"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