Fade in to a scene of wild countryside. Menacing music begins

as a stagecoach appears going away towards the horizon.

Dissolve to the stagecoach crossing the screen against a

dawn sky, followed by a cavalry troop.

Dissolve to the cavalry troop riding against the dawn on the

horizon.

Dissolve to a similar shot of a band of Apaches, riding

furiously towards us.

Dissolve to a tremendous vista of desert and mountains against

the sky with a glimmer of dawn on the horizon. The stagecoach

appears and crosses the screen. Fade out.

Title: ’Until the Iron Horse came, the Stagecoach was the

only means of travel on the untamed American frontier. Braving

all dangers, these Concord coaches -- the "streamliners" of

their day -- spanned on schedule wild, desolate stretches of

desert and mountainland in the Southwest, where in 1875 the

savage struggle of the Indians to oust the white invader was

drawing to a close. At the time no name struck more terror

into the hearts of travellers than that of GERONIMO -- leader

of those Apaches who preferred death rather than submit to

the white man’s will.’

Fade in to another shot looking over the desert and mountains.

In the distance we see riding rapidly towards us two frontier

figures brandishing rifles -- typical scouts of the U.S.

Army at the time.

Dissolve to a U. S. cavalry camp set against a background of

desert and mountains. It is early morning and the American

colours are being hauled up. In the foreground, a bugler is

sounding the reveille, and several soldiers pass, leading

barebacked horses. An officer on horseback watches the colours

being raised into position. The bugler sounds another salute,

blowing the call for colours. In the distance, we see the

two scouts riding rapidly towards the camp, one white, the

other an Indian. They gallop in... and are joined by the

officer on horseback.

Dissolve to a bare room with whitewashed adobe walls -- the

headquarters of Captain Sickels, the commander of a troop of

cavalry stationed at the town of Tonto, Arizona. Capt. Sickels

sits at his desk with Lt. Blanchard, a young officer just

out of West Point, standing over him. We see the two figures

who came riding in across the desert so furiously. The White

Scout wears buckskin, his hair long in the frontier fashion

of that day. He stands opposite the captain on the other

side of the desk where a large map is laid out showing the

Territories of Arizona and New Mexico as they were in 1885.

The other scout is a full-blooded Cheyenne, a powerful-looking

Indian who stands impassively. A Non-Commissioned Officer of

the Signal Corps is also in the room; he sits at a pine table

on which is a telegraph instrument. The White Scout sweeps

his finger across the map, covering the area from the San

Carlos Reservation. There is a feeling of tension in the

room.

WHITE SCOUT

These hills are full of Apaches!

They’ve burned every ranch in sight.

His finger sweeps the map; his head nods to the impassive

Indian.

WHITE SCOUT

He had a brush with them last night.

Says they’re being stirred up by

Geronimo.

The word has a striking effect on Sickels and Blanchard.

Even the telegraph operator takes a step forward.

CAPT. SICKELS

Geronimo?

He turns to the Indian, regarding him narrowly.

CAPT. SICKELS

How do we know...

Cut to medium close-up of the Indian standing still.

CAPT. SICKELS

(continuing, off)

...he’s not lying?

WHITE SCOUT

(off)

He’s a Cheyenne. They hate Apaches

worse than we do.

Resume on a medium shot of the whole group as before. Capt.

Sickels swings round in his seat towards the N.C.O. There is

a moment of tension as he looks at the two scouts, now

convinced. The telegraph instrument begins to chatter, and

Sickels turns to the N.C.O. decisively.

CAPT. SICKELS

Clear the wire to Lordsburg.

N.C.O.

(already sitting down

to the telegraph key)

That’s Lordsburg calling. They seem

to have something urgent for you,

sir.

Sickels goes and stands by the N.C.O. The others gather round

watching as he clicks his key in reply and then takes up a

pencil, writing as the instrument chatters. He has written

only a few words before the instrument abruptly stops. He

tries his key, but the sounder is silent. He tries it again,

impotently.

CAPT. SICKELS

(sharply)

Well?

Cut to medium shot of the Captain standing beside the N.C.O.

CAPT. SICKELS

What’s wrong?

N.C.O.

(still trying his key)

Line’s gone dead, sir.

Sickels impatiently indicates the sheet of paper on which

the N.C.O. had begun to write.

CAPT. SICKELS

What did you get?

N.C.O.

(handing the paper to

Capt. Sickels)

Only the first word, sir.

CAPT. SICKELS

(looking up)

’Geronimo’.

Camera pans right as Sickels passes the paper across in front

of the N.C.O. to Lt. Blanchard. The White Scout stands beside

him. There is a silence that is heavy with menace as the men

look at each other.

Dissolve to the main street of Tonto, where a few cow ponies

and buckboards are hitched along the racks in front of the

stores. Three men stand on the sidewalk. As we hear the

clatter of horses, camera tracks left, and round the corner

at the end of the street comes the Concord stagecoach,

bounding along behind six lathered horses. Camera pans right

with it as it clatters down the middle of the street.

We see the street in long shot, as the stagecoach comes near.

Camera pans across the street as the stagecoach passes and

goes off in foreground.

Another long shot across the street shows: OVERLAND STAGE

COMPANY, written in large letters over a gateway with the

office to one side; the Oriental Saloon is next door. People

are running out of the saloon and from the stores to see the

biggest daily event there is in town -- the arrival of the

stagecoach, which comes towards us and pulls up in front of

the gateway. A crowd has gathered and more men rush up on

horse and foot.

The Shotgun Guard is seen from below getting down from the

driving-seat. Various voices can be heard shouting greetings

to the driver, Buck Rickabaugh. Buck is an important and

proud man, and loungers call to him, eager for recognition.

VARIOUS VOICES

(off)

H’ya, Buck!...

Howdy, Buck!...

How’s things in Bisbee, Buck?

Have a good trip?

Meanwhile the Shotgun Guard, who has guarded the treasure

box from Bisbee, jumps down to the sidewalk.

SHOTGUN GUARD

So long, Buck.

Men begin unhitching the horses. Buck acknowledges the cheery

greetings as the Wells Fargo Agent in Tonto pushes his way

through the crowd.

WELLS FARGO AGENT

Howdy, Buck. Got that payroll for

the mining company?

Buck kicks the box which is under his seat.

BUCK

She’s right here in this box.

The Wells Fargo Agent climbs up to the top of the coach,

calling to a colleague as he does so.

WELLS FARGO AGENT

Give us a hand with this box, Jim.

BUCK

Jim, I’ll pay you that $2.50 when I

get through.

JIM

Okay.

The two agents get the box down and carry it off between

them -- Buck looks over his shoulder to the other side of

the coach.

BUCK

Now you kids, get away from them

wheels!

He starts to get down and calls out to the men who are leading

the horses away.

BUCK

Well... sir, we ran into a little

snow up there, quite bad, so you

fellers better prepare for a good

frost.

He jumps down and disappears round the side of the coach.

The Tonto Hotel is seen on the other side of the road.

Medium shot of the stagecoach as Buck comes round to open

the coach door.

BUCK

Passengers out for Tonto...

A Tonto businessman climbs out and two figures remain sitting

in the coach. Through the rear window can be seen Mrs. Lucy

Mallory, her cloak drawn about her; she looks tired, yet

there is great strength of character in her clear face.

Through the other window can be seen a meek little man named

Samuel Peacock, who is sitting on the front seat opposite

her. There is something gloomy and parsonical about his whole

appearance.

He looks thoroughly uncomfortable and uneasy in this wild

environment. Buck, with two or three little boys tagging at

his heels, proud of being close to such a great man, sees

that these last two are not moving to get out and calls in

to them.

BUCK

You folks might as well stretch your

legs...

He looks at Lucy, coughs and corrects himself.

BUCK

...your limbs, ma’am. We’re changin’

horses here.

He helps Lucy out and she holds her cloak about her. Her

voice is crisp and well-bred with just a trace of Virginia

in it.

LUCY

Is there some place where I can have

a cup of tea?

Tea is not quite in Buck’s lexicon. He removes his hat,

scratches his head and speaks politely.

BUCK

Well, ma’am, you can get a cup o’

coffee right there in the hotel.

LUCY

Thank you, driver.

BUCK

(who has a tender

heart)

You ain’t looking very pert, ma’am.

LUCY

(as she leaves)

I’ll be all right, thank you.

BUCK

Yes, ma’am.

A medium shot of the porch of the Tonto Hotel, at one side

of the Oriental Saloon, shows an attractive young girl sitting

with a U.S. Army Captain standing beside her. She gets up as

Lucy Mallory appears, walking towards the door of the hotel.

GIRL

Why, Lucy Mallory!

She runs towards Lucy.

LUCY

(gladly)

Nancy!

(to the officer who

comes to join them)

How are you, Captain Whitney?

NANCY

What are you doing in Arizona?

Seen in medium shot, Lucy and Nancy stand by the door of the

hotel. As she speaks, an immaculately dressed gentleman,

wearing a white hat, comes through the door behind them.

LUCY

I’m joining Richard in Lordsburg.

He’s there with his troops.

CAPT. WHITNEY

(off)

He’s a lot nearer than that, Mrs.

Mallory. He’s been ordered to Dry

Fork.

NANCY

That’s the next stop for the

stagecoach. You’ll be with your

husband in a few hours.

Lucy’s face lights up with pleasure and they all turn and

start to go in through the door. The well-dressed gentleman,

Hatfield, stops short in the doorway and stares for a split

second at Lucy. She reacts to his stare. Hatfield recovers

himself, lifts his hat politely and stands by to let them go

inside.

The tables and chairs beside the window of the hotel are

seen in medium shot from the hotel lounge. Lucy, Nancy and

Capt. Whitney come in and the two ladies sit down.

NANCY

I’m so glad to see you, Lucy. Sit

down with us and have a cup of coffee.

You must be tired from that long

trip.

As they sit down, Lucy looks out of the window and notices

Hatfield standing in the street outside and looking through

the window. She turns to Nancy, interrupting her.

LUCY

(curiously)

Who is that gentleman?

The Captain answers quietly as his wife looks indignant.

CAPT. WHITNEY

(standing, looking

out of the window)

Hardly a gentleman, Mrs. Mallory.

NANCY

I should think not. He’s a notorious

gambler.

They all look curiously out of the window at Hatfield. He

notices them and turns and walks away across the street,

going with easy grace towards the saloon.

A medium shot takes us inside the U.S. Marshal’s office. It

is a one-storey frame shack with a sign on the window. ’Curly’

Wilcox, the U.S. Marshal, sits behind a desk littered with

papers, his feet propped on one edge of it. A couple of deputy

marshals are lounging in the office. One sits in the

foreground on a chair; the other stands in the background

leaning on the windowsill. Curly is lighting his pipe as

Buck comes in, importantly.

BUCK

(to the deputies)

Hello, Mick. Howdy, Frank. Well,

Marshal, I’m looking for my Shotgun

Guard. Is he here?

Curly is seen from above in medium close-up, leaning forward

and shaking his head. There is a rack of shotguns propped

against the wall behind him.

CURLY

Out with a posse, Buck... tryin’ to

ketch the Ringo Kid.

He pushes a picture across the desk. With the burning match

he indicates the photograph. He shakes out the match and

throws it on the floor.

Buck, seen from below in medium shot, looks down at Curly.

His hands are in his pockets, and he is surprised.

BUCK

Ringo! I thought Ringo was in the

pen.

CURLY

(off)

He was.

Buck picks up the picture and grins.

BUCK

Busted out? Well, good for him.

Resume on the group in the office.

FIRST DEPUTY

It’s my guess the Kid’s aimin’ to

get even with them Plummer boys.

SECOND DEPUTY

Yeah, it was their testimony sent

him to the penitentiary.

BUCK

All I can say is he better keep away

from that Luke Plummer. Gosh, Luke’s

run every friend o’ Ringo’s out of

Lordsburg.

Change to a low angle medium shot of Buck, who likes his

unofficial job of carrying news from town to town.

BUCK

Last trip there I seen him hit a

rancher with his gun barrel an’ lay

his head open like a butchered steer.

Cut to a high angle medium shot of the Marshal, who leans

forward. His feet have dropped to the floor with such a bang

that Buck looks at him, wondering at the effect of his words.

CURLY

You seen Luke Plummer? In Lordsburg?

Resume on Buck.

BUCK

Yes sirree.

Close-up of Curly looking thoughtful. There is a pause as he

looks from one to the other.

Cut back to the shot of the group in the office. Curly gets

to his feet, reaching out for a rifle which is leaning against

the wall. The deputies watch him curiously as he addresses

them.

CURLY

You boys take care of the office for

a coupla days.

He picks up the rifle.

CURLY

I’m goin’ to Lordsburg with Buck.

(as he gets his coat,

he explains gruffly

to Buck)

Goin’ to ride shotgun.

They go out together, Buck protesting weakly.

BUCK

Oh lor’, Marshal, when am I going to

learn to keep my big mouth shut...

Outside the Tonto Bank, we focus on the glass panels of the

bank door. White letters on one side read: MINERS’ AND

CATTLEMEN’S BANK and on the other: CAPITAL $50,000 -- ASSETS

$250,000. The bank is situated across from the Oriental Saloon

and we can see the stagecoach reflected in the glass, with a

crowd of people around it watching as fresh horses are hitched

up.

Dissolve to the interior of the bank. The two Wells Fargo

agents appear, heaving the large iron treasure box onto the

counter in front of Henry Gatewood, a prosperous-looking

gentleman, who stands behind the counter. He seems to be an

important man who commands respect in this Arizona frontier

town. A big, old-fashioned iron safe is in a corner behind

the counter. At the front of the office there is a wicket,

and an old cashier is doing some business with a couple of

ranchers.

WELLS FARGO AGENT

Payroll, Mister Gatewood.

GATEWOOD

You know, ever since I opened this

bank, I’ve been trying to tell those

people to deposit their payrolls

here six months in advance. It’s

good, sound business.

Gatewood begins to write a receipt as the Agent takes a

package of money from the box and puts it on the counter.

WELLS FARGO AGENT

(pleasantly)

It’s good business for you, Mr.

Gatewood.

GATEWOOD

Here’s your receipt. Fifty thousand

dollars.

He smiles affably.

GATEWOOD

And remember this -- what’s good

business for the banks is good for

the country.

The two agents pick up the empty box and go out, watched

affably by Gatewood.

End scene on a close-up of Gatewood staring after them with

a slight frown.

On the Tonto street a group of stern-faced women, all wearing

badges, march along in almost military order, camera tracking

beside them as they go. In front of them, at a safe distance,

walks a girl named Dallas, accompanied by a rather kindly,

middle-aged and embarrassed Sheriff. Dallas is carrying a

valise.

Medium shot of Dallas, tracking beside her as she walks along

the wooden sidewalk, the Sheriff just behind and the Ladies

of the Law and Order League following.

Medium shot of the Ladies of the Law and Order League marching

grimly behind.

A closer shot of Dallas as she walks. It is obvious that she

is suffering some inner distress and seems close to tears,

but her mouth is set hard in the attempt not to reveal her

feelings. A sudden outcry off-screen makes them stop short.

DOC

(placatingly, off)

Now, my dear lady...

A sign, nailed beside the doorway of a house on the street,

reads: DR. JOSIAH BOONE, M.D. The door opens and Doc Boone

hurriedly appears, a hard-faced Landlady behind him. He is

somewhat unsteady on his feet, but he has not lost his

optimism and good nature. In his flight he has hurriedly

grabbed up an old blue Union Army overcoat and a small bag

which is his medicine case. Camera tracks back slightly as

they come out onto the porch.

LANDLADY

(shrilly)

Don’t you ’dear lady’ me, you old

deadbeat! I’m keeping your trunk

because you ain’t paid your rent.

Feature Doc Boone as he balances himself carefully on his

two feet, gets a better grip on his overcoat and medicine

case, and lifts his hand jovially to the angry woman.

DOC

’Is this the face that launched a

thousand ships...’

Feature the hatchet-faced Landlady, hands on hips, as she

looks at him sternly through her steel-rimmed spectacles.

DOC

(off)

’...And burned the topless towers of

Ilium?’

Cut back to Doc Boone raising his hand dramatically to his

lips and blowing her a kiss.

DOC

’Farewell, fair Helen.’

His eye catches sight of the sign fixed on the wall by the

door and he leans over and wrenches at it, determined to

take all his stock-in-trade with him. He rips it off and

tucks it under his arm; then, with a last look at the

Landlady, he walks off.

Close-up of Dallas, backed by two of the Ladies of the Law

and Order League. She looks distressed by the turn of events.

They look rather pleased.

DALLAS

Doc! Doc!...

She hurries forward.

Doc Boone sways along in medium shot with his doctor’s bag

and overalls in one hand and his notice under his arm. Camera

pans slightly right as Dallas rushes up to him. The Sheriff

and the Ladies of the Law and Order League can be seen in

the background, watching.

DALLAS

(desperately)

Doc! Can they make me leave town?

When I don’t want to go? Do I have

to go?

The Sheriff comes forward, embarrassed, and catches Dallas’s

arm. His voice is plaintive.

SHERIFF

Now, Dallas, don’t go makin’ no fuss.

Doc Boone, Dallas and the Sheriff stand together in medium

close-up, with the Ladies in the background. The Sheriff is

helplessly plucking at Dallas’s arm, but she jerks free

defiantly as she appeals to the amiable Boone.

DALLAS

Do I have to go, Doc? Just because

they say so?

She indicates the Ladies.

SHERIFF

Now, Dallas, I got my orders. Don’t

blame these ladies. It ain’t them.

DALLAS

(almost screaming)

It is them!

(to Boone)

What have I done, Doc? Haven’t I any

right to live?

DOC

(patting her arm

paternally, quite

unperturbed)

We have been struck down by a foul

disease called social prejudice, my

child. These dear ladies...

The Ladies look on, very distastefully. The Landlady has

joined them and is looking particularly self-righteous.

DOC

(off)

...of the Law and Order League are

scouring out the dregs of the town.

Cut back to the shot of Doc Boone, Dallas and the Sheriff.

DOC

Come, be a proud, glorified dreg

like me.

SHERIFF

You shut up, Doc. You’re drunk.

DOC

(with dignity)

I’m glorified, sir.

The group of women still look on, sternly.

LANDLADY

Two of a kind.

Cut back again to the shot of Dallas and Doc Boone standing

on the boarding house porch with the Sheriff behind and the

Ladies in a bunch to one side.

LANDLADY

Just two of a kind.

She lifts her skirts and stalks off towards her front door.

DOC

(very dramatically,

giving his arm to

Dallas)

Take my arm, Madame la Comtesse! The

tumbril awaits. To the guillotine!

They start to move forward as the Landlady calls back to the

other Ladies of the Law and Order League:

LANDLADY

Wait till I get my badge, girls.

I’ll join you.

Doc and Dallas walk along the street, arm in arm. Camera

tracks along with them and with the Ladies, who follow in

formation.

The procession is seen coming along the sidewalk from between

two men, who stand with their backs to camera in the doorway

of the Oriental Saloon. The two men move out of the way as

Doc and Dallas come to the edge of the porch and put down

their baggage. Dallas sits down and Doc comes forward, pausing

in the doorway.

Inside the Oriental Saloon, halfway down the bar, Mr. Peacock

is talking to the Bartender.

PEACOCK

If you ever go East, brother, come

out to my house for dinner. Nobody

in St. Louis sets a better table

than my dear wife, Agatha.

As he speaks, Doc Boone comes to the bar in the foreground

and motions politely to the Bartender, who comes to him

suspiciously.

DOC

Jerry.

BARTENDER

Yes, Doc?

Doc Boone leans against the bar, and he and the Bartender

look at each other. Peacock can still be seen in the

background, silhouetted against a window.

DOC

Jerry, in the past I will admit, as

one man to another, that economically

I haven’t been of much value to you.

But...

(he lowers his voice

confidentially)

...you don’t suppose you could...

ahem... put one on credit?

Bartender shaking his head.

BARTENDER

If talk was money, Doc, you’d be the

best customer I got.

DOC

I’m leaving town, Jerry.

BARTENDER

Honest?

DOC

Yes, my dear fellow, and I thought

you might, in memory of our many

happy...

BARTENDER

(reaching for the

bottle)

All right, Doc, just this one.

DOC

Thank you, Jerry.

The Bartender gives him a bottle and a glass, and Doc

carefully and with relish pours himself a drink. He turns

the glass in his hand, regarding the liquor with fond

anticipation. Meanwhile the Bartender nods towards Peacock

at the other end of the bar.

BARTENDER

Here’s a man goin’ with you on the

stagecoach, Doc. He’s an Easterner

from Kansas City, Missouri.

Peacock looks up and turns towards them.

PEACOCK

Kansas City, Kansas, brother.

Doc Boone lifts his glass to Peacock, but his attention is

on the glass rather than on the stranger.

DOC

Your health, Reverend!

He drinks.

Doc Boone continues to drink with relish, not taking any

notice as Peacock speaks.

PEACOCK

(off)

I’m not a clergyman, my name is

Peacock. I’m a... ahem...

He coughs hesitantly.

BARTENDER

(off)

He’s a whiskey drummer.

Doc Boone coughs on his drink and sets down his glass.

DOC

(amazed)

What?

Peacock still stands at the end of the bar, with Doc Boone

and the Bartender looking towards him. Doc Boone is delighted.

DOC

Well, well, how are you...

He walks along the bar towards Peacock.

Cut to Doc Boone as he comes right up to the whiskey salesman.

DOC

...Mr. Haycock!

PEACOCK

Peacock!

DOC

You don’t need to tell me, sir. A

familiar name, an honoured name! I

never forget a face of a friend.

(he peers at the open

case)

Samples?

He takes out a bottle, regards it critically as he uncorks

it, and then half-drains it, nodding sagely. Peacock looks

at him nervously.

DOC

Rye!

At this, Peacock hurriedly closes the case. Doc Boone places

a friendly hand on his shoulder and Peacock looks even more

uneasy.

Outside in the main street of Tonto, the luggage is being

piled onto the stagecoach. The men finish hitching up the

horses and Buck climbs onto the driver’s seat. Another man

brushes out the inside of the coach. Everybody bustles around.

The passengers wait on the sidewalk.

The banker, Gatewood, is standing behind the counter of his

office as Mrs. Gatewood, a frigid-looking termagant, strides

into the bank and comes up to him, her hand outstretched.

She stands, her face turned away from him, her hand stretched

out towards him.

MRS. GATEWOOD

I need five dollars, Henry.

She holds her hand out, keeping her head averted.

GATEWOOD

(reaching in his

pocket, all smiles)

Why certainly, my dear, certainly.

(he gives her five

silver dollars)

What is it this time, a new...?

MRS. GATEWOOD

(interrupting him as

she puts the money

into her purse)

I want to pay the butcher. Dinner

will be at twelve o’clock. I’ve

invited the Ladies of the Law and

Order League.

GATEWOOD

Don’t you worry, my dear, I’ll be

there.

Mrs. Gatewood strides off, leaving Gatewood standing behind

his counter.

Cut to a close-up of Gatewood frowning.

He turns away thoughtfully towards the old iron safe behind

his desk. He bends down quickly and picks up a parcel of

money, the payroll package.

A high angle shot looks down at Gatewood as he kneels beside

the open safe holding the parcel of money. He takes a black

leather bag and stuffs the money into it.

In the main street, Buck sits up in the driver’s seat of the

stagecoach, holding the reins. In the background Lucy Mallory,

Nancy and Capt. Whitney come down from the porch of the Tonto

Hotel.

BUCK

(calling)

All aboard for Dry Fork, Apache Wells,

Lee Ferry and Lordsburg!

As he shouts, the two women and the captain come across the

road towards the stagecoach. The Sheriff accompanies Dallas

as she walks along the sidewalk, carrying her valise. In the

background, the Ladies of the Law and Order League hurry

past. The Bartender and another man come into shot and watch

them as they go past the saloon.

Dallas and the Sheriff come up beside the stagecoach.

Curly leans down from the driving-seat and takes her bag.

CURLY

I’ll take that, Dallas.

DALLAS

Oh, thanks.

The Sheriff opens the door for her. Her face is set and

defiant now, her chin up.

SHERIFF

In you go, Dallas, and a pleasant

voyage.

Dallas lifts her skirt to step into the coach, revealing her

ankle and part of her striped stockings. Someone whistles.

She looks round, annoyed.

The Bartender and the other man are seen in medium close-up,

looking towards Dallas. The Bartender grins and nudges his

friend, who grins back. Then they both look back towards

Dallas.

Dallas draws her skirt up a little higher, playing up to

them and grinning. Then she gets in and the Sheriff moves

away, shaking his head.

Dallas is seen through the stagecoach window, sitting back

in her seat.

Peacock starts to climb into the coach, followed closely by

Doc Boone. The Doc hands up his bag and his notice to be put

with the rest of the luggage on the top of the coach.

DOC

Thank you, thank you, my friend.

Doc Boone is also carrying Peacock’s sample bag. Peacock

leans out of the coach towards him.

PEACOCK

I’ll take it, Doctor.

DOC

(raising a hand)

Oh no, no, no trouble at all. I’ll

carry it on my lap.

Peacock sits back weakly as Doc Boone, with much heaving and

spluttering, hauls himself into the coach.

Nancy, Lucy and Capt. Whitney stand together waiting, when a

member of the Law and Order League comes up to them.

LADY

Mrs. Whitney, you’re not going to

let your friend travel with that

creature.

She turns round. Dallas, seen from the side through the coach

window, ignores the remark.

Lucy looks up towards the coach.

NANCY

(off)

She’s right, Lucy. Besides, you’re

not well enough to travel.

LUCY

(determinedly)

It’s only a few hours, Nancy. I’m

quite all right.

Dallas looks out of the window of the coach, then looks away.

NANCY

(off)

But you shouldn’t travel a step

without a doctor.

The two Ladies stand one on either side of Lucy, trying to

persuade her.

LUCY

There is a doctor, dear. The driver

told me.

LADY

Doctor? Doc Boone? Why, he couldn’t

doctor a horse!

Capt. Whitney stands at the open door of the coach. Doc Boone

looks out of the window on one side, while Dallas can be

seen sitting on the other. Nancy and Lucy come up to the

coach, then Nancy and Capt. Whitney help Lucy to climb inside.

NANCY

Now, Lucy darling, you must be very

careful, take good care of yourself --

oh, watch that step, now!

As she gets in, the Whitneys close the door and Buck calls

down from the driving-seat.

BUCK

(off)

Now, ladies, both ride facing forward,

please!

NANCY

There we are!

CAPT. WHITNEY

Pleasant journey, Mrs. Mallory!

LUCY

Why, thank you. Goodbye!

NANCY

Goodbye!

DOC

Goodbye!

Nancy looks away, embarrassed.

In a corner of the saloon Hatfield sits at a table, smoking

and playing cards. He turns and looks out of the window on

his left. He sees Lucy in close-up, leaning round and looking

through the window of the stagecoach.

Now he is seen from the outside, looking through the saloon

window.

Lucy continues to look out of the stagecoach window. Then

she sits back.

Hatfield, still in his seat, continues to look.

HATFIELD

Like an angel in a jungle.

He turns back to the cardtable and plays his hand.

HATFIELD

A very wild jungle.

COWBOY

What are you doing, Hatfield, talking

to yourself?

Hatfield, a cigarette dangling from his lips, leans forward.

He puffs on his cigarette, then smiles coldly. His cultivated

voice seems to have a cold, mocking edge to it.

HATFIELD

You wouldn’t understand, cowboy.

He shakes his head, still smiling.

HATFIELD

You’ve never seen an angel. Or a

gentlewoman, [a thoroughbred].

He turns and looks out of the window again, camera panning

with him.

COWBOY

Come on, ace bets.

HATFIELD

I raise, gentlemen.

We can hear them putting coins onto the table.

Buck and Curly sit up on the driving-seat of the stagecoach

as it waits outside the Tonto Hotel, ready to pull out.

Several townspeople stand around, shouting their farewells.

A man waves an arm to them.

MAN

(shouting)

So long, Buck, so long, Curly. Nice

trip, boys.

BUCK

So long, boys, so long, kids.

In the background, a detachment of ten cavalrymen lead by

young Lt. Blanchard comes galloping down the street. Everyone

looks round towards them, shouting in amazement. As they

come up and pull in alongside the stagecoach, Blanchard wheels

his horse so that he is by the driving-seat and holds out an

envelope towards Curly.

LT. BLANCHARD

(crisply)

Captain Sickels asks if you will

deliver this despatch in Lordsburg

the moment you arrive. The telegraph

line has been cut.

Buck and Curly lean down, a trifle mystified, towards

Blanchard.

CURLY

(taking the despatch

and looking at it)

Sure.

Blanchard looks up at Curly from his position astride his

horse, while Curly leans over the side of the coach to face

him.

LT. BLANCHARD

We’re going with you as far as the

noon station at Dry Fork. There’s a

troop of cavalry there. They’ll take

you on to Apache Wells. From Apache

Wells you’ll have another escort of

soldiers into Lordsburg. You must

warn your passengers that they travel

at their own risk.

Curly looks puzzled.

CURLY

At their own risk? What’s the trouble,

Lieutenant?

LT. BLANCHARD

Geronimo!

The word has a dreadful effect on Buck, who half-rises, trying

to get rid of the reins and speak at the same time, neither

of which he accomplishes. And on the sidewalk, the crowd

looks startled as the whisper runs among the people:

’Geronimo!’

BUCK

(wheezily)

Geronimo! I... I ain’t goin’.

CURLY

(gruffly)

Sit down!

Blanchard looks at Buck and his tone is cool with an edge of

scorn.

LT. BLANCHARD

Of course, the Army has no authority

over you gentlemen. If you think it

unsafe to make the trip...

Curly is stung by the tone of the young officer, and he stares

Blanchard grimly in the eyes.

CURLY

This stage is going to Lordsburg. If

you think it ain’t safe to ride along

with us, I figure we can get there

without you soldier-boys.

LT. BLANCHARD

I have orders, sir. I always obey

orders.

Blanchard turns his horse and rides back towards the troop

of soldiers, who have stopped a little way behind the coach.

Curly climbs down and goes to the door of the stagecoach.

Now Curly is shown from inside the coach, opening the door

and looking in to address the passengers.

CURLY

Did you all hear what the Lieutenant

said?

Lucy looks at him.

LUCY

Yes, we heard.

Curly looks round again.

CURLY

Well, me and Buck are takin’ this

coach through, whether they’s any

passengers or not. Now whoever wants

to get out can get out.

Inside the coach, Doc Boone is busily inspecting the contents

of Peacock’s bag. Peacock leans across anxiously, but Doc

Boone pushes him away, closing the bag.

DOC

Courage, Reverend. Ladies first.

Peacock looks anxiously over at the two women.

Curly also looks at them.

CURLY

How ’bout you, Dallas?

Dallas looks round at him, her face set.

DALLAS

(harshly)

What are you trying to do... scare

somebody? They put me in here. Now

let ’em try and put me out! There

are worse things than Apaches.

The Ladies of the Law and Order League stand in a grim row

looking on.

Curly looks over at Lucy, his voice softened with respect.

CURLY

If you take my advice, ma’am, you

won’t take this trip.

Lucy’s face, when she looks at him, is determined.

LUCY

My husband is with his troops at Dry

Fork. If there’s danger I want to be

with him.

Now it is the turn of Peacock and Doc Boone. Peacock clears

his throat and speaks meekly.

PEACOCK

Well, you see, brother, I have a

wife and five children...

DOC

(slapping him on the

hand)

Then you’re a man! By all the powers

that be, Reverend, you’re a man.

Doc Boone grips the whiskey-sample bag firmly and Peacock

sits back with a pious expression.

Curly stands at the stagecoach with his back to camera. He

closes the door.

CURLY

All right, folks.

HATFIELD

(off)

Marshal...

Curly turns at the sound. Hatfield is seen in medium shot,

standing between two of his gambling cronies.

HATFIELD

Make room for one more!

He starts to move forward. Curly stares at him, astonished,

as Hatfield comes up to the door of the coach. [Lucy looks

out of the window curiously.]

HATFIELD

I’m offering my protection to this

lady.

He takes his hat off to her.

HATFIELD

I can shoot fairly straight if there’s

a need for it.

CURLY

That’s been proved too many times,

Hatfield.

(growling)

All right, get in. We’re late.

Curly goes off, watched by Hatfield. The gambler climbs in

urbanely.

HATFIELD

(to Peacock)

May I trouble you to move over,

sir?...

PEACOCK

Why, yes, of course.

CURLY

(off)

Close the door.

Buck sits nervously ready on the driving-seat as Curly climbs

up beside him.

BUCK

Oh, Curly, we can’t...

CURLY

(sitting down)

Get going, Buck.

Buck resigns himself.

BUCK

(shouting and whipping

up the horses)

Hey up! Bessie, Brownie, Bill!

Doc Boone leans out of the stagecoach window to wave goodbye.

The Ladies of the Law and Order League stand in medium shot,

all firmly in a row.

DOC

(off)

Farewell, ladies.

The Ladies scream in horror and one of them covers her eyes.

DOC

(off)

Sweethearts!

Cut back to the same close-up of Doc Boone leaning through

the window, waving and smiling.

Now we see the main street of Tonto in long shot, as the

music begins. The stagecoach moves off, coming down the street

towards camera, the soldiers wheeling into position behind.

Camera pans left with it as it passes and goes out of shot,

followed by Lt. Blanchard leading his troop of cavalry.

The scene dissolves to a high angle medium long shot of

Gatewood standing by the road with the heavy valise. The

stagecoach can be heard approaching, and, as it comes into

shot, Gatewood raises his arm to flag it down. Buck pulls

the horses up beside him.

GATEWOOD

(pleasantly)

Room for another passenger?

BUCK

Sure, Mr. Gatewood. Goin’ to

Lordsburg?

GATEWOOD

That’s right. Just got a telegram.

Had to pack this bag and didn’t have

time to catch you at the Oriental.

He opens the coach door.

GATEWOOD

Well... I’ve made it anyway.

Their words are partly muffled by the noise of the horses

champing at the bit and stamping and snorting. Gatewood climbs

in and Buck urges the horses on again.

Dissolve to a long shot of the road that leads out of town.

The stagecoach appears in the foreground, the horses going

at a good clip down the winding road into Monument Valley.

Behind the stagecoach the detachment of cavalry is strung

out, dust rising behind the horsemen in a cloud. It is a

hot, clear morning.

Buck and Curly are seen from behind in medium close-up on

the driving-seat. Curly looks over his shoulder, rearranging

the baggage on the roof of the coach, while Buck chatters

and larrups the horses.

BUCK

(yelling)

Hi, Susy! Hi there, Billy! Gitty Ap!

Git alang! Git alang, Susy!

Nervously to Curly If there’s anything I don’t like, it’s

drivin’ a stagecoach through Apache country.

Now we reverse the angle of Buck and Curly so that they are

facing camera. Buck looks around nervously, making sure the

cavalry is near. [Then, reflectively, he reaches into his

bulging pocket, takes out a stone and throws it with sharp

aim at one of the lead horses, catching it on the rump.]

Curly, who has his rifle in the boot and the muzzle between

his knees, is sunk in thought, trying to puzzle out something.

CURLY

Sure funny, Gatewood ketchin’ us

outside town that way.

BUCK

I took this job ten years ago so’s I

could get enough money to marry my

Mexican girl, Julietta. I been workin’

hard at it ever since.

(yelling)

Barney, git on there!

CURLY

At marriage?

BUCK

Why, certainly; my wife’s got more

relatives than you ever did see! I

bet I’m feeding half the state of

Chihuahua!

CURLY

Don’t it seem funny to you? About

Gatewood?

BUCK

And what do I get to eat when I’m

home in Lordsburg? Nothing but frijole

beans, that’s all. Nothing but beans,

beans, beans! Gitty ap, Sam!

Inside the stagecoach, Gatewood is squeezing his bulk into

the seat between Lucy and Dallas, both of whom look at him

with some distaste.

GATEWOOD

Excuse me, ladies.

He chuckles.

GATEWOOD

Warm today.

Peacock and Doc Boone sit side by side, seen in medium closeup.

DOC

(slurring his words)

Your wife made it warm fer me today,

Gatewood.

Dallas, seen in close-up, looks down.

DOC

(off)

She was chairman of our farewell

committee.

Dallas looks round towards Gatewood.

He is now shown sitting between Lucy and Dallas. He clears

his throat uncomfortably, trying to break the ice.

GATEWOOD

Fine-looking bunch of soldier-boys

back there. It always gives me great

pride in my country...

Doc Boone opens Peacock’s bag again, looking at Peacock with

a wicked grin.

GATEWOOD

(continuing, off)

...when I see such fine young men in

the U. S. Army. Anybody know where

they’re going?

Doc Boone places an exploratory hand inside the bag.

PEACOCK

(closing the bag, but

not before Doc

extracts a bottle)

Brother, aren’t you aware of...

(he coughs nervously)

...what’s happened?

Gatewood, sitting importantly between Lucy and Dallas, looks

over at him.

GATEWOOD

I don’t follow you, Reverend.

Doc Boone looks pleased with himself, while Peacock protests

feebly.

PEACOCK

I’m not a clergyman...

DOC

(cutting in)

My friend is a whiskey drummer. We’re

all going to be scalped, Gatewood.

Massacred in one fell swoop.

Cut back to the same shot of Gatewood between the two women.

DOC

(off)

That’s why the soldiers are with us.

GATEWOOD

(smiling patronizingly

at Lucy)

He’s joking, of course.

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

PEACOCK

(fluttery)

Oh no, he’s not. Oh dear no. I wish

he were.

DOC

(cheerfully)

It’s that old Apache butcher...

Cut again to the same shot of Gatewood and the women.

Gatewood looks very uneasy as Doc Boone continues:

DOC

(off)

Geronimo.

Now back again on Peacock and Doc Boone.

DOC

Geronimo, that’s the name of our

butcher. He’s jumped the reservation.

He’s on the warpath.

Again back to Gatewood and the women.

GATEWOOD

(appalled)

Geronimo? Well, why weren’t the

passengers notified? Why wasn’t I

told?

Peacock and Doc Boone look at the banker.

PEACOCK

We were...

DOC

We were told, Gatewood.

PEACOCK

(nodding)

Yes, yes.

DOC

Weren’t you told when you got that

message...

Now Gatewood looks suddenly agitated, while Lucy and Dallas

sit silently on either side of him.

DOC

(off)

...from Lordsburg?

GATEWOOD

(blustering)

Oh yes, yes, yes, of course, of

course, I forgot.

The stagecoach and the cavalry troop are now seen in long

shot, trotting across the prairie, silhouetted against the

evening sky. Camera pans with them as the coach goes out of

shot, followed by the cavalrymen.

Cut to a medium close-up of Buck and Curly on the drivingseat.

Curly holds the rifle across his knees, deep in

meditation, [while Buck, still grumbling, takes a stone from

his pocket and tosses it with unerring aim at one of the

horses].

BUCK

Now, doggone it, her grandfather’s

comin’ up from Mexico to live with

us!

CURLY

I can’t figure out how he got that

message.

BUCK

Who, my grandfather?

CURLY

No, Gatewood.

BUCK

Sweetheart!

CURLY

Said he got a message.

BUCK

Sweetheart!

CURLY

The telegraph line ain’t working.

Now part of the prairie is seen in medium long shot. The

horses, pulling hard, come into view hauling the stagecoach

up a short sandy slope, throwing up clouds of dust as they

go off followed by the cavalry.

Dissolve to a high angle very long shot over another part of

the prairie with the stagecoach lurching towards camera. The

horses gallop up the slope towards a tree in the foreground.

As they come up, a shot rings out.

Meanwhile the cavalry troop is seen fording a river, far

behind the stagecoach, camera panning across with them as

they go up the other bank.

The stagecoach is still being hauled forward, Buck pulling

wildly at the reins to bring the horses to a stop. They whinny

and buck. Curly jerks up his gun.

BUCK

Hey look, it’s Ringo!

CURLY

(with relish)

Yeah.

The Ringo Kid, seen in medium shot, is standing with a rifle

in one hand and a saddle in the other. He shouts out. He

swings his rifle round, and camera tracks in to medium closeup

then to close-up of him. Buck can be heard steadying the

horses.

Buck and Curly are seen in low angle, up on the driving-seat.

Curly grins slightly and raises his shotgun.

CURLY

Hello, Kid.

Ringo stands calmly looking on. The desert stretches out

into the distance beyond him. If Ringo is taken aback by

Curly’s shotgun, he doesn’t show it.

RINGO

Hiya, Curly. Hiya, Buck, how’s your

folks?

Cut back to the same low angle shot of Curly and Buck. Buck’s

eyes are popping with surprise.

BUCK

Fine...

(he clears the frog

out of his throat)

...Fine, Ringo, except that my wife’s

grandfather...

CURLY

(gruffly)

Shut up!

The stagecoach is seen from the side, showing Lucy, Peacock

and Hatfield staring curiously out of the windows.

RINGO

Didn’t expect you to be ridin’ shotgun

on this run, Marshal.

Ringo stands in the foreground with his back to camera,

looking up at Buck and Curly.

RINGO

Goin’ to Lordsburg?

CURLY

I figured you’d be there by this

time.

Ringo starts to move towards the stage.

RINGO

No, lame horse.

(looking up at Curly)

Looks like you got another passenger.

CURLY

Yeah.

He stretches out his hand.

CURLY

I’ll take the Winchester.

Ringo looks up at him. He makes no move to surrender his gun

though his manner is friendly. His eyes smile up at Curly as

he drawls.

RINGO

You might need me and this Winchester.

I saw a coupla ranches burnin’ last

night.

Curly looks down at Ringo. Buck, behind him, is looking over

his shoulder.

CURLY

I guess you don’t understand, Kid.

You’re under arrest.

Ringo looks up good-naturedly.

RINGO

Curly...

He turns suddenly as a horse whinnies off. Beyond the

stagecoach, with Ringo standing beside it, the soldiers come

clattering into view, rounding a wall of rock at a canter.

Ringo turns right round to look at them.

CURLY

(off)

Gimme that gun, Kid.

Ringo is seen in close-up, looking up towards Curly. His

eyes flick back towards the approaching cavalrymen. He sizes

up the situation and with a good-humoured shrug looks again

up to Curly and uncocks his gun to throw it up.

Lt. Blanchard now leads his troop up to the stagecoach in

the foreground. Ringo throws his Winchester rifle up to Curly,

who catches it. As the lieutenant rides up to them, Ringo

throws his saddle up onto the top of the stage.

LT. BLANCHARD

Everything all right, Marshal?

CURLY

Everything’s all right, Lieutenant.

The stagecoach is seen from the side as Ringo goes up to it

and opens the door. Through the window, Peacock watches him

in some alarm.

RINGO

Hope I ain’t crowding you folks none.

He climbs in with them and they close the door.

Lt. Blanchard waits by the stagecoach, as Buck starts the

horses up again, and the cavalry troop come up round the

bend behind them. The soldiers follow the stagecoach as it

moves off.

Dissolve to a long shot of the stagecoach coming up a track,

silhouetted against the sky. The landscape is very bleak;

only a small dead tree is visible, in the foreground. The

stagecoach, followed by the cavalry, goes off on the right.

Dissolve to Buck and Curly sitting on the driving-seat.

BUCK

(cheerfully)

Ain’t Ringo a fine boy?

CURLY

I think so.

BUCK

Hey, you’re just smarter’n a trade

rat -- you knew all the time he was

going to Lordsburg. Hey, reckon what

he meant, he saw ranch-houses burnin’?

CURLY

Apaches.

Inside the stagecoach, the occupants openly or covertly

inspect the newcomer. Through the window behind Lucy, the

countryside can be seen going past. Gatewood, sitting the

other side of Lucy, picks up his bag of money from the floor

and puts it on the seat beside him. He breaks the silence in

a friendly way.

GATEWOOD

So you’re the Ringo Kid.

Ringo has seated himself on the floor with his back against

the door between Hatfield on the front seat and Lucy on the

rear seat. He looks straight at Gatewood, his voice casual.

RINGO

(drawling)

My friends just call me Ringo.

(he smiles)

Nickname I had as a kid. My name’s

Henry.

He takes off his scarf as he speaks.

Cut to a close-up of Gatewood in the foreground with Dallas

beside him. They both look towards Ringo.

DOC

(off)

Seems to me I knew your family, Henry.

Doc Boone and Peacock are seen, squashed together in the

corner of their seat. [Doc Boone has been lighting a long

stogie. He shakes out the match and chuckles at Ringo.]

DOC

Didin’t I set your arm once when you

were, oh...

(he holds his hand

knee-high off the

floor)

...bucked off a horse?

Ringo looks at him, sizing him up with keen eyes.

RINGO

(grinning)

You Doc Boone?

DOC

(off)

I certainly am.

Peacock and Doc Boone are seen from the same angle as before.

DOC

Let’s see, I’d just been honourably

discharged from the Union Army after

the War of the Rebellion.

Hatfield turns sharply to look towards Doc Boone.

HATFIELD

(haughtily)

You mean the war for the Southern

Confederacy, suh.

DOC

(suddenly bristling)

I mean nothing of the kind, sir.

Ringo, still looking at Doc Boone with sharp interest,

disregards the interruption.

RINGO

That was my kid brother broke his

arm. You did a good job, Doc, even

if you was drunk.

He ties his scarf back round his neck.

The shot of Peacock and Doc Boone now shows Boone grinning.

DOC

Thank you, son. Professional

compliments are always pleasing.

PEACOCK

Yes, they are.

DOC

(flicking ash from

his stogie)

What became of the boy whose arm I

fixed?

There is a pause. The smile goes from Ringo’s face and his

voice is quiet as he looks straight ahead of him.

RINGO

He was murdered.

Dallas looks round sympathetically.

Peacock and Doc Boone look down, obviously moved.

Ringo looks saddened by the memory.

Now the stagecoach is seen in medium long shot as it comes

towards camera out of a slope against the sunset, with a

large rock formation in the Arizona desert rising up behind.

Lt. Blanchard and the cavalry troop follow closely. Inside

the stagecoach, Doc Boone smiles cheerfully at Peacock, his

arms wrapped protectively round the whiskey-sample bag.

Peacock smiles back rather wanly.

Lucy, sitting by the window, with Gatewood partly in shot

beside her, looks pale and uncomfortable. She raises a

handkerchief to her face, then turns away and looks out of

the window.

Hatfield watches her covertly, with a worried frown. Smoke

drifts from Boone’s stogie and Hatfield raises his

handkerchief to try and blow it away. [Lucy coughs,] and

Hatfield looks coldly at Doc Boone.

HATFIELD

Put out that cigar.

Doc Boone has the stogie stuck in the corner of his mouth.

He puffs on it absently. Then he turns somewhat nervously in

Hatfield’s direction [as Lucy can be heard stifling another

cough].

Hatfield stares at him firmly.

HATFIELD

You’re annoying this lady.

Doc Boone looks across towards Lucy. He does not like

Hatfield’s tone, but he is a kindly soul and he takes the

cigar-butt out of his mouth, at the same time nodding towards

her with great dignity.

DOC

Excuse me, madam.

Lucy smiles at him graciously.

Doc Boone tosses the butt out of the window.

DOC

Being so partial to the weed myself,

I forget it disagrees with others.

Lucy smiles, then lowers her eyes and looks away out of the

window again.

Hatfield fixes a cold eye on Doc Boone.

HATFIELD

A gentleman doesn’t smoke in the

presence of a lady.

Doc Boone leans back and folds his hands over his plump belly,

addressing no one in particular in an amiable tone.

DOC

Three weeks ago I took a bullet out

of a man who was shot by a gentleman.

The bullet was...

Hatfield’s eyes blaze as he stares at Boone, half-rising in

anger.

DOC

(off)

...in his back.

HATFIELD

affronted Do you mean to insinuate...

Ringo looks over at Hatfield and speaks to him with quiet

authority.

RINGO

Sit down, mister.

Hatfield sits back, rather put out.

Ringo is shown looking up at him with a half-smile. But there

is no doubting the determined character that lies concealed

behind his casual manner.

RINGO

Doc don’t mean any harm.

The stagecoach and the escorting cavalrymen are seen in very

high angle long shot as they go along the trail in Monument

Valley, the fantastic and majestic scenery rising up all

around them. Camera pans slowly with them as they go on down

the trail. Fade out.

Fade in to the station at Dry, Fork, a wide yard in which

there is a low adobe building with a corral. There are fresh

horses for the stage in this corral, together with mustangs

belonging to those at the station. [A Mexican boy, who has

been standing on the gate and peering down the road, lets

out a cry in Mexican and three or four Mexican vaqueros,

picturesque in their high peaked hats and coloured shirts

and high boots, appear and hurriedly swing open the big gate.]

There is a clatter as the stagecoach comes into view at a

good clip and Buck, yelling at his horses, steers the

stagecoach skilfully in through the gate, the cavalry escort

cantering up behind. Camera pans with the stagecoach as Buck

pulls the horses to a stop in front of the long low adobe

building in the station yard. The soldiers file across past

them as Buck and Curly begin to climb down.

The stagecoach is seen in low angle medium shot from the

side. The cavalry horses continue to ride past in the

foreground, partly obscuring the business behind -- people

getting out and luggage being hauled off the roof of the

coach. Ringo gets out first, followed by Hatfield, who brushes

down his cloak fussily. Then Peacock gets out, keeping a

firm hold on his sample bag, which he has by now retrieved

from Doc Boone. Hatfield waits and helps Lucy down; she looks

weary and holds her cloak about her. Buck attends to the

horses.

BUCK

(shouting to the men)

Be careful of ol’ Bessie up there,

now... Take it easy, hold it -- steady

there, girl. Take a look, see if

there ain’t a stone in the hoof of

that hoss down there.

Cut to a medium shot with the stagecoach just visible on the

left and men bustling around the horses. Ringo is standing

at the doorway of the station-house. Billy Pickett, the

manager of the station, stands by the stagecoach as Doc Boone

gets down. They greet each other like old friends. Camera

pans slightly right as Doc and Billy grasp each other and

shake hands in delight.

DOC

Well, if it isn’t my old friend,

Sergeant Billy Pickett... How are

you, Billy?

Billy’s wife comes up and joins them, smiling happily.

MRS. PICKETT

He’s fine, Doc, and mighty glad to

see you.

Everybody bustles around in the station yard. Doc and Billy

go off arm in arm, and Hatfield and Ringo follow them. Mrs.

Pickett goes forward, towards the stage.

MRS. PICKETT

Great heavens to Betsie, we didn’t

figure on no stagecoach coming through

with them Apaches raising Cain. I

was just telling Billy there to hitch

up the buckboard...

Gatewood interrupts her.

GATEWOOD

Now wait a minute -- you mean to say

there are no troops at this station?

Hatfield and Lucy are going away towards the station-house

door. Lucy turns suddenly at Gatewood’s words as Mrs. Pickett

continues off.

MRS. PICKETT

There ain’t no soldiers here but

what you see.

LUCY

(anxiously)

But my husband, Captain Mallory. I

was told he was here.

MRS. PICKETT

(off)

He was, dearie. Got orders night

afore last to join the soldiers at

Apache Wells.

Lucy, very upset, turns away, trying to be courageous, but

the strain shows.

BUCK

(off)

Well, that means we got to turn back.

GATEWOOD

(off)

I can’t go back.

(he catches hold of

himself and blusters)

See here, driver, this stage has

started for Lordsburg and it’s your

duty to get us there.

As they speak, camera pans right with Lucy, who slowly goes

over to a bench by the wall and sinks down.

Gatewood and Lt. Blanchard face one another, with Buck

standing between them. Curly watches in the background.

GATEWOOD

(loudly to Blanchard)

And it’s your duty, my boy, to come

along with us.

LT. BLANCHARD

(politely)

It’s my duty, Mr. Gatewood, to obey

orders. I’m sorry.

BUCK

(hopefully)

If you soldiers go back, Lieutenant,

we all gotta go back.

Dallas leans wearily against a hitching post, listening

impassively, just letting the dispute wash over her.

LT. BLANCHARD

(off, to Curly)

Captain Sickels ordered me to return

from here immediately. I can’t disobey

orders.

Lucy is sitting on the bench with Hatfield beside her. Ringo

stands in the foreground looking over towards Lt. Blanchard

and the others.

RINGO

I think we can get through all right,

Curly.

Buck stands in the centre of the group, Lt. Blanchard,

Gatewood, Curly and Mrs. Pickett gathered around.

BUCK

(plaintively)

Don’t egg him on like that, Kid. I’m

drivin’ this outfit and if the

soldiers are headin’ back so am I.

He plonks his hat back on his head and stomps off petulantly.

Gatewood and Lt. Blanchard face one another again.

GATEWOOD

I call this desertion of duty, young

man. I’ll take it up with your

superior officers! I’ll take it up

with Washington if necessary.

LT. BLANCHARD

(quietly)

That’s your privilege, sir. But if

you make any trouble here I’ll put

you under restraint.

GATEWOOD

(collecting himself)

Now don’t lose your temper, don’t

lose your temper.

The others watch as Gatewood stalks off in a rage.

CURLY

I’ll tell you how we’ll settle it.

We’ll take a vote. Inside, everybody.

The stagecoach stands in the middle of the yard. The horses

have been unhitched. A group of chickens are pecking about

in the dust behind it. All the passengers follow Curly towards

the door in the background.

CURLY

Come on, Buck.

BUCK

(plaintively)

Oh, but Curly, I don’t want to go...

Inside the station guest-room, the long table is set for a

meal. Doc Boone comes in first, followed by Hatfield and

Lucy. Then Dallas enters, with Peacock and Mrs. Pickett, who

hurries across and into the kitchen as she speaks.

MRS. PICKETT

Now, come on, girls, set yourselves

down; I’ll get you something to eat.

In the foreground, his back to camera, Hatfield pulls a chair

out for Lucy. Dallas sits herself down by the wall at the

far side of the table as the others continue coming through

the door in the background. Curly comes forward, taking

control of the situation; the others gather round the table

as he speaks.

CURLY

Now, folks, if we push on we can be

in Apache Wells by sundown. Soldiers

there will give us an escort as far

as the ferry, and then it’s only a

hoot and a holler into Lordsburg.

BUCK

I...

He stops to clear the frog out of his throat and Curly goes

right on.

CURLY

We got four men can handle firearms...

five with you, Ringo.

Doc Boone and Billy Pickett are seen in high angle, both

leaning on the bar; Billy has his mouth wide open and Doc is

examining it, holding Billy’s tongue down with the back of a

spoon.

CURLY

(off)

Doc can shoot, if sober.

At Curly’s words, they both look over at him.

DOC

(sarcastically)

I can shoot, I can shoot.

A low angle shot of Curly shows him standing by the table

with Lucy sitting in profile beside him. Ringo lounges against

a doorpost in the background.

CURLY

(taking off his hat)

Now, Mrs. Mallory, I ain’t goin’ to

put a lady in danger without she

votes for it.

Lucy is seen from above sitting with her back to the window.

LUCY

(firmly, but with a

tremulous catch in

her voice)

I’ve travelled all the way here from

Virginia and I’m determined to get

to my husband. I won’t be separated

any longer.

A low angle medium shot shows Curly in the foreground, Ringo

and Buck standing behind Dallas, who is seated at the table,

with Peacock visible in the background. They are all looking

towards Lucy. Curly turns to Peacock.

CURLY

What’s your vote, mister?

PEACOCK

(clearing his throat)

Well, I...

RINGO

(interrupting him)

Where’s your manners, Curly?

Curly, who is just putting his hat back on his head, stops

in his tracks and turns to look at Ringo, who is regarding

him sternly.

RINGO

Ain’t you going to ask the other

lady first?

Dallas looks up towards Ringo in amazement.

Ringo and Buck are seen from below as they face Curly, who

stands almost back to camera. He looks down towards Dallas.

CURLY

Well, what do you say?

Dallas looks up. There is a pause. Her eyes move back towards

Ringo, then she looks down.

DALLAS

(sighing)

What difference does it make? It

doesn’t matter.

Ringo, Buck and Curly face each other again.

GATEWOOD

(off)

I vote we go on.

Gatewood is standing with Peacock beside another window.

GATEWOOD

I demand it, I’m standing on my legal

rights.

The group is seen in a low angle medium shot. Lucy and

Hatfield are seated at the table in the foreground, while

the others stand around anxiously in the background, except

for Dallas who is sitting against the wall near the door

beside Ringo. Curly looks towards Hatfield.

CURLY

What do you say, Hatfield?

Hatfield, idly playing with some cards on the table, looks

towards Lucy, off-screen. He picks up the cards, laying the

top one face upwards. It is the ace of spades.

HATFIELD

Lordsburg.

GATEWOOD

(standing with Peacock

behind him)

Four.

He is obviously very pleased.

Curly, standing with his back to camera, looks across the

room to the bar where Doc Boone and Billy are standing.

CURLY

(pointing)

You, Doc?

Doc Boone steps forward, Billy following him.

DOC

I am not only a philosopher, I am

also a fatalist.

Doc Boone and Billy stand together. Billy has by now provided

Doc with a drink and he is very cheerful. He also knows that

he is the centre of attraction and that this is his great

moment.

DOC

Somewhere, some time, there may be

the right bullet or the wrong bottle

waiting for Josiah Boone. Why worry

when or where?

CURLY

(off, very impatient)

Yes or no?

Billy is urging Doc Boone on.

DOC

Having this wisdom, sir, I have always

courted danger. During the late war...

when I had the honour, sir, to serve

the Union...

Hatfield looks up sharply at these words.

DOC

(off)

...under our great President Abraham

Lincoln...

Billy and Doc Boone salute each other.

DOC

...and General Phil Sheridan, I fought

midst shot and shell and the cannons’

roar...

Curly, seen from the side, looks stern.

CURLY

Do you want to go back or not?

Doc Boone and Billy continue their salute.

DOC

No!

He looks indignantly at Curly and turns back towards the

bar.

DOC

I want another drink.

Billy and Doc Boone giggle together and hurry back to the

bar.

Curly and Peacock are now seen from below.

CURLY

That’s five.

He looks at Peacock. How about you, Mr. Hancock?

PEACOCK

(meekly correcting)

Peacock.

Cut to a medium close-up of Peacock.

PEACOCK

I... I would like to go on, brother,

I want to reach the bosom of my dear

family in Kansas City, Kansas, as

quick as possible... but I may never

reach that bosom if we go on. Under

the circumstances... I... you

understand, go back with the bosoms...

(he coughs hastily)

...I mean with the soldiers.

Cut back to the previous shot of Curly facing Peacock with

Gatewood nearby.

CURLY

One against! Well, Buck?

Curly turns towards Buck, and camera pans swiftly with his

gaze, to include Ringo in the shot, with Buck.

BUCK

I...

He clears his throat to try again, but Curly cuts in promptly.

CURLY

Buck says aye. That’s six!

Buck makes futile motions of protest, but Curly has already

turned to Ringo. I’m votin’ your proxy, Kid. You go with me.

RINGO

Nothin’ gonna keep me out of

Lordsburg, Curly.

He goes out of shot.

CURLY

(looking after him

grimly)

There sure ain’t.

(he addresses them

all)

Well, folks, that settles it. We’re

goin’ through. Buck, you get them

horses changed. Set down, folks. Eat

your grub.

He strides off through the door, followed by a protesting

Buck.

BUCK

But, Curly, ain’t we gonna eat?

CURLY

We’ll eat later.

The room is now seen in medium long shot with Lucy sitting

in back view nearest to camera, Hatfield just beyond her.

Doc Boone and Billy can be seen at the bar in the background.

Gatewood and Peacock stand at the far end of the table as

Mrs. Pickett comes through the door near the bar carrying a

steaming soup tureen.

MRS. PICKETT

Here y’are, folks, food’s on the

table. Help yourselves, you got a

long ride ahead of you.

She puts the soup on the table and turns to go back to the

kitchen, passing Doc Boone and Billy as she goes.

MRS. PICKETT

You ain’t drinking, Billy.

Ringo is standing by the table. Dallas is uncertain whether

she should sit down, knowing she is not expected to sit with

’respectable’ people. So she passes behind Ringo, going

towards the door. He turns round to her, pulling out a chair

for her opposite Lucy.

RINGO

Set down here, ma’am.

She spins round to face him, stopping in her tracks.

Lucy, seen in profile, is sitting at the end of the table,

Gatewood a seat away at her side. Hatfield stands at the

bar. They all look round towards Ringo and Dallas.

Dallas hesitates for a split second. Then she gets her courage

up and takes the chair.

DALLAS

Thank you.

Ringo sits down beside her as camera tracks in to a medium

close-up of them.

Lucy, seen in close-up, looks across in distaste.

A close-up of Dallas shows her looking back towards Lucy in

embarrassment, before looking away miserably.

Across the table, Lucy still looks disapproving and Gatewood

looks superior. Hatfield comes forward and stands stiffly

beside Lucy. Gatewood passes Lucy a plate which Hatfield

intercepts to place with great courtesy in front of her.

Dallas is still acutely embarrassed. Ringo, unaware of the

tension, passes her a plate with equal courtesy. Trying to

brave out the hostile glances, Dallas reaches for her cup of

coffee and Ringo passes her the sugar with a smile.

Hatfield breaks the tension. He looks from Lucy to Dallas,

then bows stiffly to Lucy.

HATFIELD

May I find you another place, Mrs.

Mallory? It’s cooler by the window.

Ringo raises his eyebrows in surprise.

There is a pause as Lucy decides how to act.

LUCY

(rising)

Thank you.

Lucy rises from her seat and sweeps off round the table behind

Gatewood, watched incredulously by Doc Boone and Billy Pickett

from the bar.

The table is now seen from above in a long medium shot, with

Dallas and Ringo sitting on one side, Gatewood on the other.

Ringo stares, amazed. Dallas spills some of her coffee and

the cup rattles as she sets it back in the saucer. Gatewood,

not to be outdone, gets up and goes to sit at the far end of

the table, as far away from Dallas and Ringo as possible.

This whole episode takes place in complete silence. Mrs.

Pickett bustles in with a jug of coffee and pours a cup for

Lucy. Hatfield sits down beside Lucy in their new places.

Dallas and Ringo are conspicuously isolated at the end of

the table. Dallas is miserably embarrassed. Ringo looks

perplexed as he watches the others off-screen, then all at

once he thinks he understands and turns to look apologetically

at Dallas. He cannot face her, and stares uncomfortably at

her plate instead.

RINGO

(sheepishly)

Looks like I got the plague, don’t

it.

DALLAS

No... it’s not you.

RINGO

Well, I guess you can’t break out of

prison and into society in the same

week.

As she does not raise her eyes from her plate he begins to

stand up apologetically. She catches his arm and suddenly

there are tears in her eyes.

DALLAS

Please!... Please.

Ringo sits down again, looking at her with a straight grateful

gaze. She collects herself and passes a bowl for him to help

himself to some stew, but he takes it from her and gives her

some instead.

Hatfield and Lucy are now seen at the far end of the table

from us behind Ringo and Dallas, who sit with their backs to

us. Camera tracks in past Dallas and Ringo to a medium shot

of Lucy and Hatfield eating their meal. Lucy, suddenly

overcome, lays down her fork and rests her head in her hand,

looking pale. Hatfield addresses her anxiously in a low,

polite tone.

HATFIELD

You’re ill, Mrs. Mallory?

Lucy straightens up, fighting off nausea.

LUCY

No... it’s just... I’ll be all right.

He regards her anxiously.

LUCY

You’re very kind... Why?

HATFIELD

In the world I live in one doesn’t

often see a lady, Mrs. Mallory. [I’m

only doing my duty as a Southern

gentleman.]

Close-up of Lucy, who looks at him curiously.

LUCY

Have you ever been in Virginia?

Hatfield hesitates as if to evade the question or shape a

lie. He drops his voice.

HATFIELD

I was in your father’s regiment.

Lucy looks at him wonderingly with her clear, direct gaze.

LUCY

I should remember your name. You’re

Mr... Hatfield?

Lucy looks questioningly at Hatfield.

HATFIELD

That’s what I’m called, yes.

She turns away, puzzled, and sips her coffee.

Ringo and Dallas are seen in medium close-up as they eat.

Ringo looks at her and she looks down self-consciously.

DALLAS

Why do you look at me like that?

Buck is now seen from below coming through the door in the

background behind Dallas and Ringo, who are sitting at the

table piled with the glasses and bowls used for the meal. He

takes off his hat as he comes towards the table and addresses

the company.

BUCK

(cheerfully)

All aboard for Apache Wells, East

Ferry...

Curly comes up behind him and interrupts.

CURLY

The horses are changed... we’d better

get going.

BUCK

(determined to have

his say)

...and Lordsburg.

Round the table, the passengers are all waiting. Lucy sits

at the far end of the table, Ringo and Dallas nearer to camera

on the other side. Hatfield gets up and goes towards the

bar. Lt. Blanchard comes in the door as Ringo looks up at

Curly.

CURLY

(to Ringo)

Okay, Ringo, get going.

(to Mrs. Pickett)

Mrs. Pickett, tell Billy the

buckboard’s all ready. Let’s get

going.

There is a scraping of chairs as all except Lucy rise and

make for the door. Ringo accompanies Dallas. Blanchard comes

up to Lucy and addresses her politely.

LT. BLANCHARD

Have a pleasant journey, Mrs. Mallory,

and my compliments to your husband.

Buck hurriedly grabs something to eat off the table as Curly

hustles him out. Billy and Doc Boone are the last to leave,

arm in arm and very merry.

Dissolve to a high angle long shot of a fork in the trail on

the prairie which spreads out into the distance. The

stagecoach comes into shot from the foreground and the horses

gallop off down the right-hand fork while Lt. Blanchard breaks

away from his men to follow it a little way. The soldiers go

off to the left, followed by the Picketts’ buckboard. Lt.

Blanchard watches the stage as it goes off into the distance.

Lucy is seen from below in medium shot leaning out of the

window of the coach. Curly is just visible sitting up on the

driving-seat.

Lt. Blanchard turns on his horse to face camera, smiling and

waving his hat to the retreating stagecoach. Lucy, still

leaning out of the stagecoach window, smiles and waves her

handkerchief.

Lt. Blanchard continues to wave for a moment. Then his smile

fades. He lowers his arm and replaces his hat on his head,

then turns away from camera.

From where the trails cross, we can now see the stagecoach

disappearing into the distance down one trail and Lt.

Blanchard galloping off down the other trail after his cavalry

troop.

The cavalry troop and the buckboard with its outriders are

seen from above in long shot, galloping away across the

prairie. Lt. Blanchard canters into shot from the foreground,

catching up with them as they ride along the trail.

The flat plain is now seen with the sky above stretching

away into infinity. The stagecoach trundles into shot in the

foreground with its six horses trotting along unhurriedly.

There is no soldier escort now and the people are on their

own. The stagecoach rattles away down the track and into the

distance towards the horizon. Fade out.

Fade in to a medium close-up of Buck and Curly up on the

driving-seat. Curly, his gun across his knees, scans the

horizon vigilantly. Buck chucks a stone at Nellie, shouting

a little to spur on the horses. He clears his throat, inviting

conversation, but Curly pays him no heed. Finally Buck can’t

stand the silence and turns as if Curly had spoken.

BUCK

What’d you say?

CURLY

(looking at him as if

he were crazy)

Nothin’.

BUCK

(meekly)

Oh, excuse me. Well, why don’t you

say somethin’? A man gets nervous

settin’ here like a mummy, thinkin’

about Indians!

CURLY

You say somethin’. You been talkin’

all day without makin’ any sense.

BUCK

(belligerently)

All right, here’s somethin’ that

makes sense! If I was you I’d let

’em shoot it out!

CURLY

Let who?

BUCK

Luke Plummer and the Kid.

(curly merely looks

straight ahead)

They’d be a lot more peace on the

frontier if Luke Plummer was too

full o’ lead to hold his liquor.

CURLY

I ain’t sayin’ I don’t share your

sentiments, Buck, but you’re a born

fool. First place Luke would kill

the Kid in a gun-fight. Second place

if Luke did get shot he’s got two

brothers jest as ornery as he is,

and if Ike Plummer didn’t kill the

Kid then Hank Plummer would.

(he spits off

disgustedly)

Nope, safest place for Ringo is in

the pen and I aim to get him there

all in one piece. Time he gets out

Luke Plummer will of picked a fight

with the wrong man and it’ll all

blow over.

BUCK

(looking at Curly

with astonishment)

Well, I’ll be doggoned! I done you

an injury, Curly. I thought you was

after the reward.

CURLY

(reproachfully)

Reward! Why, the Kid’s old man and

me was friends.

(he stares off into

the horizon)

Besides, I can use that five hundred

in gold.

Inside the stagecoach, the passengers are seated in the same

positions as during the morning. The heat is stifling and

dust drifts in through the open windows. The coach jolts and

bounces as it whirls along at fourteen miles an hour.

Gatewood, seen in medium close-up with Dallas beside him, is

playing the indignant man-of-affairs.

GATEWOOD

(blustering)

I can’t get over the impertinence of

that young lieutenant! I’ll make it

warm for that shavetail!

Doc Boone, again with the sample bag in his lap, is very

thoughtfully attempting to rearrange Peacock’s scarf round

his neck. The wind is blowing it about so much that it is a

futile exercise.

GATEWOOD

(off)

I’ll report him to Washington! We

pay taxes to the government and what

do we get? Not even protection from

the Army!

Peacock is now seen in close-up with Doc Boone just in shot,

his hand rearranging the scarf so that it practically covers

Peacock’s face. While Gatewood continues to hold forth, Doc

Boone cleans the dust from Peacock’s face.

GATEWOOD

(off)

I don’t know what the government’s

coming to! Instead of protecting

businessmen, it’s poking its nose

into business.

Cut back to the same shot of Dallas and Gatewood.

GATEWOOD

Why, they’re talking now about having

bank examiners...

(he snorts)

...as if we didn’t know how to run

our own banks.

The stagecoach is going really fast and a stiff breeze is

coming through the windows. Dallas desperately tries to

rearrange her hat, which is being blown about.

Cut back to Peacock and Doc Boone, who pulls a bottle from

the sample-case and holds it up to Peacock ingratiatingly.

Peacock does not protest. So Doc Boone takes a large swallow.

GATEWOOD

(off)

I actually had a letter, from some

popinjay official, saying they were

going to inspect my books! I have a

programme, gentlemen, that should be

blazoned on every newspaper in the

country.

Gatewood now addresses his remarks to Lucy, as the most worthy

of attention.

GATEWOOD

America for Americans! Don’t let the

government meddle with business!

Reduce taxes! Our national debt is

shocking...

Lucy leans against the side of the coach, as far away from

him as possible.

Doc Boone is staring lovingly into Peacock’s face.

GATEWOOD

(off)

...over a billion dollars! What the

country needs is a businessman for

President!

DOC

(amiably, holding up

a bottle)

What the country needs is more bottle.

He points to the bottle.

PEACOCK

What?

DOC

(affably)

Bottle!

Dallas, sitting next to Gatewood, has her eyes closed and

her head leaning against the back of the seat.

GATEWOOD

You’re drunk, sir.

Doc Boone’s smile fades as he turns indignantly to Gatewood.

DOC

I’m happy, Gatewood. Woof!

He giggles. Now it is early evening. The stage comes into

shot in the foreground, the horses trotting away down the

track which stretches way into the distance across the flat

desert.

Again we see Curly and Buck on the driving-seat, Curly nearer

to camera. He looks over his shoulder.

CURLY

(turning back)

How come you’re using this road?

It’s gonna be cold up there.

BUCK

(grinning)

I’m using my head. Those beach-crowd

Apaches don’t like snow.

Curly looks at him, but says nothing.

In the stagecoach, the passengers are all weary, their

shoulders covered with dust. Lucy, seen in medium close-up,

is in obvious distress, looking very ill and worn out.

Dallas is shown leaning back against her seat. Gatewood is

sitting next to her with an unpleasant frown on his face and

clasping his bag of money. Dallas, who has been looking in

Lucy’s direction, suddenly ventures for the first time to

address her. She sits up and leans sympathetically across

Gatewood.

DALLAS

Wouldn’t you like me to sit beside

you? You could lean on my shoulder.

You look so tired.

Lucy pulls herself together and her cool tone rebuffs Dallas.

LUCY

No, thank you.

Dallas shrinks back into her seat, flushing.

Hatfield, seen sitting in profile with Peacock nearest to

camera beside him, leans forward. Camera pans left with his

movement to include Ringo, who is sitting on the floor between

the seats.

HATFIELD

How are you feeling, Mrs. Mallory?

Lucy looks over towards Dallas. Then she turns to Hatfield.

LUCY

Is there any water?

Ringo looks up at Hatfield, who is seen in profile. Hatfield

turns away and, cupping his hand round his mouth, leans out

of the window to shout up to Buck.

HATFIELD

Driver! Canteen, please!

The coach is seen in low angle from the outside as it trundles

along. Curly, just visible up on the box, passes a canteen

down to Hatfield, who is reaching out of the window to receive

it.

Lucy can be seen leaning back