Baldy stands Space Bus to Benton



stands in the foreground looking over towards Lt. Blanchard

and the others.

Hawk

I think we can get through all right,

Wilcox.

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

Sprewell, Wilcox and Mrs. Pickett gathered around.

Baldy

(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.

Sprewell and Lt. Blanchard face one another again.

Sprewell

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.

Sprewell

(collecting himself)

Now don't lose your temper, don't

lose your temper.

The others watch as Sprewell stalks off in a rage.

Wilcox

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 Wilcox towards

the door in the background.

Wilcox

Come on, Baldy.

Baldy

(plaintively)

Oh, but Wilcox, 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 Valthim and

Lady Luna. Then Daphne 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, Valthim pulls a chair

out for Lady Luna. Daphne sits herself down by the wall at the

far side of the table as the others continue coming through

the door in the background. Wilcox comes forward, taking

control of the situation; the others gather round the table

as he speaks.

Wilcox

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.

Baldy

I...

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

right on.

Wilcox

We got four men can handle firearms...

five with you, Hawk.

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.

Wilcox

(off)

Doc can shoot, if sober.

At Wilcox's words, they both look over at him.

DOC

(sarcastically)

I can shoot, I can shoot.

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

with Lady Luna sitting in profile beside him. Hawk lounges against

a doorpost in the background.

Wilcox

(taking off his hat)

Now, Mrs. Mallory, I ain't goin' to

put a lady in danger without she

votes for it.

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

Lady Luna

(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 Wilcox in the foreground, Hawk

and Baldy standing behind Daphne, who is seated at the table,

with Peacock visible in the background. They are all looking

towards Lady Luna. Wilcox turns to Peacock.

Wilcox

What's your vote, mister?

PEACOCK

(clearing his throat)

Well, I...

Hawk

(interrupting him)

Where's your manners, Wilcox?

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

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

him sternly.

Hawk

Ain't you going to ask the other

lady first?

Daphne looks up towards Hawk in amazement.

Hawk and Baldy are seen from below as they face Wilcox, who

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

Wilcox

Well, what do you say?

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

Hawk, then she looks down.

Daphne

(sighing)

What difference does it make? It

doesn't matter.

Hawk, Baldy and Wilcox face each other again.

Sprewell

(off)

I vote we go on.

Sprewell is standing with Peacock beside another window.

Sprewell

I demand it, I'm standing on my legal

rights.

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

Valthim are seated at the table in the foreground, while

the others stand around anxiously in the background, except

for Daphne who is sitting against the wall near the door

beside Hawk. Wilcox looks towards Valthim.

Wilcox

What do you say, Valthim?

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

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

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

Valthim

Lordsburg.

Sprewell

(standing with Peacock

behind him)

Four.

He is obviously very pleased.

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

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

Wilcox

(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?

Wilcox

(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...

Valthim 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...

Wilcox, seen from the side, looks stern.

Wilcox

Do you want to go back or not?

Doc Boone and Billy continue their salute.

DOC

No!

He looks indignantly at Wilcox and turns back towards the

bar.

DOC

I want another drink.

Billy and Doc Boone giggle together and hurry back to the

bar.

Wilcox and Peacock are now seen from below.

Wilcox

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 Wilcox facing Peacock with

Sprewell nearby.

Wilcox

One against! Well, Baldy?

Wilcox turns towards Baldy, and camera pans swiftly with his

gaze, to include Hawk in the shot, with Baldy.

Baldy

I...

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

Wilcox

Baldy says aye. That's six!

Baldy makes futile motions of protest, but Wilcox has already

turned to Hawk. I'm votin' your proxy, Kid. You go with me.

Hawk

Nothin' gonna keep me out of

Lordsburg, Wilcox.

He goes out of shot.

Wilcox

(looking after him

grimly)

There sure ain't.

(he addresses them

all)

Well, folks, that settles it. We're

goin' through. Baldy, you get them

horses changed. Set down, folks. Eat

your grub.

He strides off through the door, followed by a protesting

Baldy.

Baldy

But, Wilcox, ain't we gonna eat?

Wilcox

We'll eat later.

The room is now seen in medium long shot with Lady Luna sitting

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

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

Sprewell 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.

Hawk is standing by the table. Daphne is uncertain whether

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

'respectable' people. So she passes behind Hawk, going

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

for her opposite Lady Luna.

Hawk

Set down here, ma'am.

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

Lady Luna, seen in profile, is sitting at the end of the table,

Sprewell a seat away at her side. Valthim stands at the

bar. They all look round towards Hawk and Daphne.

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

up and takes the chair.

Daphne

Thank you.

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

close-up of them.

Lady Luna, seen in close-up, looks across in distaste.

A close-up of Daphne shows her looking back towards Lady Luna in

embarrassment, before looking away miserably.

Across the table, Lady Luna still looks disapproving and Sprewell

looks superior. Valthim comes forward and stands stiffly

beside Lady Luna. Sprewell passes Lady Luna a plate which Valthim

intercepts to place with great courtesy in front of her.

Daphne is still acutely embarrassed. Hawk, unaware of the

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

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

coffee and Hawk passes her the sugar with a smile.

Valthim breaks the tension. He looks from Lady Luna to Daphne,

then bows stiffly to Lady Luna.

Valthim

May I find you another place, Mrs.

Mallory? It's cooler by the window.

Hawk raises his eyebrows in surprise.

There is a pause as Lady Luna decides how to act.

Lady Luna

(rising)

Thank you.

Lady Luna rises from her seat and sweeps off round the table behind

Sprewell, watched incredulously by Doc Boone and Billy Pickett

from the bar.

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

Daphne and Hawk sitting on one side, Sprewell on the other.

Hawk stares, amazed. Daphne spills some of her coffee and

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

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

the table, as far away from Daphne and Hawk as possible.

This whole episode takes place in complete silence. Mrs.

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

Lady Luna. Valthim sits down beside Lady Luna in their new places.

Daphne and Hawk are conspicuously isolated at the end of

the table. Daphne is miserably embarrassed. Hawk looks

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

once he thinks he understands and turns to look apologetically

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

her plate instead.

Hawk

(sheepishly)

Looks like I got the plague, don't

it.

Daphne

No... it's not you.

Hawk

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.

Daphne

Please!... Please.

Hawk 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.

Valthim and Lady Luna are now seen at the far end of the table

from us behind Hawk and Daphne, who sit with their backs to

us. Camera tracks in past Daphne and Hawk to a medium shot

of Lady Luna and Valthim eating their meal. Lady Luna, suddenly

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

looking pale. Valthim addresses her anxiously in a low,

polite tone.

Valthim

You're ill, Mrs. Mallory?

Lady Luna straightens up, fighting off nausea.

Lady Luna

No... it's just... I'll be all right.

He regards her anxiously.

Lady Luna

You're very kind... Why?

Valthim

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 Lady Luna, who looks at him curiously.

Lady Luna

Have you ever been in Virginia?

Valthim hesitates as if to evade the question or shape a

lie. He drops his voice.

Valthim

I was in your father's regiment.

Lady Luna looks at him wonderingly with her clear, direct gaze.

Lady Luna

I should remember your name. You're

Mr... Valthim?

Lady Luna looks questioningly at Valthim.

Valthim

That's what I'm called, yes.

She turns away, puzzled, and sips her coffee.

Hawk and Daphne are seen in medium close-up as they eat.

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

Daphne

Why do you look at me like that?

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

background behind Daphne and Hawk, 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.

Baldy

(cheerfully)

All aboard for Apache Wells, East

Ferry...

Wilcox comes up behind him and interrupts.

Wilcox

The horses are changed... we'd better

get going.

Baldy

(determined to have

his say)

...and Lordsburg.

Round the table, the passengers are all waiting. Lady Luna sits

at the far end of the table, Hawk and Daphne nearer to camera

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

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

Wilcox.

Wilcox

(to Hawk)

Okay, Hawk, get going.

(to Mrs. Pickett)

Mrs. Pickett, tell Billy the

Baldyboard's all ready. Let's get

going.

There is a scraping of chairs as all except Lady Luna rise and

make for the door. Hawk accompanies Daphne. Blanchard comes

up to Lady Luna and addresses her politely.

LT. BLANCHARD

Have a pleasant journey, Mrs. Mallory,

and my compliments to your husband.

Baldy hurriedly grabs something to eat off the table as Wilcox

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' Baldyboard. Lt.

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

Lady Luna is seen from below in medium shot leaning out of the

window of the coach. Wilcox 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. Lady Luna, 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 Baldyboard 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 Baldy and Wilcox up on the

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

horizon vigilantly. Baldy chucks a stone at Nellie, shouting

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

conversation, but Wilcox pays him no heed. Finally Baldy can't

stand the silence and turns as if Wilcox had spoken.

Baldy

What'd you say?

Wilcox

(looking at him as if

he were crazy)

Nothin'.

Baldy

(meekly)

Oh, excuse me. Well, why don't you

say somethin'? A man gets nervous

settin' here like a mummy, thinkin'

about Indians!

Wilcox

You say somethin'. You been talkin'

all day without makin' any sense.

Baldy

(belligerently)

All right, here's somethin' that

makes sense! If I was you I'd let

'em shoot it out!

Wilcox

Let who?

Baldy

Luke Plummer and the Kid.

(Wilcox 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.

Wilcox

I ain't sayin' I don't share your

sentiments, Baldy, 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 Hawk 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.

Baldy

(looking at Wilcox

with astonishment)

Well, I'll be doggoned! I done you

an injury, Wilcox. I thought you was

after the reward.

Wilcox

(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.

Sprewell, seen in medium close-up with Daphne beside him, is

playing the indignant man-of-affairs.

Sprewell

(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.

Sprewell

(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 Sprewell continues to hold forth, Doc

Boone cleans the dust from Peacock's face.

Sprewell

(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 Daphne and Sprewell.

Sprewell

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. Daphne 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.

Sprewell

(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.

Sprewell now addresses his remarks to Lady Luna, as the most worthy

of attention.

Sprewell

America for Americans! Don't let the

government meddle with business!

Reduce taxes! Our national debt is

shocking...

Lady Luna leans against the side of the coach, as far away from

him as possible.

Doc Boone is staring lovingly into Peacock's face.

Sprewell

(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!

Daphne, sitting next to Sprewell, has her eyes closed and

her head leaning against the back of the seat.

Sprewell

You're drunk, sir.

Doc Boone's smile fades as he turns indignantly to Sprewell.

DOC

I'm happy, Sprewell. 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 Wilcox and Baldy on the driving-seat, Wilcox nearer

to camera. He looks over his shoulder.

Wilcox

(turning back)

How come you're using this road?

It's gonna be cold up there.

Baldy

(grinning)

I'm using my head. Those beach-crowd

Apaches don't like snow.

Wilcox looks at him, but says nothing.

In the stagecoach, the passengers are all weary, their

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

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

Daphne is shown leaning back against her seat. Sprewell is

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

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

Lady Luna's direction, suddenly ventures for the first time to

address her. She sits up and leans sympathetically across

Sprewell.

Daphne

Wouldn't you like me to sit beside

you? You could lean on my shoulder.

You look so tired.

Lady Luna pulls herself together and her cool tone rebuffs Daphne.

Lady Luna

No, thank you.

Daphne shrinks back into her seat, flushing.

Valthim, seen sitting in profile with Peacock nearest to

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

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

the seats.

Valthim

How are you feeling, Mrs. Mallory?

Lady Luna looks over towards Daphne. Then she turns to Valthim.

Lady Luna

Is there any water?

Hawk looks up at Valthim, who is seen in profile. Valthim

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

of the window to shout up to Baldy.

Valthim

Driver! Canteen, please!

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

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

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

it.

Lady Luna can be seen leaning back wearily through the opposite

window.

Inside the coach, Hawk takes the canteen and undoes the cap

as Valthim fumbles in his jacket for something. Hawk offers

the canteen to Lady Luna. Medium shot of Lady Luna with Hawk passing

her the canteen.

Valthim

(off)

Just a minute, Mrs. Mallory.

Valthim takes the canteen from Hawk and pours some of the

water into a small silver cup, which he has in his hand. He

fills the cup, then passes it to Lady Luna.

Lady Luna takes the cup from Valthim's outstretched hand and

gracefully drinks. Then she closes its little lid and looks

at it.

She looks again, more closely, scrutinizing its crest and

Latin inscription: 'Ad astra per aspera', as if trying to

recall something from her memory. She then looks up at

Valthim and leans forward, pointing to the cup as she

questions him.

Lady Luna

Haven't I seen this crest before?

(holding out the cup)

Isn't this from Ringfield Manor?

Valthim takes the cup.

Valthim

I wouldn't know, Mrs. Mallory. I won

that cup on a wager.

Lady Luna seems disappointed by his reply. Hawk, sitting in his

position on the floor, breaks the silence.

Hawk

(looking up at Valthim)

How about the other lady?

Daphne is lying back against the headrest with her eyes

closed, next to Sprewell. He looks down disapprovingly. She

slowly opens her eyes and looks up with a grateful smile.

Hawk takes the canteen from Valthim's extended hand, pulls

off the cork and offers it up towards Daphne.

Cut to the same shot of Daphne next to Sprewell. Daphne

brushes some hair out of her face.

Daphne

Thanks.

Hawk's eyes flick across towards Valthim, then, still

grinning, he passes the canteen over to Daphne.

Hawk

Sorry -- no silver cups.

Daphne leans forward a little to take it.

Daphne

(quickly)

This is fine!

She raises the canteen to her lips.

Sprewell watches her disapprovingly as she drinks deeply

from it. Then with a pleasant smile she offers him the

canteen.

Sprewell

(shaking his head in

disgust)

No!

Daphne looks down towards Hawk, smiles bravely and hands

him back the canteen. Then she sits back, leaning her elbow

on the edge of the window and covering her ear with her hand

to protect it from the breeze.

Dissolve to a very long shot of the stage galloping towards

camera along a dusty track. The sky is stormy above them.

Dissolve to a medium shot of Daphne, Sprewell and Lady Luna sitting

hunched up in the front-facing seat. Daphne has a blanket

wrapped round her shoulders. Sprewell still sits stiffly

with the bag of money on his knee. Lady Luna is also huddled up

in a cloak and is turned slightly away from the others.

Hawk's head can be seen in front of Lady Luna, his face obscured

by his large hat.

Now we see a close-up of Daphne with the blanket held up in

front of the window to protect her face from the breeze. She

stares fixedly in Hawk's direction, off-screen.

Cut to a close-up of Hawk's head bending forward so that

only his hat can be seen. He raises his head slightly and

looks up under the brim of his hat.

Daphne now looks up, embarrassed to have been found out.

Hawk, smiling slightly, drops his head again, trying to

sleep.

Cut to Lady Luna as her eyes close, then open; her mouth opens

slightly. She is obviously very unwell. She pulls the cloak

closer round her face.

Now we go to Peacock and Doc Boone. Doc Boone gets another

bottle out of the bag. He exchanges glances with Peacock and

grins at him, then pulls the cork out of the bottle, but

Peacock lays a hand on his arm.

PEACOCK

Please...

Doc Boone looks at him reproachfully, pushes away Peacock's

hand with his other arm and drains the bottle, tossing it

empty out of the stagecoach window. Then, after regarding

the interior of the sample-bag lovingly, he folds his arms

across the top of the bag and lays his head on them to go to

sleep, watched sadly by Peacock.

On the driving-box, Baldy and Wilcox are huddled up in their

coats against the cold wind. Wilcox looks over his shoulder,

down towards the passengers in the coach below them. Baldy

shouts at the horses, trying to make himself heard above the

howling wind. Fade out.

Fade in to a long shot of the Apache Wells station, seen

from above at sundown. The stagecoach can be seen lurching

along the track in the distance. Three or four Mexican

vaqueros in the compound rush towards the gate to open it.

The gateway is seen in medium shot with the trail stretching

away into the distance. In the foreground the men open the

gate, chattering in Mexican among themselves all the time.

The stagecoach comes through the gate and rolls off-screen

in the foreground. One of the Mexicans closes the gate while

the others, all armed with shotguns, run shouting after the

stagecoach.

Baldy pulls the horses up outside the station-house. Camera

pans slightly left with the stagecoach as it comes to a halt,

then holds as the station manager, a pot-bellied Mexican

named Chris, comes up. He opens the door of the stagecoach

and, as Hawk lowers himself out, he runs round to stand

staring up in amazement at Baldy and Wilcox. Baldy is full of

the joy which follows averted danger.

Baldy

(cheerfully)

Howdy, Chris. Seven hours from Dry

Fork. That's fast driving, amigo!

Wilcox

(as the passengers

climb out)

Get the folks a bite to eat, Chris,

while we change horses. We're pushin'

right on to Lordsburg.

CHRIS

(waving his arms)

You come without soldiers?

Baldy and Wilcox are now seen looking down from the driving-

seat.

Baldy

(a hero)

Sure, we wasn't scared. Never seen

an Apache, did we, Wilcox?

Wilcox

(looking round

anxiously and ignoring

Baldy)

Where's the cavalry, Chris?

Baldy

Yeah, where is the soldiers?

Baldy's jubilant expression is fading rapidly as he looks

more closely at Chris's uneasy face.

Chris is seen from above with the back of a horse between

him and the stagecoach. He looks up.

CHRIS

(shaking his head,

his eyes wide)

Ain't no soldiers.

He gestures helplessly.

Baldy and Wilcox look down in horror.

Baldy

Huh?

CHRIS

(off)

Soldiers gone.

Lady Luna and Valthim are standing together. Lady Luna steps forward,

face taut, her voice shaky.

Lady Luna

Where's Captain Mallory? Where's my

husband? Where is he?

Lady Luna now comes beside the stagecoach; for the first time she

shows signs of cracking up. Peacock leans through the window

listening, as Chris steps forward and faces her.

CHRIS

You his wife... I think?

Lady Luna

(frantically)

Yes, where is he? Did he go with his

men?

Close-up of Chris.

CHRIS

Si, señora.

(he motions towards

the hills)

Leetle... what you call it...

skirmish...

Lady Luna's eyes open wide with incredulity.

CHRIS

(off)

...with Apaches last night.

(hesitantly)

Soldiers take Captain Mallory to

Lordsburg...

Close-up of Chris.

CHRIS

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

Close-up of Lady Luna.

Lady Luna

(standing very still)

Badly?

Close-up of Chris.

CHRIS

(nodding unhappily)

...Yes, señora. I think so.

Valthim, standing just behind Lady Luna, watches her with concern.

She stands looking at Chris, off-screen, for a moment, then

slowly turns away from camera and walks off behind the

stagecoach. Valthim follows her anxiously.

Daphne is standing by the door of the station-house, with

Sprewell on the other side of her, as Lady Luna comes up. Daphne's

heart goes out to Lady Luna and she steps forward sympathetically.

Daphne

Mrs. Mallory, I'm awfully sorry. If

there's anything I can...

Lady Luna stops and faces Daphne as she speaks.

Lady Luna

(coldly)

I'm all right. Thank you.

She turns away and goes on into the station-house, watched

unhappily by Daphne. Valthim steps gallantly up and follows

Lady Luna into the house.

Lady Luna comes in through the door that leads from the yard into

the lunch-room. It is a fairly large room with bare white-

washed walls, a bar at one side and some tables and chairs.

Lady Luna looks terribly sick and is fighting for strength and

self-control. But as she reaches out for a chair to steady

herself, she suddenly puts her other hand to her head and

without warning she collapses in a dead faint, sinking to

the floor out of sight behind a table. Just then, Valthim

comes through the door; he starts forward to help, looks

down, then hurries back to shout through the door.

Valthim

Marshal! Come here. Quickly!

Then he rushes back to Lady Luna, bending down over her.

Wilcox is seen from below, hurrying through the door. At first

he cannot see Valthim and scans the room anxiously until

his eyes light on him, off-screen. He pauses, laying his

shotgun down on the bar beside him.

Valthim is kneeling down beside Lady Luna's inert body on the

carpet. Wilcox's shadow can be seen against the far wall.

Valthim gently lifts Lady Luna's head off the floor, as Wilcox

hurries into shot to kneel down beside him. They exchange

glances and Valthim nods slightly. Wilcox bends down and

starts to pick Lady Luna up gently in his arms as though she were

a child.

Daphne now hurries through the door, coming towards camera,

then stops, looking down anxiously. Doc Boone and Sprewell

follow her closely.

Wilcox, holding Lady Luna in his arms, carries her towards the

door at the back of the room, which leads into a passage and

bedrooms. Valthim turns, picks up the oil-lamp from the

table beside him and follows them through.

Sprewell, Daphne and Doc Boone turn their heads to watch

them go, as they stand in a helpless huddle. Peacock joins

them, while Valthim and Wilcox are seen going out with Lady Luna

through the door in the background.

Daphne is standing by Doc Boone, who is leaning against the

bar. They are both watching very tensely. Daphne turns to

Doc Boone and lays her hand on his arm.

Daphne

Come on, Doc.

She hurries out of shot in the foreground, but Doc Boone

remains leaning against the bar. His eyes close in anguish

for a moment. He covers his face with his hands, and at that

moment Hawk steps up to him.

Hawk

(quickly but firmly)

Let's go, Doc.

Doc Boone wipes his forehead with his hands and then with a

set expression starts to walk towards camera, followed by

Hawk.

Outside in the dim passage, Daphne speeds urgently down to a

lighted doorway halfway along. She stops and looks through,

then hurries into the room. At that moment, Doc Boone comes

into shot from the foreground, padding unsteadily along the

passage after her. He goes through the same door and, as he

disappears inside, Valthim's shadow falls on the opposite

wall from where he is standing on guard. Then he steps out

of the room, looking back over his shoulder.

Sprewell

(off)

A sick woman on our hands!

The remaining passengers are moving with Baldy towards the

warm fire in the large fireplace.

Sprewell

That's all we needed!

Baldy

I... I feel kinda sick myself.

Hawk goes to close the door as Sprewell continues to bluster.

Sprewell

(raging)

We're in a fine fix, my friends.

It's a fine country we're living in.

The Army has no right to leave a

public place like this undefended!

Hawk

(coming back and

silencing him)

Looks to me like the Army's got its

hands pretty full, mister.

As Hawk speaks, standing back to camera in the foreground,

Daphne hurries into the room. Valthim can be seen through

the open door, standing on guard in the passage behind her.

Daphne hurries up to Chris, who has been bending down beside

the fire. He stands up.

Daphne

Have you a wife?

CHRIS

Si, señora.

Daphne

Call her.

Chris goes off, shouting in Spanish to his wife. Daphne turns

towards Hawk in the foreground, with Baldy watching in the

background.

Daphne

(turning to Hawk)

Go into the kitchen and get some hot

water -- lots of hot water.

Hawk

Yes, ma'am.

Hawk turns to go as Daphne hurries off again, leaving the

men standing in a stunned silence. Just at that moment Doc

Boone stumbles back into the room, followed by Valthim. Doc

Boone wipes his mouth and without a word goes off towards

the bar, watched by Valthim and Sprewell. Daphne closes the

door to the passage behind her.

Doc Boone slouches unhappily against the bar, watched by

Peacock, who stands in the corner holding his sample-bag

tightly. Doc Boone, swaying slightly, looks at the nearly

full bottle in his hand.

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

Valthim

A fine member of the medical

profession!

Cut back to Doc Boone and Peacock at the bar.

Valthim

(off)

Drunken beast!

At these words Doc Boone firmly replaces the cork in the

bottle and presses it home with the palm of his hand. Only

then does he turn, steadying himself on the bar, to look

purposefully in Valthim's direction. He starts taking off

his jacket.

DOC

Coffee... gimme coffee... black

coffee... lots of it...

He drops his jacket and staggers off, watched by Peacock

from the corner.

Dissolve to the station kitchen, where Doc Boone, shirt-

sleeves rolled back, is desperately trying to sober himself

up. Wilcox pours him another cup of black coffee from the

coffee pot on the range while Hawk holds him steady round

the chest. Doc Boone hands Wilcox back a tin cup, demanding

still more coffee; Wilcox refills it from the pot.

Wilcox

That makes four, Doc.

Doc Boone drains the tin cup, his face turning purple with

the effort, but he holds the cup out manfully again.

DOC

More, and blacker!

Wilcox

(looking apprehensive)

Ain't that enough? You'll have it

coming out of your ears in a minute!

DOC

Keep'er comin', Wilcox!

Wilcox splashes the cup to the brim again and Doc Boone puts

it to his lips heroically, gasping with the effort.

Hawk

Drink it down.

Wilcox

It'll make you feel better.

Suddenly Doc Boone gasps and looks up at Hawk, clasping his

stomach.

Hawk

All right, now!

He heaves Doc Boone bodily across to the right, where he

bends over to vomit.

In the lunch-room, Peacock and Sprewell are the only two

sitting at table eating dinner. Valthim stands in the

background guarding the door to the passage. Suddenly, unable

to contain himself a minute longer, he lunges over to the

kitchen door behind Peacock and kicks it open.

Standing at the open door, he sees the group within clustered

round Doc Boone. Hawk holds him over a basin while Wilcox

and Chris stand helplessly watching. They all spin round as

Valthim shouts.

Valthim

(yelling)

Isn't that drunken swine sober yet?

Wilcox

(retorting)

We're doing the best we can!

Valthim

(yelling)

Well, hurry!

Valthim stumps off impatiently. Then camera pans left as

Doc Boone straightens up, puffing, his eyes rolling. Wilcox

moves off to the left and throws a glass of cold water in

his face. Doc Boone blows and splutters, but he urges Wilcox

on with a wave of the hand.

DOC

That's it! Again!

Wilcox throws another glass of water in Doc Boone's face, and

he shakes his head and blows, trying to clear out his

alcoholic fuddle. Hawk steps back out of the range of the

water. Then he grabs Doc Boone's arm and pulls him down on a

seat.

Hawk

Sit down here, Doc.

As Hawk wipes Doc Boone's face and head with a cloth, Wilcox

urges Chris to the fire.

Wilcox

Keep the fire going, Chris! Plenty

of water!

Chris hurries across to attend to the fire. Wilcox kneels

down in front of Doc Boone.

Peacock and Sprewell are seen sitting at the table. Valthim

paces up and down behind them, running his fingers impatiently

through his hair. Suddenly Peacock's face drops and he leaps

to his feet with a blood-curdling yell.

PEACOCK

Savages!

Valthim and Sprewell spin round, startled, as Chris comes

calmly through the door of the kitchen.

CHRIS

That's my wife...

In the yard doorway stands a full-blooded Apache girl, a

certain savage beauty in her figure. She stands there like

an evil shadow, her eyes darting around at the strangers.

Two Mexican vaqueros stand behind her.

CHRIS

(off)

Yakima.

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

PEACOCK

But she... she's a savage.

CHRIS

Si, señor, she's leetle bit savage...

I think.

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

The vaqueros go off outside and Yakima comes forward from

the doorway.

The agitated Peacock stands near Sprewell, who is sitting by

the table. Chris is beside them, addressing Yakima as if she

were a chattel. The girl slips into the room with the grace

of a snake and walks through to the kitchen. Valthim watches

in the background. Then Sprewell turns sternly on Chris.

Sprewell

There's something about this. That

girl's an Apache!

Baldy

Yeah.

He clears a frog out of his throat.

CHRIS

(pouring coffee)

Sure, she's one of Geronimo's

people... I think.

(grinning)

Maybe not so bad to have Apache wife.

Apaches don't bother me... I think.

Peacock appears not at all convinced. But at that moment Doc

Boone comes through the door and strides towards the passage

at the back of the room, followed by Wilcox and Hawk; he is

a different man now, a good professional, as sober as a judge.

Everyone turns to watch them as they go.

Cut to a medium long shot looking up the passage towards the

door of the lunch-room as Doc Boone comes towards camera,

followed by Hawk and Wilcox. Valthim watches them from the

threshold. Doc Boone dries his hands on a towel, then throws

it over his shoulder. As the men reach the door of the bedroom

in which Lady Luna is lying, he stops and turns back to Hawk and

Wilcox. Hawk moves off, but Wilcox shakes Doc Boone's hand

sympathetically.

Wilcox

All right, Doc?

DOC

(in a courageous

whisper)

All right.

He turns and disappears through the doorway, watched by the

men in the passage. Wilcox turns to go.

Inside the bedroom, Daphne stands waiting with an oil-lamp

in her hand. Doc Boone pauses in the doorway, holding two

Baldyets of hot water. He looks up at Daphne nervously, then

pulls himself together.

DOC

(in a low voice)

All right, now listen.

He puts down the Baldyets and wipes his forehead with the

towel, then goes off to the right as Daphne moves past him

and closes the door. She comes back and puts the lamp on a

side table, looking towards Doc Boone, now off-screen.

Cut to Wilcox standing in the passage, with Hawk and Valthim

beside him on the threshold of the lunch-room door. All are

staring towards the closed door on the left. They stand there

waiting for whatever is going to happen.

Dissolve to one of the Mexican vaqueros playing a guitar in

front of the fire outside in the compound. It is night. A

voice starts to sing, off. Camera pans slowly left to a long

shot of the horses in the corral. Yakima sits on the fence,

singing.

Close-up of Yakima singing. She looks over her shoulder as

if hearing some significant noise, but nothing other than

the stamp and shuffle of horses can be heard. Still singing,

she walks towards the Mexicans sitting round the guitar

player; camera pans right with her and holds as she stops,

leaning against a wooden post.

Cut to a medium close-up of Yakima singing. Suddenly she

stops and speaks in Spanish in a low voice, telling them to

go. The group of Mexicans under the covered shelter by the

fire get up, wrapping their cloaks around them. Yakima, again

singing, does not move. The Mexicans go off on the right

with the guitar player still playing, looking back at her as

she sings. Cut back to the shot of Yakima singing. Suddenly

there is the sound of hoof-beats. She listens, a curious

smile glinting in her black eyes.

Wilcox, Hawk, Baldy and Valthim come rushing out of the house.

As they run towards camera, Wilcox hands Hawk a shotgun.

Camera tracks in closer as they run forward and stop suddenly.

The stillness of the night is broken by whooping, and the

hoof-beats get louder.

From their point of view, we see a vaquero galloping away

under the gate into the night.

Valthim, Wilcox, Baldy and Hawk watch impotently.

Baldy

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

A pause.

Wilcox

Yeah! With the spare horses.

Baldy and Hawk look at him worriedly. Then they look back

towards the corral.

Out on the prairie, where the full moon is rising over the

mountains, a coyote howls its long-drawn-out cry. It howls

again, the cry echoing mournfully across the long lonely

vista. In the gloomy lunch-room, Hawk, lighting a cigarette

from an oil-lamp, looks up slightly as the coyote howls again.

In the lunch-room the men are sitting around in varying

degrees of agitation. Valthim is playing patience at the

table behind Hawk, who moves away. Suddenly the howl of the

coyote changes, and we hear, mingled with it, the sound of a

baby crying. Both men look round slowly towards the door to

the corridor.

Now we look along the table with Wilcox and Valthim sitting

at the end, Peacock sitting in the foreground and Hawk

leaning against the chair opposite him. They all look round

at the door to the passage in the background. The wail comes

again. Baldy edges round into shot at the end of the table.

Baldy

Them coyotes gimme the creeps. They

sound jest like...

(again the high wail,

louder)

...jest like a baby.

They look up at him slowly, then Baldy looks down at Valthim's

patience game and points.

Baldy

Black eight!

Valthim looks down at his game again, but his mind is not

on it. As they all turn to look down at Valthim's cards,

the passage door slowly opens and Daphne appears silhouetted

against the light. She is holding a bundle in her arms. Slowly

they all become aware of her. The last trace of hardness has

vanished from Daphne as she holds the infant in her arms,

and there is a wonder in her face. She stands a moment in

the doorway, a smile in her eyes, then comes into the big

room with the little bundle of wailing life wrapped in a

bigger bundle of blanket. The men all get up and go towards

her, surrounding her.

Seen from below through the door from the passage, Daphne

stands three-quarters back to camera as she holds the baby

and looks up to the men grouped around her -- Hawk nearest

camera, then Valthim, Wilcox, Peacock trying to see his way

between Wilcox and Baldy. They all smile tenderly and in

delight. Wilcox puts out a finger to touch the new-born child,

carefully, as if he weren't sure it was real.

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

Daphne, seen in medium close-up from below, is smiling up

towards Wilcox, whose hand holds the blanket away from the

baby's face, while Baldy and Peacock look down excitedly.

Baldy is completely overcome; he looks up.

Baldy

(amazed)

It's a baby!

Daphne's voice is as proud as if the child were her own, her

smile tender and maternal.

Daphne

It's a little girl.

Hawk and Valthim look down, quite speechless.

Baldy

(off)

It's a little girl. Well I'll be

doggoned!

Wilcox, Peacock and Baldy all crowd round Daphne, looking down

at the baby in Daphne's arms. Daphne is three-quarters back

to camera and the baby cannot be seen.

Baldy

(outraged)

Why didn't somebody tell me?

Valthim and Hawk look over at him, off-screen. Valthim is

the only one of the group who has not been smiling; his eyes

are intense with anxiety.

Valthim

How is Mrs. Mallory?

Cut back to the shot of Daphne, Peacock, Wilcox and Baldy.

Daphne looks up towards Valthim.

Daphne

She's going to be all right.

Baldy

(grinning)

Well I'll be doggoned.

(to Peacock)

Did you know?

Peacock looks up and is about to say something, then changes

his mind and looks down at the baby again, grinning. Daphne

looks up towards Hawk.

Extreme close-up of Hawk staring at Daphne.

Close-up of Daphne smiling slightly as she looks up towards

Hawk. She looks very beautiful.

Baldy

(off)

Well, I'll be doggoned!

Cut back again to the men crowding round the baby. Daphne is

still smiling up towards Hawk. Baldy looks down at the baby

and wiggles his finger on his lips, making a funny gurgling

noise, but Peacock stops him.

PEACOCK

(sternly)

Don't do that.

Baldy stops, looking rather put out.

Daphne leaves the men and hurries away with the baby just as

Doc Boone comes through the passage door into the room. He

looks weary and terribly sober. As he comes forward the men

all surround him admiringly; even Valthim's eyes show a new-

found respect. But Doc Boone seems oblivious of the excitement

and enthusiasm, heading single-mindedly past the men to the

bar. Wilcox comes up and puts a hand round his shoulders;

Peacock waylays him, standing in his path, and grabs his

hand, pumping it and staring into his face.

PEACOCK

(fervently)

Doctor Boone!

He seems about to say something else, but obviously words

fail him. Doc Boone does not reply, but starts to move on

again, with Peacock holding his arm on one side and Wilcox

holding his arm on the other.

Doc Boone takes up the same position he had occupied before

the emergency where his bottle of whiskey still stands on

the bar. His face grey and lined. He puts his cigar back in

his mouth. The others are all jubilant; Peacock and Wilcox

smile at him from either side; Valthim and Baldy, also smiling

broadly, come up and stand by the bar. [Chris takes up a

position behind the bar.] Doc Boone disregards them and seems

unaware of anything but his own weariness.

Wilcox

Come on, boys, three cheers for old

Doc Boone! Hip, hip...

PEACOCK

(raising a finger)

Sssssh! Quiet!

Baldy and Wilcox have drawn breath to cheer but Peacock cuts

them off.

Baldy

Well, we ought to be...

PEACOCK

(smacking the bar top)

Quiet!

(he looks reproachfully

at Baldy and adds)

Mrs. Mallory.

They all subside, conceding the point. In the meantime, Doc

Boone has poured himself a drink and with much relish downs

it in one. Then he slowly lowers the glass, blows his breath

out sharply and for the first time looks round at the others

and grins. Hawk is standing shadowed in a doorway out in

the passage. Daphne comes out of a door farther down the

passage, putting a shawl round her shoulders, and walks down

the corridor away from camera without seeing Hawk. Hawk

starts to follow her. Just before he reaches her, Chris comes

out of another door carrying a lamp. Hawk stops.

Chris, seen from the side holding the lamp, stands close up

to Hawk, his manner secretive.

CHRIS

(in a low, warning

voice)

Kid, I know why you go to Lordsburg,

Kid. I like you. I knew your poppa.

He was a good friend of mine. If you

know who's in Lordsburg you stay

away... I think.

Hawk

(guardedly)

You mean Luke Plummer?

He lights his cigarette from Chris's lamp.

CHRIS

Luke... Ike... Hank... all there

together. I saw them.

A wild shine comes into Hawk's eyes and he grips Chris's

arm eagerly.

Hawk

You sure of that, Chris?

CHRIS

Sure I can tell you the truth.

As Chris nods, Hawk's eyes gleam.

Hawk

Thanks, Chris. That's all I wanted

to know.

He moves away towards the door, watched by Chris.

CHRIS

You crazy if you go... I think. You

stay away, Kid. Three against one no

good.

Hawk takes no notice and goes outside. Daphne is seen in

long shot, standing in the dark compound. In the moonlight

the vast expanse of desert seems ghostly, yet strangely

beautiful. Hawk comes into shot from the foreground and

silently watches her as she walks slowly out of sight. He

starts to follow.

Cut to low angle medium shot of part of a fence as Daphne

comes up, walking slowly and thoughtfully past camera, her

arms folded. The experience of the last few hours has affected

her deeply, taken all the defiance out of her face and

softened it into beauty.

Hawk quietly follows her.

Daphne walks along by the fence, followed at a small distance

by Hawk. She stops and rests a hand on the wood. Thoughts

of what she might have been seem to be crowding into her

heart as she stares off into the moonlit distance. Hawk

calls out to her in a low voice.

Hawk

You oughtn't go too far, Miss Daphne.

She turns at his voice and he comes towards her on the other

side of the fence.

Hawk

Apaches like to sneak up and pick

off strays.

He leans against the fence and looks down at her. She does

not look at him at first.

Hawk

(conversationally)

You visiting in Lordsburg?

Daphne

No, I... I have friends there.

(she turns towards

him)

And maybe I can find work.

She turns to face him properly and suddenly speaks to him in

a rush.

Daphne

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

you escape?

Hawk and Daphne face one another across the fence.

Hawk

I aim to, Miss Daphne... in Lordsburg.

Daphne

Why Lordsburg? Why don't you make

for the Border now?

Hawk leans forward in close-up.

Hawk

My father and brother was shot down

by the Plummers. I guess you don't

know how it feels to lose your own

folks like that.

Cut back to the shot of Hawk and Daphne, as she looks off

over the moonlit plains. Her voice is dull and flat.

Daphne

I lost mine when I was a kid. There

was a massacre in the Superstition

Mountains.

He looks at her in surprise, but she is looking back at her

own dismal childhood.

Hawk

That's tough, especially on a girl.

[It's a hard country.]

Daphne

You have to live, no matter what

happens.

Hawk

Yeah, that's it.

They look off for a moment into the moonlit distance, each

deep in their own thoughts. Hawk is trying to muster courage

to express what he feels. Finally he turns to her, with his

voice, at first awkward and halting, growing in emotion.

Hawk

Look, Miss Daphne...

Close-up of Hawk.

Hawk

...you got no folks... neither have

I. Maybe I'm taking a lot for

granted... but I watched you with

that baby... that other woman's

baby... and you looked...

(he grins)

...well...

Close-up of Daphne.

Hawk

(off)

...but... well... I still got a ranch

across the Border. It's a nice

place... a real nice place... trees...

grass... water... a cabin half-

built...

Close-up of Hawk.

Hawk

...a man could live there... and a

woman.

Daphne's eyes are brimming with tears, as she looks up at

Hawk.

Hawk

(off)

Will you go?

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

Daphne

You don't know me! You don't know

who I am!

Daphne and Hawk face one another in profile.

Hawk

I know all I want to know. You're...

the kind of girl a man wants to marry.

They stare at each other for a few moments, then Daphne turns

away.

Daphne

(tearful)

Oh, don't talk like that!

Daphne, overcome by the rush of feeling that possesses her,

gathers up her skirt and dashes off.

Wilcox is now seen approaching from the house. His voice,

when he speaks, is gruff with suspicion.

Wilcox

What you doin' out here, Kid?

We look along the fence, with Hawk on one side and Daphne

hurrying away on the other. She stops at the sound of Wilcox's

voice, then moves off as Wilcox strides up to Hawk.

Wilcox

Stick close to the reservation.

Fade out.

Fade in to a room at the Apache Wells Station. It is early

next morning. The men of the party are bunked down on the

floor in various positions. Suddenly a voice galvanizes them

into action.

CHRIS

(Shouting off)

Wilcox!

He rushes in.

As he opens the door, the daylight coming through the doorway

lights up the people in the room. Everybody sits up. Wilcox,

who is lying by the door, looks up at Chris.

Wilcox

What's wrong, Chris?

CHRIS

(excitedly)

My wife, Yakima. She run away.

Hawk and Wilcox sit, looking up towards Chris, off-screen.

Wilcox is holding a gun.

CHRIS

(off)

When I wake up she's...

(making a wide gesture

with his hand)

...gone.

Wilcox moves his leg and yanks Hawk across with him. We see

that they are handcuffed together round the ankles.

Wilcox

(apologetically)

'Scuse me, Kid.

He pats Hawk's leg and turns to Chris again, growling at

him reassuringly.

Wilcox

The way you come bustin' in here

you'd think... we was bein' attacked.

You can find another wife, Chris.

CHRIS

(off)

Sure I find another wife. But she

take my rifle and my horse! I never

sell her, I love her so much.

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

addresses him passionately.

CHRIS

I beat her with the whip and she

never get tired!

DOC

Your wife?

CHRIS

My horse! Find wife easy, yes, but

not horse like that!

Sprewell and Valthim are sitting in a corner of the room.

Valthim looks elegant, even in his prematurely disturbed

sleep. Sprewell stands up; an awful thought has struck him.

CHRIS

(off)

Mala Yakima!

Sprewell

I knew that woman was a thief.

The words are no sooner out of his mouth than he starts

stumbling about, feeling all around for something. It is

obvious that his bag has gone. Wilcox looks over at him from

his place on the bunk.

Wilcox

(suspiciously)

What's the matter with you, Sprewell?

Valthim gets up and moves away as Sprewell shouts

frantically.

Sprewell

My valise! Where's my valise?

In a general shot of the room, everyone is looking round

towards Sprewell as he shouts off-screen.

Sprewell

(off)

Which one of you has got it?

Baldy, sitting down on the floor near Doc Boone and Chris,

holds up the valise.

Baldy

Here. I been usin' it for a pillow.

Thought you wouldn't mind.

Sprewell rushes into shot and grabs the valise, standing

threateningly over Baldy.

Sprewell

Didn't I tell you to keep your hands

off my things?

Baldy

Well, I'm sorry I...

No one speaks. Baldy starts to get up.

Baldy is now standing up in front of Doc Boone, with Chris

visible standing near the door. Baldy sticks out his tongue

rudely at Sprewell, who is off-screen, and then moves off

towards the door, looking back at Chris as he goes. An

unpleasant thought has struck him too.

Baldy

That squaw of yours will find some

Apaches and bring 'em back here.

CHRIS

(indignantly)

My wife's people they won't bother

me... I think.

Baldy

(wheezily)

They bother me... I think!

He goes out.

Chris turns back to Doc Boone. Doc Boone is sitting on the

bar and pats it with his hands stiffly.

DOC

Chris... is this bar open?

CHRIS

Sure, all the time, señor, si.

Doc Boone jumps down, and as he lands on the floor it is

obvious that the short jump has jarred every bone in his

body. Camera pans slightly right as Chris goes round behind

the bar and gets out a bottle and a glass for him. Doc Boone

turns round towards him and uncorks the bottle.

Sprewell, puffing angrily, puts on his jacket. Wilcox, who is

standing by him, is still dressed only in his shirt-sleeves.

Valthim can be seen in the background, leaning against the

doorpost and looking through the open door.

Sprewell

(impatiently)

What are we wasting time for? Let's

make a break for it.

Valthim

(staring at him coldly)

We got a delicate woman to consider.

Sprewell

Well, do you want her to stay here

and be butchered, with the rest of

us?

Hawk comes into shot and stands with Wilcox facing Sprewell.

He sits down preparing to put on his boots as Valthim and

Sprewell continue to shout at one another.

Valthim

Why don't you think of anyone else

for once?

Sprewell

(shouting)

Are you insinuating...?

Wilcox intervenes.

Wilcox

Easy, easy, easy! Quiet, boys, quiet.

(Sprewell stalks off)

We ain't butchered yet. But you're

right...

Hawk looks up.

Wilcox

(off)

...we'd better get goin' for Lordsburg

soon as we can.

Hawk looks towards the door of the corridor, then back

towards Wilcox, off-screen.

Hawk

Might be a good idea, Wilcox, if --

uh...

Doc Boone is standing at the bar, drinking, with Sprewell

beside him and Baldy in the background.

Hawk

(off)

...if Doc took a look at the patient.

Baldy

(grinning)

Yeah, and Little Coyote.

Sprewell gets himself a glass and pours himself a drink. He

holds out his glass to Doc Boone.

Sprewell

(clearing his throat)

If you'll join me, Doctor...

He drinks.

Doc Boone looks at him, then shakes his head.

DOC

No thanks.

Camera pans left with Doc Boone as he moves away from the

bar, leaving Sprewell drinking on his own. The pan continues

as Doc Boone passes the fireplace where Peacock is standing.

He throws his drink into the flames. The fire roars up and

Doc Boone goes out of shot, watched by a rather startled

Peacock, who looks round towards the bar, then down at the

flaring grate.

Dissolve to a close-up of Lady Luna in the bedroom. Her head is

propped up on the pillow and Daphne's hands are in shot

braiding her hair.

The bedroom is now seen in medium shot. Lady Luna lies in bed,

with Daphne sitting on the bed beside her. The door in the

background opens and Doc Boone comes in cheerily.

DOC

Good morning.

Daphne gets up and goes to close the door as Doc Boone stands

at the end of the bed looking down at Lady Luna.

DOC

You're looking chipper today.

Now Doc Boone is seen in close-up as he looks quietly at

Lady Luna, then turns his head towards Daphne, both off-screen.

DOC

You're up early, Daphne.

Daphne is leaning against the wall by the door. She looks

pale and drawn. Her cloak has dropped away from her chest

and she draws it up again, but does not reply.

Close-up of Lady Luna, who knows better.

Lady Luna

She didn't go to bed, Doctor.

Close-up of Doc Boone, looking down at Lady Luna.

Lady Luna

(off)

I'm afraid she sat up all night,

while I slept.

His eyes flick up towards Daphne again.

Close-up of Daphne.

Daphne

(apologetically)

Oh, I slept in the chair a lot.

Close-up of Doc Boone looking at her. He does not believe

her. Doc Boone and Daphne are now seen in medium shot across

the room. Daphne moves away from the wall and crosses the

room behind Doc Boone as she speaks.

Daphne

Well, it was nice to stay awake and

hold the baby.

Camera pans right with Doc Boone as he goes across to the

bed where the baby is lying next to Lady Luna. He bends down to

look at the baby.

DOC

(poking the baby)

We've got to get you to Lordsburg,

Little Coyote.

(he chuckles as Lady Luna

looks at him, puzzled)

That's what the boys christened her

last night from the way she squalled.

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

DOC

(off)

Little Coyote. How do you feel?

Lady Luna

Fine, Doctor. A bit tired.

Doc Boone is now seen bending over the bed, with Lady Luna lying

on the pillow below him.

Lady Luna

Doctor, do you think my husband...

DOC

(cheerily)

Never mind. The best medicine he can

have is to see you two safe and sound.

You make up your mind to get there.

Lady Luna

(quietly)

I have, Doctor.

DOC

That's the talk. You need more

strength. Rest all you can. Daphne,

maybe you can fix up some broth.

Lady Luna

(indicating a plate

and cup on a chair)

She has already.

DOC

Good!

(to Daphne)

How about some coffee for the boys?

He gets out a cigar.

Daphne, who is sitting down beside the window, nods and gets

up wearily.

DOC

Try and sleep for a while, little

lady.

(he beams at her

teasingly)

And don't look so proud. I've brought

hundreds of 'em into the world...

(a pause)

...once upon a time, and each new

one is always the prettiest.

He goes out and Lady Luna watches him go.

In the passage outside the bedroom Daphne stands against the

wall waiting for the doctor as he comes out to go towards

the lunch-room. She calls to him, her voice low and intense.

Daphne

Doc...

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

opposite her

Daphne

...Hawk asked me to marry him.

Close-up of Daphne.

Daphne

Is it wrong, for a girl like me? If

a man and woman are in love, it's

all right, ain't it, Doc?

Doc Boone frowns back at her.

DOC

(quietly)

You're going to get hurt, child,

worse than you've ever been hurt.

Don't you know that boy's headed

back to prison?

(She is silent and he

goes on)

Besides, if you two go into

Lordsburg...

Cut back to Daphne listening worriedly.

DOC

(off)

...together, he's going to find out

all about you.

She stares at him, then makes an inward decision.

Daphne

(quietly)

He's not going to Lordsburg.

(after a pause)

All I want is for you to tell me

it's all right.

Doc Boone looks at her with a depth of understanding. There

is something regretful in his eyes; they see that Daphne is

on ice that is too thin.

DOC

Who am I to tell you what's right or

wrong, child? All right, go ahead.

Close-up of Daphne.

DOC

(off)

Do it, if you can. Good luck.

Daphne

(almost with tears in

her eyes)

Thanks, Doc.

He looks after her for a moment as she hurries away down the

passageway, goes out through the door at the end and closes

it behind her, then himself turns to go back to the lunch-

room.

In the lunch-room, the men are gathered in a tense group.

Valthim leans against the bar with his back to the others;

Sprewell stands at the end of the bar drinking. Hawk is

near the fire, where Baldy is busily gathering up his things.

Wilcox joins the rest as Doc Boone appears and taps Hawk on

the shoulder.

DOC

Hawk...

Wilcox

(interrupting)

Well, Doc?

DOC

Both doing fine. She's a real

soldier's wife, that young lady.

He goes over to the bar and picks up his bottle and glass.

Sprewell and Doc Boone are now seen at the end of the bar,

with Baldy behind them near the door.

Sprewell

(eagerly to Wilcox)

That means we can go.

DOC

(pouring a drink)

Not for a day or so, if you want my

professional opinion.

Sprewell

What do you mean a day? Stay another

day? Why?

DOC

Where were you when the stork came

last night, Sprewell?

Valthim adds his support.

Valthim

I refuse to allow Mrs. Mallory to

travel until she and the child are

out of danger.

Sprewell looks furious.

Sprewell

What d'you mean 'danger'? Aren't we

in worse danger here?

Peacock intervenes nervously.

PEACOCK

(clasping his hands)

I don't wish to intrude... I've had

five children...

(coughing)

...I mean my dear wife has... and...

much as I dislike to say it at this

hour of our trial, I... ahem... I

believe the doctor is right.

In the group, Valthim is leaning back against the bar, Wilcox

is standing a little apart in the middle of the room, and

Doc Boone by Sprewell at the end of the bar. The doctor

strikes the top of the bar with one hand.

DOC

Spoken like a man, Reverend.

Sprewell

I say we've got to get out of here

before the Apaches find us. That's

common sense!

Valthim turns to Sprewell as Doc Boone walks away to the

door into the yard, through which Hawk has now disappeared.

Valthim

(vehemently)

I wish you were ten years younger,

Sprewell!

Sprewell

Don't let my white hairs stop you!

Baldy and Wilcox move forward and intervene.

Wilcox

Quiet! Quiet!

Baldy

(petulantly)

Now, Wilcox, I haven't said a word.

Sprewell moves away.

Wilcox

(shouting at Baldy)

Will you shut up!

Baldy waves his hands in frustration and moves away as Wilcox

tries to make everyone see reason.

Wilcox

If we argue this thing out right

we'll get somewhere. Now let's all

sit down and talk sensible.

The station-house door is seen from the outside, as Doc Boone

comes out puffing on his cigar.

Wilcox

(continuing, off)

Come on, Baldy, sit down.

Camera pans right with Doc Boone as he shuffles forward and

joins Hawk, who is busily tying his neck scarf.

DOC

(to Hawk)

In that case you better make yourself

useful, my boy. There's a young woman

out in the kitchen. She's making

coffee. She needs help.

Hawk

Thanks, Doc.

Hawk starts to move away, camera panning slightly with him,

but Doc Boone grabs him by the arm. Hawk turns towards him

and they stand facing each other a moment.

DOC

Say, Kid, how old were you when you

went to the pen?

Hawk

Oh well, I was going on seventeen.

Hawk goes off, leaving Doc Boone looking after him. Doc

Boone sticks his cigar into his mouth and then puts his hands

into his trouser pockets and stands, looking thoughtful, for

a moment.

Daphne is at the range in the kitchen, grinding coffee. Hawk

comes through the door at the back and stands leaning against

the doorpost looking at her. She does not notice him. He

waits there awkwardly for a moment and then speaks, self-

consciously polite.

Hawk

Mornin', ma'am.

Daphne looks up towards him.

Daphne

Good morning.

Camera pans slightly left as she picks up the coffee-grinder

and goes across to the stove and starts spooning the coffee

into the big coffee pot. Hawk comes forward and stands behind

her, holding his hat.

Hawk

(shifting his weight

hesitantly)

I laid awake most the night wondering

what you'da said if Wilcox hadn't

busted in. Guess you was up too. I

could hear you movin' around.

(a little awkwardly)

You didn't answer what I asked you

last night.

Daphne goes on measuring the coffee in the pot. Finally she

stops what she is doing and drops her hands onto the stove.

Close-up of Daphne as she swings round to face Hawk.

Daphne

(her voice growing

urgent as the words

pour out)

Look, Kid, why don't you escape?

There's a horse out there in the

corral.

Cut to a reverse medium close-up with Daphne in the foreground

three-quarters back to camera and Hawk facing her.

Daphne

Wilcox won't go after you... he can't

leave the passengers in this fix!

Hawk

But I got to go to Lordsburg. Won't

you go to my ranch and wait for me?

Daphne looks at him intensely.

Daphne

(bitterly)

Wait for a dead man?

(she turns away)

You haven't got a chance.

Daphne goes back to her coffee-making, leaving Hawk standing

awkwardly behind her.

Daphne

It was three against one when the

Plummers swore you killed their

foreman and got you sent up. It'll

be three against one in Lordsburg.

Hawk

There's some things a man just can't

run away from.

Camera pans round slightly left as Hawk comes towards camera

and sits down in the foreground by the stove, partly out of

shot.

Daphne

How can you talk about your life and

my life when you're throwing 'em

away?

(vehemently as he

comes to her)

Yes, mine too! That's what you're

throwin' away if you...

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

Daphne

(off)

...go to Lordsburg!

Hawk

(helplessly)

What do you want me to do?

Daphne leans forward urgently from the stove towards Hawk,

while he looks at Daphne in confusion.

Daphne

(pleadingly)

Would it make us any happier if Luke

Plummer was dead? One of his brothers

would be after you with a gun. We'd

never be safe. I don't want that

kind of a life, Hawk.

Hawk

(slowly)

I don't see what else I can do.

Daphne

Go now... get away... forget

Lordsburg... forget the Plummers.

Make for the Border and I'll come to

you.

She pleads intensely.

Hawk

You mean that?

Daphne

I do, I do!

Hawk

Won't you come along with me?

Daphne

I can't leave Mrs. Mallory and her

baby. I'll come to you from Lordsburg.

I swear it.

Daphne leans against the stove watching Hawk as he gets up

from the window-sill. He looks round the room and then back

again at Daphne, trying to adjust his mind to this tremendous

change.

Hawk

I oughta have a rifle.

Daphne

I've got one right here.

Camera pans right as Daphne rushes across the room and moves

a coat from a rack of pegs on the wall, which is hiding a

rifle. She takes it down.

Daphne

(eagerly)

I got it for you last night, while

you were all asleep.

Hawk stares at her in wonder.

Hawk

(as he takes it)

You thought of this last night?

Daphne

Yes, don't ask any more questions,

not now!

Hawk cannot take his eyes from her excited face. She is a

complete wonder to him.

In the lunch-room, Wilcox stands holding a council of war

round a large pine table, where Valthim, Sprewell and Peacock

are seated. The plaintive Baldy stands beside Wilcox.

Baldy

Oh gosh, Wilcox, there ain't no Apaches

behind us. We can still go back to

Tonto.

Sprewell

(hitting the table

with his fist)

No! I insist we go on to Lordsburg.

Wilcox

What do you think, Chris?

Doc Boone is standing at the bar with Chris on the other

side facing camera.

CHRIS

Geronimo between here and Lordsburg,

with my horse... I think.

DOC

(raising his voice in

song)

'My horse is young, she has gone

astray...'

Chris covers his ears.

Wilcox and Baldy are seen close from below.

Baldy

Quiet. This is a serious matter,

ain't it?

Doc Boone looks from the bar over his shoulder at the others,

off-screen.

DOC

(raising his glass)

Baldy -- if I have only one hour to

live, I'm going to enjoy myself.

He drinks.

PEACOCK

Doctor, I don't begrudge you my

samples, but...

Baldy

(interrupting, wagging

his finger at Peacock)

Now you hush -- I stood enough of

you. Now this is a serious problem

and I'm the only one who is talking

sense. Now if Wilcox...

Cut back to the shot of Baldy and Wilcox as he interrupts Baldy.

Wilcox

Once we get across that ferry we'll

be all right.

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

Wilcox

The question is, what we gonna do

about the lady and her baby?

Wilcox goes towards the door to Lady Luna's room.

Valthim

Doctor Boone has settled that for

us, suh. I demand respect for his

professional opinion.

Doc Boone is seen at the bar, spinning round.

DOC

(looking up in surprise

at Valthim)

Valthim!

Valthim is now seen from below, sitting at the table playing

patience, with Wilcox standing behind him and looking through

the door into the corridor. Suddenly Wilcox remembers.

Wilcox

Hawk.

(turning back urgently)

Hawk!

Camera pans slightly right as Wilcox rushes off down the

passage shouting for Hawk.

Daphne and Hawk are outside in the corral, leading a saddled

horse out from under the covered shelter. Daphne hands Hawk

the rifle, which he sticks in the saddle-boot as he prepares

to mount. They look at each other for a moment. They have no

words for the things they feel. It is all in their eyes.

Daphne

Hurry, Hawk, hurry!

He takes one last look at her, then digs his spurs into the

mustang and the horse leaps forward. Camera pans left slightly

as he canters off, leaving Daphne watching him ride away,

her arm lifted in a little gesture of farewell.

Pan left with Hawk as he rides his horse hard, jumping the

fence that rings the compound and galloping to the top of a

rise a hundred feet away. As he tops the rise, galloping

straight forward, he suddenly sees something that makes him

saw on the bit. The horse comes to a dead stop as if it had

four-wheel brakes. He dismounts again, looking around.

Daphne is watching anxiously from outside the corral. Her

arm is still half-up in her incomplete gesture. From behind

her comes Wilcox's voice.

Wilcox

(off)

Hawk!

Wilcox rushes into shot coming round the corner of the house.

Daphne looks round and sees him coming; he is holding a gun.

He rushes off in the foreground, shouting. Terror comes into

Daphne's face and she cries out.

Daphne

Hawk, don't stop! Go on, go on!

Wilcox rushes off after her.

Baldy comes running out of the house after Wilcox, followed by

Doc Boone. Baldy stops at the end of the stagecoach and watches

as Daphne goes on shouting.

Daphne

(screaming, off)

Keep riding!

Hawk's riderless horse comes cantering back into the

compound, jumping the little fence by the wall. As it goes

off, Daphne rushes into shot, shouting at Hawk.

Daphne

Hawk, go on, go on, don't stop!

She is closely followed by Wilcox. Camera pans left with them

as he catches up with her and she grabs his arm desperately,

trying to stop him; but he throws her roughly to the ground

and runs off towards the desert.

Hawk is standing motionless at the edge of the desert which

stretches out beyond him, staring into the distance. Wilcox

charges into shot and grabs him, taking his fists to handcuff

them. Wilcox is hopping mad, but Hawk holds out his wrists

calmly.

Hawk

You don't need them, Wilcox. I'm not

running away.

Wilcox

(with an angry scowl)

I'll say you ain't!

He snaps the cuffs.

Hawk

(nodding past Wilcox)

Look at them hills.

Just then Daphne comes tearing up and grabs Hawk's arms

wildly. She sees what they see in the distance, and stops

struggling.

Wilcox steps forward, a look of real concern on his face.

From a distant summit far across the desert, a thin white

spiral of smoke is rising into the still air. It is

interrupted sharply. Then another puff rises, like a

telegraphic flash.

Wilcox turns back to look at Hawk.

Wilcox

Apaches?

Hawk's jaw tightens.

Hawk

(nodding)

War signals.

Daphne clings even more tightly to Hawk's arm. A look of

despair comes into her eyes; she stands there, beyond all

speech, beyond all hope now, as the scene dissolves.

The passengers are all gathered round the stagecoach in the

yard, prepared to set off once again. Camera pans right with

Valthim as he carries Lady Luna up to the stagecoach, followed

closely by Doc Boone. They all help Lady Luna inside. Daphne

follows them into shot; she has the swaddled baby held tight

to her breast.

Dissolve to a high angle medium long shot of the stagecoach

galloping out through the gate away from camera, going towards

the hills in the distance.

Dissolve to the stagecoach galloping round the foot of a

hill in another part of the prairie and disappearing into

the distance. Dissolve to Baldy and Wilcox sitting side by

side on the driving-box. Baldy is working to get all he can

out of the horses; Wilcox sits alert with the rifle across

his knees. As Wilcox scans the horizon, Baldy, without turning

his attention from the horses, calls to him.

Baldy

Don't you think you oughta take them

cuffs off the Kid? He's mighty handy

with a gun.

Wilcox

(growling back loudly

without turning his

attention from the

dangerous horizon)

You drive them hosses! I'll take

care of the Kid.

Wilcox keeps looking round the whole time, his gun at the

ready.

Inside the coach, it is very crowded. Doc Boone is sitting

on the floor, Peacock is squashed into one corner, while

Sprewell, seen almost in back view, leans heavily on Doc

Boone as he yells out of the window.

Sprewell

Can't you drive any faster?

(he pulls his head in

and addresses the

group)

Thick-headed lout! We've got to make

that ferry!

(bitterly)

A man works all his life to get hold

of some money so he can enjoy life

and then runs into a trap like this.

He takes off his stiff collar.

PEACOCK

(starting and leaning

towards Sprewell

nervously)

A trap, brother? You mean the Apaches?

There's been no sign of them.

Sprewell

(yelping at him)

You don't see any signs of them!

They strike like rattlesnakes.

Sprewell, his fear making him belligerent, glares at Valthim,

off-screen.

Sprewell

If you hadn't insisted...

Valthim is sitting in the corner with Lady Luna's head on his

lap.

Sprewell

(Off)

...on waiting for her...

Lady Luna looks round.

Hawk is sitting on the floor against the door, his hands in

their cuffs laid carelessly across his knees.

Sprewell

(off)

...we'd have been across the ferry

by this time.

Valthim cradles Lady Luna's head in his arms.

Valthim

(his eyes burning)

You talk too much, Sprewell.

Sprewell's edginess is making things uncomfortable for Peacock

sitting beside him, and for Doc Boone squashed down on the

floor, only his head and shoulders in shot.

Sprewell

(with a snap)

Your threats don't faze me, Valthim.

Cut back to the close shot of Valthim and Lady Luna. Lady Luna starts

to sit up.

Sprewell

(off)

You're nothing but a tinhorn gambler.

Valthim

(leaning forward,

murder in his eyes)

How would you like to get out and

walk?

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

Sprewell

You can't put me out of a public

conveyance!

DOC

(placatingly)

Gentlemen! Gentlemen!

Hawk looks up.

Hawk

Take it easy, Sprewell. We may need

that fighting before we get to the

ferry.

Now back again to Sprewell, Peacock and Doc Boone.

Sprewell

(angered by the boy's

tone, looking at the

handcuffs)

You wouldn't be much good in a fight,

you jailbird.

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

Valthim

(off)

Oh, leave the kid alone. He's

handcuffed.

PEACOCK

(off)

Gentlemen, please!

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

PEACOCK

(meekly)

Let's not forget the ladies, bless

them.

He looks at the baby.

Daphne looks at him in grateful surprise.

Dissolve to a medium long shot of the stagecoach toiling up

some rough dusty ground and going off in the foreground.

Dissolve to a medium shot of Baldy and Wilcox on the driving-

box. They look very happy and Wilcox leans down to shout

through the window to the passengers.

Wilcox

Well, folks, we're coming into East

Ferry now.

Baldy

Lordsburg next stop!

He giggles.

Dissolve to a long shot of the ferry as seen from the

stagecoach as it comes down the road. In the foreground there

are some dark posts and fencing. Smoke wafts across the

screen. The horses canter in, and camera pans left and tracks

back as they pull into the open space in front of what was

once the ferry building, now engulfed in flames. East Ferry

is a scene of desolation; there is no one around, the houses

are in ruins, burned to the ground. The stagecoach stops in

the centre.

Baldy and Wilcox are seen from the side on the driving-box.

Baldy and hardly speak for fright as he suddenly notices the

ferry ahead of them.

Baldy

Wilcox, look! Look at the ferry.

Long shot looking across the still water of the river where

the ferry lies burnt and broken on the opposite bank. All

that remains is the thin cable across the water and the

smoking ruins of the ferry wharf.

Baldy

(off)

It's burnt too.

Wilcox jumps down from the driving-box of the stagecoach.

Hawk jumps out, followed by Valthim. Wilcox hands a rifle

to Valthim.

Wilcox

Valthim, stand guard over there.

Valthim runs off in the foreground as Sprewell gets out.

Suddenly everybody starts to talk at once. Sprewell is

complaining as usual and his tone implies that Wilcox is

responsible for the whole predicament. Doc Boone comes out

of the stagecoach after him.

Sprewell

(harshly)

Where's the Army? What are the

soldiers doing?

DOC

Anything I can do, Wilcox?

Sprewell

(at the same time)

Are they going to let Geronimo do

nothing but pillage and burn?

Wilcox

(putting a hand out

to stop Doc Boone)

Hawk, come here, I need you.

Wilcox faces Hawk, takes out his key, and starts to unlock

the handcuffs.

Wilcox

Will you give me your word you won't

try to escape no more?

Hawk holds out his wrists, looking straight into Wilcox's

eyes.

Hawk

I give you my word... to Lordsburg.

Wilcox's response is sharp; he jerks his thumb over his

shoulder.

Wilcox

Get back in the coach with the women.

Hawk's wrists are still held out and Wilcox is starting at

him scornfully. For a moment they fight each other with their

eyes. Doc Boone can be seen standing on the steps of the

coach, and Sprewell, as Wilcox starts to move away from Hawk.

But the boy holds out his manacled hands and stops him.

Hawk

I give you my word.

Daphne calls from inside the coach.

Daphne

(off)

Hawk, don't!

But Wilcox immediately unlocks the handcuffs, tosses them up

into the box, and shouts at Baldy at the same time.

Wilcox

Drive in the river till she's up to

the hubs.

Long shot of the stagecoach in the clearing heading for the

river; one of the burned huts is smouldering in the

foreground. Camera pans left as the stagecoach moves off

towards the water behind some rocks.

High angle long shot looking down onto the river from the

near bank. The stagecoach comes into shot and halts as the

horses stand on the bank, urged on by Baldy.

Valthim is standing amidst the ruins of one of the huts,

taking off his cloak. Camera tilts down with him as he bends

down, to show the body of a woman grotesquely perched on all

fours, partly scalped. He covers the body with his cloak.

Then camera tilts up again as he straightens up and stares

into the distance. Something catches his eye.

In the hilly countryside, all appears to be still.

Valthim looks anxiously over his shoulder towards the others,

then back up to the hills again.

Dissolve to the side of the stagecoach, seen from behind.

Wilcox and Hawk are struggling with a large log which they

roll towards the stagecoach and begin to lash to the wheels

and underside of the vehicle. Wilcox shouts quick instructions

to Hawk, who hurries off. Baldy, on the driving-box, has

cleared most of the luggage from the top. He picks up Hawk's

saddle and throws it down into the bushes beside him. Then

he looks down towards Hawk again and shouts.

Baldy

Sorry about the saddle, Kid.

Another angle from above shows Baldy with Hawk standing beside

the horses and Wilcox by the side of the stagecoach.

Wilcox

Ready, Kid?

Hawk

All set!

Wilcox

Ready, Baldy?

Baldy

Oh, I'm ready, Wilcox.

Wilcox jumps up onto the driving-box beside Baldy, and Hawk

starts to hurl pebbles at the horses to get them to go down

into the water.

Wilcox

Ready, Baldy! Here we go, folks.

(He leans down to

shout through the

stagecoach window)

Just sit tight, folks, it'll be all

right.

The stagecoach starts to move forward. The camera is in fact

mounted on top of the stagecoach and it lurches and shakes

with the vehicle's motion as the horses move forward and

struggle into the river. Camera swings round to the right so

that it is shooting straight ahead, looking along the horses'

backs as they plunge belly-deep into the water.

From the roof of the stagecoach, Baldy and Wilcox are urging

the horses through the water ahead of them. Wilcox hurls

pebbles at them, Baldy keeps shouting. Hawk is perched on

the back of the roof.

Long shot looking over the river to the stagecoach, the horses

now swimming. The stagecoach is hub-deep in the water,

floating across on two big logs which have been lashed to

each side of it and buoy it up.

The heads of the four leading horses are seen just above the

water as they swim through the river, camera panning left

with them. The horses are now swimming powerfully and pulling

the stagecoach across the river. Camera pans across left as

the horses reach the opposite bank and start to clamber out

of the shallow water beside the broken ferry.

Dissolve to a medium shot looking along the dusty trail.

Track along behind the stagecoach as it moves away into the

distance. Now the coach is entering a new kind of country,

desolate, with giant cacti pointing fingers up at the

cloudless sky.

Dissolve to a medium shot of Baldy and Wilcox on the driving-

box, Wilcox looking back the way they have come.

Baldy

(singing happily)

All aboard for Lordsburg, Lordsburg,

Lordsburg...

(he breaks off)

Hey, Wilcox!

Wilcox

(turns back to him)

What?

Baldy

Do you think I ought to charge Mrs.

Mallory's baby halffare?

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

A high angle very long shot looking over the desert shows

the stagecoach like a small toy pressing on alone through

the desolate expanse towards the mouth of a canyon. It is

early evening. Baldy can be heard, off, shouting at the horses.

Suddenly, camera pans swiftly across to the rim of the canyon

wall to reveal a large band of savage-looking Apache Indians,

their foreheads smeared with white war-paint, lurking in

ambush, waiting for the stagecoach to enter the canyon below.

At their centre, looking down into the valley, stands the

most dreaded figure in the South-west, Geronimo, powerful of

frame, and with a craggy face that seems to have been carved

out of red rock.

Another Apache is seen close, with still others of the band

on horseback behind him.

Now Geronimo is seen from below in front of a group of

Apaches. One of them points off.

The stagecoach is seen far away and below, as its horses

gallop along in the middle of the valley. There is little

cover for miles around. Camera swings round to the left and

tilts up to the ridge to reveal the Apache warband turning

away. Most of those on horseback ride out of shot, leaving

Geronimo and two or three of his warband standing and watching

them go.

Inside the coach the atmosphere is fairly relaxed and even

Sprewell makes an attempt at cheerfulness.

Sprewell

Well, we'll soon be in Lordsburg.

Sorry I flew off the handle, Valthim.

Just nervous, you know how it is.

Valthim eyes him sardonically and says nothing. No hard

feelings, I hope.

PEACOCK

(sitting up, rather

proud of himself)

Well, all in all, it's been an

exciting...

(coughing)

...but very interesting trip, now

hasn't it?

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

coach.

DOC

Well, now that the danger's past,

Mister...

Peacock looks down helpfully, while Sprewell looks on.

PEACOCK

Er, Peacock.

DOC

(off)

Ladies and gentlemen, since...

Cut back to Doc Boone on the floor.

DOC

...it's most unlikely that we'll

ever have the pleasure of meeting

again socially, I'd like to propose

a toast.

He looks up, then takes the cork out of his bottle and looks

at each of them in turn.

DOC

Major, Sprewell, Hawk... Your health.

Valthim

(off)

Thank you, sir.

Doc Boone takes a swig at the bottle, but as he does so there

is a strange whistling sound and a thudding noise; Doc Boone

chokes on the bottle, looking up with his eyes wide in

amazement. He looks round and camera pans swiftly left, now

showing Peacock and Sprewell. Peacock has an arrow stuck in

his shoulder. The little man is sitting bolt upright, a look

of disbelief on his face. He utters no sound as his right

hand gropes to the arrow and holds it by the shaft, while

blood pours down his hand. His face is frozen in agony for a

moment, then, with a slight gurgle, he falls forward, watched

in horror by Sprewell. Camera tilts down with him as he falls

across Doc Boone. Doc Boone, now in close-up, leans forward,

hurriedly trying to remove the arrow. He pulls it out and

looks down aghast at Peacock.

Baldy and Wilcox are driving along, unaware. A shot rings out

and Wilcox looks round anxiously.

A medium long shot looks up a slope to where several Apaches

are galloping down towards camera, silhouetted against the

sky. Wilcox immediately raises his gun and fires twice; the

shots explode with a shattering report. Baldy, in horror,

urges his horses onwards to renewed effort.

Now the Apaches are seen galloping over the horizon. The

first one gallops out of shot, but the two that are coming

over the hill fall, hit by Wilcox's bullets; camera pans

slightly right as they roll, slipping down among boulders.

Yet more Apaches appear behind them.

Baldy is yelling at the top of his wheezy voice, urging the

horses on, and Wilcox is yelling at Baldy. Then Wilcox turns

down to the door of the stagecoach behind him.

The ravine is now seen from below and in long shot. The

Apaches appear at the rim as the stagecoach hurtles through

the bottom of the ravine, coming towards camera and going

off to the right.

Three Apaches now zigzag down the side of the ravine on their

horses and pursue the stagecoach.

The wide flat plain stretches away to the far distant

mountains on the horizon. The stagecoach speeds away from

camera as Apaches swarm down the canyon slope, riding wildly

in pursuit. The noise of yelling and the constant gunfire is

deafening.

The team of horses is now seen from the roof of the

stagecoach, with Baldy and Wilcox in back view in the

foreground. Wilcox is frantically chucking stones at the horses

to urge them on.

Track beside the stagecoach to show Baldy yelling wildly at

the horses, as Wilcox continues to chuck stones at them.

Now track rapidly backwards in front of the pursuing Apaches,

who gallop across the plain, leaving the canyon far behind.

Baldy continues to urge his horses on wildly. Wilcox removes

his gun-belt. He yells for Valthim, and camera pans slightly

right as the latter emerges from the window of the stage and

takes the belt from him. While the exchange takes place,

Daphne peers anxiously out of the window for a moment. Then,

as Baldy goes on screaming at his horses, Wilcox turns back

and settles himself on the box, taking aim backwards over

the roof of the stagecoach.

The Apaches, some with bows and arrows, some with old rifles,

and a few with lances and buffalo-hide Baldylers on their

arms, are riding furiously, gaining ground on both sides of

the stagecoach. They are still behind, but their intention

is plain... to come alongside on both sides and rake the

passengers with their fire.

The stagecoach is now going full speed, Baldy yelling the

horses on, Wilcox shooting over the back of the stage.

The Apaches thunder up in pursuit. One of them falls from

his horse as the others charge on.

Track in front of the stagecoach, as the door at the side

opens and Hawk crawls out precariously onto the exposed

roof. He makes it, crawls forward, and reaches into the boot,

getting his rifle. An arm appears from the stagecoach window

firing at the pursuing Apaches. The stagecoach continues to

hurtle forward, everyone except Baldy firing back at the

Apaches. Loud 'chase' music adds to the noise of gunfire and

war whoops.

Now pan left with the pursuing Apaches.

Cut back to Hawk sitting upright on the back of the

stagecoach, seen in profile, aiming down at the pursuing

Apaches. He fires.

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

the air.

At the side of the stagecoach, Daphne looks anxiously out of

the window as two arrows thud into the woodwork just beside

her. One of the men inside hauls her away from the window.

Track again below and beside the pursuing Apaches.

Inside the coach, Doc Boone is bandaging Peacock's shoulder

while Sprewell stands in back view in a mad panic. He pushes

at Doc Boone, trying to get past him to the door.

DOC

Sprewell, will you shut up! I've got

a patient here!

Sprewell

Stop this stage! Let me out of here!

DOC

Sprewell! Sprewell!

Sprewell

Let me out of here, I tell you, stop

this stage!

As Sprewell continues to struggle, Doc Boone finally puts

down his dressings and turns towards the hysterical man.

Doc Boone is seen from below, as he suddenly punches Sprewell

hard on the chin.

DOC

You shut up!

Camera pans slightly right as Sprewell sinks down out of

shot. Doc Boone turns back to his patient again. Through the

window, the plain seems to fly by.

The stagecoach and the pursuing Apaches are seen in long

shot from above, all charging towards camera, which tracks

in slightly as the stagecoach goes off to the left. The

Apaches chase after it, spread out in a row and firing

constantly at their target.

From ground level, we see the team of horses and the

stagecoach charge right over the camera lens, followed by

some Apaches.

The stagecoach is now seen from the side. Hawk is lying

full length on the roof, firing out over the back. Wilcox is

firing past him from the box. Doc Boone, also holding a

pistol, is visible at the window. Baldy yells wildly at the

horses, driving for all he is worth. As a bullet whistles

past him, Doc Boone ducks back slightly.

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

Hawk is lying on his side, aiming out over the back of the

coach. He fires.

Track rapidly left with an Apache who falls to the ground as

he is hit by Hawk's shot. His horse charges off left and

several other Apaches pass over his body.

Doc Boone leans out of the window of the stagecoach, takes

careful aim with his pistol, and then fires. Hawk is leaning

back reloading his gun from the ammunition box, while Baldy

continues to yell wildly at the horses. Doc Boone takes aim

again.

Lady Luna, seen in close-up with a scarf round her head, looks

grimly out of the window. Doc Boone's hand with the gun is

visible on the left. Lady Luna winces slightly as the gun fires.

From above the stagecoach, we see Hawk on the roof in the

centre of shot. The Apaches are clearly gaining ground as

the men are now aiming more or less sideways out from the

stagecoach. Hawk and Wilcox fire, then Doc Boone does the

same.

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

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

Track sideways with the pursuing Apaches.

Track with one Apache who is reloading a rifle as he gallops

along. Clouds of dust and more Apaches behind.

Track sideways again with several mounted Apaches.

The stagecoach and horses are now seen in medium long shot,

galloping furiously across the plain to the right. Two Apaches

approach at the gallop from the left, followed by another

intercepting from the side.

On the driving-box, Baldy yells at Wilcox, who turns to the

other side to aim at the intercepting Apaches. He fires.

Baldy

(yelling wildly at

the horses)

Come on, get on, ho, go on, go!

Now the Apaches are shown galloping away from camera. One of

them falls from his horse in the foreground and is dragged

along by the reins.

On the driving-box, Baldy continues to yell wildly at the

horses while Wilcox starts chucking stones at them again.

Baldy

Get on there, hoa, hoa, go!

From Baldy's point of view on the box, the horse team is seen

galloping wildly along.

Track out in front of the coach, as an Apache on a piebald

horse draws level with the team, throws away his lance and

leaps from his own horse onto the leading pair.

Cut back to Baldy and Wilcox, who is now turned towards the

back of the coach again. Baldy, seeing the Apache land on the

horses off-screen, yells to Hawk.

Baldy

(shouting)

Hawk!

Hawk leans forward behind him and aims across his shoulder.

Track sideways with the team of horses, the Apache crouched

on the shaft between the leading two.

Hawk fires across Baldy's shoulder.

Cut back to the horses, to show the Apache brave hit and

falling down onto the shaft between the first pair.

Hawk aims lower and fires again.

Now the Apache falls to the ground between the horses, who

gallop on over him followed by the stagecoach. They go out

of frame to the left. Camera holds on the Apache, who

scrambles painfully up to a kneeling position as more Apaches

gallop past.

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

He aims his pistol, then fires and smiles.

Track left as one of an Apache group bites the dust. Camera

holds on the body as the others charge off.

Valthim looks round, teeth bared, then aims again.

Track slightly left as more Apaches gallop past and away

from camera. Two gunshots; two more Apaches bite the dust.

Valthim now withdraws inside the carriage for a moment.

Track left with a bunch of Apaches who are catching up with

the stagecoach, the back wheels of which show on the left.

Low angle close-up of Hawk on the roof of the stage. He

aims and fires twice.

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

bite the dust.

Doc Boone is now seen close from below, leaning out of the

window of the stagecoach and aiming his pistol. He withdraws

inside again as two bullets hit the door before he can fire.

Now a low angle long shot shows the stagecoach hurtling

towards camera. The Apaches have now almost drawn level with

it on all sides.

Doc Boone leans out, aims and fires.

Again we see the back of the stagecoach on the left, the

pursuing Apaches behind, as one of them bites the dust in

the foreground. Track slightly left as the horse rolls over,

then gets up again and gallops off.

A group of Apaches is galloping after the stage, camera

tracking left and slightly above them. Then pan slightly

right as the top of the stage comes into view with first

Hawk, then Wilcox, taking aim and firing.

Track rapidly left with two of the pursuing Apaches. The

horse of one of them is shot from beneath him and he is flung

forward over its neck.

The stagecoach is now seen in three-quarter front view. Track

rapidly out in front of it, panning slightly at the same

time to keep it in frame. The pursuing Apaches are now all

level with the coach.

Track rapidly left with two Apaches. One of them has a rifle

raised. He aims and fires.

Cut to Baldy and Wilcox on the box. There is the crack of a

gun and Baldy almost pitches off the box as he is hit in the

arm. He slumps forward with a moan. Wilcox tries to pull him

up again, calling to Hawk to help. Hawk sees what has

happened and crawls forward to aid Wilcox in pulling him up.

Cut to a low shot as from the front of the stagecoach. The

reins hang slackly from Baldy's hand, off-screen, as the horses

gallop along.

The men look down helplessly towards the horses. Wilcox yells

at Hawk.

Wilcox

(frantically)

The leader, get the leader!

The reins of the leader are dragging on the ground. Hawk

leaps forward between Wilcox and Baldy, letting go of the

wounded man.

Track sideways with the stage. We see Hawk jump off the box

onto the back of the first pair of horses. Gunshots scream

through the air and the music gets louder. Camera pans ahead

of the first pair of horses as Hawk jumps onto the next

pair, then onto the head pair. The attacking Apaches can be

seen through clouds of dust in the background. Having landed

on the shaft between the leading pair, Hawk scrambles onto

the back of the nearest horse.

Track with Hawk on the back of the leading horse. He is

seen in medium close-up and three-quarters back view. He

gathers up the loose reins and starts to whip the horse on

with the end of them.

On the box, Baldy continues to hang onto the other half of

the reins with his good hand, feebly urging the horses on,

while Wilcox reloads his gun. But it is really Hawk who is

doing the driving now.

Baldy

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

Wilcox gives Baldy a hand dragging on the reins. Valthim stands

at the stage window following an Apache round with his pistol,

off-screen. He fires, but there is a click.

The pistol is empty. Looking horrified, he withdraws inside

the coach. A gunshot explodes.

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

his pistol.

Track sideways with the galloping Apaches, one of them aiming

a rifle with one hand. He fires.

Cut back to Doc Boone following the Apaches round with his

pistol. He fires. A click. His gun is also empty. He looks

desperately round, then calls up to Wilcox, off-screen.

DOC

Wilcox! More ammunition!

Wilcox turns round from the box and shows the empty magazine

of his rifle. He shakes his head.

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

An Apache with a rifle is seen through the other window of

the stage, drawing closer.

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

Daphne, seen in close-up huddled in the corner of the smoke-

filled stagecoach, clasps the baby to her. A bullet whistles

through, making a hole in the woodwork. She turns in horror

to look at it.

Track with the attacking Apaches.

Daphne looks anxiously down at the baby, while the attacking

Apaches draw ahead, seen through the windows of the stage

behind her.

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

gunshots continue, off.

Daphne suddenly drops her head forward and buries it

hopelessly in the baby's shawl.

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

Valthim's gloved hands are seen, close from above, opening

the gun. There is one bullet left in the chamber. He spins

it round to the firing position.

Cut back to Valthim's face. He looks up and across at first

Daphne, then Lady Luna off-screen, his face desperate and forlorn.

As he raises the gun, camera pans right and tilts down to

show Lady Luna huddled in the corner, muttering prayers. Valthim's

gun comes into frame on the left, pointing straight at her

head. A pause, then there is a gunshot off, and the gun drops

and falls to the ground as Valthim is hit, off-screen. Lady Luna

continues to mutter her prayers, apparently without noticing.

Suddenly we hear the sound of a bugle and she looks up, hope

dawning in her eyes.

Lady Luna

Can you hear it? Can you hear it?

It's a bugle! They're blowing the

charge!

Track right with the bugler and standard-bearer of the U.S.

Cavalry galloping to the rescue. The bugler turns from side

to side, sounding the charge, while the music turns to a

triumphant cavalry theme.

Now we see from above the whole detachment of cavalry charging

to the rescue, camera tracking right with the horsemen.

Cut to a cavalryman galloping along with the flag, others

behind him, their sabres drawn.

Now we see the bugler in a high angle close-up, sounding the

charge at the head of his troop.

In the distance, the stagecoach comes toward camera surrounded

by the remaining Apaches, while the near cavalry stream

towards it. The Apaches pull their horses to their haunches

and begin to scatter and run, as the cavalry charge towards

them. They flail their ponies with their moccasined feet as

they head back the way they have come, leaving the horsemen

behind in a cloud of dust. Hawk leaps from the leading horse

and holds the team's head, while a small group of cavalrymen

ride up to the coach.

From the inside, the door of the coach is jerked open and

Hawk looks in eagerly. His eyes turn to Valthim off-screen

and his face falls.

Valthim is leaning back against the side of the coach, with

Doc Boone and Lady Luna supporting him on either side. He tries

to smile, looking up at Lady Luna, and she leans down close to

him, pity in her face. It is an effort for him to speak but

he manages his last words to her.

Valthim

If you ever see Judge Ringfield...

(fighting for breath)

...tell him his son...

He does not finish his sentence, but closes his eyes and

slumps forward on Doc Boone's shoulder. We hear the sound of

the cavalryman's bugle, off.

Hawk is still looking anxiously through the door. Behind

him the bugler circles round on his horse, still blowing his

bugle.

Dissolve to medium long shot of the cavalrymen riding in

formation across the plain.

Dissolve to a street in Lordsburg, seen from above at night.

It curves to the left so that one cannot see its full length.

Oil-lamps light the store and saloon fronts, creating the

usual Western atmosphere with an eerie effect of shadows

from stark points of light. There are several Baldyboards and

a number of cow ponies hitched to the racks that line the

street on either side. It is Saturday night and Lordsburg is

full of ranchers and miners, cowboys, businessmen and diverse

town characters. There is a thudding of hooves, and around

the turn in the distance come a group of cavalrymen, their

horses lathered and their uniforms covered with dust, as

they sweep past at a trot. Then two quartermaster's waggons

come round the turn at a sharp trot. As the quartermaster's

waggons draw near, the uniformed driver pulls the horses to

a halt in front of the Army building, which is opposite the

biggest and brightest saloon in town, the El Dorado.

One of the waggons is drawn up in front of the Army building.

Several Army officers and four or five ladies have been

waiting on the sidewalk in front of the Army office, and

they flock to the waggon.

Two cavalrymen, one of them a captain, lift Lady Luna out; she is

laid on one of the stagecoach seats. The ladies crowd round

anxiously. Camera pans left as the cavalrymen carry Lady Luna

towards the door.

CAPTAIN

Thank heaven you're safe, Lady Luna.

Lady Luna

Where's Richard? Is he all right?

CAPTAIN

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

Camera holds on a high angle shot of Lady Luna looking up from

the stretcher as the ladies crowd round sympathetically.

FIRST LADY

It isn't a bad wound.

CAPTAIN

We'll take you to him immediately.

SECOND LADY

Where's the baby, dear?

Lady Luna looks up anxiously and everyone turns to look off to

the right.

Daphne is standing in the doorway of the carriage with the

baby bundled protectively in her arms. Two cavalrymen,

standing one on each side of her, help her down the steps,

and camera pans left as she comes up to the group of waiting

ladies. A woman dressed as a nurse hurries forward and takes

the baby away from her.

NURSE

I'll take the baby.

Then the woman goes off into the background followed by the

other women, all cooing over the baby, and Lady Luna is revealed

on the left still lying on the stretcher held by the

cavalrymen.

Lady Luna

Daphne.

Daphne, seen close from below, moves forward, looking down

at Lady Luna off-screen.

Lady Luna's head, seen close from above, lies on the stretcher on

a pillow. She looks up at Daphne.

Lady Luna

If there's ever anything I can do

for...

She falters, lowers her eyes and looks away.

Daphne looks down at Lady Luna sympathetically.

Daphne

I know.

She takes off her shawl and throws it over Lady Luna on the

stretcher.

Lady Luna looks up at Daphne as she gently draws the cloak over

her.

CAVALRYMAN

(off)

All right, lady.

Lady Luna's head goes off at top of frame as the cavalrymen carry

her away on the stretcher.

Daphne backs away as the cavalrymen move off into the

background with Lady Luna. She pauses for a moment looking after

them, then camera pans right with her as she goes over to

the waggon and takes down her belongings from inside. She

starts dusting off her hat, then looks up as a commotion is

heard, off. Piano music comes from the saloons down the

street. In the background, more cavalrymen ride across from

left to right followed by the stagecoach itself, the tired

horses walking, as some cowboys crowd round to watch. Camera

pans slightly right as the stagecoach comes towards it.

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

One of them mouths something.

The stagecoach comes forward slowly, seen in three-quarter

front view with Hawk driving on the box, Baldy, his arm in a

sling, at his side, and Wilcox on the roof behind.

The two men watch in amazement. One man is thin with a

drooping moustache, a cigar clamped in his teeth; the other

is a short, fat little man whose eyebrows are raised in

childish astonishment.

FAT MAN

(with a wheezy gasp)

It's the Hawk Kid!

Suddenly he turns and rushes away through the crowd behind

him, hastily followed by the thin man. The other cowboys

crowd forward to watch.

Hawk is driving slowly, Wilcox sitting silently beside him.

The stagecoach moves slowly off, followed by a long procession

of curious bystanders, mainly cowboys.

In the El Dorado Saloon, a piano is banging out honky-tonk

music amid the racket of a frontier saloon on Saturday night.

Luke Plummer is sitting at a table playing poker, surrounded

by the other players. A woman leans against his shoulder on

one side. The last chip has been thrown into the pot.

LUKE

Aces and eights.

COWPUNCHER

(with a laugh as Luke

reaches for the pot)

Dead man's hand, Luke.

The two rabbity men who were watching Hawk in the street

rush up to the tables, the fat one coming round beside Luke

and addressing him.

FAT MAN

Hawk Kid's in town.

THIN MAN

Yeah, drivin' the stage.

Luke looks up at someone off-screen and we see his face for

the first time: hard, unpleasant, dangerous. A Mexican in a

broad sombrero now looks anxiously down at Luke off-screen.

Luke rises slowly to his feet, camera tilting up with him as

his face moves into shadow. The woman looks up anxiously at

his side.

LUKE

Mis hermanos! (My brothers!)

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

MEXICAN

Si, patron, un momento!

He turns and runs off.

Luke stands with his cards in his hands. He looks at them

for a moment, then throws them down on the table.

A close-up shows the cards lying on the table: two black

aces and two black eights.

Luke starts to move away.

The saloon is now seen in a reverse angle shot with the table

in the foreground. Luke moves away from camera, pausing

briefly to address his fellow players.

LUKE

Cash in.

Then he goes over to the bar in the background, his woman

sidling after him. He puts an arm on the bar and turns back

towards the room.

Cut on motion to Luke at the bar turning towards the room.

Another cowpuncher moves past in the foreground as the

Bartender, a fat man wearing a top hat, places a bottle of

whiskey in front of Luke and pulls out the stopper. Looking

rather apprehensive, he produces a glass and Luke pours

himself a slug of whiskey.

A long line of men stand in profile at the bar, the one

nearest camera moving out of frame to the left.

Luke puts down the bottle and raises his glass.

Luke, now seen in a low angle close-up, tosses the whiskey

back in one gulp and swallows.

The men at the bar all look round uneasily and gradually

start to move away.

Luke looks meanly to and fro.

At the piano at the rear, the pianist is pounding away

stolidly, gazing at Luke off-screen; the woman stands behind

him.

Luke looks from side to side with a vicious expression on

his face, but he is obviously scared and trying to hide it

under the show of meanness.

Daphne is still standing out in the street by the Army

building. Two cavalrymen pass in front of her, carrying a

stretcher with Valthim's body on it. She watches it pass,

then camera pans right with her as she moves towards a waggon,

from which another stretcher is being taken carrying the

wounded Peacock. The stretcher-bearers halt as Peacock

addresses Daphne, holding out his hand to her, which she

takes.

PEACOCK

Goodbye, Miss Daphne. If you ever

come to Kansas City, Kansas, I want

you to come out to see us.

Daphne

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

PEACOCK

Peacock.

The stretcher is carried off. Camera tracks slightly right,

then out in front of Daphne as she moves away from the Army

building. She suddenly stops and peers forward as we hear

the jingle of a harness off. Seen across a rail fence, the

stagecoach now comes up the street to join the waggons outside

the Army building. We can hear the piano from the El Dorado

Saloon playing somewhere nearby. Two men in shirtsleeves

hurry up to the stagecoach and numerous bystanders crowd

around.

ONE OF THE MEN

Hello, Baldy! You got through all

right!

Baldy

All right, Bill.

MAN

All right, folks, you're all right.

Unload.

The door of the stagecoach opens and Sprewell steps out. One

of the men advances towards him, brandishing a piece of paper.

MAN

Here y'are, Doctor, will you sign

this?

The door half-closes and then opens again as Doc Boone begins

to emerge in the background.

Hawk and Baldy are seen from below on the box. Baldy leans

forward wearily.

Baldy

Well...

Sprewell

(off)

Thank you.

Baldy

...Lordsburg.

He looks up at Hawk.

MAN

(off)

And you, Doctor.

Wilcox is now coming forward, holding his rifle and looking

up at Hawk off-screen.

MAN

(off)

There you are, thank you.

Wilcox

Well, Kid?

Cut back to Hawk and Baldy on the box, as Hawk leans forward.

Hawk

Wilcox, how long'll they give me for

breakin' out?

Wilcox looks up at him.

Wilcox

(quietly)

Oh, 'bout another year.

Hawk's expression hardens a fraction. Baldy watches him

anxiously.

Hawk

(after a pause)

You know where my ranch is?

Wilcox

(off)

Yeah.

Hawk

Will you... see she gets there all

right?

Wilcox is a little surprised.

Wilcox

Daphne?

Hawk looks straight ahead.

Hawk

Yeah. This is no town for a nice

girl like her.

He looks down at Wilcox.

Wilcox is touched.

Hawk

(off)

Will you do it?

Wilcox

(slowly and gravely)

Sure.

At the front of the stagecoach, Doc Boone is visible behind

the three men. The Sheriff, wearing a large stetson hat,

comes up, followed by an inquisitive bystander.

SHERIFF

How are you, Marshal? Get my man

through all right?

He brandishes several pairs of handcuffs.

Wilcox

I don't need them.

Sprewell, still rankling, taps the Sheriff's arm importantly

and points up at Hawk, as they form part of a group which

includes a portion of the crowd.

Sprewell

If you don't want to lose your

prisoner, Sheriff, you'd better take

him yourself.

The Sheriff, puzzled by having the driver of the stagecoach

pointed out to him, turns and looks at Sprewell.

SHERIFF

What's your name, mister?

Sprewell

My name is Sprewell. Ellsworth H.

Sprewell.

SHERIFF

Sprewell. You didn't think they'd

have the telegraph wires fixed, did

you?

The Sheriff and a Deputy who has appeared on the left

instantly leap upon Sprewell, who starts to struggle

violently. Close-up of Sprewell struggling wildly as the

Sheriff and his Deputy try to get the handcuffs on him. They

finally succeed and camera pans left slightly as Sprewell is

hustled away, followed by a crowd of delighted bystanders.

As they go, Daphne is revealed standing by the wheels of the

stagecoach. Soft music. Camera pans right and tracks out as

she comes forward, to show the stagecoach in medium shot.

Doc Boone is standing by the door, with the other three in

their previous positions. Daphne stops by Doc Boone and Hawk

climbs down from the box. He looks first at Daphne and then

at Wilcox on the right.

Hawk and Wilcox are seen in profile.

Hawk

Can I meet you here in ten minutes?

Wilcox doesn't answer. He just stands looking at Daphne.

Hawk

I gave you my word, Wilcox. I ain't

going back on it now.

Wilcox looks hard at Hawk, then hands him his rifle.

Wilcox

No ammunition.

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

Hawk

I lied to you, Wilcox.

He takes some cartridges out from the inside of his hat, and

shows them to Wilcox.

Hawk

I got three left.

He puts his hat on again and walks off.

By the stagecoach, Daphne and Doc Boone stand on the left,

Wilcox on the right. Hawk walks towards Daphne, loading his

gun.

Hawk

(to Daphne)

Come on.

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

towards Wilcox.

Track low in front of Daphne and Hawk as they walk off down

the street. Hawk works the catch on his gun. Slow music.

Doc Boone is facing Wilcox, with Baldy on the box of the

stagecoach behind them. They all turn and watch the couple

go.

Stay on tracking shot of Hawk and Daphne, now seen in three-

quarter front view. They pass the saloon. Camera pans slowly

round so that it is tracking alongside and just ahead of

them.

By Hawk's side, Daphne fumbles feverishly with her bag.

The doorway of the El Dorado Saloon is seen from behind the

bar. Luke Plummer stands back to camera on the left at the

bar. He whips out his pistol as two horses draw up at the

door and two hard-looking men rush in -- Ike and Hank Plummer.

They come up to Luke, who puts away his pistol and nods

towards the door, where a group of bystanders are crowding

round looking in anxiously. The farthest brother, wearing a

hat, looks in the direction of Luke's gaze; at the same time,

he grabs the whiskey bottle and reaches nervously for a glass.

It clatters over the side of the bar and onto the floor. He

looks scared at Luke and pours himself a drink. Luke comes

round beside him and grabs the bottle. The man drinks and

looks nervously from side to side again.

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

Luke and his brother are now shown leaning on the bar in

profile. They whip round towards camera, reaching for their

guns as a noise is heard at the door.

Doc Boone wanders in, slamming the saloon door behind him.

He comes up to the end of the bar facing the three men; he

puts his black bag on the counter. Then he points at the

whiskey bottle.

DOC

Can I have that?

A pause. Luke Plummer slings the whiskey bottle along the

counter.

Doc Boone catches the bottle, looking quizzically up at Luke

off-screen. He reaches for a glass and pours himself a slug,

then raises the glass, his eyes still on Luke.

Cut back to Luke and his brothers, seen in profile, all

looking meanly at Doc Boone off-screen.

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

innocently at Luke.

Cut back again to the Plummer brothers. Luke's face is

contorted with anger and tension. He looks from Doc Boone to

the Bartender and back again.

Now the bar is seen slightly from above with Doc Boone in

back view in the foreground; Luke and his brothers are lined

against it on the right. The Bartender stands behind the

bar, still in his top hat, one hand in his pocket. Luke

stretches out his hand to the Bartender, his eyes still on

Doc Boone.

LUKE

Give me the shotgun.

The Bartender does not react. Luke turns to him and says it

again, this time louder.

LUKE

Shotgun!

The Bartender produces a shotgun from beneath the counter

and hands it nervously to Luke, who grabs it compulsively,

smashing several glasses on the counter as he does so. The

Bartender snaps his fingers at his fat assistant who appears

on the left. They both go to a large ornate mirror which

hangs on a wall behind the bar.

Looking anxiously at Luke off-screen, the Bartender and his

assistant carefully lower the ornate mirror down below the

bar counter.

Doc Boone and Luke keep on eyeing each other across the bar.

Camera pans briefly right as the woman, seen earlier with

Luke, rushes up behind him and seizes him by the arm.

WOMAN

Luke, please don't.

Luke thrusts her away savagely, camera panning right again

as she lands in the arms of another woman and, recovering

herself, rushes off upstairs.

Hawk and Daphne are still walking down the street, camera

tracking in front of them. Neither looks at the other. Neither

says anything. Her feet seem to drag as she walks, as if she

never wanted to come to their destination. As the sequence

continues, they walk in and out of shadows while music from

bars and whorehouses comes and goes. Drunken laughter is

heard off. They are obviously approaching the sleaziest

quarter of town.

Pan and track slowly past a cat-house on the sidewalk; a

girl sits on the steps. Bawdy laughter comes from inside,

while a 'professor' can be seen pounding the piano through

the cracked glass of the doorway.

Cut back to Hawk and Daphne still plodding forward. Here

the music changes to a violin and piano playing a waltz.

Track sideways past a couple of similar establishments, Daphne

walking ahead of Hawk in the foreground. Then track in behind

them as they go towards the top of some steps, where Daphne

halts and looks up at Hawk. Behind her is an alley of sleazy-

looking houses with lighted windows. Daphne looks desperately

up at Hawk, who is partly visible in back view.

Daphne

(hopelessly)

Well, Kid, I...

(she pauses)

...I told you not to follow me.

Her face is hard and bitter with despair.

Daphne starts to go away down the steps into the alley, as

Hawk stands watching in the foreground. She breaks into a

desperate run, then halts as Hawk calls to her.

Hawk

Daphne!

She does not turn as Hawk comes down the steps after her.

Slow music.

Daphne has her hand on the rail as Hawk comes up just behind

her, too bewildered to say anything. Close-up of Daphne from

the side looking away from him silently.

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

Hawk

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

Cut back to Daphne seen in profile. She finally turns towards

Hawk with tears in her eyes.

Daphne

(choking)

I'll never forget you asked me, Kid.

That's something.

Hawk

(holding out his

wrists, his voice

calm)

See them scars? Handcuffs... Scars

wear off, Daphne.

He puts his hands on her shaking shoulders

Hawk

I ain't gonna give you a chance to

forget me. You wait here.

He turns and strides off to the left. Daphne turns to watch

him go, looking after him as if she can't believe what she

has heard. The quiet music ends.

In the El Dorado Saloon, everybody waits in a tense silence.

Luke Plummer stands on the left of the bar with his brothers

Ike and Hank. A card game is going on at a table on the right.

The door suddenly opens and everybody dives down, their hands

over their heads, as the Plummer brothers whip round, their

guns out. Baldy appears at the door, his arm in a sling. He

gives a hoarse shout of fear as he sees the Plummer brothers

turned towards him, their guns at the ready.

Baldy stands at the door, petrified. He waggles his fingers

placatingly and speaks in a terrified falsetto.

Baldy

...Er... er... Hawk said he would

be passing this way in six or seven

minutes.

He grins again placatingly and suddenly bolts out of the

door, slamming it behind him.

Cut back to Luke and his brothers, who pocket their pistols.

Luke swings the sawn-off shotgun into the crook of his arm

and jerks his head to his brothers.

LUKE

(Urgently)

Come on.

They stride towards the left, camera panning with them, and

come up against Doc Boone, who has come round from the end

of the bar to block their way. His tone is amiable, but firm.

DOC

I'll take that shotgun, Luke.

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

LUKE

You'll take it in the belly, if you

don't get out of my way.

Doc Boone stares grimly at Luke, off-screen.

DOC

[If it can stand the kind of whiskey

they sell here, it can stand lead.]

I'll have you indicted for murder if

you step outside with that shotgun.

He holds out his hand as if he were only asking for the wrist

of a patient.

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

The two of them stand by the end of the bar, Luke's two

brothers behind him, the fat Bartender in the background.

Luke tosses the gun on the bar with a clatter.

LUKE

Well, I'll tend to you later.

He thrusts Doc Boone brutally aside, camera panning left

slightly, then strides off, followed by his brothers. Doc

Boone comes forward to the bar again, grinning; he mops his

brow and takes the whiskey bottle from the fat Bartender,

who has come forward and thrust it towards him. He pours a

slug, drinks it fast, then sets the glass down with a sigh.

He gasps to the Bartender, who has been watching with bulging

eyes:

DOC

Don't ever let me do that again.

The Bartender grins sympathetically and pushes the whiskey

bottle towards him again.

In the street outside, Luke's woman is leaning over the third-

floor balcony above the bar.

WOMAN

Luke!

She tosses down a rifle. Camera tilts rapidly down with it

to the sidewalk, where Luke catches it, his brothers standing

on either side. Luke cocks the gun and they all look warily

from side to side, then stride off to the left past a lamp.

LUKE

(calling up)

Thanks.

And the three brothers move forward again, scanning the empty

street ahead of them.

The Plummer brothers come round the side of the saloon,

looking warily around them. A cat runs across in front of

them. Medium close-up of the trio. Hank draws his gun and

fires at the cat.

The cat scuttles away round a corner.

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

laugh.

IKE

Hank missed him with four feet.

At a street corner, people scatter. A man rides towards camera

on horseback with two other horses in tow.

Outside the El Dorado Saloon, cowboys are unlooping the reins

of their mustangs from the hitching posts and leading them

into corrals. The street is rapidly emptying.

Through the open door of a print shop, we see an old Type-

setter in shirt-sleeves, a green eyeshade on his brow, bent

over a type box beside an old-fashioned printing press. Track

in as the Editor hurriedly enters from the street, taking

off his jacket as he goes. On the window is lettered:

LORDSBURG SENTINEL. The old Type-setter straightens up as

the Editor bustles in, and camera holds on them as they face

each other across the press.

EDITOR

Hey, Billy! Billy! Kill that story

about the Republican Convention in

Chicago. Take this down.

He points out into the street.

EDITOR

'The Hawk Kid was killed on Main

Street in Lordsburg tonight...'

He slaps his hand on the press and points his finger at the

surprised Type-setter.

EDITOR

'...and among the additional dead

were...' Leave that blank for a while.

Camera pans slightly right as the Editor comes forward and

looks out into the street.

TYPE-SETTER

(following him)

I didn't hear no shooting, Ed.

He puts his hands anxiously on the Editor's shoulders and

looks out past him.

EDITOR

You will, Billy, you will.

Cut to a long shot of the street, a gas-lamp in the

foreground. Two women scurry across the street, while a

rancher drives a Baldyboard hitched to two horses at a tearing

pace down the street out of town. The street empties as the

three Plummer brothers, now spread out, stalk warily towards

camera. Low music. The brothers look behind them as they

advance, then pause and look round, standing closer together.

Cut to another long shot of the street, where the Plummers'

shadows loom against the far walls. They walk slowly into

view. Simultaneously, Hawk appears from the shadow in back

view in the foreground. Everyone pauses as they see each

other, then Hawk and the trio start to move slowly towards

each other.

Hawk is now seen in reverse angle, stalking slowly towards

camera, his footsteps loud on the board sidewalk in the empty

night; he comes into a shaft of light, cocking his gun as he

goes. He goes out of frame to the left.

Now the Plummer brothers are seen from below, stalking

forward, their guns levelled. The music gets louder. They

move out of shot.

Hawk is still coming slowly forward in the gloom. The music

gets louder still, pounding in time with his feet. Suddenly,

Hawk throws himself to the ground, firing as he goes, then

feverishly starts reloading his rifle.

Daphne is still standing at the foot of the steps where Hawk

left her. She turns and looks up anxiously, as a volley of

shots rings out, echoed by a chorus of screams from the whores

in the nearby cat-houses. Silence falls. Daphne reacts with

anguish. She hurries anxiously up the steps towards camera,

calling Hawk's name as she goes.

Daphne

Hawk... Hawk... Hawk!

She halts at the top of the steps, looks anxiously off to

the right, then her shoulders droop and she sinks her head

despairingly down against the post at the side of the steps.

There is a look of death in her face.

In the interior of the El Dorado Saloon, cowboys are crowded

round the door, looking out. The door is flung open and Luke

Plummer stands unsteadily in the doorway. He looks from side

to side, then advances towards the bar with leaden feet. As

he reaches the end of the bar, he staggers and falls, grabbing

at the bar as he goes. He lands on his back, dead. Camera

tilts down to show his corpse from above.

Daphne stands, dejected and beaten, at the top of the steps,

her head resting on her hands. Track in as she raises her

head when slow heavy footsteps are heard off. She rushes

towards Hawk, as he appears from the right of frame in back

view, and falls in his arms. Hawk holds her close to him;

Daphne is crying in earnest now, her throat too full of

feeling for a word to pass. The music, which has been playing

softly, now reaches a climax. They stand locked in each

other's arms.

As they stand clasped in one another's arms, a Baldyboard

drives into frame from the left with Wilcox at the reins and

Doc Boone behind. Doc Boone gets out.

Wilcox

Ready, Kid?

Wilcox is seen in medium close-up on the front of the Baldyboard

with the couple standing behind him, looking round at him.

Hawk comes forward, followed by Daphne.

Hawk

Thanks, Wilcox.

Wilcox gets down from the driver's seat. Hawk starts to get

up, then pauses. He turns to Daphne.

Hawk

Wilcox's going to see that you get to

my place across the Border.

She nods, looking up at him. Hawk gets up onto the vehicle

and Doc Boone comes forward in the background beside Daphne.

Hawk

Well.

He puts out his hand.

Hawk

Goodbye, Daphne.

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

Daphne

(almost in a whisper)

Goodbye.

Wilcox

(in back view in the

foreground)

Maybe you would like to ride a way

with the Kid.

Daphne

Please.

She gets up beside Hawk. Wilcox moves out of frame to the

left. Doc Boone arranges a shawl around Daphne's shoulders,

then does likewise. They sit there, waiting for Wilcox to

climb up, too.

Wilcox and Doc Boone both move towards the back of the vehicle

and each picks up a stone from the ground. Then they seem to

go insane, for suddenly they both hurl their stones at the

horses' rumps, yelling. The horses gallop off with the

Baldyboard, nearly spilling Daphne from the seat and leaving

Wilcox and Doc Boone shouting and waving their hats in the

air.

DOC BOONE AND Wilcox

Hiya, giddap, hiya, hiya, hiya!

Now the two men both take a step towards camera, shouting

and waving their hats and grinning as the Baldyboard moves

away off-screen. They chuckle contentedly and put their hats

back on their heads.

DOC

Well, that's saved them the blessings

of civilization.

Wilcox

Yeah.

He laughs, then taps Doc Boone on the shoulder.

Wilcox

Doc...

He removes his Marshal's badge from his lapel.

Wilcox

I'll buy you a drink.

He puts the badge in his pocket.

DOC

(waving a finger)

Just one.

The two men laugh. Wilcox puts his arm round Doc Boone and

they walk off to the left.

Darkness still lies over the land, but sunrise lightens the

clouds on the horizon, as the Baldyboard moves swiftly away

from camera into the distance, carrying Hawk and Daphne to

their new life. Loud music and the words THE END appear and

fade out before the end credits.