be looking
for something.

MISS MARTIN
(mystified)
What are you doing?

Zeke turns his hairy face up toward Miss Martin.

ZEKE
Musta been dreamin' -- Thought I was
sittin' on a pot of gold.

STAN
(wearily)
There ain't no gold here.

ZEKE
(takes it)
There ain't even a pot.

The door leading from the barn opens and Jackson enters
followed by Clews a few steps behind.

ROCKLIN
How is he?

JACKSON
Went to sleep soon's we laid him
down.
(pulling off hat again)
Sorry to have a ruckus in front of
you ladies. Dave's an ornery old
cuss when he gets goin' -- No shape
to drive on, I'm afraid.

MISS MARTIN
(this is a fine kettle
of fish)
Hmmm --

JACKSON
Don't worry, ma'am. Bob, here, 'll
take you on in -- knows every inch
of the road -- Don't you?

BOB CLEWS
(grins)
You bet.

Rocklin has been listening intently.

ROCKLIN
I'm drivin'.

CLOSE SHOT

of the group, with Clews looking significantly at Jackson,
who is obviously checkmated by Rocklin's remark.

JACKSON
(finally speaks)
But if anything was to happen to the
ladies, I'd feel -- to blame.

ROCKLIN
Don't.

He turns abruptly and walks out the front door to the coach.
Jackson stares after him a moment, uncertain. Now he turns
to the women.

JACKSON
You ladies want he should drive?

Miss Martin hesitates.

BOB CLEWS
I'll be more'n glad to accommodate
you --
(smiles at Clara)

MISS MARTIN
(resenting Clews'
familiarity)
He's going with us anyway -- he may
as well drive.

JACKSON
Anything you say, ma'am.

EXT. STAN'S PLACE - LATE AFTERNOON

MED. SHOT -- coach as Rocklin moves toward it from the house.
A crudely made arrow shoots in and hits Rocklin lightly. A
warning hiss is heard o.s. and he turns quickly in the
direction of the sound.

EXT. STABLE - STAN'S PLACE - LATE AFTERNOON

MED. SHOT -- door of stable. The little Mexican who attended
the horses is peering out from the stable.

MEXICAN
(in a whisper)
Venga con migo, senor.

The kid disappears inside the stable. Rocklin comes into
shot from the direction of the coach and enters the stable.

INT. STABLE - STAN'S PLACE - LATE AFTERNOON

Rocklin comes through the door and moves toward the boy, who
is standing looking downward into some hay.

CAMERA PANS DOWN to show Dave unconscious, with a nasty cut
in his scalp. Rocklin kneels into the shot. Over the scene
comes the sound of retreating hoofbeats.

EXT. STAN'S PLACE - LATE AFTERNOON

LONG SHOT -- from Rocklin's ANGLE in the stable, of Jackson
and Bob Clews riding away.

INT. STABLE - STAN'S PLACE - LATE AFTERNOON SHOT.

ROCKLIN
(to boy)
Did they do it?

MEXICAN
(nods)
Si, senor. They hit him with a
pistola.

ROCKLIN
(matters)
His friends, eh?

He kneels again, picks Dave up, and prepares to carry him
out.

DISSOLVE

EXT. HIGHWAY - ROAD TO SANTA INEZ - NIGHT

LONG SHOT of stagecoach traveling.

CLOSE SHOT

Rocklin on the driver's seat, handling the reins expertly.

INT. COACH - NIGHT

PANNING SHOT -- with Miss Martin and Clara now seated next
to one another. Clara is half asleep with her head against
the side of the coach. Miss Martin is sitting bolt upright
but her eyes are closed and her head nods. CAMERA PANS to
include the other side of the coach where Dave is sprawled
in the seat, his head on a cushion, his mouth open, sound
asleep. Suddenly he snores violently, and Miss Martin wakes
with a start and glares at him angrily.

DISSOLVE

EXT. STAGE DEPOT - SANTA INEZ - NIGHT

PANNING SHOT on sign on window which reads:

RED ROCK STAGE SANTA INEZ DEPOT

Proprietor -- J. Harolday

CAMERA PANS to show the coach pulled up outside, with Rocklin
lifting his saddle from the top of the coach, whilst a
stableman holds up Dave.

STABLEMAN
What happened?

ROCKLIN
Bumped his head.

STABLEMAN
(skeptically)
Where -- on Iron Mountain?

ROCKLIN
Where's the best chance of a cheap
room?

STABLEMAN
(pointing)
There's Cap's place across the Street --
the Sun-Up Saloon.

ROCKLIN
(with valise, indicates
saddle)
I'll pick that up later.

MED. SHOT

group, to include the window of the coach. Miss Martin's
head appears.

MISS MARTIN
(to stableman)
This isn't the hotel.

STABLEMAN
No'm, lady. Hotel's up the street a
piece.

MISS MARTIN
Are we expected to carry our bags at
this time of night?

STABLEMAN
(to Rocklin)
Want to drive 'em on up?

ROCKLIN
(flatly)
Nope.
(offering a shoulder
to Dave)
Here -- catch aholt.

The two move out of shot across the road, followed by the
indignant gaze of Miss Martin.

EXT. SUN-UP SALOON - NIGHT

PANNING SHOT -- opening on the sign over the door, which
reads:

SUN-UP SALOON

CAMERA PANS to show Rocklin and Dave coming along the
boardwalk in front of the saloon. CAMERA PANS them to the
swing-doors, which Rocklin pushes open, passing through into
the saloon.

INT. SUN-UP SALOON - NIGHT

PANNING SHOT -- SHOOTING FROM BEHIND the bar toward the swing-
doors as Dave and Rocklin enter. The bartender (Cap), a lean,
tallish man of about 50, studies them as they enter, then
turns and calls across the room.

CAP
Hey Doc!

CAMERA PANS to show a group of poker players seated around a
table. This consists of a well-dressed, powerful-looking man
of about 45 (Judge Garvey), with a smooth face and an
impressive manner; a flashily-dressed young man with a weak
face (Clint Harolday); a tough-looking cowboy of about 35
(Ab Jenkins); a pleasant-faced storekeeper of about 50 (Pap
Fossler); and a little man with a weather-beaten face and
intensely blue eyes (Doc Riding). Watching the game are Sam
Haynes and Shorty Davis, the former a townsman and the latter
a cowboy. As they all look toward the door, Cap's voice
continues.

CAP'S VOICE
Customer --

Doc Riding looks quickly toward the door, taking in the
situation.

DOC RIDING
(to Haynes)
Take my hand, Sammy.

MED. CLOSE SHOT

Rocklin and Dave come to the bar. At the same time, Doc Riding
comes into shot from the poker table.

DOC RIDING
What happened?

ROCKLIN
Bumped his head.

DOC RIDING
(dryly)
I see.
(examining the head)
Looks like he's going to need a couple
or so stitches.
(to Cap)
Better get him upstairs.

The bartender looks dubious.

ROCKLIN
(nodding)
Okay. You can book me a room, too.

As Rocklin and Doc Riding begin to lead Dave toward the
Stairs.

DISSOLVE IN

INT. DAVE'S BEDROOM - SUN-UP SALOON - NIGHT

TRUCKING SHOT -- starting on big head of Dave, as he lies in
bed, with his eyes closed. His head is swathed in a clean
bandage. He stirs and gives a little chuckle.

DAVE
(muttering)
No laigs.

CAMERA PULLS BACK to show Doc Riding at the bed and Rocklin
beyond, standing in the connecting doorway between two
bedrooms. The latter has a face towel in his hands and has
evidently been washing up. As Dave settles down comfortably
in the bed, Doc Riding closes his bag, nods to Rocklin and
moves toward the second bedroom.

INT. ROCKLIN'S BEDROOM - SUN-UP SALOON - NIGHT

MED. CLOSE SHOT -- as Doc Riding comes through the doorway
from Dave's room.

DOC RIDING
He'll be all right in the morning.

Rocklin closes door behind him.

DOC RIDING
How about a snort?

ROCKLIN
Don't mind if I do.

He moves across the room, followed by Rocklin, who throws
the towel down on the bed as he passes. For a second, he
hesitates as if about to pick up the gun-belt which is lying
on the bed. Then, deciding to leave it, he follows the doctor
through the door.

DISSOLVE

INT. SUN-UP SALOON - NIGHT

MED. CLOSE SHOT -- at bar, with Cap Setting up glasses for
Doc Riding and Rocklin. He nods to indicate the bedroom
upstairs.

CAP
(with a grin)
Will he make it?

DOC RIDING
Sure he'll make it. Can't kill off a
salty old hairpin like Dave that
easy.

CAP
You're right. Reckon Saint Peter
must be gitten' mighty tired of
dustin' off that doormat for him.
(to Rocklin)
By the way, how did you say it
happened?

ROCKLIN
(stolidly)
I didn't.

CAP
(with a slight nod of
approval)
That's right; you didn't.
(casually)
Reason I ask is, a couple fellers
was in saying how Dave was kickin'
up a ruckus up at Stan's place.
(to Doc Riding)
Sheriff Jackson it was and one of
the Clewses.

DOC RIDING
(with a look of
distaste)
Oh!

Cap reverts to Rocklin, still casually, but with an undertone
of friendly warning.

CAP
Tough customers, the Clewses.

DOC RIDING
Yeah -- don't pay to start something
with 'em you don't intend to finish.

CAP
(to Doc Riding before
Rocklin can answer)
By the way, Doc, they tell me
George'll be out again.
(to Rocklin, with the
same casual air)
That's Bob Clews' brother. Jest done
a stretch in pen 'tentiary for horse
stealin'.

ROCKLIN
They string 'em up for that where I
come from.

DOC RIDING
(muttering into his
drink)
Pity they didn't string him up while
they wore about it.

CAP
That's what Arly Harolday was sayin'
only this mornin'.
(to Rocklin)
You ain't met our Arly yet, I reckon?

DOC RIDING
He will, if he stays here long enough.
(chuckles)

CAP
Hell-fire in skirts.

DOC RIDING
(raises his glass;
grinning)
Well, here's now.

They down the drinks. There is a burst of excited comment
from o.s. and they all look around toward the poker table.

MED. SHOT

Poker table from bar. The flashily-dressed youngster is raking
in the stakes triumphantly.

CLINT
What did I tell you? They gotta be
big to beat me!

MED. CLOSE SHOT

Group at bar.

CAP
Clint Harolday's in luck tonight.

DOC RIDING
They're certainly running for him.
About time, too. He's taken a beating
this last week would shake a better
man.

MED. SHOT

Poker table and including bar. Sammy Haynes has risen and is
pushing back his chair.

SAMMY
Include me out.

CLINT
Aw -- come on. Can't you take it?

SAMMY
Not that sort o' luck, I can't.
Besides, I on'y came in to oblige.

CLINT
(turning to bar and
shouting)
Come on, Doc. I still got to take
something from you.

DOC RIDING
(shaking his head)
No more tonight, son. I've a full
day ahead.

Judge Garvey in foreground has been watching Rocklin, as if
trying to sum him up. He now leans forward with an
ingratiating smile.

GARVEY
How about you, sir? Care to sit In?
I'm warnin' you, though -- our young
friend here has been holding
phenomenal cards.

Rocklin smiles and begins to shake his head.

CLINT
(with a cocky grin)
Have a heart, Judge. This ain't no
two-bit saddle-tramp's game. This is
for real money.

Rocklin turns very slowly and stares at Clint. The others
watch curiously. Without taking his eyes off Clint, he comes
forward slowly and stands looking down at him. Then,
unbuttoning the flap of his pocket, he takes out the wad of
bills and drops it on the table, at the same time sinking
into the chair vacated by Sammy. The tension amongst the
onlookers relaxes and Clint grins at Garvey and winks
significantly.

GARVEY
Fine! Oh -- this is Pap Fossler;
Shorty Davis; Ab Jenkins; Mr.
Harolday, and my name's Garvey --
Judge Garvey. I didn't get your name.

ROCKLIN
I didn't give it.
(to Pap, who is holding
the cards)
Deal.

DISSOLVE OUT

DISSOLVE IN

INT. SUN-UP BAR - NIGHT

MED. SHOT -- poker table, including Cap, who is watching.
Pap Fossler is dealing. There is an atmosphere of tension
around the table, and it is obvious that Clint has been
losing. As he picks up his cards, he is unable to restrain a
smile of triumph. Rocklin makes a bet. Pap Fossler and the
man next to him fold immediately.

CLINT
Raise you twenty.

This is more than Rocklin has in front of him.

PAP
(quietly)
Table stakes, Clint.

CLINT
Not if he wants to dig.

He stares challengingly at Rocklin. Rocklin takes out a
wallet, from which he removes a bill and sees the raise.

GARVEY
(folding)
No place for me.

PAP
Cards?

ROCKLIN
One.

CLINT
(eagerly)
One for me.

He reaches for it almost before it is dealt and as a result
the card, a Queen, falls face up. Clint looks at it gleefully,
snatches it up and puts it in his hand. Rocklin watches him
impassively.

ROCKLIN
Don't you know that Queen is dead?

CLINT
I can take it if I want it.

ROCKLIN
Sure -- if you want -- but you'll
have to beat my hand with four cards.

CLINT
(hotly)
I'm playing these, mister!

Rocklin glances inquiringly at the other players. All are
dead-panned, unwilling to interfere. Rocklin looks toward
Cap, who stands near him.

CAP
(shaking his head)
I'm not settin' in.

GARVEY
(smoothly)
Why don't you split the pot?

CLINT
I'm not splitting -- I'm betting!

He shoves all the money in front of him into the pot.

CLINT
Are you calling?

ROCKLIN
(calmly)
No.

Clint excitedly starts to rake in the pot.

ROCKLIN
I'm raising.

He shoves in the money in front of him, which is more than
Clint's and in addition takes from his wallet more bills.

ROCKLIN
Dig.

Clint, very excited, empties his pockets, which is not enough.

CLINT
(to other players)
Let me have some money

PAP
(speaking for all)
You're in deep enough, Clint.

CLINT
(disgusted, to Rocklin)
I've called for all I've got.
(spreads out his cards)
Full house.

ROCKLIN
No good.
(spreads his hand)
Kings up. Your third queen is dead.

Rocklin starts raking in the pot. Clint, almost hysterical,
jumps up, draws his gun and thrusts it almost into Rocklin's
face. The other players roll away from the line of fire.

CLINT
(screaming)
You -- mister -- get away from that
table. And get out of here. Maybe
from now on you'll know a full house
beats two pairs -- four-flusher!

Rocklin, his hands outspread, slowly straightens up, rises
and backs away. At the foot of the stairs, he turns
deliberately and walks upstairs. When he disappears from
view --

CLINT - WITH OTHERS AT THE POKER TABLE

Clint breaks the tension, looking from one to the other.

CLINT
No man can run a bluff on me.

There is a cold silence.

PAP
(finally)
He wasn't armed.

CAP
I don't like to tell men how to play
cards unless I'm settin' in -- but I
mebbe ought to have spoken up.
(directly to Clint)
That Queen was dead, Clint -- and
you know it.

CLINT
(arrogantly)
When anybody plays poker with me,
they play my game or not at all.

CAP
You can't just go makin' your own
rules, Clint --
(starts for the bar --
stops and turns)
-- an' if I was you I'd hightail
outa here before he comes back.

CLINT
(jolted)
Comes back?

CAP
(wearily)
He's the kind.

Cap turns and resumes his trek to the bar. Suddenly he stops
before reaching it and is looking up, o.s.

THE TOP OF STAIRS FROM CAP'S ANGLE

Rocklin is standing there grimly surveying the situation. As
he starts down the stairs...

THE GROUP AROUND THE POKER TABLE

They are staring o.s. Clint is very uneasy. And now Rocklin
moves slowly into the scene.

ROCKLIN
(with deadly calm)
I've come for my money.

CLINT
(nervously pleasant)
It's all yours, mister -- Cap, there --
Cap is an old gambler -- he says you
were right all the time.

Clint again looks around for approval, but gets no response.
Rocklin comes slowly forward, picks up the money from the
table and turns back to the stairs. As he reaches the foot
of the stairs, he turns and looks straight at Garvey with a
peculiar expression.

ROCKLIN
By the way, Judge -- the name is
Rocklin.

FADE OUT

INT. ROCKLIN'S BEDROOM - SUN-UP SALOON - DAY

TRUCKING SHOT -- on a small cracked mirror in which can be
seen the reflection of a man shaving. A voice is heard
singing, atrociously off key.

SINGER'S VOICE
She was only a bird in a gilded
cage...
(etc.)

CAMERA PULLS BACK to show that the owner of tie voice is
Rocklin, who has almost finished shaving. As he scrapes his
chin and whistles, peering at himself in the little cracked
mirror, he hears the sound of the door opening and turns,
then ducks quickly as a boot flies past him, just missing
the mirror. There is the sound of the door slamming and
Rocklin grins. He picks up the boot and goes to the door
leading to Dave's room.

INT. DAVE'S BEDROOM - SUN-UP SALOON - DAY

As Rocklin enters, Dave is discovered almost dressed sitting
on the bed. Rocklin, glad to see him, smiles and tosses the
boot to him.

ROCKLIN
How you feelin'?

DAVE
After that singin'? -- Thirsty.
(pulls on his boot)

ROCKLIN
How's your head?

DAVE
(evidently not aware
of what happened)
Oh -- a mite hungover -- but I'll
feel better once I git downstairs.

He hurries out the hall door. Rocklin, amused at the old
coot, starts back into his room.

INT. ROCKLIN'S BEDROOM - SUN-UP SALOON - DAY

Rocklin is just coming through the door and sees something
o.s., stops and freezes.

CAMERA PULLS BACK to include Bob Clews leaning against the
open ball door leading into Rocklin's room. He smiles as
Rocklin sees him.

BOB CLEWS
I knocked, but guess you didn't hear
me.

ROCKLIN
(closing door to Dave's
room)
What do you want?

BOB CLEWS
(grinning)
Looks like you stirred things up
around here last night, stranger.

ROCKLIN
That all you came to say?

BOB CLEWS
No. I got a message for you.
(getting no response)
From Old Man Harolday. Wants to see
you out front.

ROCKLIN
What about?

BOB CLEWS
Maybe he wants to thank you for
teaching that pup of his a lesson.

ROCKLIN
(after a second)
I'll be down.

Clews hesitates for a second as if anxious to wake sure he
is coming, then, turning, he disappears into the hall. Rocklin
wipes the last of the lather off his chin, buckles on his
gun-belt and picking up his hat goes out, closing the door.

INT. SUN-UP SALOON - DAY

MED. SHOT -- Dave, at the bar, grabbing a bottle, pours
himself a drink which he sinks in one draught. He shudders
and repeats the dose. During this, an excited murmur of voices
has been heard o.s. Dave turns and looks toward the far side
of the saloon and suddenly gapes.

MED. SHOT - FROM THE BAR

with Dave in f.g., and SHOOTING TOWARD the street. A group
of men, including Cap, the bartender, is gathered round the
window looking out into the street. Dave staggers across to
them and begins to push his way to the window.

MED. SHOT

group at window as Dave pushes them aside to get a view of
what is happening outside.

DAVE
What's goin' on here?

PAP FOSSLER
Arly Harolday's on the warpath.

EXT. MAIN STREET - SANTA INEZ - DAY

PANNING SHOT -- including Arly and Juan mounted in front of
the stagecoach office, which is situated diagonally across
the street from the Sun-Up.

CAMERA HOLDS ON one group standing in front of Pap Fossler's
store, opposite the Sun-Up.

AD LIBS
Here he comes. Watch the fun. This
should be good. Etc.

EXT. SUN-UP SALOON - DAY

ON the window. The men inside, including Dave and Cap, are
pressed against the glass.

CAMERA MOVES BACK and PANS TO the alleyway at the side of
the saloon. Rocklin is coming toward the street.

CLOSE SHOT

Rocklin, as he comes out of the shadow of the alleyway and
stands blinking in the full sunlight. Sensing something
unusual, he looks quickly around.

PANNING SHOT

from Rocklin's ANGLE. CAMERA PANS OVER the groups in the
street, STOPPING ON one which includes Bob Clews. As Clews
sees Rocklin, he nudges a bystander and looks toward the
stagecoach office with a grin.

CAMERA PANS to include Arly and Juan.

TRUCKING SHOT ON

Rocklin as he takes in the situation. With a grim look, he
begins to move along the sidewalk, CAMERA TRUCKING WITH him.
Suddenly, there is the clatter of a horse's hooves and Arly
gallops into shot, forcing the mare up onto the sidewalk and
barring Rocklin's progress.

ARLY
(imperiously)
Is your name Rocklin?

ROCKLIN
(coldly)
Yes.

ARLY
(contemptuously)
I want that money you took from my
brother last night.

ROCKLIN
(quietly)
Are you crazy? Or just ignorant?

ARLY
(flaming)
You took it at the point of a gun --
(suddenly whipping a
revolver from her
saddle holster)
-- and I'm taking it back the same
way!

FLASH SHOT

of group at window of Sun-Up Saloon.

FLASH SHOT

of group including Bob Clews, as Clint Harolday rides in and
stares o.s.

TRUCKING SHOT

Rocklin, as he looks coldly from Arly to the run and back
again. Calmly taking the reins, he forces the mare's head up
and moves on. Furiously, Arly spurs the mare alongside, CAMERA
TRUCKING WITH them.

ARLY
(furiously)
Stop! You! stop, or I'll kill you!

CLOSE MOVING SHOT

Arly and Rocklin. Rocklin continues along the sidewalk.

ARLY
(pulls up her horse)
Turn around.

CLOSE SHOT

Arly. She raises her gun.

ROCKLIN CONTINUES WALKING

A shot comes from o.s. and strikes the building close to
him. He stiffens but keeps on walking. Another shot comes
even closer this time. He keeps walking.

ON ARLY - SHE IS FURIOUS

ROCKLIN HAS REACHED THE SWINGING DOORS OF THE SUN-UP

As he puts out his hand to push open the door,

CLOSE SHOT

Rocklin's hand on the door as four shots in quick succession
spatter a line down the door close to his hand.

INT. SUN-UP SALOON - DAY

TRUCKING SHOT -- Rocklin, as he continues his forward movement
through the swing-doors. CAMERA PULLS BACK in front of him
into the saloon until it reaches the bar. Cap moves from
window with crowd and goes behind bar.

ROCKLIN
Whiskey!

EXT. SUN-UP SALOON - DAY

CLOSE SHOT -- Arley with the smoking gun still in her hand.
She stares wildly after Rocklin for a second, then wheels
her horse violently toward the group which includes Cling
Harolday and Bob Clews.

MED. CLOSE SHOT

group surrounding Clews and Clint Harolday. The clatter of
hoofs is heard and Arly gallops furiously into shot.

CLINT
What happened?

ARLY
You lied to me, didn't you?

CLINT
I...

ARLY
Don't think I'll forget this. Making
a fool of me in front of the whole
town.

Before Clint can reply, she wheels the mare and gallops out
of shot.

INT. SUN-UP SALOON - DAY

MED. SHOT -- as the customers, with Dave in f.g., mill around
Rocklin.

DAVE
Boy, oh boy, was that a near thing!
She'd just as soon have hit you as
missed. You don't know how lucky you
were, son.

ROCKLIN
Don't I?
(indicating whiskey
with a sickly grin)
Why d'you think I need this?

He sinks the whiskey and begins to pour himself another. At
the same time, the swing-doors open and Bob Clews comes
through. AS Rocklin raises the glass to his lips, Bob Clews
hits him on the back, causing him to spill the whisky.

BOB CLEWS
Funniest sight I ever seen.

There is a moment's pause. Then with a slow, grim smile of
satisfaction, Rocklin turns and knocks Bob Clews off his
feet.

MED. CLOSE SHOT

with Bob Clews on the floor, tugging at his gun. As it comes
free of the holster, Rocklin brings his heel down on Clews'
wrist, grinding on it with his whole weights. Then, kicking
the gun out of reach, Rocklin steps back. Bob Clews sits up,
clutching his wrist and weaving back and forth.

BOB CLEWS
(moaning)
You broke it! You broke it!

ROCKLIN
Try another trick like that on me
and it'll be worse.

BOB CLEWS
I never played you no trick. You
broke my wrist.

WIDER ANGLE

to include the bystanders. They look at Bob Clews without
sympathy. He gets to his feet and stumbles back, collapsing
in a chair.

CLOSE SHOT

at bar, Dave has taken the bottle from Cap and is refilling
Rocklin's and his own glass ecstatically.

DAVE
(gurgling with delight)
Oh boy -- has somebody come to town!

He sinks both drinks quickly and is about to refill them
when Cap takes the bottle from him.

ROCKLIN
(to Cap)
Where'll I find Judge Garvey?

CAP
He rooms behind his office down the
street. Don't usually pull up the
blinds till around noon, though.

ROCKLIN
(putting down money)
He will this morning.
(to Dave)
See you later, old-timer...

As he moves toward the door.

DISSOLVE

EXT. GARVEY'S OFFICE - DAY

Clint Harolday is seen at the window peering furtively toward
the Sun-Up Saloon. He suddenly notices something o.s. which
prompts him to say something which we of course cannot hear.
Now Garvey appears at the window.

EXT. MAIN STREET - SANTA INEZ - DAY

Rocklin, FROM Garvey's ANGLE as he leaves the Sun-Up and
starts toward the Judge's office.

EXT. GARVEY'S OFFICE - DAY

Garvey and Clint, at the window. From their expressions it
is apparent that anxious words are passing between them, and
now Clint suddenly drops from sight.

ROCKLIN APPROACHES - LOOKS THE PLACE OVER - AND ENTERS

EXT. MAIN STREET - SANTA INEZ - DAY

ON Arly and Juan, mounted. They see Rocklin going into
Garvey's place.

INT. GARVEY'S OFFICE - DAY

MED. SHOT -- TOWARD door, with Garvey at desk in f.g. The
door opens and Rocklin enters.

GARVEY
(effusively)
Oh, come in, Mr. Rocklin. Come right
in.

Rocklin looks him over for a second, then comes quietly to
the desk.

ROCKLIN
I understand you were Red Caldwell's
lawyer?

GARVEY
(immediately on guard)
I was.

ROCKLIN
Know anything about this?

He takes out a letter and hands it to Garvey. The latter
takes it slowly, handling it as if it were dangerous. He
looks from the letter to Rocklin and back again. Then
reluctantly, he opens it and begins to read.

LETTER -- It reads:

Dear Mr. Rocklin:

Glad you have made up your mind to take the job. Enclosed
find train fare and $150 advance on wages.

Yours faithfully,

J. Caldwell

MED. SHOT

Rocklin and Garvey. The latter looks up from the letter
completely bewildered.

GARVEY
I don't understand. Job? What job?

ROCKLIN
Foreman.

GARVEY
(gaping)
On the "K.C."?
(trying to take it in)
But -- but why should he want you?

ROCKLIN
Why not? Good foremen don't grow on
bushes.

There is a little pause, with Garvey still bewildered.

GARVEY
(thinking hard)
Is that your only motive for coming
here?

ROCKLIN
What other motive could I have?

GARVEY
I don't know -- It's just that Red
Caldwell was a peculiar man -- had a
funny way of doing things.

He studies Rocklin a short moment, then sits back comfortably
and relieved.

GARVEY
Well, I'm sorry, Mr. Rocklin, that
you've been brought all this way on
a fool's errand, but -- I'm afraid
the deal's off.

ROCKLIN
Off?

GARVEY
I don't want to be too hard on you,
but as executor of the estate I have
to consider the interests of the new
owner. How about, say, a hundred in
full settlement?

ROCKLIN
(thoughtfully)
Well --

There is a knock on the door. Garvey rises and speaks on his
way to the door.

GARVEY
That's my last word -- think it over.

Garvey opens the door, and Miss Martin stalks in followed by
Clare.

GARVEY
(graciously)
How do you do, ladies --

MISS MARTIN
(icily)
You are Judge Garvey, I presume.

GARVEY
(nods)
Yes -- and you are --

MISS MARTIN
Miss Martin -- and my niece, Clara
Caldwell.

GARVEY
(reaching for a chair)
Of course -- of course --

Miss Martin sits stiffly as she eyes Rocklin coldly.

GARVEY
You came at a very opportune moment,
madam. This gentleman claims to have
some sort of a letter from the late
Mr. Caldwell, engaging him as foreman
of the "K.C."

MISS MARTIN
What!

ROCKLIN
(to Garvey)
What do you mean -- claims to have? --
You saw it, didn't you?

MISS MARTIN
(before Garvey can
answer)
You can't hold us to account for
every promise made by that man.
Everyone knows he wasn't responsible
for his actions half the time. And
if you think I'd have you as a foreman --

ROCKLIN
(finds it hard to
control himself)
Listen, lady -- I'd rather walk for
somebody else, than ride for you.

MISS MARTIN
(taken aback)
Well -- the impudence --

ROCKLIN
All I come for this morning was to
pay beck the hundred and fifty Red
Caldwell sent in advance.

CLARA
Oh, no

They all turn and stare at her.

MISS MARTIN
Don't interfere, Clara. Of course he
must pay it back.

ROCKLIN
The railway fare -- well, I reckon
we can check that up against the
time lost and call it quits.
(throws down a roll
of bills in front of
Garvey)

CLARA
(summoning up her
courage)
But, Mr. -- er -- I don't know your
name...

ROCKLIN
(raising his hat)
Rocklin, miss.

CLARA
Mr. Rocklin, it isn't fair for you
to pay anything back.

ROCKLIN
That's how I'd prefer it, If you
don't mind, miss -- never did care
fer owing favors to no one --
especially women.

CLARA
(as if she had been
struck)
Oh!

The sound of rapid steps approaching from outside is heard
and they all look toward the door.

MED. SHOT

on door, as it opens to admit Arly. Ignoring everyone in the
room except Garvey, she comes abruptly to the desk, with the
riding quirt dangling from her wrist.

ARLY
I've just heard they let George Clews
out of penitentiary and that he's
headed this way. You might tell him
from me, if he sets foot on the Santee
Ranch, I'll shoot him on sight.

GARVEY
But really, Miss Arly, why should
you deliver your message through me?

ARLY
You have mutual friends.

GARVEY
If you're referring to Sheriff
Jackson...

ARLY
I am.

GARVEY
But that's absurd. The fact that he
employs one of the Clews brothers
doesn't make the other his friend.

ARLY
(contemptuously)
Have it your own way; but it'd be
fair to warn him, because I mean it.

For the first time, she appears to be conscious of the
presence of the other women.

GARVEY
(hastening to change
the conversation)
Oh, Miss Caldwell, this is Miss
Harolday -- Miss Martin, Miss
Caldwell's aunt. You should know one
another, seeing you'll be neighbors.
Miss Harolday runs the Santee Ranch
for her stepfather. She's a famous --
ah -- horsewoman in these parts.

CLARA
(with ingenuous
enthusiasm)
I know. I saw you ride into town
this morning. You looked lovely.
Just what I'd like to be.

Arly stares at her unbelievingly for a second.

ARLY
(slowly, a bit
flustered)
Yes?

She looks slowly from Clara to Rocklin, as if suspecting
collusion.

CLARA
(completely innocent)
Oh, this is Mr. Rocklin. He drove us
in from Garden City last night. He...

ROCKLIN
(dead pan)
I already met Miss Harolday.

CLARA
Oh.

ARLY
(stonily, to Rocklin)
I've a message for you -- from
Harolday.

ROCKLIN
(murmuring)
What, again?

ARLY
He wants you to come down to the
office.

ROCKLIN
What for?

ARLY
He's got a proposition to make --
about riding for him. Sixty a month.

ROCKLIN
Hmmm -- That's a foreman's wages.

ARLY
(suddenly exploding)
I wouldn't offer you a red cent.
(controlling herself)
But it's his money.
(bitingly)
And the way things are shaping, maybe
we could do with somebody as mean as
you around the ranch.

MISS MARTIN
(pushing her way
forward)
I warn you, you're making a great
mistake. This man is no good.

CLARA
Auntie!

ARLY
(to Rocklin ignoring
Miss Martin)
Well? D'you want the job?

CLOSE SHOT

Rocklin, as he stares at Arly with an enigmatic expression.
Suddenly, he seems to make up his mind.

ROCKLIN
(indicating the door)
Lead the way.

MED. SHOT

as Arly turns abruptly on her heel and exits the way she
came. Rocklin makes a little gesture to the ladies with his
hat and follows. As he goes, Juan, who has been leaning
against the doorpost, follows, closing the door behind him.

CLARA
(after they have gone)
Auntie, why did you have to say that?
I simply don't understand you...

MISS MARTIN
(cutting in, grimly)
But I understand you.
(scathingly)
I'd be ashamed of myself. Throwing
myself at a man like that.

CLARA
I... I...
(suddenly bursting
into tears)
Oh, you're horrid -- horrid. I wish
I'd never come.

She turns abruptly and drops onto the couch by the window.

CAMERA PANS TO HOLD A CLOSE TWO SHOT of Garvey and Miss
Martin.

MISS MARTIN
You must excuse her. She's young.

GARVEY
And inexperienced.

Garvey leans back in his chair and smiles.

MISS MARTIN
(significantly)
And young people must be protected
from themselves at times -- don't
you agree?

Miss Martin throws him a quick look, which he returns
steadily.

GARVEY
(at last, with a grim
echo of a smile)
Exactly.

EXT. MAIN STREET - SANTA INEZ - DAY

Arly and Rocklin walking along the street, not far from
Harolday's office. Rocklin glances back toward Julio, who is
following a few paces behind them. He rides his horse and is
leading Arly's.

ROCKLIN
(to Arly, indicating
Julio)
Does he always follow you?

ARLY
(defiantly)
He's not following me -- he's with
me -- he's always with me.

ROCKLIN
(takes it mildly)
Oh -- just an old Indian friend.

ARLY
(straight at him)
The best friend I've got.

Rocklin nods, looks back again at Julio, then back to Arly
as they go out of shot.

INT. SANTA INEZ STAGECOACH OFFICE - DAY

PAINING SHOT -- as Arly comes to from the street, followed
by Julio and Rocklin.

ARLY
(abruptly to Rocklin)
Wait here.

CAMERA PANS her over to a door marked "PRIVATE," which she
opens without knocking.

INT. HAROLDAY'S PRIVATE OFFICE - DAY

MED. SHOT as Arly comes through from the outer office toward
Harolday, who is seated at desk in f.g. At Arly's abrupt
entrance, he looks up, startled.

ARLY
I've just hired a man named Rocklin
and said you made me do it. Sixty
dollars and he 'll earn it -- while
he lasts.

There is a little pause. Harolday's face is completely dead
pan. He looks out of the window for a second, then back at
Arly.

HAROLDAY
(quietly)
Why did you do it, Arly?

ARLY
So I can fire him. I hate him. Clint
and he quarrelled last night. Clint
lied about it and I made a fool of
myself.
(nodding toward the
outer office)
He's outside now.

HAROLDAY
(with a little sigh)
All right. Send him in.

Arly goes to the door and opens it.

ARLY
(calling)
Come in.

Rocklin comes in and Arly exits without a word, closing the
door behind her.

REVERSE SHOT

as Rocklin comes from the doorway into f.g. of shot, facing
Harolday, who is seated on the far side of the desk.

HAROLDAY
Mr. Rocklin, what happened between
you and my son last night?

ROCKLIN
Poker.

HAROLDAY
Hmmm. About this suggestion of you
working for me.

ROCKLIN
It's your suggestion, not mine.

HAROLDAY
Ye-es. Sixty dollars is big money.

ROCKLIN
(turning to go)
If you've changed your mind...

HAROLDAY
No, no.... Wait a minute. I take it
you've had the experience.

ROCKLIN
Enough for Red Caldwell to hire me
as foreman.

HAROLDAY
Oh -- had Caldwell hired you?

ROCKLIN
Yeah -- but I won't ride for the new
owners -- so that leaves me open.

HAROLDAY
I see -- Were you a friend of Red's?

ROCKLIN
No -- I guess he just heard about
me.

A sudden clatter of feet is heard and all eyes turn toward
the door.

MED. SHOT

as Dave, followed by Arly and Juan, bursts in. His eyes go
around the room quickly until he finds Rocklin.

DAVE
(as excited as a
schoolboy)
George Clews is in town. He's seen
what you done to Bob and he's a-
lookin' for you.

They all look quickly toward the window.

EXT. MAIN STREET - DAY

LONG SHOT -- from stagecoach office window. The center of
the street is clear and men's heads are peering from doorways.

INT. HAROLDAY'S PRIVATE OFFICE - DAY

MED. SHOT -- group at window, looking into street.

HAROLDAY
The street is clear.

Dave turns and looks curiously at Rocklin, who frowns
impatiently.

ROCKLIN
(to Dave irritably)
Tell him I'll be out in the street
in front of the saloon.

DAVE
(dashing out, radiant)
Uh-huh!

INT. SUN-UP SALOON - DAY

The place is quite full and the atmosphere is one of
expectancy despite the outward casualness of the patrons. A
group lolls near the window, looking toward the stage office.
At the door a couple of customers peer out over the swinging
doors. The bar supports other customers engaged in various
private conversations but all are mindful of the presence of
George Clews who, with his brother, Bob, stands at the bar's
center, morosely toying with a glass of whisky in front of
him. He is quite conscious of the subtle glances of the
others, but regards them all with disdain. He downs his drink,
and speaks his thought to Bob.

GEORGE CLEWS
I'm gonna get his ears.

Suddenly Old Dave appears in a high state of excitement, and
halts with the swinging doors half open.

DAVE
(loudly)
Hi you, George Clews --

George Clews turns.

DAVE
Rocklin says if you don't come out,
he'll come in here after you, an'
tear you apart.

George Clews frowns. His eye catches sight of a king-size
glass of beer being slid across the bar to Shorty Davis,
standing alongside him. That quick, Clews beats Shorty to
the glass and hurls it at Dave, who ducks out. Cap,
anticipating trouble, brings a sawed-off shotgun up from
under the bar and now watches Clews and Shorty.

SHORTY
(taps Clews)
That was my beer, you know.

GEORGE CLEWS
(nastily)
If he comes in again -- I'll throw
you.

Before Shorty can reply, Clews yanks his hat down over the
little fellow's eyes, and gives him a backward shove that
sends him sprawling into a corner where we leave him
struggling to get his hat off. The crowd resents this, but
doesn't dare do anything, except Cap, who holds his shotgun
in sight.

CAP
(to the Clews)
That does it, boys -- you know where
the door is.

GEORGE CLEWS
(to Bob)
Com-mon -- I'll get his ears.

CAP
Not until I get my money --

George and Bob Clews are now a few steps from the bar. They
have turned as Cap spoke and are looking at the shotgun.

CAP
There's three drinks and a broken
beer glass.

GEORGE CLEWS
(to Bob, after a
second's deliberation)
Pay 'im.

George turns and starts for the doors as Bob comes back to
the bar to settle up.

GEORGE CLEWS
I'll get his ears.

ON PAP FOSSLER AND THE OTHERS AT WINDOW - AS GEORGE CLEWS
BURSTS OUT THROUGH THE DOORS

PAP
(quietly)
That Rocklin'll kill him for sure.

CUSTOMER
Le's hope.

EXT. SUN-UP SALOON - DAY

As George Clews steps outside, a mangy mongrel dog, basking
close by, evidently recognizes him and tails it away, leaving
George blinking at him.

LONG SHOT

Rocklin -- FROM George's ANGLE. He is walking slowly forward
down the middle of the street.

MED. SHOT

George, looking baffled by the steady approach.

GEORGE CLEWS
(yelling)
I'm coming -- and you'd better run!

He steps down from the sidewalk into the street and then
stands still again.

CLOSE SHOT

Rocklin -- CAMERA MOVING WITH him as he comes slowly and
steadily forward.

CLOSE SHOT

George. His hands are on his guns, but drunk or not, he has
too much sense to draw too soon.

EXT. STAGECOACH OFFICE - DAY

MED. SHOT -- Harolday watching from behind the window of his
office. Behind Harolday are Julio and Arly. The latter makes
a step as if about to move to the door, but Julio restrains
her.

INT. GARVEY'S OFFICE - DAY

MED. CLOSE SHOT -- as Garvey, Miss Martin and Clara watch
the scene below -- Garvey and Miss Martin excitedly and Clara
in great distress.

EXT. HOTEL - DAY

CLOSER SHOT -- men in hotel doorway, taut with excitement.

FULL SHOT

Rocklin -- SHOOTING PAST George, whose hands are on his gun
butts. Rocklin's thumbs are hooked in his belt as he continues
slowly forward, his eyes fixed on George's.

ROCKLIN
(quietly)
Draw a gun and I'll kill you.

MED. SHOT

George, as he stands bewildered and open- mouthed. Rocklin
enters scene, suddenly whips out his gun and brings it
crashing down alongside George's head. The barrel strikes
though the crown of his hat and he goes down like a pole-
axed steer.

INT. HAROLDAY'S PRIVATE OFFICE - DAY

MED. CLOSE SHOT -- group at window. Arly gives an involuntary
exclamation of pleasure, which she instantly checks, then
she moves abruptly out of shot, followed by Juan. Harolday
continues to stare frowningly out of the window.

INT. GARVEY'S OFFICE - DAY

MED. CLOSE SHOT -- group at window, with Garvey obviously
disapponted, Miss Martin bridling and Clara showing obvious
relief.

EXT. SUN-UP SALOON - DAY

MED. SHOT -- Rocklin and crowd as they swirl around him
offering congratulations. Dave pushes his way through the
crowd and thumps Rocklin on the back in wild enthusiasm. At
the same time, the sound of a horse cantering is heard, and
Jackson comes into shot.

JACKSON
(to Rocklin)
Hey, you! What's this you been up
to?

ROCKLIN
I just laid a gun barrel over the
head of a drunk friend of yours --
same as you did over Dave's here
yesterday.

DAVE
(surprised)
Eh?

JACKSON
(blustering)
I don't know what you're talking
about.

ROCKLIN
(calmly)
You're a liar!

He turns contemptuously and begins to move back towards the
stage office completely ignoring Jackson, who rides alongside
blusteringly.

JACKSON
Now you lookee here, young feller.
You go on talking that way and you'll
find yourself in trouble.

The crowd which has been following now begins to razz him
openly. He turns and glares, but without effect. He gives a
final shout to Rocklin.

JACKSON
Don't say you ain't been warned.

Pulling his horse around, he sets off in a lope up the street.

MED. SHOT

as Miss Martin comes along the street, determinedly, followed
by Clara, until she is face to face with Rocklin outside the
stage office where Arly and Juan are mounted ready to move
off.

MISS MARTIN
(ignoring everyone
but Rocklin)
I saw you. I saw you strike that
poor man.

ROCKLIN
Yes, ma'am. As hard as I could.

MISS MARTIN
You ruffian, you!

Clara pulls her sleeve imploringly.

MISS MARTIN
Let me go!
(to Rocklin)
I knew the sort you were the moment
I set eyes on you. You can't fool
me! You're nothing but a common
adventurer! Come, Clara!

She takes Clara by the arm and sweeps past them towards the
hotel. Rocklin looks after them with a grim expression and
then up at Arly, who has been listening intently. She returns
his look steadily for a second. Then, with a mocking smile,
she wheels the mare and canters out of shot, followed by
Juan. He looks after her for a second; then with the same
grim look, enters Harolday's office.

INT. HAROLDAY'S OFFICE - DAY

Harolday is standing at the window, looking toward the door,
having seen Rocklin approaching. The door opens and Rocklin
enters and resumes his conversation as though it were hardly
interrupted.

ROCKLIN
-- Now what was that you were sayin'
about Caldwell?

HAROLDAY
You being hired by Red Caldwell only
confirms what I'd suspected -- he
was getting ready to fight.

ROCKLIN
(trying to get
information)
Fight? Who?

HAROLDAY
Organized rustling. Well at least --
that's my belief. Red was no friend
of mine. Too fond of taking the law
into his own hands. But he had my
sympathy. He'd been harder hit than
any of us. And on top of it all, he
lost his foreman.

ROCKLIN
You mean, he quit on him?

HAROLDAY
He was shot -- in the back -- with a
bullet from the same caliber rifle
as got Red.

ROCKLIN
Got any ideas?

HAROLDAY
No -- Except that the man you just
pistol-whipped is in on it somewhere.
(bitterly)
Pity you didn't kill him when you
had the chance.

Rocklin realizes that maybe Harolday is trying to throw a
curve -- trying to get him to talk.

ROCKLIN
Say -- it don't sound as if it's
goin' to be too easy for them wimmen
at the K.C.

HAROLDAY
(watching him keenly)
Want to go back and work for them?

ROCKLIN
No, sir. And I ain't jumping at this
offer o' yours either because I don't
hold with working for wimmen.

HAROLDAY
(quickly)
Oh, you mean my step-daughter. Well
don't worry. She won't interfere
with you...Rocklin -- I figure we've
been losin' cattle over a place called
Table Top -- it's the back way into
the Topaz Ranch and the perfect route
for rustlers -- I'm going to send
you up to the line camp -- you don't
mind working a lone hand -- do you?

ROCKLIN
(measuring)
-- I like workin' that way.

HAROLDAY
(rising and holding
out a hand)
Good -- be ready to move out this
afternoon.

DISSOLVE

EXT. MAIN STREET - SANTA INEZ - DAY

On Dave and Pap Fossler engaged in conversation in front of
Pap's store. In the b.g. -- across the street, we carry the
entrance to the Sun-Up Saloon.

DAVE
(in his best sales
talk)
-- now Pap -- I'm givin' you first
call on me services. They's lots of
other folks lookin' fer a good man,
too -- you know. So if you want me,
you better hurry and speak up because --

During Dave's speech Rocklin has come from the Sun-up carrying
his valise. He pauses a moment, looking around. Dave sees
him.

DAVE
'scuse me, Pap -- Be right back to
find out when I start.

He hurries across the street toward Rocklin.

EXT. SUN-UP SALOON - DAY

On Rocklin just stepping off the curb. Dave comes in to him.

DAVE
Whar you off to?

ROCKLIN
I'm riding for the Topaz Ranch.

They start across the street, slowly toward the stage office.

DAVE
What! -- Have you gone plumb loco?

ROCKLIN
Good money -- sixty a month

DAVE
There ain't enough money in this
town to make it worth your while to
work for that gal.

Rocklin gives Dave a quizzical look, which Dave mistakes for
weakening.

DAVE
When she gits goin' she can be
meaner'n a skillet full o' snakes.
She ain't goin' to forget the way
you made a fool of her today -- in
front of the whole town.

PAP FOSSLER'S VOICE (O.S.)
Hey, Dave.

DAVE
Be right with you.
(to Rocklin)
It's pizen that's what it is -- jus'
plain --- What you want to hang around
this town for anyways? --

Dave and Rocklin have reached middle of the street. Pap
Fossler's voice comes again from o.s.

PAP FOSSLER'S VOICE
Hey, Dave.

Dave reacts with a squint in Pap's direction. He runs out
toward Pap, but would rather stay with Rocklin. THE CAMERA
FOLLOWS Rocklin ACROSS the street To the stage office, where
see Arly and Tala sitting on their horses apparently waiting
for Rocklin. A third horse is standing by with Rocklin's
saddle on it.

Rocklin, upon reaching the front of the stage office, pauses
a moment, to look over the horse carrying his saddle --
glances up to Arly.

ROCKLIN
Be right with you.

He goes into the stage of office, as we

DISSOLVE OUT

DISSOLVE IN

EXT. FORKED ROAD - DAY

LONG SHOT -- as Rocklin, Arly and Juan canter along a dirt
road over open country with the mountain ranges in the
distance.

CAMERA PANS to show a buggy on the road ahead, approaching a
wooded dell where the road divides.

MED. CLOSE SHOT

of the buggy, showing Miss Martin riding in front, beside
Shorty Davis, who is driving, and Clara with her back to the
driver, facing the oncoming trio. Miss Martin hears the sound
of the approaching horses, and looks over her shoulder.

MED. SHOT

Arly, Juan and Rocklin, with Miss Martin in F.g. The latter
scowls and looks quickly to her front as the riders draw
level with the buggy, Rocklin coining to the right, alongside
Clara.

CLARA
Good afternoon, Mr. Rocklin.
(looking at the sky)
Lovely day, isn't it?

ROCKLIN
Reckon it is pretty nice. So you're
moving in on the "K.C." eh?

CLARA
(hesitating and
throwing a look toward
Miss Martin)
We-el, not exactly moving in. You
see...

MED. SHOT

with Miss Martin in f.g. and SHOOTING OVER her shoulder to
include Clara and Rocklin.

MISS MARTIN
(acidly, locking
straight ahead)
Do you have to discuss our private
affairs with every rag-tag-and-bobtail
cow-person we meet, Clara?

CLARA
(in a low voice)
Auntie!

ROCKLIN
Sorry if I butted in, ma'am. Jest
passing the time o'day.

MISS MARTIN
We can do very well without it --
thank you.
(with a look over her
shoulder)
And you're keeping your lady friend
waiting.

Rocklin looks quickly in the same direction.

MED. SHOT

from Rocklin's ANGLE, with Arly and Juan at the fork in the
road. They are looking back towards the buggy which has taken
the lower road to the right of the copse.

REVERSE SHOT

with Arly and Juan in f.g. and the buggy in the distance.
Rocklin raises his hat to the women in the buggy and canters
back to Arly, who has been watching with a peculiar
expression.

ARLY
(coldly)
I thought maybe you'd changed your
mind again.

ROCKLIN
(cheerfully)
Nope.

She looks at him angrily for a second as if about to say
something sarcastic. Then, repressing herself, she wheels
her horse and canters off along the side of the copse. Rocklin
throws an amused glance, at Juan, who has been watching with
an enigmatic expression. He returns Rocklin's look with a
stern, menacing frown. Then, with a gentle flick of the rein,
he urges his horse after Arly. Completely baffled, Rocklin
scratches his head for a second, then follows.

DISSOLVE

EXT. RANCH HOUSE - SANTEE RANCH - LATE AFTERNOON

MED. SHOT -- as the three canter up the driveway to a smart-
looking ranch house. Arly dismounts and throws her reins to
Juan.

ARLY
(over her shoulder to
Rocklin)
Juan'll show you the bunkhouse. I'll
talk to you about your duties in the
morning.

Before Rocklin can speak, she runs quickly up the steps of
the verandah and disappears into the house. Leading Arly's
Horse, Juan moves out of shot to the left of the ranch house
and Rocklin follows.

EXT. CORRAL - SANTEE RANCH - LATE AFTERNOON

MED. SHOT -- as Juan comes into shot leading the mare,
followed by Rocklin. They both dismount and begin to off-
saddle.

ROCKLIN
How far is the line-camp at Table-
Top?

JUAN
Twenty-five -- thirty mile.

ROCKLIN
I'm moving out there first thing in
the morning.
(as Juan turns and
stares)
Boss' orders. Care to show me the
way?

There is a moment's pause. Then, what almost amounts to a
smile of relief, crosses Juan's face.

JUAN
I will show you.

DISSOLVE

EXT. SANTEE RANCH - DAY

LONG SHOT -- as Rocklin and Juan ride out from the ranch
through the early morning mist and turn off in the direction
of the distant line of mountains.

DISSOLVE

EXT. ENTRANCE TO CANYON - DAY

LONG SHOT -- as the two leave the open country and enter the
mouth of a steep and narrow gorge at the foot of the mountain
range.

MED. CLOSE SHOT

as Juan pulls up and dismounts, followed by Rocklin.

JUAN
(pointing ahead)
The trail is straight ahead. You
will find the cabin at the top.
(turning back to his
horse)
Adios, Senor.

ROCKLIN
(challenging, but
perfectly friendly)
Senor Romerez, it appears that you
do not like me.

For a second Juan does not reply. Then, as he speaks, he
takes a tobacco pouch from his pocket. Rocklin, his mind on
other things, does not take particular notice of the pouch,
but we cannot help notice the pouch ornament -- a steer's
head of hammered silver.

JUAN
(during the above
business)
Senor, that is true. I do not like
you.

ROCKLIN
Why?

JUAN
(extending the pouch)
Permit that I offer you a cigarette.

Rocklin shakes his head. Juan, having spilled tobacco in a
paper, now puts away the pouch and rolls his own.

JUAN
It is not your fault that your shadow
is black. But you will only bring
unhappiness to my senorita. I do not
blame you, but I fear I must hate
you.

He turns abruptly and mounts the waiting horse; then looks
down from the saddle.

JUAN
Adios, Senor.

He rides quickly out of the shot.

DISSOLVE

EXT. TABLE-TOP - DAY

MED. SHOT -- as Rocklin forces his horse up the last few
feet of the steep trail at the top of the canyon, and pulls
up at the top of the rise with a look of amazement.

FULL SHOT - FROM ROCKLIN'S ANGLE

A rich meadow stretches ahead with a stream running through
it, and a cabin at the far end. Steep escarpments surround
the lush meadow land, making an idyllic scene. As Rocklin
comes slowly into shot with the same look of startled
appreciation on his face and begins to move toward the cabin,

DISSOLVE

EXT. APPROACH TO SANTEE RANCH - DAY

LONG SHOT -- of Juan, as he canters across open country toward
the ranch.

CAMERA PANS to include the road from Santa Inez along which
approaches a smallish freight wagon, pulled by two horses.
As the driver sees Juan and waves his whip, the Mexican
swerves from his course and canters toward the wagon.

MED. SHOT

wagon, which we now see is being driven by Dave. On the side
of the wagon is written: TRANSPORT & GENERAL FREIGHTAGE --
Pap Fossler and Sons. Juan canters into shot and pulls up
alongside the wagon.

DAVE
Hiya there.

JUAN
Buenos dias, Senor Dave.
(looking at name on
wagon)
You have found new employer, eh?

DAVE
Yeah. Haulin' freight for ole Pap
Fossler. Got a letter here for that
crazy galoot, Rocklin.
(with a little Wink)
From the little Caldwell girl. Seems
mighty took up about sumpin'. Made
me promise to deliver it personal.
(indicates letter)

JUAN
But Senor Rocklin is not here.

DAVE
Lordy -- he ain't quit already...

JUAN
(shakes head)
I have just accompany him to Table-
Top.

DISSOLVE IN

EXT. TOPAZ RANCH HOUSE - DAY

Shelley, a Negro servant of the Harolday household, is
discovered sweeping the front porch. Behind him we see Clint
open the door -- peer furtively out -- then cross the porch
to its edge when he looks o.s. as though searching for
someone.

Shelley, meantime, has noticed Clint, but goes right on with
his sweeping. His only reaction is a disparaging glance over
his shoulder.

CLINT
(turning to Shelley)
Have you seen Arly?

SHELLEY
No, suh, Ah didn't see Miss Arly
today, but Ah seed her las' night,
and she shore was mad.

To emphasize his point, Shelley puckers his mouth in a
whistle.

SHELLEY
Plenty mad!

Clint's face tightens as he anticipates what is in store for
him. Over the scene comes the gradually increasing sound of
a feminine voice, gayly humming the notes of a popular tune
of the period. Clint's strained features relax in a can-that-
be-Arly expression, while Shelley stops dead in the middle
of a sweep, and now both stare incredulously, o.s.

ANGLE

From their ANGLE we first see only the corner of the house,
while the owner of the voice approaches from the other side.
Now Arly comes into view, entirely oblivious of Clint and
Shelley watching her. She seems more attractive, in a feminine
way, this morning. It may be the skirt and blouse she is
wearing. Then again it may be the flower she is, even now,
adjusting in her hair. The presence of the two men suddenly
startles her. The song ends abruptly, while her hands fall
quickly away from the flower.

ARLY

As Arly moves toward the porch, Shelley snaps back to life
and resumes sweeping -- but furiously. Clint regards the
girl in the vague manner of the puzzled gent he is.

CLINT
(not too definitely)
'Mornin', Arly --

Arly is coming toward Clint.

ARLY
(pleasantly)
'Mornin', Clint.

She steps close to Clint, and he slowly backs up a step, for
he does not know she came up to him merely to pick up her
jacket lying on the ground near the step.

CLINT
(as Arly leans down
to pick up the jacket)
You must be feeling pretty good.

Arly straightens up with the jacket in her hand, and the
corner of her mouth curls in a faint smile. She turns now
and starts along the walk, and takes only a few steps when
Clint comes to her side.

ARLY AND CLINT WALKING

CLINT
(as he joins Arly)
Say, Arly -- about that poker game,
night before last, I ---

ARLY
(tossing it off)
Forget it.

CLINT
(did he hear correctly)
Forget it?

Arly pays no attention to Clint. She is looking o.s. and
stops walking.

EXT. GROUNDS NEAR TOPAZ RANCH HOUSE - DAY

Tala, on his horse, as seen by Arly. Over the scene comes
Arly's voice calling from a distance.

ARLY
(calling)
Tala.

Tala reacts to the call by heading his horse at a slightly
different angle.

ARLY AND CLINT

Arly is looking o.s. toward Tala. Clint is now eyeing his
sister up and down quite openly. She turns her head now and
catches Clint looking her over.

ARLY
(after a stilted pause)
Well --

CLINT
(with a perplexed
smile)
What is this? --

A gesture of his hand indicates the way Arly has gotten
herself up. That quick, Arly's hand goes to the flower in
her hair. And, that quick, she guiltily withdraws it.

ARLY
(bravely nonchalant)
What do you mean?

CLINT
What do I mean? --

Before he can explain, Tala pulls up in his horse and we
hear his voice over the scene.

TALA'S VOICE
Good morning, Arliete.

ARLY, TALA AND CLINT

Tala sitting astride his horse smiles down at the girl.

ARLY
Good morning, Tala.

TALA
You have make yourself very pretty
today.

Arly is jolted by Tala's innocent remark, and she can't help
giving Clint a little side glance in the way of reaction.
Clint has not missed Tala's crack nor Arly's glance, and
when she gives it to him he says:

CLINT
(pleasantly)
See what I mean?

He tosses her an altogether knowing look now, and leaves,
going up the walk toward the house. Arly turns to Tala.

ARLY
Have my horse saddled and sent around
right away -- will you?
(then as a casual
afterthought)
You can have that Rocklin bring it.

She glances over her shoulder toward Clint going up the walk.
And then, looking back to Tala, finds he hasn't moved, but
remains smiling down at her.

ARLY
What's the matter?

TALA
(easily)
Rocklin is not here.

ARLY
(breathlessly)
He quit?

TALA
He has gone to the line camp at Table
Top.

ARLY
What?

TALA
It was Mr. Harolday's orders.

Arly looks away. Her eyes stare blankly into space as she
struggles with the mixed emotions of anger and disappointment.
Tala, aware of her plight, slowly dismounts and comes to the
girl's side.

TALA
(in a fatherly manner)
Why do you make your heart heavy
with thoughts of him, little one. --
He is not for you.

ARLY
(bitterly)
Be quiet.

TALA
He has made the choice, Arliete.
With your own eyes you saw it
yesterday.

ARLY
(impatiently)
Oh --

TALA
And she, too, has opened her heart
to him -- Already she has summoned
him to her.

ARLY
(this turns her around)
What do you mean?

TALA
Dave -- of the white beard -- carries
a letter to Rocklin -- It is from
her.

ARLY
How do you know that?

TALA
I have just now met Dave, and he
tell me. -- So now he rides to Table
Top.

Arly is quiet a moment.

TALA
Little one you --

ARLY
(quickly, as she starts
for the house)
Oh, leave me alone.

LONG SHOT

entrance to ranch. Entering the driveway from the direction
of Santa Inez, comes Harolday, still looking the distinguished
citizen.

HAROLDAY RIDES UP TO THE PORCH - CLOSE TO ARLY AND JULIO

HAROLDAY
Good morning, Julio -- morning Arly.
(to Julio as he
dismounts)
Fetch my briefcase -- it's on my
desk.

Julio exits.

HAROLDAY TURNS HIS ATTENTION TO ARLY WHO

still smarting under the disappointment about Rocklin, seems
lost in thought. After regarding her a moment Harolday speaks.

HAROLDAY
Looks like we're going to get that
land we've been wanting along the
river bottom.

Arly turns her eyes on Harolday, who continues.

HAROLDAY
I didn't tell you -- but I bought
the mortgage on the Hardman ranch,
and it's due today -- On my way over
there now.

Arly's eyes burn as she tosses her head slightly.

ARLY
Did you send that Rocklin to Table-
Top?

HAROLDAY
I did.

ARLY
(furiously)
Well, let's get things straight.
This place was my mother's -- now
it's mine and Clint's -- It's true
you've been helping out -- but the
way things are going we'll soon be
able to pay you back every penny we
owe. Meanwhile, I'm running this
outfit and I expect to give the
orders.

HAROLDAY
You generally do.

ARLY
Why did you send Rocklin up to Table-
Top?

HAROLDAY
It seemed to me a good idea -- what
with all this rustling going on --

ARLY
Who'd ever try driving cattle over
Table-Top? -- Unless they were crazy.

HAROLDAY
(coldly)
I don't agree with you. In any case --
if you must have it -- I'd no
intention of engaging a man at
foreman's wages just to gratify the
whims of a jealous woman!

ARLY
(dangerously)
You take care what you're saying.

HAROLDAY
(very controlled)
It's you should take care, my dear.
I'm afraid there's one man you can't
rawhide into jumping the way you
want. You've made a fool of yourself
over him once. Better watch out you
don't do it again.

He turns abruptly and walks off the verandah.

MED. SHOT

as Harolday comes from the verandah to his horse. Juan is
standing there with the briefcase which Harolday takes with
a yank, mounts his horse and rides out.

The CAMERA MOVES IN CLOSE on Arly, who stands in furious
silence watching Harolday ride away.

FADE OUT

FADE IN

EXT. CANYON ROAD ON THE WAY TO TABLE-TOP - DUSK

Old Dave is jogging along in his wagon. A rumble of thunder
echoes through the canyon. Dave reacts with a look toward
the sky.

SHOT

of storm clouds gathering.

DISSOLVE

EXT. MOUNTAIN ROAD NEAR TABLE-TOP - DUSK

A night shot of the mountain road near Table-Top. It is a
wooded section of the plateau, and occasional flashes of
lightning illuminate the big trees skirting the road. Dave,
in his wagon, looms out of the b.g., and as he nears the
camera we hear him urging the team through the downpour. As
he passes and continues hurriedly on his way, we

FADE OUT

FADE IN

INT. CABIN - NIGHT

CLOSE SHOT on a soiled and wrinkled envelope lying on a table.
It is addressed to:

Mr. Rocklin c/o Santee Ranch

The CAMERA PULLS BACK and Rocklin is revealed at the table,
looking down at the letter. His hat is tipped back on his
head, and his sleeves are rolled up. He is mixing dough in a
bowl sitting on the table near the letter, and his hands are
all gooey. Dave is discovered in front of the fireplace where
his outer shirt and socks are drying. It is dark outside,
but the storm has abated. Rocklin goes to a shelf near the
fireplace to get a pan.

DAVE
(during the above)
Durn funny -- that storm quittin'
just about the time I get here.

ROCKLIN
No funnier than you sloggin' through
it, just to deliver a letter from a
woman.

DAVE
(disgustedly)
Reckon I'm gettin' to be more of a
fool the older I get.

Dave watches Rocklin at the table shaping the dough for
biscuits and putting it in the pan.

DAVE
When are we gonna get around to
readin' it?

Rocklin cannot help smiling a bit at the way Dave includes
himself in.

ROCKLIN
Thought I'd wait till mornin' --
might be bad news an' I wouldn't be
able to sleep.

Dave screws up his face in utter disgust and turns his
attention to his drying clothes.

Rocklin, meanwhile, takes a flour sack from the table, wipes
the dough from his hands and picks up the letter. He goes
over to the fireplace, opening the letter the while, and
sits on the bench. Dave, seeing this, edges discreetly around
in back of Rocklin in order to see over his shoulder.

The letter open, Rocklin takes out a roll of bills along
with the folded message. He lays the envelope on the bench.

DAVE
Mmmm -- dineroo.

Rocklin places the money in his shirt pocket for the moment,
and opens the folded message.

LETTER. It begins with the usual Dear Mr. Rocklin.

Rocklin's voice is heard over the insert as he reads from
here.

ROCKLIN'S VOICE
(reading)
Forgive me if this letter is a trifle
incoherent, but I am terribly worried
and unhappy.

BACK TO SCENE.

DAVE
Who wouldn't be -- livin' with that
ole screech owl.

ROCKLIN
(continues to read)
I am desperately in need of help and
advice from someone whom I feel I
can trust, and I am appealing to
you, because I regard you in the
same way my Uncle surely must have.
I heartily dislike and distrust Judge
Garvey --

DAVE
(interrupting)
Huh -- Smart girl --

ROCKLIN
(going on)
But my Aunt seems to have suddenly
revised her opinion of him, and now
wants me to place all my affairs in
the Judge's hands and return east.
Such is certainly not my wish.

DAVE
(significantly)
Looks kinda like she's formed an
attachment.

Rocklin glares up to Dave.

DAVE
(quickly)
For the locality, I mean.

ROCKLIN
(continues reading)
I wanted so much to give ranch life
a trial, but fear circumstances are
against me, especially in view of
the recent Indian trouble --

DAVE
(explosively)
Indian trouble --
(in normal tone)
Good Lord, they ain't been any Indian
trouble around here in --

ROCKLIN
(caustically)
You want to hear the rest of this?

DAVE
(getting the inference)
Might's well -- come this far.

ROCKLIN
(reading)
I want to apologize for what took
place this afternoon. And I am
returning the 150, because I feel it
is rightfully yours. You must take
it. Faithfully yours, Clara Caldwell.

The letter finished, Rocklin regards it a moment, then slowly
returns it to the envelope as he gazes thoughtfully into the
fire.

Dave meantime straightens up -- scratches his shaggy top,
and turns his attention once more to his drying clothes.

DAVE
(feeling his socks)
Well -- what do you make of it?

Rocklin continues looking into the fire as he lays the letter
back on the bench and takes out tobacco to roll a cigarette.

ROCKLIN
Somebody's sure bustin' to get her
out of there.

Dave sits alongside Rocklin and begins putting on his socks.

DAVE
Indian trouble --

ROCKLIN
(after a pause)
Wonder why the old lady's playin'
along?

DAVE
(sourly)
Baaa -- Wimmen -- Who can ever figure
'em?
(pause)
Got to admit though, I feel a mite
sorry for the young'un -- nice little
tyke.

ROCKLIN
Too nice for this country.

DAVE
(after a slight pause)
She's shore a pretty thing.

Rocklin has been mulling things over.

ROCKLIN
Don't know how I could help her --
even if I wanted to -- I don't know
any thing about this Garvey -- or
Caldwell -- or --

DAVE
Well, now -- I could mebbe help you
out some, there -- Fact, I could
tell you somethin' 'bout ole Red
that might be interestin'.

ROCKLIN
You must have known him pretty well --
What kind of a man was he?

Rocklin goes to the table and resumes molding biscuits.

Dave has his boots on and is putting on his outer shirt.

DAVE
Caldwell? -- The best -- cantankerous
cuss -- but a real cowman, believe
me -- He was a big feller, like
yourself -- Fact, you coulda passed
fer a blood relation, come to think
of it.

ROCKLIN
(casually, as he busies
himself with the
biscuits)
Was the Judge and Red friends?

DAVE
(anigmatically)
That's what you'd say. Garvey managed
all Red's business. Besides which
they was regular drinkin' pals --
played poker together most nights --
tho' they do say Red got the worst
of it.

ROCKLIN
Red was a gambler, eh?

DAVE
Oh, yeah -- reckon a pretty poor
one, tho' -- still you'd say him and
Garvey was friends.

ROCKLIN
(after a side glance
to Dave)
Anything ever happen to make you
think they weren't?

DAVE
(moves close to Rocklin)
Rock -- I'm gonna tell you somethin'
I ain't never told anybody.

ROCKLIN
(with a slight smile)
Think you can trust me?

Dave grimaces his confidence.

DAVE
The last time I seen Red was the day
he died --

In the pause Rocklin remains silent.

DAVE
-- 'Twas in town -- he jus' come out
of the stage office. Tried to book
passage to Garden City but couldn't
on account I had a full load. --
Well, sir, he took me aside and give
me a printed sheet of paper and says,
"Read it." I looked it over and fer
as I could see it was a paper from
one of them Chicago sportin' firms,
tellin' how to manipulate trick
playin' cards.

ROCKLIN
Marked cards.

DAVE
(nods)
Reckon so. -- Seems Red found some
cards and this paper in a coat one
of his friends loaned him one night.

ROCKLIN
Whose was it?

DAVE
Well, now that's just what I asked --
but all he said, was that it belonged
to a good friend. Then he said he
wasn't waitin' fer the next coach,
but was ridin' over to see the
district judge about it alone.

ROCKLIN
That's when they got him.

DAVE
Yes, sir -- 'bout a mile or so from
Stan's place. A bullet in the back
an' his pockets empty.

ROCKLIN
How come you never told this before?

DAVE
Who was there to tell? -- Sheriff
Jackson? -- Him an' Garvey's thick
as thieves.

ROCKLIN
How about what's his name -- Harolday? --
He's no friend of the Judge's, is
he?

DAVE
Hates his guts -- sure riles him to
see young Clint hangin' onto the
Judge's coattails. All the same, I
jus' decided to keep my mouth shut
and my eyes open.

ROCKLIN
(after a pause)
Even if it was Garvey Red was talkin'
about -- it don't follow that he
killed him.

DAVE
No -- general opinion is that it was
rustlers.

ROCKLIN
Why would rustlers take the evidence
Caldwell had with him?

Rocklin moves away to a large earthen jug holding water as
Dave talks.

DAVE
Looks to me if you get the man who
owned the marked cards, you get the
killer.

ROCKLIN
(drinking)
Funny tho' -- first the K.C. foreman --
then Caldwell -- an' now these women.

DAVE
Lordy -- you ain't thinkin' somebody
might try bumpin' them?

ROCKLIN
(slowly, to himself)
I'm not so sure somebody hasn't tried
already --
(to Dave)
Remember, when we stopped to change
horses on the way Over from Garden
City --

DAVE
Shore -- you told me how Jackson and
Clews tried to frame Stan.

ROCKLIN
(nods)
Yeah. Like they wanted to be sure
he'd keep his mouth shut about
something.

Dave sits down on a box sitting against the wall, directly
under the large earthen jug of water.

DAVE
And layin' that gun across my skull --
an' offerin' to drive the coach
themselves.

A SECTION OF THE CLEARING - MOONLIGHT

A dark, mysterious figure on a horse raises his rifle --

INT. OF CABIN - NIGHT

SHOT.

ROCKLIN
(nods)
It was almost as if --

A shot splinters the windowpane and shatters the earthen jug
on the shelf directly above Dave's head. The contents pour
down on Dave and he topples over. Rocklin meanwhile has wiped
the lantern off the table and ducked. They are both on the
floor in the faint glow coming from the fireplace.

ROCKLIN
(going to Dave)
You all right?

DAVE
(blustering)
Will be if I ever get dry.

Rocklin takes off his hat and puts his finger through two
holes drilled by the bullet.

ROCKLIN
Lookit that --

DAVE
Good Lord --

Rocklin puts the hat aside -- crawls over to his gun belt --
straps it on.

ROCKLIN
Come on --

He opens the door cautiously. Then sneaks out, followed by
Dave.

EXT. OF CABIN - MOONLIGHT - AFTER THE STORM

Rocklin and Dave stand close to the cabin, just clear of the
door, tensely scanning the surrounding darkness.

Water can be heard dripping from the cabin roof, and an owl
hoots in a near-by tree.

The sound of neighing horses comes from the direction of the
corral. Both men re-act.

DAVE
My team.

Almost immediately the neighing is repeated, but this time
from another direction entirely -- and from a distance.

ROCKLIN
That's not your team.

He moves to the corner of the cabin, followed by Dave.

HORSE IS STOMPING NERVOUSLY

and now it starts away, galloping through the deep grass at
the edge of the clearing. Only the lower part of the animal
is seen, along with the legs of the rider.

ROCKLIN AND DAVE HEAR THE SOUND OF RETREATING HOOF BEATS

And they can barely make out their quarry riding hell-bent
toward the deep blackness of the trees.

Rocklin fires and runs out into the moonlight in the clearing --
Dave close behind.

Rocklin halts -- fires again -- and again. Dave fires.

The mysterious rider is now swallowed by the night.

Dave starts after him again. Looking back, he sees Rocklin
has not moved.

DAVE
Come on --

ROCKLIN
No use -- he's gone.

DAVE
Mebbe we winged him.

He starts through the wet grass alone. Rocklin turns back
toward the cabin.

DAVE - PLOUGHING THROUGH THE GRASS

He has reached the edge of the clearing where a slight
embankment leads to the level of the trees. He is just
starting up to higher ground when his eyes catch something
on the embankment, shining in the moonlight. It proves to be
a tobacco pouch bearing a steer's head of hammered sliver.
It is dry, so has evidently just been dropped. Dave pockets
it, and proceeds warily along the mystery rider's trail.

ROCLKLIN - WHO HAS JUST ABOUT REACHED THE CABIN

He looks back in Dave's direction, and then looking toward
the cabin, suddenly stops and tenses.

THE CABIN DOOR IS PARTLY OPEN

and through it Rocklin can plainly see an indistinct form
moving in the faint glow of the dying fire.

ROCKLIN DRAWS HIS GUN AND MOVES STEALTHILY TOWARDS THE CABIN
DOOR

INT. OF CABIN - NIGHT

Rocklin has reached the entrance unheard, and silently watches
the strange figure, its back to him, now headed for the
fireplace with his saddlebag, taken from the bunk. He sees
the intruder start emptying his saddlebag on the bench in
the light of the fire. He sees him suddenly stop and pick up
something hidden from his view.

At that instant, Rocklin slams the door shut.

The intruder whirls around.

It is Arly -- tense -- and now defiant.

The two regard each other like vicious animals in the same
cage. Arly's heart is pounding, but you would never know it.

And now Rocklin, his gun away, starts closing in, slowly --
but Arly holds her ground -- her eyes never leaving his.

When Rocklin reaches Arly, he takes her one hand from behind
her back, and slowly forcing it up sees what is obviously
Clara's letter in her tightly clenched fist. He tries to
open her hand, and Arly, knowing she lacks the strength to
prevent it, suddenly whips out a knife with her free hand.
But that quick, Rocklin grabs the knife hand, and without
any apparent effort, wrenches it free of her grasp and tosses
it across the room, where it lands on the bunk. Arly relaxes
her grip on the letter meanwhile, and Rocklin gets it, and
tears it very deliberately, letting the pieces fall at her
feet.

He turns his back on her now, going over to his hat on the
floor.

Arly is furious in her helplessness and humiliation. And
Rocklin's smug manner isn't helping any. He picks up his hat
and, glancing at Arly, puts his finger once more through the
bullet holes.

ROCKLIN
(smiling wryly)
Not bad shootin'.

ARLY
(right back at him)
You think I did that?

ROCKLIN
Sure -- to draw us away from here.
(looks at his hat)
You know, you cut it mighty close --
Good thing I ain't got brains enough
to fill it.

Rocklin puts his hat on. He sees Arly looking down at the
torn letter.

ROCKLIN
(suppressing smile)
Too bad you had to come 'way up here
through that storm for nothin'.

ARLY
(affectedly)
I haven't minded a bit --
(harshly)
-- because I came up to fire you.

ROCKLIN
Oh --
(nods)
I see.

Rocklin goes toward the bunk with his saddlebag.

ARLY
Get out of here -- get off the Santee
and don't ever come back.

ROCKLIN
Mind if I wait for Dave? He ought to
be along any minute -- Be funny if
he winged that shadow of yours.

ARLY
If you mean Juan -- you're loco.
He's not even up here.

ROCKLIN
(mildly surprised)
You came up alone?

ARLY
Yes.

ROCKLIN
(half believing her)
Then who was that we took out after?

ARLY
The man who shot at you.

Rocklin sits on the bunk and casually picks up Arly's knife.

ROCKLIN
Who was he?

ARLY
I don't know.

ROCKLIN
You mean you won't tell.

ARLY
I mean I don't know -- Why should I
lie to you?

That last from Arly brings a kind of smile to Rocklin's face --
a smile that says in effect -- "Are you kidding?" He gets up
from the bunk to go to the door, and finding himself still
holding Arly's knife, throws it back to her in a seemingly
casual manner. It passes too close to Arly for comfort and,
Rocklin just opening the door, gets the knife right back --
that close to his ear he feels the breeze. He looks at it,
quivering in the door. Then, moving to Arly in what could be
construed as a threatening manner, he takes her in his arms
and kisses her. Arly is caught completely unaware. Rocklin's
action disarms her. But it is, after all, what she really
wants, so before the kiss ends, Arly's arms slowly entwine
themselves around Rocklin's neck. In the middle of the kiss
Rocklin gently but forcefully takes her arms from around his
neck and puts her from him.

ROCKLIN
I guess you forgot -- you jes' fired
me.

He goes to the bunk -- picks up his saddlebag, coat, etc.,
and starts for the door.

Arly has been silently watching.

ROCKLIN
(turning near the
open door)
So long.

Dave's voice is heard just outside the cabin door.

DAVE'S VOICE
Hey, Rock --

Dave now rushes through the door, puffing and excited.

DAVE
-- He got away -- but guess what, I --

He sees Arly and pulls up abruptly.

ROCKLIN
(slowly to Dave)
You guess --

Rocklin gives Arly a disparaging side glance and starts out.

ROCKLIN
(to Dave, who is trying
to figure things out)
Come on.

EXT. OF CABIN - NIGHT

Rocklin is headed for the corral as Dave catches up to him.

DAVE
(glancing back to the
cabin)
Fer a man who's got a despise fer
wimmin, you sure do get all snaggled
up with 'em.

INT. OF CABIN - NIGHT

Arly, her back to us, is standing in the open doorway watching
the two headed for the corral.

Her mood is evidenced by the manner in which she suddenly
slams shut the door. As she turns and leans against it, we
see tears in her eyes, and hear suppressed sobs. Her eyes
light on the bits of torn letter, and presently we see her
face set itself grimly, and now she walks toward the fireplace
and, passing the torn bite of paper, kicks at them viciously.

FADE OUT

FADE IN

EXT. MAIN STREET - SANTA INEZ - DAY

LONG SHOT -- of Rocklin as he comes riding into town. As he
nears the corner where the stage and Harolday's office is
situated, the CAMERA MOVES IN, getting Rocklin and one of
the Harolday employees repairing the wooden sidewalk near
the hitching rail.

ROCKLIN
(as he dismounts)
You work for Harolday?

The man nods.

ROCKLIN
Here's one of his horses -- I'll
pick up my saddle later.

He enters the building.

INT. HAROLDAY'S OFFICE - DAY

PANNING SHOT on Harolday as he sits at the desk working on a
ledger. The sound of a door opening is heard. Harolday looks
up casually as if expecting a customer, then suddenly gapes.
CAMERA PANS to include doorway in which stands Rocklin.

ROCKLIN
Howdy...

HAROLDAY
(frowning)
I thought I sent you up to Table-
Top.

ROCKLIN
That's right.

HAROLDAY
(slowly)
What happened?

ROCKLIN
(taking off his hat)
Well, this, for one thing.

He pokes a finger through the hole in the crown. Harolday's
eyes narrow.

HAROLDAY
(after a little pause)
I told you you'd regret letting that
rat Clews off so easy.

Rocklin looks at him with a queer expression without replying.

HAROLDAY
What's the matter? Don't you think
it was him, then?

ROCKLIN
(slowly)
I been figgerin'. Don't seem
reasonable Clews was in condition to
take that sort of chance alone...
Besides -- how could he have known I
was up there -- that soon. And --
George Clews ain't the only one I've
run contrariwise to in this town.
There's that Mexican, for instance.

HAROLDAY
Juan?

ROCKLIN
He as good as told me yesterday that
him and me was due for a run-in one
of those days.
(suddenly nodding
toward window)
And then there's him!

Harolday looks sharply toward the window.

EXT. MAIN STREET - SANTA INEZ - DAY

MED. SHOT from office window. Clint is hurrying across from
the direction of the Sun-Up Saloon toward the office.

INT. OUTER STAGECOACH OFFICE - DAY

PANNING SHOT on Clint as he enters from street and crosses
to the door of Harolday's office.

INT. HAROLDAY'S OFFICE - DAY

MED. SHOT on door of inner office with Harolday at desk in
f.g. As the door opens it conceals Rocklin from Clint.

CLINT
(excitedly)
I just heard that -- that Rocklin
was --
(sees Rocklin)

ROCKLIN
(slowly)
Was what?

CLINT
(subdued)
Was shot at last night.

HAROLDAY
(very calm)
Mr. Rocklin was just telling me all
about it.
(significantly)
Any idea who might have done it?

Clint looks quickly at Harolday and back at Rocklin with
frightened eyes.

CLINT
Not me.

Rocklin makes no reply.

CLINT
You ain't trying to pin it on me?
(his courage returning)
'Cause if you are, you're in for a
big disappointment. I was over at
the Sun-Up playing poker with the
Judge and the rest of the boys till
early morning. If you don't believe
me, ask for yourself.

ROCKLIN
(after a pause)
All right. I believe you. But that
don't mean you couldn't tell a thing
or two as would help -- if you wanted.

CLINT
(very nervous again)
What d'you mean?

HAROLDAY
(sharply)
Yes. What sort of thing would Clint
here know about, that would help
identify the man who tried to kill
you last night?

ROCKLIN
This for one.

He pulls out the tobacco pouch which Dave found at Table-
Top.

ROCKLIN
Ever seen it before?

CLOSE SHOT

Clint as he stares wide-eyed at the pouch.

MED. SHOT

group, with Rocklin and Harolday both watching Clint intently.

HAROLDAY
(harshly)
Well, go on -- speak up. Did you
ever see it before?

CLINT
(avoiding Harolday's
eye)
No. Course I didn't
(suddenly raging at
Rocklin)
Quit riding me! I don't know nothin'
about it I tell you. Jest because I
had a run-in with you over a game o'
cards, that don't mean I'd sneak up
on you in the dark and...

Rocklin's disdainful smile takes the speech out of Clint,
who just sort of runs out of words. Rocklin hesitates for a
second then moves toward the door.

CLOSE SHOT

Harolday and Clint are at window looking past camera toward
the street. They see Rocklin carrying his saddle, walking
toward the Sun-Up. Shorty Davis hails Rocklin, says something
to him and points to the Sun-Up. Rocklin leaves, walking
faster.

HAROLDAY
(frowning deeply)
He means trouble.

He turns from camera toward the desk.

CLINT
(still at window)
Aw, what do I care.

HAROLDAY
(turning on him with
cold fury)
Listen, I never did have much use
for you. You're a poor specimen at
the best; but as a would-be bad man
you're nothing but a laughing stock.
Why, the way you lied about that
pouch just now wouldn't have deceived
a six-year old.

CLINT
I...

HAROLDAY
(harshly)
All right, let it go at that. But I
got myself to think of. It wouldn't
suit me at all just now to have you
shown up in public for what you are
by that trouble-shootin' cowhand. My
advice to you is to get out of the
district and stay out.
(taking a key from
his vest pocket)
You'll find some money in the safe
at the ranch. Take what you need and
put the key in the desk drawer. Now
get.

INT. UPPER HALL - SUN-UP SALOON - DAY

Rocklin comes down the hall carrying his saddle and looking
at the room numbers. As he nears the f.g. he locates the
room he is looking for (it is a room facing toward the rear
of the Sun-Up). He knocks. Almost immediately the door opens
and Clara stands there -- flushed and embarrassed.

CLARA
Oh, Mr. Rocklin --

INT. ROCKLIN'S ROOM - SUN-UP SALOON - DAY

This is the room in which Clara has arranged to meet Rocklin,
who later takes it as his own.

SHOT at door as Rocklin steps into the room.

CLARA
I'm so glad I've found you -- I was
on my way to the Santee and learned
you were in town.

ROCKLIN
(putting his saddle,
etc., aside)
Just got in.

CLARA
I feel perfectly awful, running after
you like this, but --

ROCKLIN
You got trouble, eh?

CLARA
My aunt found out I wrote you and
made a terrible scene --

ROCKLIN
You haven't signed everything over
to that Garvey, have you?

CLARA
No -- and because I refused, Auntie
said she would sign an affidavit
that I'm still underage, and then,
as my guardian she can do what she
likes.

ROCKLIN
Got anything to prove you're not
underage?

CLARA
(after a slight pause)
No -- but Mr. Garvey has a letter
that would prove it. My aunt wrote
it before we came out here.

ROCKLIN
S'pose we could get it?

CLARA
He'd never give it to me.

ROCKLIN
(starts for door)
Wait here.

CLARA
(with a slight start
toward Rocklin)
Oh, please -- you --
(she hesitates, not
quite sure what to
say)
You won't go getting yourself in
trouble -- I -- I'd rather give up
everything -- I mean --

Rocklin notes her confusion. He regards her with a slight
sympathetic smile. Then opens the door and exits.

DISSOLVE OUT

DISSOLVE IN

INT. GARVEY'S OFFICE - DAY

CLOSE SHOT -- a letter written in a bold feminine hand. It
reads:

DEAR MR. GARVEY:

In answer to your letter of the 25th, kindly be advised that
my niece, Clara Caldwell, became of age January 11th of this
year. And, although I am no longer her legal guardian, it
behooves me, as her nearest kin, to show continued interest
in her affairs --

The CAMERA HOLDS LONG ENOUGH for the letter to be read. And
now the letter begins to be consumed in a flame as the CAMERA
PULLS BACK showing the burning letter in Judge Garvey's hand.
He is standing over the potbellied stove in his office, and
Miss Martin is close to him watching the letter burn. Garvey
finally lets it fall from his fingers onto the top of the
stove. He lifts the lid, lets the remains fall inside, and
smiles to Miss Martin.

GARVEY
That takes care of that --
(crosses to his desk)
Now, I'll draw up an affidavit right
away and everything will be taken
care of as we want it.

MISS MARTIN
(not too enthusiastic)
I certainly hope so -- it's not myself
I'm concerned about --

GARVEY
(getting out the papers)
-- Of course not.

MISS MARTIN
I can't say I'm very happy about
doing this -- I only hope it works
out for the best.

GARVEY
It's the better choice of two evils --
now let's see --
(begins to write)
I, Elizabeth --
(looks at Miss Martin)
It is Elizabeth, isn't it?

MISS MARTIN
Yes --

GARVEY
-- Elizabeth Martin, of Danvers,
Massachusetts, do hereby --

The door opens and Rocklin enters. Miss Martin, who has been
pacing nervously, stops in her tracks. Garvey, taken
completely by surprise, feigns an affected casualness. Rocklin
eyes them both suspiciously as he slowly closes the door.

GARVEY
(leaning back in his
chair)
Well, Mr. Rocklin, this is indeed a
surprise. Didn't expect to see you
so soon. I understood you were riding
for the Santee.

ROCKLIN
(coldly)
That's right.

It is quite obvious to Garvey that Rocklin is here on
business. He turns to Miss Martin.

GARVEY
(to Miss Martin)
Perhaps you'd better come back later --

Miss Martin is in accord with that suggestion, and after
giving Rocklin the frigid eye, flounces out, slamming the
door.

Garvey shakes his head, wipes his brow, and is returning to
his desk.

INT. HALLWAY OUTSIDE GARVEY'S OFFICE - DAY

SHOT -- door to Garvey's office. Miss Martin has her ear
glued to the panels. Over scene comes Rocklin's voice.

ROCKLIN'S VOICE
I came for that letter.

Miss Martin reacts.

INT. OF GARVEY'S OFFICE - DAY

SHOT -- Garvey and Rocklin.

GARVEY
(calmly)
Did you say letter?

ROCKLIN
That's right -- the one Miss
Caldwell's aunt wrote from out east
sayin' she was of age. Remember?

GARVEY
No -- I'm afraid I don't.

INT. HALLWAY OUTSIDE GARVEY'S OFFICE - DAY

SHOT -- door. Miss Martin reacts with nod of satisfaction
and leaves.

INT. GARVEY'S OFFICE - DAY

Rocklin goes to the filing cabinet where he opens the drawer
marked "C." As he fingers through the papers, Garvey sits
back in his chair, watching.

GARVEY
What is your interest in this letter?

ROCKLIN
My only interest is getting' it.

GARVEY
You realize what this is, don't you? --
Robbing -- armed robbery at that.

Rocklin pulls open the "M" drawer.

GARVEY
I warn you, you're in for a
disappointment.

Not finding the letter in the "M" drawer, Rocklin goes to
the desk and pulls the handle of one of the drawers. It is
locked.

ROCKLIN
Open up.

GARVEY
(has had about enough)
Listens, you --
(suddenly controls
himself)
There's nothing in there that'd
interest you.

ROCKLIN
(grimly)
I'd like to make up my own mind about
that.

GARVEY
(forces a chuckle)
All right -- I'll open it -- just to
convince you I'm not hiding any
letter.

Garvey unlocks the drawer and opens it. It is found to contain
nothing but two brand new decks of playing cards.

The UNOPENED DECKS OF CARDS.

BACK TO SCENE. Garvey seems a little too anxious to close
the drawer, and before he can do so, Rocklin has one hand
inside. Garvey, checked for a second, looks up at Rocklin.

GARVEY
What's the idea?

Rocklin slowly withdraws his hand, holding one of the decks.

ROCKLIN
These cards --

GARVEY
(attempting to bluff
it out)
Anything wrong in a man having cards
in his possession?

ROCKLIN
Depends on what kind they are --
'specially when they're under lock
and key.

The two regard each other silently a moment. Now Rocklin
casually slips the deck he holds into his pocket.

GARVEY
(too politely)
You're taking those, I presume.

ROCKLIN
That's right.

He takes a step away. Garvey turns him by touching his arm.

GARVEY
(has had almost enough)
Now, you look here --

ROCKLIN
(soberly)
You're the one who better start
lookin' -- lookin' for a way out for
killin' Red Caldwell.

GARVEY
(blanches)
Caldwell --

ROCKLIN
(takes up one of the
decks of cards)
He found out about these -- and you
went and killed him.

GARVEY
(with an affected
smile and unnatural
calmness)
And you believe a story like that?

ROCKLIN
I will until I hear a better one.
(puts deck he holds,
in his pocket)
I'll just take this along -- the
district judge at Garden City should
be mighty interested.

He starts around the desk toward the door. From the corner
of his eye he catches Garvey reaching for a gun in the middle
drawer. Before he can raise it, Rocklin is on him with a
blow that sends Garvey reeling back toward the stove.

Rocklin starts for the door again, and just misses being
struck by a chair which Garvey hurls with vicious fury. The
chair crashes against a window.

EXT. STREET IN FRONT OF GARVEY'S OFFICE - DAY

The sound of breaking glass attracts the attention of passers-
by, as well as Miss Martin seated in her surrey with Sammy,
the K.C. China-boy.

INT. OF GARVEY'S OFFICE - DAY

The two are now fighting in earnest.

VARIOUS FLASHES

of the fight, intercut with townspeople gathering outside.

EXT. STREET IN FRONT OF GARVEY'S OFFICE - DAY

Dave pulls up in his wagon.

INT. OF GARVEY'S OFFICE - DAY

It is pretty well wrecked. Rocklin has Garvey just about
done in. He gives him one final Sunday punch and Garvey goes
down and stays down. At that moment, Dave and Pap Fossler
enter followed by other curious natives.

DAVE
Say -- looks like you two been
disagreein' 'bout somethin' --
(to Fossler, who has
gone over to Garvey)
He ain't daid, is he?

PAP FOSSLER
Not permanently, I don't reckon. --
What happened, anyways?

DAVE
(to Rocklin)
You musta found out somethin'.

PAP FOSSLER
(with a wink to Dave)
I reckon the Judge did, too.

They exit, and almost immediately Miss Martin enters, and
after gaping in horror at the appearance of the place, sees
the Judge, who, having regained consciousness, bestirs himself
on the floor.

MISS MARTIN
Oh, dear -- dear -- are you hurt?

GARVEY
(getting up painfully)
Get out of my way --

Garvey, on his feet now, makes for the door leading to his
living quarters at the back of the office. Miss Martin follows
him.

MISS MARTIN
(haughtily)
Now don't you use that tone of voice
to me --
(going through doorway)
I'll have you understand I --

She sees the bed and shrieks upon realizing where she is,
and backs out quickly, almost catching the door which Garvey
slams in her face.

EXT. MAIN STREET - SANTA INEZ - DAY

Rocklin and Dave as they walk from Garvey's office. Dave has
a time hopping along against Rocklin's strides.

DAVE
-- Find out who owns that tobaccy
pouch yet?

ROCKLIN
(staring straight
ahead)
No -- but get hold of Clint Harolday.

DAVE
Clint -- Is he in on it?

ROCKLIN
Can't say for sure -- Bring him to
the Sun-Up, and don't take no for an
answer.

Dave leaves and exits from shot in the direction of the stage
office. Rocklin goes off toward the Sun-Up.

EXT. SUN-UP SALOON - DAY

PANNING SHOT. Juan is lounging against the corner of the
building, soberly watching Rocklin's approach. As Rocklin
comes into the scene he spots Juan, and stops a moment as
though deciding whether or not to question him. During this,
Juan casually takes his ornamental tobacco pouch from his
pocket and begins to roll a cigarette.

The CAMERA PANS Rocklin to the side of the building and up
the outer stairs.

INT. UPPER HALL - SUN-UP SALOON - DAY

Rocklin comes through the door and down the hall. He reaches
his room, and is about to open the door when he hears a
familiar voice inside. He listens.

ARLY'S VOICE
-- So now you know the truth. And if
you think you can steal him away
from me, you're welcome to try it.

Rocklin frowns and enters.

INT. ROCKLIN'S ROOM - SUN-UP SALOON - DAY

Rocklin steps into the room, holding the door partly open as
he focuses his attention on Arly. Clara, who has been sitting
in the rocker near the window, gets up and is the first to
speak.

CLARA
(anxiously)
Did you get it?

Rocklin closes the door.

ROCKLIN
No -- but I don't think it's gonna
matter much -- you go on back to the
K.C. and I'll be out in the mornin'
and take you with me to Garden City
to see the district judge.

CLARA
But I hate putting you to that
trouble.

ROCKLIN
No trouble at all -- I'm going anyway.

ARLY
(casually)
You look like you've been fighting.

ROCKLIN
(soberly)
What are you doin' here?

ARLY
I was just telling Miss Caldwell
about -- well -- you and me.

ROCKLIN
(his eyes narrowing)
What about, you an' me?

CLARA
(sensing the static
in the atmosphere)
I think I'd better be going...

ROCKLIN
(turning quickly from
Arly)
Just a minute --
(glances at Arly)
What all has she been tellin' you?

CLARA
(embarrassed)
Oh -- oh, really I'd rather not --

ARLY
(interrupting)
Go ahead, tell him --
(looks at Rocklin and
goes on defiantly)
-- and I dare him to deny it.

ROCKLIN
Deny what?

CLARA
That she was with you last night at
the cabin in the mountains.

ROCKLIN
Well -- why should I deny it?...

ARLY
(quickly)
And didn't you make love to me?

ROCKLIN
(this is getting a
bit thick for him)
Make love to you --

ARLY
(forcing her point)
You didn't kiss me -- I suppose?

ROCKLIN
Did you expect me to deny that, too?

ARLY
(smiles at Clara)
You see?

ROCKLIN
(to Clara)
Now, maybe you ought to hear what
I've got to say --

Clara is terribly hurt, but struggles to be grown-up about
it.

CLARA
Please -- you needn't explain. After
all, it really isn't any of my
business, is it?

ROCKLIN
(in the pause he looks
at Arly)
You little --

ARLY
(quickly)
That's it -- start swearin'--
(to Clara)
Just like a man.

ROCKLIN
If there wasn't a lady here, I'd do
more to you than swear.

CLARA
I don't know how I can ever thank
you for trying to help me. I do
appreciate it ever so much --
(to Arly)
Don't think too harshly of me, will
you -- I --

Clara can say no more without breaking. So she turns away
quickly and hurries out the door. Rocklin does a slow burn
as he glares at Arly.

ARLY
(sincerely -- after a
pause)
She's lovely, isn't she? -- So sweet --
honest, and helpless.

Rocklin makes no reply.

ARLY
Pity you didn't fall in love with
her, instead of me.

Arly is being ridiculous now. He ignores her remarks and
concentrates his attention on one of his hands -- he may
have sprained it slightly in the fight.

ROCKLIN
You might's well know right now that
you or no woman is ever goin' to get
me.

ARLY
Don't be so sure -- I don't think
I'm doin' so badly.

ROCKLIN
Don't you?

ARLY
Don't you know?

ROCKLIN
I know there ain't a dirty trick you
wouldn't play to get what you want.

ARLY
(smiling)
I always get what I want.

She takes a folded piece of paper out of her pocket and drops
it on the dresser as Rocklin watches her.

ARLY
-- See?
(opens the door)
-- 'Bye now --

The door closes. Rocklin stands a moment. Now curiosity brings
him to the dresser where he takes up the paper and unfolds
it.

CLARA'S LETTER. The torn pieces have all been sorted and
pasted together on a sheet of paper

BACK TO SCENE. Rocklin holds the letter. He is mad. He shakes
his head -- What a gal --- Now he is almost smiling -- almost.
He folds the letter -- puts it in his pocket. Takes off his
gun-belt and hangs it over the rocker near the window, and
stretches out on the bed, as we

FADE OUT

FADE IN

EXT. CALDWELL HOUSE - LATE AFTERNOON

ON Clara hurrying toward the front door in a suppressed state
of excitement. She has presumably just arrived at the ranch
in advance of Miss Martin. She enters the house after a glance
toward the gate.

INT. HALL - CALDWELL HOUSE - LATE AFTERNOON

Clara enters hastily and beats a path to the door of her
room.

INT. CLARA'S ROOM - CALDWELL HOUSE - LATE AFTERNOON

The door flies open. Clara bursts in, closing the door in
the same movement. Her eyes swing to someone o.s. and she
freezes to the spot.

ON

Miss Martin, standing by the window, cold and threatening.
She has not taken the time to remove her hat. After a moment's
pause, she moves slowly toward Clara.

The CAMERA PANS WITH her into a TWO SHOT. Clara, her back
pressing harder and harder against the door, becomes more
terrified at the other's approach. Miss Martin appraises the
girl a short moment and now suddenly slaps her hard across
the face. Clara opens her mouth, about to scream, but even
stifles this impulse under the cold stare of her aunt.

MISS MARTIN
(quietly but viciously)
Whatever is to become of you?

Clara can only stare as one under an hypnotic spell.

MISS MARTIN
Have you no sense of pride, or
decency? Throwing yourself at that --
that wretch, like any shameless hussy.

Clara hasn't moved.

MISS MARTIN
I thought we'd done with him -- but
no -- you have to run to him and
tell him all our business --

Clara merely gasps for a breath of air, but Miss Martin,
thinking her about to speak, goes on, more forcefully now.

MISS MARTIN
Don't you dare deny it -- you know
very well you told him about that
letter I wrote Mr. Garvey.

Clara remains silent.

MISS MARTIN
Didn't you? --

Clara, now utterly broken, moves away. Miss Martin, her eyes
still rivited on the girl, follows.

MISS MARTIN
Didn't you?

DISSOLVE

INT. GARVEY'S OFFICE - LATE AFTERNOON

The office has been more or less cleaned up since the fight.
Garvey is discovered near the window. He has cleaned himself
up but bears some evidence of the fight. He is reading a
letter as Sammy, the K.C. China-boy, stands waiting near the
door.

LETTER. The message is written in the same bold hand of Miss
Martin already seen in the previous letter:

Mr. Garvey,

I have just learned that despicable Rocklin person intends
to take Clara to Garden City in the morning -- evidently to
have you investigated. I thought you had better know about
it.

E.M.

BACK TO SCENE. Garvey puts the message in his pocket as he
addresses Sammy.

GARVEY
Tell Miss Martin that I'll take care
of everything.

SAMMY
-- You take clare of evelything.

DISSOLVE OUT

DISSOLVE IN

INT. ROCKLIN'S ROOM - NIGHT

On Rocklin, stretched across the bed, examining the cards in
the light of a lamp.

EXT. REAR OF SUN-UP SALOON - NIGHT

Garvey comes from around the building's corner and peers
furtively through the darkness toward the lighted windows of
Rocklin's room.

EXT. MAIN STREET - SANTA INEZ - NIGHT

The area in front of the Sun-Up. Dave's wagon pulls up to
the hitching rail in front of the saloon. Clint, stripped of
his gun, is driving with Dave, alertly watching him. They
get down from the wagon and Dave prods Clint toward the corner
of the building.

EXT. SIDE OF SUN-UP SALOON - NIGHT

Garvey has left the spot where we saw him look up to Rocklin's
window. We now see him as he rounds a rear corner of the
building and goes toward the outer stairs leading to the Sun-
Up's second floor. He starts up the steps and stops almost
immediately and stares o.s.

ANGEL

From Garvey's ANGLE as he sees Dave bringing Clint from around
in front of the building toward the stairway.

CAMERA HOLDS

Garvey steps quickly to the ground and takes up a position
around the roar corner. He watches the two men approach the
stairway and go up. He moves out of the shot now, going toward
the street. The CAMERA HOLDS on the corner, and we see Tala
come into view, as though from nowhere, and take the exact
position at the building's corner vacated by Garvey only a
moment before. It is apparent that he is watching Garvey,
and after a momentary pause he too moves stealthily out of
the scene.

INT. ROCKLIN'S ROOM - SUN-UP SALOON - NIGHT

PANNING SHOT on Rocklin asleep. He is fully dressed, as we
last saw him, with the exception of his boots. He is stretched
full length on top of the covers. His gun-belt still hangs
over the rocker, close to the open window. A knock on the
door brings him to a sitting position.

ROCKLIN
Come in --

CAMERA PANS TO door as Clint enters reluctantly, followed by
the triumphant Dave.

DAVE
Here he is, Rock. Caught him jist in
time near the Santee. Headed fer
out, I'd say.

ROCKLIN
Sit down, Clint.
(to Dave, as he reaches
into his pocket)
How about goin' down below an' havin'
one on me?

He tosses Dave a coin, who catches it. Then Rocklin puts on
his boots.

DAVE
(delighted)
Well, now -- that's right thoughtful --
Holler if you need me.

Dave exits.

CLINT
(belligerently, as he
stands near the window)
What's this all about?

ROCKLIN
(calmly, as he stands
up)
It ain't gonna do you any good to
get all het up and tough, kid --

Rocklin begins rolling a cigarette as he moves toward Clint.

ROCKLIN
I just want to ask you a few questions --
that's all.

EXT. SIDE OF SUN-UP SALOON - NIGHT

An unidentifiable form is seen moving through the darkness
toward the outer stairway. As it nears the stairway, the
CAMERA MOVES IN so that as the mysterious figure begins
stealthily up the stairs, we see only the feet through the
rungs.

The CAMERA THEN PANS QUICKLY AND ZOOMS INTO A CLOSE SHOT of
Juan, across the alley. And now through Juan's eyes we watch
the ascent of the mysterious intruder: The Mexican's line of
vision gradually raises, then the eyes slowly move across
the camera as the dark figure proceeds along to the rear
portion of the verandah.

INT. ROCKLIN'S ROOM - SUN-UP SALOON - NIGHT

Rocklin finishes rolling his cigarette and lights it.

CLINT
I told you once, I don't know who
owns that pouch-- and I don't know
who shot you.

ROCKLIN
(calmly)
Forget it -- that's not what I want
to talk to you about, anyway.

CLINT
(harshly)
Well, what do you want to talk about?
Come on, get it over with.

EXT. VERANDAH - REAR OF SUN-UP SALOON - NIGHT

The mysterious form has moved past the darkened windows along
the verandah and is nearing Rocklin's lighted room -- stops
close to the open window.

INT. ROCKLIN'S ROOM - SUN-UP SALOON - NIGHT

SHOT -- Rocklin and Clint.

ROCKLIN
Clint -- I want you to tell me why
Garvey murdered Red Caldwell --

Clint tenses -- stares -- finds breathing difficult.

ROCKLIN
You know -- don't you?

CLINT
(shaking)
Me? No!

ROCKLIN
Oh yes you do.
(advancing on him)
And you're going to tell me all about
it.

CLINT
I don't know nothing, I tell you --
I --

Rocklin slaps Clint's face open-handed, throwing him off
balance, then grabs him by the shirt front.

ROCKLIN
Talk!

CLINT
I tell ya, I...

ROCKLIN
(hitting him again)
Talk!

Completely terrified, Clint opens his mouth as if about to
speak. Suddenly he sees something out of the shot over
Rocklin's shoulder and his expression changes. Rocklin looks
quickly in the same direction.

MED. SHOT

window. A gloved hand has come out of the dark and is reaching
through the window for Rocklin's gun in the belt which is
hanging over the chair.

CLOSE SHOT

Clint and Rocklin. The latter is still looking toward the
window. With a swift movement Clint picks up the water jug
from the washstand and brings it down on Rocklin's head. As
Rocklin falls out of shot, Clint turns to the window with a
triumphant smile. Suddenly his expression changes.

CLINT
(in a hoarse scream)
No! No, don't!

There is a shot from o.s. and Clint's hands go to his stomach.
With a gasp of pain he doubles up and collapses on the floor.

SHOT

window. The hand of the killer pitches the gun toward Rocklin
and disappears.

INT. BAR - SUN-UP SALOON - NIGHT

Lined up at the bar are Dave, Pap Fossler, Shorty Davis and
a few others. Cap is in his usual place. At the poker table
are Doc Riding, Sam Haynes, Ab Jenkins and one or two others.

The shot has evidently been heard, for everything seems to
have stopped, and Dave and Pap Fussier are looking up toward
the ceiling, as are others. Now Dave snaps back to life --
gulps down his drink, and hurries toward the stairs. As he
starts up, the others move slowly in the same direction.

INT. ROCKLIN'S ROOM - SUN-UP SALOON - NIGHT

Rocklin is on the floor, groggy. He shakes his head, and as
his senses return, he picks up the gun and just gets to his
feet as Dave rushes in.

Dave sees Clint's body on the floor -- notices the gun in
Rocklin's hand. He opens his mouth to speak but nothing comes
out. All he can do is stare and grimace. The sound of hurrying
feet comes from the hall, and presently the mob closes in,
crowding the room and the hall.

Pap Fossler, who has been one of the first to enter, kneels
over Clint.

During this, there are general ad libs from the crowd.

AD LIBS
What happened? Who is it? Clint
Harolday -- Etc.

PAP FOSSLER
Where's Doc Riding?

AD LIBS
Get the Doc. Hey, Doc -- He was down
below. Here he is.

Doc's voice is heard from the hall as he makes his way through
the jam.

DOC RIDING'S VOICE
Here I am --

AD LIBS
Look out, men -- Let the Doc through.
Etc.

Doc riding comes through the crowd, kneels beside Pap Fossler.
He needs only a glance to know he can be of no use.

DOC RIDING
(breaking the silence)
Somebody better fetch Harolday.

CAP
Shorty's already gone for him.

PAP FOSSLER
(getting up)
Better get Arly, too.

A voice is heard from the hall.

VOICE
She was at the hotel a while ago.

PAP FOSSLER
(looking down at Clint
and shaking his head)
He was only a kid.

CLOSE SHOT

Rocklin, still holding his gun as he stares down at Clint's
body o.s. Now he studies the faces of the mob.

PANNING SHOT

of the crowd. There is nothing but a sea of hostile faces.

JACKSON'S VOICE
What's goin' on here -- gang way --

The crowd parts to admit Jackson, who comes stalking in
followed by Judge Garvey.

JACKSON
What's the trouble here --

He stops abruptly as he sees Clint's body. Now he levels his
eyes on Rocklin.

JACKSON
(with a bitter smile)
I warned you, didn't I? -- Well, I
guess this is the last trouble you'll
ever make in this town.
(extending his hand)
Hand over that gun.

ROCKLIN
Just a minute, now --

He steps back so no one is behind him. And there is something
about his manner and tone that urges Jackson to use
discretion.

ROCKLIN
(to the crowd,
generally)
I know it looks bad -- but I didn't
kill the kid.

The crowd stares in skeptical silence. Even Dave thinks
Rocklin is lying, and now does his best to protect his friend.

DAVE
I believe you.
(to the others)
His gun was layin' over there on the
floor when I come in and --

ROCKLIN
(cutting in)
No it wasn't -- It was right in my
hand -- like it is now.

Dave winces.

JACKSON
If you didn't know him -- then who
did?

ROCKLIN
I don't know --
(looks at garvey)
But I'm going to find out.

INT. UPPER HALL - SUN-UP SALOON - NIGHT

Harolday, followed by Shorty Davis, is making his way down
the hall from the inner stair landing. As he nears the crowd
gathered at Rocklin's door, Juan comes into view down the
hall, having just entered through the door leading out onto
the verandah.

HAROLDAY
(as he nears Rocklin's
door)
Where is he? -- Where's my boy?

INT. ROCKLIN'S ROOM - SUN-UP SALOON - NIGHT

Harolday enters, over the ad libs of the mob, followed by
Shorty Davis. During the following action, Juan enters and
stands near the door, silently taking in everything.

CLOSE SHOT

Harolday, as he sees Clint's body and stops dead in horror.
He turns to Rocklin.

HAROLDAY
(with cold violence)
You murderer.

ROCKLIN
I didn't do it, Mr. Harolday.

HAROLDAY
(quickly)
Then who did?

VOICE
(from crowd)
He had a gun in his hand when we
come in.

GARVEY
(smoothly)
And I'll bet it's the same one the
bullet that killed Clint came out
of.

Rocklin gives Garvey a hard, slow look.

HAROLDAY
Well, what do you say to that?

ROCKLIN
He's right.

GARVEY
You admit it.

ROCKLIN
Yeah -- but that still don't say I
killed him.

AD LIBS
Aw, take him away -- Liar -- Lock
him up, Sheriff -- The yellow-bellied --
Etc.

ON ARLY AS SHE PUSHES HER WAY THROUGH THE CROWD

She stares down at Clint. An expression of pity comes over
her. Now she looks coldly at Rocklin.

ARLY
(softly)
Why did you do it?

MED. SHOT

with Rocklin in f.g.

ROCKLIN
I didn't.

GARVEY
He admits it was his gun that shot
him.

ARLY
(whose eyes haven't
left Rocklin's)
But you didn't fire it.

ROCKLIN
That's right.

ARLY
What happened?

ROCKLIN
(slowly)
Clint and me was having a bit of an
argument.

ARLY
(quickly)
What about?

ROCKLIN
(searching for words)
About whether he was going to help
clear up a few things that's been
bothering me and some others 'round
these parts.
(looking at Garvey)
For instance -- who it was shot Red
Caldwell.

JACKSON
Caldwell!

ROCKLIN
(still at Garvey)
And the K.C. foreman. And who took
that shot at me up at Table-Top last
night. And why certain people are so
anxious to get rid of the Caldwell
girl.

PAP FOSSLER
How would Clint know about all that?

HAROLDAY
(harshly)
He's lying. He's trying to cover up
for killing my boy.

JACKSON
(encouraged by the
support)
Quit stalling, Rocklin.

He makes a tentative movement toward Rocklin but Arly
intervenes.

ARLY
Wait a minute -- he's get a right to
be heard.
(to Rocklin)
Well, we're listenin'.

ROCKLIN
Well -- Clint was getting' all set
to talk, when -- somebody snuck up
along the verandah there and pulled
the gun out o' my belt...
(indicating the belt
on chair)
... and let him have it.

There is a moment's amazed silence. Then the crowd breaks
into derisive comment.

AD LIBS
What a story! What an alibi! String
him up, the heel! Etc.

JACKSON
(grinning)
You'll have to think up something
better than that Rocklin.

MED. SHOT

with Garvey in f.g.

GARVEY
(smoothly)
Don't be a fool, Rocklin. You know
you can't get away with a yarn like
that. Why don't you save yourself
and everyone else a lot of trouble
by surrendering to the Sheriff? After
all, it isn't such a crime in these
parts to kill a man in self-defense.

ROCKLIN
Self-defense?

GARVEY
Everyone knows what Clint was like.
He probably lost his head and pulled
a gun on you, like he did at the Sun-
Up that night. Wasn't that it?

ROCKLIN
(grimly; after a little
pause)
No, that wasn't it. And till I do
what I got to do, I ain't surrenderin'
to anybody -- least of all to your
pal here.
(indicates sheriff)
If I got to be shot for knowing too
much, it ain't going to be in the
back, in a framed-up jail-break.

CLOSE SHOT

Arly, who has been staring at Rocklin in frowning
bewilderment.

ARLY
But if someone's trying to kill you,
why didn't they do it just now? Why
did they have to kill Clint?

CLOSE SHOT

Rocklin.

ROCKLIN
Guess they wanted to get Clint, too.
Doin' it this way they get us both.
Clint first -- an' me afterwards --
like I jus' said.

MED. SHOT

with Garvey in f.g. Close beside him are Pap and Dave, who
watches Garvey closely.

PAP FOSSLER
Quit fancy talk. Who's "they?"

ROCKLIN
I might be able to tell you that
later.

JACKSON
(quickly)
No you won't -- because you're comin'
with me.

ROCKLIN
(raises his gun)
Am I?

The crowd tenses. Rocklin eyes them grimly.

ROCKLIN
The first one that moves -- gets it.

He moves over to the open window, and with his gun leveled
on the mob, steps out onto the verandah. Once outside, he
suddenly lets the window fall and disappears. A shot from
Jackson's gun shatters a pane, during which time there has
been a rush to the window. It is Arly and Dave who reach it
first, and feigning an attempt to raise the window, they
momentarily delay pursuit.

AT THE DOOR LEADING FROM THE ROOM

There is the inevitable jam as the pushing, yelling crowd
all try to exit at once.

EXT. REAR OF SUN-UP SALOON - NIGHT

Rocklin, as he picks himself off the ground, having dropped
from the verandah. He starts quickly away.

EXT. WINDOW OF ROCKLIN'S ROOM - NIGHT

SHOOTING INTO the room, we see Arly and Dave shoved to one
side by Jackson and Garvey. The window goes up and Jackson
steps out, followed by Garvey, Harolday, Arly, Dave, and
others.

INT. UPPER HALL - SUN-UP SALOON - NIGHT

The human jam has been broken, and now the mob dashes wildly
toward the stairway, and verandah exit in the b.g.

EXT. SUN-UP SALOON - NIGHT

The hitching rail in front of the Sun-Up. There are a dozen
or so horses tied up to it and close to it is Dave's team
and wagon. Rocklin comes from around the corner of the
building and races to the hitching rail.

TOP OF OUTSIDE STAIRS

Jackson and Garvey come from around the corner of the porch
followed by Harolday, Arly, Dave, and others. At the stairs
they collide with some of the men who have raced down the
hall, only to reach the stairway at the same moment. There
is another jam on the landing as the mob all try to get down
at once.

ROCKLIN AT THE HITCHING RAIL

He has cut the lines of the horses tied to the rail. We see
him cutting the last line and fire into the air. The horses
rare and stampede.

THE MOB - WITH JACKSON AND GARVEY LEADING - COME FROM AROUND
THE BUILDING

And now there is a state of utter confusion as the mob and
horses rush in all directions as the men try to retrieve
their mounts. Rocklin is no where in evidence.

GARVEY AND JACKSON - AS HAROLDAY JOINS THEM NEAR DAVE'S WAGON

HAROLDAY
(sarcastically)
Well, Sheriff -- you certainly are
to be congratulated.

JACKSON
(harassed)
Look, Mr. Harolday -- you saw what
happened --

GARVEY
(deeply concerned)
Never mind that -- Let's get going
for Garden City -- that's where he's
headed for.

HAROLDAY
You sure?

GARVEY
I'm positive.

Dave climbs into his wagon behind the group as Jackson exits
quickly.

EXT. STAGE OFFICE - SANTA INEZ - NIGHT

At hitching rail. There are four or five horses tied up here.
Arly and Juan enter and mount their horses, and almost
immediately Garvey and Harolday come hurrying into the scene
after two of the other horses.

ARLY
(shouts from her horse)
Where do you think he's gone?

Before either of the two men can answer, Jackson's voice is
heard shouting o.s.

JACKSON'S VOICE
All right, men -- follow me --

The CAMERA PANS AROUND, getting Jackson, now mounted, as
others come riding in. He rares his horse around and starts
away followed by the mob, including our principals. They do
not get very far when Dave's wagon comes into the shot, going
hell-bent in pursuit.

EXT. ROAD NEAR EDGE OF SANTA INEZ - NIGHT

The posse riding hard, with Dave's wagon following.

CLOSE SHOT

Dave, half standing as he urges his team on. Behind him are
the closed flaps of the wagon top.

WIDER ANGLE

as a hand reaches out from between the flaps and grasps the
reins. Dave takes it, and looks wildly around -- falls back
on the seat.

ON ROCKLIN - AS HIS HEAD COMES FROM BETWEEN THE FLAPS

CAMERA PULLS BACK to include Dave, smiling broadly. Rocklin
is pulling hard on the reins.

DAVE
I mighta knowed you'd do somethin'
like this.
(as Rocklin slows the
team)
What are we doin'?

ROCKLIN
Headin' for the K.C.

With that Rocklin starts swinging the team around.

ON THE WAGON AS IT SWINGS AROUND AND BECOMES LOST IN THE
DISTANT NIGHT

WIPE

INT. HALL - CALDWELL HOUSE - NIGHT

Sammy, the China-boy, is nervously knocking on Miss Martin's
door. It opens and Miss Martin is seen slipping a robe over
her long Mother Hubbard nightgown, with cap to match.

MISS MARTIN
(impatiently)
Now -- what is it?

Sammy points o.s. -- Miss Martin looks and freezes.

As she moves down the hall, the CAMERA PANS WITH her until
it gets two men standing near the entrance door.

Now the CAMERA MOVES IN TO A THREE SHOT and we recognize
George Clews and his brother, Bob. Bob, his wrist bandaged,
takes off his hat at Miss Martin's approach, and George
noticing, does likewise.

GEORGE CLEWS
The name's Clews, ma'am -- Mr. Garvey
sent us out --

BOB CLEWS
(eagerly)
Said you were expectin' trouble with
that Rocklin.

MISS MARTIN
I am.
(acidly to George)
-- But I'm wondering if you're up to
it. I noticed you didn't fare so
well with him yesterday.

BOB CLEWS
He was drunk --

GEORGE CLEWS
(quickly)
Yeah -- But I'm sober now.

MISS MARTIN
Well, see that you stay that way.

GEORGE CLEWS
Don't worry, ma'am -- I've jus' bin
waitin' to get even with that saddle-
bum.

He opens the door.

BOB CLEWS
(with that oily smile)
We'll be close-by.

GEORGE CLEWS
(confidently)
You bet.

They start out.

INT. CLARA'S BEDROOM - CALDWELL HOUSE - NIGHT

Clara is seen in her nightgown, listening at the door to her
room. The sound of the outer door closing comes over the
scene and she hurries to her bed and feigns sleep, and just
in time, for the door opens and Miss Martin sticks her head
in, and satisfied that Clara is sleeping, exits.

DISSOLVE

EXT. HIGHWAY - ROAD TO GARDEN CITY - NIGHT

A raspy voice is heard coming out of the darkness singing a
ribald song of the periods. And now Old Zeke, riding his
burro, comes into view. As he passes close to the camera, we
PAN and get the posse coming out of the darkness in the
opposite direction Zeke is travelling.

As the posse pulls up to Zeke, the CAMERA MOVES IN on a group
including Zeke, Jackson, Garvey, Harolday.

JACKSON
Seen anybody ridin' hard for Garden
City.

ZEKE
Bin on the road since sundown --
ain't seen a livin' soul -- be he
man or beast.

JACKSON
He mighta taken the cutoff through
Jaw Bone Canyon.

HAROLDAY
After that storm? -- He'd never make
it.

GARVEY
There's only one other place he might
have gone -- the K.C.

JACKSON
You think so?

GARVEY
(very definitely)
I'm positive.

HAROLDAY
That's what you said before.

JACKSON
(shouting to the posse
milling around)
To the K.C., men.

The posse swings around and starts back toward Santa Inez.

ARLY AND JUAN

Arly watches the posse, then turns to Juan.

ARLY
(excitedly)
Take me through the canyon.

JUAN
It is dangerous, senorita.

ARLY
But if we get through we'll beat
them to the K.C.

JUAN
You would risk your life for Senor
Rocklin?

Arly does not answer in words. But Juan sees the answer in
her eyes. Now she tosses her head defiantly and swings her
horse off the road in the direction of the canyon. Juan
watches a moment, then spurs his mount after her, as we

DISSOLVE

INT. CLARA'S BEDROOM - CALDWELL HOUSE - DAWN

On Clara, tossing fitfully in her bed. Suddenly she sits up
as an idea begins to take form in her mind. Now she hurries
out of bed, moves stealthily to the door and goes out, leaving
her door open.

INT. HALL - CALDWELL HOUSE - DAWN

ON door to Miss Martin's room. Clara comes down the hall to
the door. She puts her ear close and listens. Now she opens
it cautiously and peers inside. The door to her room is
slammed o.s. by a sporadic draft. It startles the girl and
she quickly closes Miss Martin's door and hurries away.

EXT. HIGHWAY - DAWN

ON the posse, riding hell-bent.

EXT. JAW BONE CANYON - DAWN

Arly and Julio, as they slowly pick their way along the
difficult trail, skirting a roaring torrent. Julio is leading
and close behind him Arly is having a time negotiating the
unsteady ground of a landslide.

ARLY AND JULIO AS THEY STAND CLOSE TO A DANGEROUSLY FORBIDDING
PORTION OF JAW BONE CANYON

She notices Julio staring o.s. and slowly shaking his head.

ARLY
Afraid?

Julio nods his head slowly, deliberately.

JULIO
Only for you -- you must not do this --
I will go through from here alone.

A faint smile of admiration brushes Arly's face.

ARLY
No, -- we're going through together.

Arly lashes her horse away. Julio realizes the futileness of
further pleading and now moves his horse out after Arly.

EXT. ROAD NEAR KC RANCH - DAWN

The wagon with Dave and Rocklin coming out of the night.

CLOSE SHOT

Dave is driving the team for all it is worth. Rocklin is
looking back. He turns to Dave.

ROCKLIN
You can ease up now.

DAVE
We're just about there.

WIPE OUT

WIPE IN

EXT. ENTRANCE TO KC RANCH - DAWN

A wooden gate is swung closed across the roadway. On the
gate is a crudely printed weather-beaten sign: K.C. RANCH.
Over the scene comes the SOUND of the wagon approaching.

THE WAGON PULLS UP TO THE GATE

Rocklin hops out, opens the gate. Dave drives the wagon
through. As Rocklin lets go the gate, it swings closed of
its own accord.

EXT. SHED - KC RANCH - DAWN

The shed is a short distance from the Caldwell house. Bob
Clews is standing at a corner of the shed looking o.s. Over
the scene comes the SOUND of the wagon.

BOB CLEWS
(peering into shed)
Hey, George -- George, get up.

EXT. KC RANCH - DAWN

The wagon moving slowly through the cottonwoods, along the
drive not far from the house. It stops now, and the CAMERA
MOVES CLOSER to get Dave and Rocklin as they leave the team
and start stealthily toward the house seen in the moonlight
in the b.g.

INT. CLARA'S BEDROOM - CALDWELL HOUSE - DAWN

We pick up Clara in the act of nervously pinning on her hat
in the dim light of a small lamp. She is fully dressed, and
once the hat is on, she looks around anxiously for her top
coat which she finds in the closet. She takes the coat and
starts hurriedly toward the lamp, sitting on a small taboret
near the door. As she bends over to blow it out, her eyes
raise and she freezes.

MISS MARTIN HAS JUST OPENED THE DOOR AND STANDS THERE STARING
ICILY FOR A LONG MOMENT

Now she snaps the door closed without removing her eyes from
Clara, and starts forward.

The CAMERA PULLS BACK to include the two. Clara stands as
one under an hypnotic spell.

MISS MARTIN
(in a very low tone)
You vile, ungrateful strumpet --
running away in the night, like a
deceitful sneak-thief --

CLARA
(unrestrained)
Yes -- I'm running away -- and it's
all your fault -- you're the one
who's been deceitful and sneaking --
and don't think I don't know what
you intend doing.

MISS MARTIN
(very controlled)
-- And don't think I don't know what
you intend doing.

CLARA
(crying, as she moves
away)
I don't care -- I'm not ashamed of
it -- and nothing you can say or do
is going to stop me.

MISS MARTIN
(hardly above a whisper)
You little fool -- if you go to Garden
City with that man -- you stand to
lose everything.

CLARA
(stops pacing)
But why? -- Why are you being so
secretive? -- If you know something,
why don't you tell me?

ON DAVE AND ROCKLIN AT THE WINDOW LISTENING

DAVE
(nods and mumbles to
himself)
Yeah -- why don't you? --

Rocklin quickly shushes Dave.

ON MISS MARTIN AND CLARA

MISS MARTIN
(Unmindful of the
presence of the men)
All right, I'll tell you -- Rocklin
is a nephew of the late Mr. Caldwell.
And, as nearest of kin, he stands to
get everything -- according to the
will. Because you are not the old
man's niece, but only his grand-niece.

DAVE AND ROCKLIN AT THE WINDOW LISTENING - ROCKLIN SOBERLY -
DAVE WILD-EYED

MISS MARTIN'S VOICE
Rocklin turned up unexpectedly --

CLARA'S VOICE
And you and Mr. Garvey knew the truth
all the time?

MISS MARTIN'S VOICE
Yes.

If Dave keeps quiet any longer he'll burst. He spins Rocklin
around and speaks in his natural voice.

DAVE
-- And you knew the truth all the
time, too -- didn't you? -- No wonder
you stuck around --

From Rocklin's expression it is quite apparent to Dave that
he is right.

CLARA AND MISS MARTIN

Both women are staring dumbly toward the window. Now the
realization that she has been overheard staggers Miss Martin.
She utters a stifled scream and, seeing Rocklin starting
through the window, runs from the room.

ROCKLIN - JUST INSIDE THE ROOM - TURNS TO DAVE

ROCKLIN
Get in here and take care of her.

Dave scrambles through the window and hurries in pursuit of
Miss Martin. Rocklin is at Clara's side.

EXT. CALDWELL HOUSE - DAWN

Bushes near the house. George and Bob Clews are crouched,
watching.

GEORGE CLEWS
Come on --

They move out.

EXT. ROAD BETWEEN SANTA INEZ AND THE KC RANCH - DAWN

The posse riding hard.

EXT. JAW BONE CANYON - DAWN

We see Arly and Julio as they descend a steep embankment
toward the raging torrent. They both are riding Julio's horse.

CLOSE SHOT

Arly and Julio; Arly seated behind Julio, considerably
disheveled and sobbing.

JULIO
(comfortingly)
You are crying, senorita --?

ARLY
(lying bravely)
No.

JULIO
(knows she is)
It is too bad we lose your horse.
She was good horse, for sure.

ARLY
If only we make it in time.

As they move away into a longer shot, a huge boulder comes
crashing down the canyon side, across their path, and tumbles
with a great roar and splash into the torrent.

INT. CLARA'S BEDROOM - CALDWELL HOUSE - DAWN

Clara is talking feverishly to Rocklin.

CLARA
-- And I heard one of them tell my
aunt not to worry, that he was just
as anxious as she was to get even
with you.

Dave enters from the hall carrying Miss Martin over his
shoulder. He has her wrapped in a sheet and bound up in
tassled curtain cord.

DAVE
(as Clara and Rocklin
react)
This is the only way I could handle
her.

ROCKLIN
The Clews are around here some place --
Garvey sent 'em out.

CLOSE TWO SHOT

George and Bob Clews at the window. George has his gun
leveled, and a dirty smile twists his face.

GEORGE CLEWS
You bet we're around.

The CAMERA PULLS BACK as George Clews climbs into the room,
followed by Bob. They disarm both Rocklin and Dave as Clara
watches helplessly, and Miss Martin struggles in her wrapping.

GEORGE CLEWS
(to Bob)
Untie her.

BOB CLEWS
(to Dave)
Untie her.

Dave puts Miss Martin down and begins undoing her as Bob
covers him with his gun.

EXT. ROAD BETWEEN SANTA INEZ AND THE KC RANCH - DAWN

The posse riding.

EXT. MOUTH OF JAW BONE CANYON - FLAT COUNTRY - DAWN

Arly and Juan leave the hazardous trail behind and now start
across the flat on a run.

INT. CLARA'S BEDROOM - CALDWELL HOUSE - DAWN

Dave has unwrapped Miss Martin and she gets to her feet
bristling.

GEORGE CLEWS
(to Bob)
Now tie him up.
(indicates Dave)

MISS MARTIN
(quickly, as she picks
up the tassled cord)
I'll take part in this -- you -- you
hairy beast.

Bob Clews tosses the sheet over Dave's head. And as Dave
struggles,

ROCKLIN AND GEORGE CLEWS

Rocklin thinks he has George off guard and makes a pass at
him. But George is on the alert and strikes Rocklin on the
head with his pistol.

ON CLARA AS ROCKLIN GOES DOWN

She utters a choked cry and falls to the floor in a faint.

WIDER ANGLE

as Miss Martin comes to Clara and kneels beside her.

MISS MARTIN
Help me get her to the bed.

FULL SHOT

of the room. Bob Clews has Dave securely tied, and now assists
Miss Martin in getting Clara to the bed.

GEORGE CLEWS
(indicating Rocklin
on the floor)
What'll we do with 'em?

MISS MARTIN
Take them in to Mr. Garvey and tell
him I must see him at once.

BOB CLEWS
(triumphantly)
We'll dump them right in the Judge's
lap.

George Clews picks up the unconscious Rocklin.

MISS MARTIN
(still administering
to Clara)
Hadn't you better tie him, too?

GEORGE CLEWS
(to Bob, after a
second's pause)
Get some more rope.

Bob hurries to do so.

EXT. ROAD TO THE KC RANCH - DAWN

The posse riding.

EXT. KC RANCH - DAWN

Dave's wagon. Bob Clews is seen dumping Dave into the rear
of the wagon. George Clews stands near him with Rocklin's
unconscious form over his shoulder. Now he puts Rocklin in.

GEORGE CLEWS
Get our horses and meet me at the
gate.

Bob runs after the horses. George gets onto the wagon seat --
swings the team around and heads for the gate.

EXT. FLAT LAND NEAR THE KC RANCH - DAWN

Arly and Juan riding hard.

EXT. ENTRANCE TO THE KC RANCH -DAWN

George Clews sits in the wagon waiting for Bob, who now comes
out of the darkness with their horses. He dismounts, ties
the horses to the back of the wagon, comes around in front
to the gate. He is about to swing it open when he looks past
the camera at Arly and Juan, who now pull up to the outside
of the gate. Arly dismounts quickly, her gun in her hand.
Bob Clews backs up toward the wagon as Arly walks through
gate.

CLOSE SHOT

of Arly.

CLOSE SHOT

George Clews on the wagon seat. He is smiling and is going
to try to bluff it out.

GEORGE CLEWS
(to Arly)
What are you doin' with that gun,
Arly?

CLOSE SHOT

Arly.

ARLY
Get down from there before I show
you.

INT. OF WAGON - DAWN

Rocklin has regained consciousness and listens.

GEORGE CLEWS' VOICE
Now listen, Arly -- this ain't your
wagon --

ARLY'S VOICE
Neither is it yours -- Get down out
of there -- before I knock you down.

Rocklin recognizes Arly's voice. Now he raises himself up
over the tailboard and falls out.

EXT. REAR OF WAGON - DAWN

The horses tied in back shy as Rocklin falls to the ground.

EXT. FRONT OF WAGON - DAWN

Arly, as she takes it and starts toward the rear of the wagon.

BOB CLEWS - STANDING CLOSE TO GEORGE - WHO IS STILL ON THE
SEAT - SEES HIS CHANCE TO GET ARLY AND SLOWLY REACHES FOR
HIS GUN

He no more than gets it out when a knife whirls in from o.s.,
getting him in the small of the back.

JUAN

He sits calmly astride his horse, his gun leveled on George
Clews.

EXT. REAR OF WAGON - DAWN

Arly is cutting the rope binding Rocklin.

ARLY
-- And they're headed this way and
should get here any minute --

Rocklin gets to his feet. Arly notices something shining on
the ground where Rocklin lay. She picks it up. It is the
tobacco pouch with the steer's head of hammered silver.

ARLY
Where'd you get this?

ROCKLIN
(taking the pouch)
That belongs to the man who shot at
me on Table-Top -- Dave found it.

INT. OF WAGON - DAWN

On Dave's Wrapped form, kicking the wagon tailboard. Arly's
head appears between the flaps above the tailboard and as
Dave groans and kicks, she takes her knife and slits the
rope binding him.

EXT. FRONT OF WAGON - DAWN

Rocklin has come to George clew and we see him wrest the gun
from his hand and yank George down from the wagon seat. Once
down, he lets him have a hard right that sends him sprawling.

ON GEORGE CLEWS GETTING UP OFF THE GROUND AND ROCKLIN CLOSING
IN

They start fighting viciously. Arly rushes in crying wildly.

ARLY
(trying to stop Rocklin)
You've got to get away -- they'll be
here -- they'll catch you --

CLOSE SHOT

Rocklin. There is but one thought in his enraged mind --
Clews. He tears into him again.

ON ARLY AS DAVE JOINS HER

ARLY
(frantically)
You've got to stop him -- he's got
to get away.

THE FIGHT - AS DAVE AND ARLY FUTILELY ATTEMPT TO BREAK IT UP

ON DAVE AS HE GETS IN THE WAY OF ONE THAT SITS HIM DOWN

ON THE FIGHT AS ROCKLIN GETS IN A SUNDAY PUNCH THAT SENDS
GEORGE BACKWARD INTO A SHALLOW DITCH OUT OF SIGHT

ON GEORGE CLEWS LYING UNCONSCIOUS IN THE DITCH

EXT. ROAD NEAR THE KC RANCH - DAWN

The posse approaching.

EXT. FRONT OF WAGON - DAWN

Rocklin, Arly, Dave, Rocklin is about done in from the fight.

DAVE
(anxiously)
Come on -- let's git goin' --

ROCKLIN
(as he walks to wagon)
Where's the girl?

DAVE
Back at the house --

ROCKLIN
We've got to get her.

ARLY
You haven't time -- they're coming --
don't you believe me? --

ROCKLIN
(to Dave)
Come on --

Arly's plea goes unheeded and he starts away toward the house
on the run.

DAVE
(mutters)
Stubborn as an ole mule.
(shouts)
You're puttin' a rope around your
neck --

Dave runs after Rocklin.

ARLY AND JUAN - ARLY CLIMBING HURRIEDLY UP ONTO THE WAGON
SEAT

ARLY
Get him --
(indicates Bob Clews)
-- out of sight, and follow me.

She takes up the reins now and swings the team around and
off the road into the thickness of the trees.

EXT. CALDWELL HOUSE - DAWN

Rocklin and Dave. They are approaching the house warily.

DAVE
(softly)
But what'll we do with the ole lady?

ROCKLIN
Anything you like.

DAVE
I'd like to pizen her.

EXT. GROVE OF COTTONWOODS NEAR GATE - DAWN

Arly is seated on the wagon seat looking toward the gate as
Juan comes in on his horse.

ARLY
(pointing o.s.)
Look.

EXT. ENTRANCE TO KC RANCH - DAWN

At gate. The posse rides up. The gate is swung open and they
ride through.

EXT. GROVE OF COTTONWOODS NEAR GATE-DAWN

At wagon. Arly jumps to the ground and speaks to Juan.

ARLY
Come on.

As she starts toward the house, Juan dismounts and follows.

EXT. FRONT OF CALDWELL HOUSE - DAWN

The posse comes riding in. Jackson, Garvey, Harolday, and a
few others dismount and go toward the door.

ARLY AND JUAN

as they move stealthily into a spot shielded by undergrowth,
which gives them full view of the front and one side of the
house.

INT. CLARA'S BEDROOM - CALDWELL HOUSE - DAWN

Miss Martin is coming into the room with a glass and a pill
for Clara, who is still stretched on the bed.

MISS MARTIN
If you'll just take this -- you'll
go to sleep --

The sound of someone knocking on the front door comes over
the scene. Miss Martin exits hurriedly.

EXT. FRONT OF CALDWELL HOUSE - DAWN

At front door. Miss Martin opens the door, confronting Jackson
and the group. She is bewildered.

JACKSON
Evenin' ma'am -- hate to bother you
like this, but --

MISS MARTIN
(seeing Garvey,
interrupts)
I'm so glad you've come, Mr. Garvey,
the most awful --
(as though seeing the
crowd for the first
time)
-- Why -- what are all these people
doing here?

GARVEY
We're after Rocklin -- has he been
here?

MISS MARTIN
(smugly)
Oh yes -- here and gone.

JACKSON
What!

GARVEY
(astounded)
Gone --

MISS MARTIN
(triumphantly)
Yes -- the two men you sent out are
taking him and that horrid old man
back to town.

GARVEY
The Clewses -- funny we didn't see
them.

JACKSON
Somethin' musta gone wrong -- We
better fan out and see what's goin'
on.

MISS MARTIN
(quickly)
Don't leave, Mr. Garvey -- I've got
to talk with you, privately --

As all but Garvey and Harolday go back to their horses, Garvey
speaks.

GARVEY
But, madam --

MISS MARTIN
It's very important.

Garvey looks at Harolday in a manner evidencing his distaste
and impatience.

HAROLDAY
We'll go on and meet you in town.

GARVEY
Perhaps you'd better.
(calls to Jackson
o.s.)
I'll meet you in town, Jackson.

JACKSON'S VOICE
Right -- come on, men.

The sound of running horses comes over the scene as Harolday
hurries away and Garvey enters the house.

ON HAROLDAY AS HE GOES TO HIS HORSE

He starts to mount, but instead leads the horse into the
bushes close to where Juan and Arly are watching.

ARLY AND JUAN - WATCHING

INT. HALL - CALDWELL HOUSE - DAWN

Miss Martin and Garvey have been talking. Garvey paces
nervously.

GARVEY
(quickly, as he turns
to Miss Martin)
-- And you're positive he knows
everything?

MISS MARTIN
Absolutely everything -- He was
standing at the window all the time --
the scoundrel.

INT. CLARA'S BEDROOM - CALDWELL HOUSE - DAWN

Rocklin has his ear glued to the door. He can't help but
smile at Miss Martin's reference to him. Dave is behind the
curtain at the window, watching the outside. Clara is close
to Rocklin.

ROCKLIN
(whispers)
You better get back on the bed -- in
case they come in here.

Clara tiptoes away.

EXT. FRONT OF CALDWELL HOUSE - DAWN

Arly and Juan, as they watch Harolday approach the house and
go to the hall window.

INT. HALL - CALDWELL HOUSE - DAWN

Garvey and Miss Martin. Garvey is still pacing very nervously.
He is trying to think of his next move.

MISS MARTIN
If you were to ask me, I think the
best thing to do is --

Garvey stops and glares.

GARVEY
(irritably)
I'm not asking you -- and don't bother
me with your silly questions -- we've
got to do something besides talk.

MISS MARTIN
(drawing herself up)
You mean -- you have to do something.

Garvey stops and looks at her again.

MISS MARTIN
-- This was all your idea, remember.

GARVEY
(tossing it off)
My idea -- that's all you know about
it.

THE DOOR TO CLARA'S BEDROOM

It is open and Rocklin stands there looking o.s.

ROCKLIN
If there's anybody else in on it --
speak up, Judge.

ON GARVEY AS HE WHIPS AROUND AND STARES AT ROCKLIN

ON MISS MARTIN - GAPING OPEN-MOUTHED

MISS MARTIN
Well -- I do declare --

She can say no more.

FULL SHOT

Rocklin steps away from the door, where Dave and Clara now
stand. He has Garvey covered. Dave is pointing his gun, and
grimacing at Miss Martin.

EXT. FRONT OF CALDWELL HOUSE -DAWN

At hall window -- on Harolday watching.

INT. HALL - CALDWELL HOUSE - DAWN

Garvey is stepping back, in a cold sweat, toward Miss Martin,
as Rocklin advances toward him.

ROCKLIN
(to Garvey, quite
casually)
Talk.

Miss Martin opens her mouth, about to speak.

FLASH

of Dave.

DAVE
(blasting, to Miss
Martin)
Not you.

CLOSE SHOT

Miss Martin. Her mouth snaps shut like a trap.

THREE SHOT

Garvey, Rocklin, Miss Martin. Rocklin takes the tobacco pouch
out of his pocket.

ROCKLIN
(to Garvey)
Ever see that before?

GARVEY
(blanches)
No -- it's not mine.

ROCKLIN
Tell me whose it is.

GARVEY
(shaking)
No -- no -- I don't know --

EXT. FRONT OF CALDWELL HOUSE - DAWN

Harolday at hall window. He raises his gun -- he is about to
fire when a knife whirls out of nowhere and sticks in the
window frame, inches from Harolday's head. He spins around
and stares wildly here and there at the darkness.

GROUNDS AND BUSHES NEAR THE FRONT DOOR - FROM HAROLDAY'S
ANGLE

There is no one in evidence.

ARLY'S VOICE
Drop that gun.

ON HAROLDAY AT THE HALL WINDOW - STARING HARD - TRYING TO
LOCATE THE VOICE

He drops the gun. Arly and Juan come in to him. Arly has him
covered.

The CAMERA PULLS BACK to a WIDER ANGLE, getting the front
door as it is opened by Rocklin, who evidently heard Arly.

AT FRONT DOOR

Arly is prodding Harolday into the scene.

ARLY
(to Rocklin)
He was just getting ready to finish
you off, through that window.

INT. HALL - CALDWELL HOUSE - DAWN

Harolday is herded inside, close to Garvey and Miss Martin.

ROCKLIN
(almost enjoying this)
You seem to like to do business
through windows, Mr. Harolday.

In the pause Harolday remains sneeringly silent.

ROCKLIN
You're not Clint's killer, by any
chance --

ARLY
(cutting in)
By one bad chance --
(glares at Harolday)
Juan saw you do it.

Harolday looks at Juan, who slowly nods.

ROCKLIN
Well, now we're gettin' some place --

He brings up the tobacco pouch. But before he can ask about
it, Arly speaks.

ARLY
That pouch is his --
(indicates Harolday)
Juan made it for him a long time
ago.
(to Juan)
Didn't you?

Juan nods.

Rocklin, with a sudden transition, speaks to Harolday in a
hard, threatening tone.

ROCKLIN
(to Harolday)
Why did you kill Caldwell?

Harolday doesn't answer. He finally looks at Garvey in
desperation. Perspiration runs down Garvey's forehead.
Suddenly Harolday makes a mad dash for the door. Rocklin
shoots, but Arly pushes his arm and sends the shot wild.
Rocklin looks at her in amazement. Julio hurries out.

EXT. FRONT OF CALDWELL HOUSE - DAWN

On Harolday as he rushes madly across the clearing toward
the bushes where his horse waits.

The CAMERA SWINGS BACK to the porch in time to catch Julio
crossing it in pursuit of Harolday. Arly and Rocklin come
through the open door and stand on the porch watching.

THE BUSHES WHERE HAROLDAY'S HORSE IS HIDDEN - ARLY AND
ROCKLIN'S ANGLE

They see Julio disappear in the brush. For a moment nothing
happens; now Harolday's horse bolts out, riderless, and
gallops away. Now Julio comes slowly into view. He moves
slowly and deliberately back toward the house.

AT PORCH

Julio comes in to Rocklin and Arly. The three exchange
significant glances as we

DISSOLVE

INT. HALL - CALDWELL HOUSE - DAWN

In the hall are Clara and Miss Martin, Rocklin, Arly and
Julio, Dave and Garvey. Garvey is seated and has evidently
been talking in the way of confession.

GARVEY
-- Harolday wanted the K.C. like he
wanted the Santee and the Hardman
place, for his land scheme -- He
planned on breaking up the ranches
into small holdings and selling to
dirt farmers. He pretended to be on
the outs with me so I could get
Caldwell's confidence. And when Red
caught me with the crooked cards and
threatened to expose me -- Harolday
shot him.

ROCKLIN
Why did he kill Clint? An' not me?

GARVEY
That shot was an accident -- it was
meant for you. We planned on getting
the women to let me handle their
business --

MISS MARTIN
(interrupting, furious)
-- And do us out of everything --
(moves close to Garvey)
You vile -- wicked -- despicable --

She is beside herself in her anger -- and taking up a large
vase sitting nearby, she smashes it to pieces over Garvey's
head. Garvey goes down unconscious. Miss Martin rushes to
her room screaming. Clara follows her.

ON DAVE GRINNING BROADLY - ROCKLIN COMES TO HIM

ROCKLIN
When he wakes up -- we'll have him
put everything on paper.

DAVE
Well, you'll have to do the writin' --
'cause I don't know how to write.

CLARA HURRIES BACK TO THE GROUP FROM UP THE HALL

CLARA
(genuinely concerned)
Oh, Mr. Rocklin -- please -- I think
Auntie is out of her mind -- she's
in her room -- laughing.

DAVE
(grimaces)
What that ole pelican needs is a
good spankin'.

ARLY
(who has been silently
listening)
And I'll bet you're just the one who
can do it.

DAVE
(his eyes flash with
an idea)
Yeah -- I believe I am.
(looks at the group)
I know I am.

He starts away down the hall, rolling up his sleeves.
Rocklin's eyes wander to Clara, who seems quite at a loss.
Now he moves slowly toward her. In the b.g. Arly watches
Rocklin's every move.

ROCKLIN
I guess there's no rush for you to
get to Garden City, now --

After a slight pause in which she becomes conscious of Arly,
Clara speaks.

CLARA
No -- I don't suppose there's any --
rush --

There is another short pause. Rocklin glances at Arly, and
Arly assuming they want to be alone, turns and goes out the
door, leaving Julio attending Garvey.

CLARA
(after Arly goes)
If I was like her, I'd stay in the
West.

ROCKLIN
That means you're goin' back East --
Cousin Clara?

CLARA
(smiles, nods)
It's where I belong -- I know that
now --

ROCKLIN
It's good to know where you Belong,
I reckon -- Wish I knew.

CLARA
(wistfully)
I can tell you -- you belong with
her --

Rocklin takes it -- a faint smile brushes his face. He turns
now and walks out.

DISSOLVE OUT

DISSOLVE IN

EXT. GROUNDS NEAR CALDWELL HOUSE - SUN-UP

Arly is seated on the shaft of an old wagon. The first rays
of the morning sun streak through the trees across her as
she smiles wistfully down at the antics of a little woodchuck
cavorting on the ground close to her. In a moment Rocklin
comes into view in the b.g. He spots Arly, who has her back
to him, and walks over. His approach frightens the woodchuck
away, and turns Arly's head toward him. Neither has anything
to say. Now Rocklin sits beside Arly, but faces the other
way.

ROCKLIN
(after a pause)
Thanks.

ARLY
For what?

ROCKLIN
Everything.

There is another stilted pause.

ARLY
(her eyes sweeping
the morning)
Beautiful day.

ROCKLIN
(reflecting)
It didn't start out so beautiful.

ARLY
That's true of lots of things.

ROCKLIN
Fer instance?

ARLY
(hesitantly)
Well -- you and -- me.

There is another pause. But worlds are being said in the
language of eyes. Their heads move closer and now Rocklin's
arms sweep around the girl and they kiss.

GROUNDS NEAR ARLY AND ROCKLIN DAVE AND JULIO HURRYING THROUGH
THE GRASS

DAVE
(shouting)
Hey, Rock -- Rock -- get out your
pencil and paper --

The two stop abruptly and look o.s.

ON ROCKLIN AND ARLY KISSING ON DAVE AND JULIO

DAVE
(grimacing)
Doggone it -- here Garvey is back in
this world -- an' they're out of it.

FADE OUT

THE END

Contact | Disclaimer
Copyright © WeeklyScript.com | Scripts Copyright © their respective owners