JED (60s, thin, crackling voice) walks into the general
store. He grabs a few items from the shelf and takes them to
the counter.
BRETT MCBAIN (50s, full head of red hair) tallies up the list
and puts them in sacks for Jed to carry out.
BRETT
That'll be two dollars and twenty
cents, Jed. By the way, how's
Millie?
JED
She ain't gettin' no younger.
Brett reaches over and taps Jed on the shoulder.
BRETT
And from the looks of it, neither
are you.
Jed laughs, then he laughs harder.
JED
She done told me that just the
other day — old hag.
(a beat)
By the way, you still got that
mangy old dog?
BRETT
You mean Scratch? Couldn't get rid
of him; he's the best friend I got.
(pause)
Great watchdog too. Lets me know
when I get home every night.
Jed waves his hand in the air and turns to leave.
JED
You take care, McBain.
Brett locks the door to his shop, then he steps behind the
counter, opens the register, and counts the day’s receipts.
He places the money in a leather pouch and puts it into a
safe built into the wall. He locks the safe, checks the
store, and leaves.
Genres:
["Western"]
Ratings
Scene
2 -
A Night of Choices
INT. MCBAIN HOUSE — NIGHT
AMY (16, long hair, obedient), and MATT (14, gangly, proud,
wants to grow up too soon) finish eating supper. Amy cleans
the table while Matt heats up coffee and brings mugs for
everyone.
BRETT
I've got to meet a man at the
store. Mind yourselves while I'm
gone, and don’t go anywhere.
AMY
How long will you be?
Brett wipes his mouth with a napkin, crumples it, and sets it
on the table.
BRETT
Couple of hours. No more. And take
care of your brother while I’m
gone.
Matt waits for his father to leave, then he tugs on Amy's arm
and takes her to the window in the kitchen. He pulls the
curtain aside and waits for his father to get out of sight.
MATT
Let's go, Amy. Judd and Elle are
going to be at the pond. Judd said
they’re going to have big bonfire.
AMY
You heard Dad. We’re staying here.
Matt smacks his palm on the kitchen counter.
MATT
C’mon, Amy. All Dad ever does is
dream of getting rich.
AMY
And all you ever do is dream of
having fun. Grow up!
EXT. TOWN STREET - NIGHT
A full moon sprinkles rays of light over the town. Brett
walks down the dirt-paved street past the blacksmith's shop
and turns left. A small, two-bedroom house is tucked into a
grove of trees, and a lit candle sits on a windowsill.
Brett climbs the steps quietly, wipes his boots on the mat,
and goes inside, being careful not to wake anyone.
Genres:
["Drama","Family"]
Ratings
Scene
3 -
A New Beginning
INT. HOUSE IN GROVE - KITCHEN - NIGHT
As soon as the door opens, SCRATCH (5, dog, fifty pounds,
curly and bristly hair) barks repeatedly. Brett kneels and
holds his hands to Scratch.
Scratch inches closer, then Brett rubs his head and gives him
a piece of beef jerky.
He then removes two leather pouches from under the stove and
counts the money and adds some of the receipts from the day.
Afterward, Scratch follows him to bed.
KITCHEN - DAY
Brett cooks breakfast for the kids and brews coffee for
himself, then he joins them at the table. He looks from Matt
to Amy and smiles.
BRETT
I've got exciting news.
Amy lays her fork on the table and looks at her father.
BRETT (CONT’D)
We're moving.
Amy opens her eyes wide and stares.
AMY
All my friends are here!
BRETT
You only have two friends.
Amy clenches her fists.
AMY
I know, Dad. Mom’s been gone for
six years, and ever since then I’ve
been doing the chores and taking
care of Matt.
(MORE)
AMY (CONT’D)
When did I have time to make
friends? And now you’re moving us
to . . . who knows where. How am I
supposed to make friends in the
middle of nowhere?
BRETT
You'll make new friends; besides,
it's our chance to make good money;
I mean real money.
Matt leans toward his father and hugs him.
MATT
We don't need anything but you.
Brett pats Matt's back and pulls Amy in to hug with his other
arm. He rubs their heads as he holds them.
BRETT
Your mother and I had this planned
long before she died, and I'm going
through with it.
(A beat)
So get your belongings packed and
put them in the wagon. I'll be back
before noon.
Genres:
["Drama","Family"]
Ratings
Scene
4 -
Journey into Hope
EXT. HOUSE IN GROVE - DAY
As Matt and Amy put the last of their belongings into the
wagon, Brett shows up. He leans over the wagon, checking it.
BRETT
Pack plenty of water for us and
Scratch. You know how thirsty he
gets.
The kids climb onto the wagon, Matt up front and Amy in the
back. Scratch takes a position on top of Amy's suitcase, and
Brett takes the reins.
AMY
Do we have to —
BRETT
Yes, Amy. We have to go.
Brett steers the wagon west. Soon, the landscape changes from
rolling hills dotted with trees to mountains jutting up from
vast expanses of desert.
Scratch barks and runs to the side of the wagon. Amy reaches
to grab him and catches her dress on a nail.
AMY
Oh, no! My dress ripped.
Her eyes fill with tears as she looks at the torn dress.
BRETT
Not to worry.
AMY
Not to worry! It's the only one I
have.
BRETT
It won't be that way for long. Soon
you'll have the prettiest dress in
town, and the best wagon to take
you places.
Matt chuckles.
MATT
Dad, you've been dreaming of being
rich ever since I can remember.
BRETT
This will be different. This time
it's for real.
Matt and Amy look at each other and smile.
Genres:
["Western","Family Drama"]
Ratings
Scene
5 -
Desert Struggles and Family Tensions
EXT. ROAD TO PROMONTORY - DAY
Brett and his family continue heading west in their wagon.
Ten miles outside of town, they come across a gang of
railroad workers laying track for a new line.
The FOREMAN (40s, burly, red hair) walks the tracks carrying
a whip and wearing a holster. He cracks the whip on a
WORKER'S back, drawing blood. The worker grimaces, but he
grabs a pick axe and returns to work.
ANOTHER WORKER grabs a ladle of water and rinses the blood
from the other man's back.
The foreman turns and whips him numerous times.
FOREMAN
Don’t waste that water. Not one
damn drop of it.
Matt stares at the foreman and then turns to his father.
MATT
Why did he whip him?
BRETT
Water — it’s like gold out here.
Not enough of it.
Matt slides closer to his father as the foreman continues
walking the line.
FOREMAN
Swing that hammer, yellow dog, and
swing it hard. If I gotta warn you
again, you're going to the tunnels.
The worker nods and swings the sledge hammer, driving the
spike into the thick wooden ties.
Brett clicks the reins and steers the wagon through a long
valley and up a steep mountain pass. He slows as he nears the
top when the trail narrows.
Matt looks at the surrounding desert and reaches for the
canteen.
Brett grabs it from him and sets it back down.
BRETT
That’s the last of the water. We
need to watch what we drink.
Matt wipes his eyes on his sleeve and lowers his head.
MATT
I wish Mom was here.
Brett stops the wagon and turns in his seat. He stares at
each of the kids, and his face turns solemn.
BRETT
That's the other thing I was gonna
tell you. When I went to New
Orleans, I met a woman.
Amy shakes her head and scowls.
AMY
Don’t expect me to take care of
her. I’ve got enough to do.
Brett reaches for Amy’s hand, but she pulls away.
BRETT
Amy? Amy, do you hear me?
She crosses her arms and purses her lips.
BRETT (CONT’D)
C’mon, Amy. Don’t be like that.
Brett stretches his arm back and pats her shoulder.
BRETT (CONT’D)
Her name is Jill, and no one
expects you to care for her. In
fact, I’m sure she’ll make your job
easier. Besides, I already married
her, and I’m sure you'll love her.
Amy huffs and speaks loudly.
AMY
Love her? She's not Mom.
Brett reaches for her hand.
BRETT
No, she's not Mom, and she never
will be. But she's young and
pretty, and best of all, she's
kind.
MATT
When will she be here?
BRETT
In a few days. She comes in on a
train about twenty miles north of
here. That's why I want to get the
farmhouse ready for her.
AMY
How much farther?
Brett turns the wagon toward another long stretch of desert
between two mountain ranges.
MATT
What makes this is a good place to
settle down? There's nothing here.
BRETT
This land has water on it - an
underground supply that's endless.
Brett stops the wagon and turns so he can speak to them.
BRETT (CONT’D)
And like I said, water is as good
as gold out here. The trains need
water to run, and this will save
them a hundred miles.
He wags his finger at them.
BRETT (CONT’D)
But you can't tell anyone. Nobody
knows about the water but us. And
this water is going to make us
rich.
AMY
How do you know there's water?
BRETT
I did a favor for the Shoshone
chief — gave him and his people
food and clothes when the railroad
moved them off their lands. He was
grateful, so he told me about the
water and where to find it. But
remember, no one else knows.
Genres:
["Western","Drama"]
Ratings
Scene
6 -
Confrontation Over Land and Water
EXT. BASIN BETWEEN MOUNTAINS NORTH OF PROMONTORY - DAY
FOUR INDIANS sit around a small campfire, bows and arrows
lying on the ground next to them.
FRANK (40, tall, black vest with pocket watch, full-length
duster and black hat, cares about no one but himself) rides
into the basin with FOUR MEN. All of them wear full-length
dusters and all wear holsters and carry rifles.
Frank brings his horse to a stop ten feet from the Indians.
FRANK
It's been long enough, Yutu. Time
to pull up stakes.
YUTU (50, solemn) stands and faces Frank.
YUTU
But this is our land. White chief
give to us. Railroad already take
much land.
FRANK
Yeah, well, we need a lot.
Frank leans to the side and spits a wad of tobacco on the
fire.
FRANK (CONT’D)
Get off the land or face the
consequences
NOCONA (30s, braided hair, hunting knife attached to belt)
stands and speaks loud and firmly.
NOCONA
This is Shoshone land. We live here
many years. Father's father and his
father all live here. We no go.
FRANK
Well, it's the railroad's land now,
and you need to get off.
YUTU
We not leave. Railroad and white
chief give us land.
FRANK
If they did, now they're taking it
back.
The TWO OTHER INDIANS stand, their hands by their knives.
Frank draws his gun and shoots the ground next to Nocona.
Nocona jumps back holds up his hands.
Yutu leans toward Nocona and whispers.
YUTU
Nii'ooxowu' ho'ene (He doesn't know
about water).
NOCONA
Nocona leave. I have young son who
need me to feed him.
FRANK
You should have thought of that
long ago. I learned early on that a
person doesn’t need much food to
live. They might want more, but
they don’t need it.
Frank aims his gun to shoot.
NOCONA
I know things railroad want.
FRANK
I doubt if you know anything the
railroad wants, but go ahead -
talk.
Nocona spreads his arms out and gestures to the surrounding
area.
NOCONA
Long time ago, this area filled
with water.
Frank looks around and nods.
FRANK
It’s not filled now, and railroads
don't run on dirt and rocks.
Frank strikes a match on his gun belt.
FRANK (CONT’D)
I don't see a reason to spare you.
Somebody else can feed your kid.
Frank cocks the hammer on his gun.
NOCONA
I know where water is.
Frank stares and raises his eyebrows. He holsters his gun.
FRANK
I’ve been all over that land.
There’s no water.
NOCONA
Shoshone walk this land many
winters. If Yutu say water here,
then water here.
FRANK
Ask him where it is.
NOCONA
Héédoxowanee's máséethóowen? (Do
you know where the water is?)
(pause)
I tell you, I live?
Frank puffs on his cigar and leans forward.
FRANK
I'll consider it.
Nocona bows and steps forward. He points to a ridge a short
distance to the west of them.
NOCONA
Water run from mountains and go
under dirt and rocks.
Frank chews his tobacco and considers what Nocona says.
FRANK
If what you say is true, it would
be of interest.
(a beat)
All right. You can go, but if there
isn't any water, I'll find you.
Nocona nods and heads north.
Frank turns to his men.
FRANK (CONT’D)
Two of you check this land for
water. I'm going to see Morton.
Genres:
["Western","Drama"]
Ratings
Scene
7 -
Journey to the New Home
EXT. ROAD TO PROMONTORY - DAY
Brett navigates a long curve as they climb a mountain. The
WOBBLY SOUND of an ill-fitted wheel causes him to slow down,
and when he reaches a spot wide enough, he pulls the wagon to
the side.
Amy and Matt get down from the wagon to help their dad. Brett
struggles to move the wheel, but then Amy huffs, and pushes
the wheel forward.
She and Matt hold up the wheel while Brett hammers out the
kink and puts the wheel back on.
They climb back on the wagon, and Brett takes the reins and
moves the team of horses forward.
Brett steers the wagon along the trail and up a small rise.
He stops at the top and points to the valley below. He beams
when he speaks.
BRETT
There it is! And it's ours.
A large farmhouse with a full front porch sits in the corner
of the valley with a small barn next to it.
AMY
That's a big house! Is Jill going
to help take care of it?
Genres:
["Western","Family Drama"]
Ratings
Scene
8 -
Confrontation at the Silver Penny Saloon
EXT. MCBAIN FARMHOUSE - DAY
Brett stops the wagon between the house and the barn, then he
and the kids get off.
BRETT
Let's get it unloaded. If something
belongs in the barn, take it there.
If it's for the house, put it on
the porch.
Amy helps Matt carry a rocking chair. They put it onto the
porch and return to the wagon.
AMY
Dad, is it safe out here? I mean,
will we be okay if you’re not here?
BRETT
You’ll be fine. There are a few
outlaws still around, but the
sheriffs are clearing the territory
out. Now grab hold of this table
and help me get it inside.
INT. SILVER PENNY SALOON - PINEVILLE - DAY
CHEYENNE (40s, confident, optimistic, always smiling) stands
at the bar drinking a shot of whiskey. THREE MEN (30s, dusty,
braggarts) sit close by, sharing a bottle of whiskey.
The FIRST MAN gulps two shots and grabs the bottle to refill
his glass. He pulls out a wanted poster folded up in his
pocket and spreads it on the table.
FIRST MAN
This is who we’re after. I think
he’s worth $3,000 now.
The SECOND MAN shakes his head.
SECOND MAN
I heard he was fast.
FIRST MAN
Fast? There’s three of us. Nobody’s
that fast; besides, we need to get
him before somebody else does.
They argue with each other, growing louder all the time.
Cheyenne slams his empty shot glass onto the bar and speaks
loudly.
CHEYENNE
Some people like quiet, so keep it
down. And if you want advice, I
wouldn’t consider trying to bring
Cheyenne in. He’s too good.
The First Man stares at the back of Cheyenne, then he looks
at him through the mirrored glass on the back wall. He
unfolds the wanted poster again and taps the arm of the man
beside him.
FIRST MAN
It’s him! It’s Cheyenne.
Cheyenne stares at them through the mirror and slowly puts
his gun on the counter. The three men stand and face his
back.
FIRST MAN (CONT’D)
I don’t like shootin’ men in the
back, mister.
Cheyenne smiles but never takes his eyes off him.
CHEYENNE
You should try it. You might live
longer.
The three men go for their guns, but Cheyenne spins around
and shoots them before they get off a shot. The First Man
drops to the floor and the other two fall onto the table.
Cheyenne walks over and nudges each of them with his boot.
The First Man tries to stand, and Cheyenne shoots him again.
He walks up to the bar and hands the bartender a few dollars,
and then he holsters his gun and exits.
Genres:
["Western","Action"]
Ratings
Scene
9 -
Confrontation on Main Street
EXT. MAIN STREET - PINEVILLE - DAY
Cheyenne exits the saloon to find four deputies with shotguns
and rifles waiting. The SHERIFF (45, tall, thin, focused) is
behind them.
SHERIFF
Don’t move, Cheyenne. You’re under
arrest.
Cheyenne glances around, then shakes his head.
CHEYENNE
I guess you got me for now.
SHERIFF
I’ve got you for about twenty
years.
Cheyenne laughs, and then laughs some more.
CHEYENNE
We’ll see, Sheriff. We’ll see.
EXT. DESERT TRAIL BEHIND THE RISE - DAY
TWO COWBOYS (both wearing long dusters and cowboy hats)
dismount before reaching the top of the rise. They lie down
and stare at the McBains through binoculars.
COWBOY ONE (30s, dead-eyed, twisted mustache, scar under
right eye, coarse voice) hands the binoculars to COWBOY TWO
(30s, maddening wide eyes, too eager).
COWBOY ONE
Looks like they plan on settlin'
in.
Cowboy Two stands and walks to his horse.
COWBOY TWO
Frank won't like this. We better
let him know.
INT/EXT. TRAIN CAR OUTSIDE OF TOWN - DAY
An engine and two cars sit on the train tracks a few miles
from town. MORTON (50s, ambitious, uses crutches to walk,
afraid of everything) shuffles back and forth in the last
car. He frequently peers out the window.
Frank stands on the steps to the train, smoking a cigar and
looking at the approaching riders.
The men ride up but stay on their mounts.
COWBOY ONE
It's like you thought, Frank.
They're settlin' in.
Frank shakes his head slowly.
FRANK
You know what we have to do. And
bring Choppy.
COWBOY ONE
We don't need Choppy.
FRANK
We might not need him for this, but
when we're finished, I want you to
meet a man at the station. He's
been pokin' around a lot — askin' a
lot of questions. And this is the
second time he asked to meet.
(a beat)
I got a feelin' you might need
Choppy.
Genres:
["Western","Drama"]
Ratings
Scene
10 -
Tensions Over Water Rights
INT. TRAIN CAR OUTSIDE OF TOWN - DAY
Frank sits in a chair across from Morton. He strikes a match
on Morton's desk and lights a cigar.
FRANK
I just found out there is water
where that little farmhouse sits,
just east of town.
MORTON
What farmhouse?
FRANK
It's about twenty miles east. It's
the middle of nowhere, but a
Shoshone Injun I spoke with said it
has water — and a lot of it.
(a beat)
We should buy it, just in case.
Morton pulls a map from the top drawer of his desk and
spreads it out. The potential route for the railroad is
marked in red.
Morton traces the line east of town until he gets to the area
Frank is speaking of. He jabs it with his finger.
MORTON
Someone bought this land months
ago. If they know it has water, it
won't be easy to buy it from them.
FRANK
Pay them more money, Morton. You’ve
got plenty of it.
MORTON
I’m not made of money, Frank.
FRANK
You may not be made of it, but
you’ve got more than you need. If
you want the land, pay them.
MORTON
I can pay two thousand dollars. No
more.
Frank shakes his head and stands.
FRANK
That’s nowhere near enough. I guess
I better pay them a visit.
Frank turns to leave, but Morton stops him.
MORTON
I want no trouble, Frank. Tell them
if two thousand dollars isn’t
enough, we'll give them a piece of
land twice as big.
Frank chuckles.
FRANK
If they know the land has water,
two thousand dollars won't even
cause them to think about selling.
But don't worry, I'll get the land.
Frank grabs the handle of the door, stops, and turns around.
FRANK (CONT’D)
You know what gets to me, Morton.
You’ve never wanted for anything,
and now you want it all.
(pause)
You’re just a greedy little man.
Genres:
["Western","Drama"]
Ratings
Scene
11 -
Descent into Chaos
EXT. MCBAIN FARMHOUSE - DAY
Brett stands in the back of the wagon, handing things to Amy
and Matt while Scratch runs around barking. The porch is
packed with furniture and household items, and the barn is
littered with tools.
MATT
You think Jill will like it here?
It's not much to look at.
BRETT
She'll love it. She's from a big
city, but she's been wanting a
family to take care of.
(a beat)
And she said she likes doing
household chores. I figure we got
plenty to keep her busy.
Frank and his men ride up, coming to a stop next to the
wagon. Brett looks over and smiles.
BRETT (CONT’D)
Can I help you?
Frank lights his cigar and offers a thin smile.
FRANK
We'd like to buy your land.
Everything you got.
Brett wipes his hands on his overalls and climbs down.
BRETT
I appreciate the offer, Mister. But
we're just moving in, not selling.
FRANK
Still, I'd like to buy it. I'll pay
a good price or even trade you a
much bigger parcel for it.
Brett stands up straight and loses his smile.
BRETT
As I said, it's not for sale.
Frank shakes his head again.
FRANK
Have it your way.
He draws his gun and shoots, hitting Brett in the arm. Brett
runs toward the house, but before he gets ten feet, Frank
shoots again. Brett spins around and falls to the ground.
Matt runs toward his father, and Frank shoots him too.
Scratch runs toward Frank. He growls and bites Frank's leg.
Frank aims at the dog and fires. A shot is heard and then a
yelp. Scratch falls to the ground.
Amy runs to the front door. She grabs the shotgun leaning
against the wall and cocks it, then stands by the window.
One of Frank’s men steps up on the porch. Amy pushes the
barrel of the gun through the window and pulls the trigger.
It hits him in the gut, knocking him three to four feet off
the porch.
She puts another shell in the shotgun, and then she hears a
sound behind her. She spins with the gun ready but Frank
shoots her in the arm, and she drops the gun.
Frank grabs her other arm and drags her behind him, then puts
her up on a horse.
FRANK (CONT’D)
Let’s go we’re going to see a man.
Amy narrows her eyes and stares.
AMY
I’ll see you dead.
Frank smirks and spurs his horse forward.
FRANK
Join the list.
Frank yells to CHOPPY (30s, black, mean, wearing a duster and
a tan hat).
FRANK (CONT’D)
Get to the station. I'm going to
see Morton.
Amy glares at Frank and grits her teeth.
AMY
God will punish you for this.
FRANK
Tell Him I’ll be waiting. He knows
where I’ll be.
Genres:
["Western","Drama","Action"]
Ratings
Scene
12 -
Storm Approaches
EXT. TRAIN STATION - DAY
Choppy and Cowboys One and Two dismount and tie their horses
to a hitching post behind the depot.
In the front of the depot, LITTLE DOVE (Native American
Woman, 20s, braided hair, meek and soft-spoken) holds a
dustpan and broom and talks to the TICKET OPERATOR (60s,
white, frail, talkative).
TICKET OPERATOR
Good morning, Little Dove. Looks
like we got us a storm movin' in.
LITTLE DOVE
I smelled it. It's a big one too.
A strong breeze rolls in along with some sand and dust,
blinding Little Dove for a moment. She shields her eyes and
shuts the window.
When the ticket operator smiles, she nods and resumes
sweeping. He starts counting where he left off, when BAM —
the door bursts open.
Little Dove puts her broom down and turns her back. She
slowly makes her way toward the door.
Genres:
["Western","Drama"]
Ratings
Scene
13 -
A Deadly Wait
INT. DEPOT - DAY
Cowboys One and Two enter, brushing dirt from their long
dusters. Cowboy One approaches the ticket operator. He places
both hands on the desk and leans forward.
COWBOY ONE
What times's the train from
Pineville get here?
The ticket operator fiddles with a few papers, then looks up
at Cowboy One.
TICKET OPERATOR
Sposed to be here at 2:15, and it's
usually on time.
Cowboy One raises the corner of his mouth, which makes his
scar twitch.
COWBOY ONE
Okay, old man. We'll wait.
TICKET OPERATOR
If you're waitin' on somebody, I
can wire ahead to the next town.
Tell 'em you're here.
Cowboy One spins around and glares.
COWBOY ONE
No need, old man. I said we'd wait.
The ticket operator begins tapping a message on the
telegraph.
TICKET OPERATOR
It's no trouble. Only take a
minute. Who is it you're waitin'
for?
Cowboy One draws his gun and aims it at the ticket operator.
His hands shake as he raises them above his head.
Cowboy One shoots him in the gut, and Cowboy Two shoots him
in the chest, then he breaks the teletype and pushes it on
the floor.
COWBOY ONE
I told you we'd wait.
Footsteps sound on the platform outside. Cowboy One sticks
his head out the window and sees Little Dove running toward
the end of the platform.
Genres:
["Western","Action","Drama"]
Ratings
Scene
14 -
Desert Reckoning
EXT. PLATFORM OF TRAIN STATION - DAY
Choppy steps out from behind the side wall of the depot and
grabs hold of her.
She quickly pulls a knife and slices his arm.
Choppy punches her in the face, kicks her gut when she falls,
then he kicks her again in the face.
CHOPPY
Squaw bitch!
Little Dove lies on the platform holding her side. Her face
is bleeding, and she moans with each breath.
Cowboys One and Two approach.
COWBOY ONE
What happened?
Choppy holds up his arm, showing the cut she gave him. He
looks at them and sneers, and his deep voice grows louder.
He draws his gun and cocks it, and then aims it at her head.
Cowboy One grabs his hand.
COWBOY ONE (CONT’D)
Let Frank decide. Those injuns
still got land we need. Send her
out in the desert and let her die.
Choppy nods and holsters his gun. He grins as he helps her
stand and puts her on her horse. He takes rope from the
supply shed and ties her hands and feet.
Choppy and Cowboy Two make sure Little Dove's hands are
secured tightly, then they position her on the horse and
smack it's haunches, sending it running into the desert.
Choppy and Cowboy Two sit down on the depot platform, joining
Cowboy One as he whittles on a piece of wood.
Cowboy Two paces and continually twirls his gun and practices
drawing from his holster.
Choppy checks his gun barrel to see that it's loaded, then he
holds it to his ear and spins it.
Genres:
["Western","Action","Drama"]
Ratings
Scene
15 -
A Call for Justice
EXT. SHERIFF'S OFFICE - NOON
DEPUTY QUILL (30s, confident, holsters on both sides), walks
toward the back of the building. He holds his hands to shield
his eyes from the sun.
A horse with a rider huddled over the saddle comes to a halt
not far away. Quill runs up to it.
DEPUTY QUILL
Sheriff, you need to get out here.
Little Dove's on your horse, and
she looks hurt — like somebody done
beat her and tied her up.
SHERIFF BUCKNER (40s, serious look, dark hair poking out from
his hat) comes outside and grabs the reins, then unties
Little Dove and helps her dismount.
Blood mats her hair, and her face and lips are swollen and
bloody. She moans as Buckner helps her.
SHERIFF BUCKNER
Little Dove, who did this?
Little Dove holds her side as she speaks.
LITTLE DOVE
(short breath)
Three men killed the ticket
operator and beat me.
(MORE)
LITTLE DOVE (CONT’D)
I heard them say they're waiting
for the train from Pineville.
Sheriff Buckner helps Little Dove to a seat, then he gets her
a blanket.
SHERIFF BUCKNER
Stay here and rest. I'll send for
the doc, then get a posse to ride
to the depot. We'll get the ones
who did this to you.
LITTLE DOVE
Be careful, Sheriff. They're a mean
bunch. Killing the ticket operator
like they did.
Buckner sends A MAN to fetch the doctor, then he and Deputy
Quill, along with SEVEN OTHER MEN mount their horses and race
toward the depot.
Genres:
["Western","Drama","Action"]
Ratings
Scene
16 -
Ambush at the Train Station
EXT. TRAIN STATION - DAY
The sheriff and his deputies ride up to the depot. The wind
blows hard, and a thick layer of sand covers almost
everything. The men advance cautiously, checking everywhere.
They cover their eyes and mouths with bandanas.
SHERIFF BUCKNER
I don't see ‘em. Maybe they left.
INT. TICKET OFFICE - DAY
The sheriff signals in several different directions of the
train depot; the DEPUTIES split up into groups of three.
Three of them kick open the door and burst in, guns drawn,
scanning the room in unison.
Deputy Quill signals to the left and right. Deputies 2 and 3
nod, then check the corners of the room.
Quill looks over the ticket counter while Deputy Two searches
the corner closet. When Deputy Two opens the door, Cowboy One
pulls him in by the hair and slits his throat.
Deputy Two gurgles inaudibly as blood fills his windpipe and
runs down his chest.
Quill and Deputy Three spin around and shoot, but Cowboy One
jumps out the window and lands on the platform.
He rolls forward and jumps to his feet, turning in time to
fire at the deputies who duck behind the wall for cover.
Deputy Three takes aim on the fleeing cowboy. Then Cowboy One
emerges from a second closet and hurls a knife at him. It
hits Deputy Three in the back taking him down, and Cowboy One
races out the front door just as Quill shoots his gun.
Quill rushes to help Deputy Three, kneeling next to him, but
he convulses, his legs flopping around, and he tilts his head
to the side and spits blood.
Genres:
["Western","Action","Drama"]
Ratings
Scene
17 -
Showdown at the Train Station
EXT. TRAIN STATION - DAY
The deputies rush out of the ticket office, guns drawn, blood
hot with vengeance. They run around to the platform and find
Choppy and two others waiting for them. They're spread out
ten feet apart.
Deputy Quill and two other men approach from the left side
while Sheriff Buckner and three others come to the platform
from the right. They stop about twenty feet away.
Buckner waits until they are all in position. He casts a
glance at Quill, then back to Choppy.
Choppy sucks hard on his cigar and then tosses it out. He
pulls the coattail of his duster behind his holster.
Choppy and the other cowboys take a few steps back, outside
the large overhang on the platform.
SHERIFF BUCKNER
Take your guns out slowly. You need
to come with me.
Cowboy One shuffles his feet and tucks the coattails of his
duster behind his holster like Choppy did. The scarred side
of his face twitches.
COWBOY ONE
We're of a mind to stay put,
Sheriff. Never could get
comfortable in a jail cell.
Buckner lets his hand slip closer to his gun.
SHERIFF BUCKNER
Think hard; there are seven of us.
Cowboy Two nods and looks ready to draw his gun.
COWBOY TWO
Shame you didn't bring more.
DEPUTY QUILL
Put the weapons down.
Choppy looks sideways to Cowboy One and nods. They dive to
the ground shooting, and use the platform as cover.
Cowboys One and Two aim at the joint supporting the heavy
wooden overhang above the lawmen. They get off about eight
shots and then a loud PING is heard. The overhang sags on the
right side, and small pieces of wood fall to the platform.
Choppy continues firing at the lawmen while Cowboys One and
Two focus on the joint supporting the left side.
Another PING is heard, then the left side of the overhang
sags. Just then, a loud CREAKING sound is heard and the
overhang collapses on top of the deputies.
Choppy stands cautiously, both guns in hand, and advances to
the lawmen. He kicks aside debris, and turns over the bodies
that aren't obviously dead. He prods them with the barrel of
his rifle and puts a bullet in the ones who are still alive.
Choppy counts the bodies, as he slowly walks past them. He
stares at Sheriff Buckner’s body, then bends down and yanks
the badge from his shirt.
CHOPPY
Never had me one of these.
Cowboy One grins and takes Deputy Quill's badge.
COWBOY ONE
Not a sheriff's badge, but I might
as well get me one.
EXT: TRAIN DEPOT - DAY
The cowboys drag the lawmen into the supply sheds and lock
the doors. The sandstorm subsides as they head back to the
platform to wait.
Genres:
["Western","Action","Drama"]
Ratings
Scene
18 -
Showdown at the Train Station
EXT. TRAIN STATION - CONTINUOUS
Choppy and the two cowboys sit on benches against the wall at
the train station. Choppy whittles on a piece of pine, while
Cowboy One cleans his nails with a knife. Cowboy Two holds
his gun to his ear and listens as he rolls the barrel.
LATER
A TRAIN WHISTLE sounds and the men get up and look in that
direction. The train rounds the bend and heads for the
station, and the whistle grows louder.
Choppy cocks his rifle, leans it against the depot wall, and
then he checks the bullets in both pistols.
Cowboys One and Two check their guns.
The brakes bring the train to a screeching halt, and the men
walk toward the train and watch as baggage is unloaded — but
no one gets off. The doors close, and the whistle blows again
as the train prepares to leave the station.
The cowboys look at each other and are walking away when the
EERIE SOUND of a HARMONICA grabs their attention. They spin
around quickly, hands on guns.
A LONE MAN [HARMONICA] (40s, hard-looking, beady eyes, exudes
confidence, will back down from no one) stands on the other
side of the tracks.
He carries a satchel in his right hand, and he plays the
harmonica with his left. He continues playing as the men
approach.
HARMONICA
Which one of you is Frank?
The men focus hard glares on Harmonica.
COWBOY ONE
Frank sent us.
Harmonica looks at three horses hitched to a post in front of
the station.
HARMONICA
Did you bring a horse for me?
CHOPPY
Looks like we're shy one horse.
The men laugh tauntingly.
Harmonica shakes his head slowly. He squints and glares at
the three of them.
HARMONICA
Nah. You brought two too many.
The men facing harmonica get a look of disbelief on their
faces and push their dusters behind their holsters. The
sunlight reflects off Choppy's pearl-handed guns.
CHOPPY
When you're ready, draw.
Harmonica shakes his head.
HARMONICA
I never draw first.
Choppy sneers and goes for his gun. Harmonica drops his
satchel and draws his gun. He shoots Choppy, who is lifted
off his feet and stumbles back a few steps.
The second shot hits Choppy’s shoulder and spins him around.
He stumbles over the fallen overhang.
Cowboy Two shoots and hits Harmonica in the shoulder.
Harmonica dives to the ground and fires but misses. All three
men continue shooting.
Harmonica rolls over and fires twice. He hits Cowboy One,
then rolls the other way and shoots Cowboy Two. They both
fall to the ground.
Choppy struggles to stand, and aims his gun again. Harmonica
shoots him two more times, and Choppy reels, falling back
several more feet. He drops his gun and falls off the
platform and onto the desert sand.
CHOPPY
No . . . !
Harmonica lies still for a moment, then grabs hold of a post
and helps himself up. He winces and looks at the blood as it
seeps onto his jacket.
He pulls a knife from his pocket and digs out the bullet.
More blood oozes from his shoulder and stains his coat.
He bends over and retrieves his gun, makes sure the men are
dead, and then walks to where the horses are hitched, mounts
one, and rides away.
Genres:
["Western","Action","Drama"]
Ratings
Scene
19 -
Contrasting Fates
EXT. PRISON WAGON FIFTY MILES NORTH OF PINEVILLE - DAY
A SHERIFF and THREE DEPUTIES escort Cheyenne, a known
criminal. They are on their way to Denver to lock him up for
prior crimes, including bank robbery and murder.
CHEYENNE
(taunting)
You don't think you'll get me to
jail, do you?
SHERIFF
Don't worry. I'll get you there.
Cheyenne laughs.
CHEYENNE
Not in your lifetime, you won't.
The wagon slows as it navigates a narrow, winding road in the
mountains. It rounds a bend and a shot is heard (blends into
the whistle from a train).
INT. TRAIN FROM KANSAS CITY - DAY
JILL (30, slim, light-blue lace dress, and long blonde hair)
sits near the window of the last car. She removes a neatly
folded letter from her handbag and reads it.
INSERT LETTER
JILL (ON CAMERA)
(reads to herself)
Jill, it’s only been a few months,
but I miss you more than you know.
I can’t stop thinking about our
last week together, and about how
much I love you.
When my wife died, I felt as if my
life was over, but you changed all
that. You made me whole again. I
can’t wait to see you.
(beat)
All my love, Brett.
The train whistle blows as the brakes are applied. Jill folds
the letter and puts it away.
Genres:
["Western","Action","Drama"]
Ratings
Scene
20 -
A Chance Encounter at the Train Station
EXT. TRAIN STATION - TWENTY MILES NORTHEAST OF PROMONTORY -
DAY
The WHISTLE announces the arrival of the train from New
Orleans. After it stops, passengers get off, carrying bags
and holding their children's hands.
JILL, a sophisticated YOUNG WOMAN exits the last car. She
looks around the platform as if searching for someone. A
PORTER unloads her three bags and sets them on the platform.
Many passengers get off the train and are met by friends and
relatives. Jill mills about, her three bags sitting nearby.
As she searches, she never wanders far from the bags.
HANK (20, tall, black, underfed, overly polite, wearing a
floppy cowboy hat) approaches Jill and offers a big smile. He
reaches down and grabs the handles of the bags.
HANK
Ma'am, you want I should tote your
bags? I can do it. Can get all
three, and it won't cost you but a
quarter. That's all.
Jill smiles at Hank and uses a handkerchief to dab sweat from
her forehead.
JILL
My husband is supposed to meet me,
but I don't see him. Wait here for
a moment. If he doesn't show, I
will need help. And I'll pay you
for the time you wait.
A MAN (50, white, tall, slender, mustache) wearing a jacket,
vest, and top hat approaches Jill and bows.
MAN
If you'll allow me, ma'am. I'll get
your bags so you don't get too near
that black dog.
Jill narrows her eyes and glares.
JILL
That man you called a 'black dog'
has been nothing but a gentleman.
I'm fine as I am.
MAN
Don't say I didn't warn you.
The man turns and walks away.
Hank stays with the bags while Jill paces the platform
looking for her husband. She dabs her forehead with a
handkerchief as she approaches Hank.
JILL
If you could get the bags and
follow me.
Hank follows her to the end of the platform where a Native
American, TIVA (20s, respectful, hair in long braids, ribbon
tied to forehead), meets her.
TIVA
Lady need ride?
Jill shakes her head and continues to walk the platform. The
clock on the outside wall of the depot strikes two, and she
turns and looks around again.
The crowd all but disappears. She walks closer to the
remaining people, but her husband isn't there.
Tiva approaches her again, lowers his head and speaks softly.
TIVA (CONT’D)
You need ride? I take you.
Jill casts a final glance around, then nods to Tiva.
JILL
I guess I do need a ride, but I
think it's a long way — about
twenty miles.
TIVA
Twenty miles not far. I take you.
Tiva turns and walks to the end of the platform where a small
buggy waits.
Hank loads her bags onto the wagon. Jill gives him 50c, and
climbs into the buggy.
Tiva gets in and holds the reins.
TIVA (CONT’D)
You know where go?
Jill unfolds a piece of paper containing a hand-drawn map and
hands it to him. Tiva studies the map and nods.
TIVA (CONT’D)
I know place. Won't take long.
LATER
Tiva pulls up to a run-down cantina. It appears to have been
a white stucco building, but it's painted desert-brown from a
continuous barrage of hard-blown sand.
Tiva dismounts and hitches the buggy to a post.
TIVA
You thirsty? I get water.
Jill's lips turn down, and she looks disgustedly at the run-
down cantina.
JILL
Not from here.
TIVA
If you thirsty, this only place
with water.
Jill sighs and gets off the buggy.
Genres:
["Western","Drama"]
Ratings
Scene
21 -
Confrontation in the Cantina
INT. CANTINA ON ROAD EAST OF PROMONTORY - DAY
Inside, a BARTENDER (50s, barrel-chested, loud) chops meat
with a cleaver and slugs ale from a large mug. Dust-covered,
dirty-looking men sit at tables or stand at the bar, many of
them are drunk and the others look to be well on their way.
A BLACKSMITH (40s, large, thick-necked, muscled arms) pounds
a piece of metal against an anvil in the back of the room.
Next to him, SEVERAL MEN sit at a table playing cards, and on
the other side of the room a WELL-DRESSED MAN (40S, thin,
glasses) sits by himself and smokes a pipe.
Behind them, horses are stabled and munching on straw. They
continually hang their heads over the stable walls and beg
for food. The place reeks of urine and horse manure.
Tiva leans forward and puts his elbows on the bar.
TIVA
Water . . . please?
The bartender looks at Tiva, and his voice is dismissive. He
brushes his hand in the air, as if swatting a bug.
BARTENDER
Go on, boy. We don't serve injuns.
The swinging doors open again, and Jill walks in. Most of the
men in the room turn and stare. Several of them stand and
offer her a seat, or their company.
Jill stands beside Tiva and addresses the bartender.
JILL
You said something when I came in?
BARTENDER
I said we don't serve no redskins.
Not at this bar, we don't.
Jill nods and smiles.
JILL
Then I'd like two glasses of water -
for me.
The bartender scowls but hands her two mugs filled with
water.
Jill uses her handkerchief to wipe the rim of the glass, then
she takes a long, slow sip. She hands the other mug to Tiva,
who looks at the bartender, then quickly downs the water.
The bartender rushes over, and yanks the mug from Tiva.
A harmonica sounds from the back of the room, an area hidden
by shadows. The bartender tilts the overhead lantern so that
it shines light in that direction.
Harmonica sits in the corner. He stops playing and stands,
staring at the bartender.
HARMONICA
Let the boy have water. As much as
he wants.
BARTENDER
We don't -
HARMONICA
(adamant)
Let him have it.
The bartender stares at Harmonica for a long time, but then
he hands another mug to Tiva.
HARMONICA (CONT’D)
And make sure it's a clean mug.
The bartender takes the mug and gives it a quick swipe. When
he sees Harmonica step forward, he cleans the mug with a
towel and gives it back to Tiva.
Harmonica sits down.
Idle chatter comes from all the tables and much boasting and
taunting from the bar. Soon, the cantina becomes as
boisterous as it had been.
The sound of several horses arriving brings the noise to an
end. Everyone stops talking and looks toward the door.
The swinging doors open and Cheyenne walks in. His hands are
bound with thick handcuffs, and he is covered in dust and
sand. He brushes the dirt from his long coat, revealing it to
be a long, brown duster.
He casts suspicious glances around the room before walking to
the blacksmith. He spreads his hands apart - as far as he can
- and lets the chain sit on the smith's anvil.
CHEYENNE
Get these cuffs off. Do it right,
and I might buy you a drink. But if
I get nicked . . .
As Cheyenne is getting the cuffs removed, a harmonica sounds
from the shadows of the room at the other end.
Cheyenne, startled, looks around carefully. He holds a gun in
his left hand.
CHEYENNE (CONT’D)
Whoever the hell is making that
noise, shut it up.
Harmonica continues to play.
When the handcuffs are taken off, Cheyenne moves slowly
toward Harmonica, his gun pointed at him. He grabs hold of
the overhead lantern and slides it along as he moves.
Harmonica is framed in the light of the lantern and
surrounded by shadows. He continues to play.
Cheyenne gets within a few feet of him and stares.
CHEYENNE (CONT’D)
Don't you hear?
Everyone's attention is alerted to the sound of more horses
galloping and coming to a stop outside. The swinging doors
open again and FIVE MEN walk in wearing long, brown dusters.
Cheyenne reaches for the harmonica, but he grabs Cheyenne's
gun, spins him around, and holds the gun to his head.
Cheyenne's men push back their dusters and prepare to draw.
They look to Cheyenne, but he shakes his head slowly.
HARMONICA
Smart move.
He pushes Cheyenne toward the bar, and grabs his coattail as
he walks away. Harmonica gestures to the men wearing the
dusters.
HARMONICA (CONT’D)
Those your men?
CHEYENNE
What if they are?
HARMONICA
If they are, we might have a
problem.
Cheyenne looks skeptically at Harmonica and shakes his head,
then he slowly walks away. When Cheyenne gets near Jill, he
reaches over and yanks the necklace from her.
Jill grabs for the necklace and slaps him.
Cheyenne rubs the side of his face and smiles.
CHEYENNE
I like a rugged woman.
Harmonica steps closer, and he pushes his coat back to reveal
his holstered gun.
HARMONICA
Give it back.
Cheyenne glares. He slowly turns around and sees five of his
men with him. He stares at Harmonica and walks toward him.
CHEYENNE
You trying to tell me something?
HARMONICA
Already did. Give her the necklace.
Cheyenne continues to stare at Harmonica and then reluctantly
hands the necklace to PACO (30s, weather-beaten, scars on
both sides of his face).
Paco walks it to Jill, but he keeps his eyes on Harmonica.
Cheyenne turns and faces Harmonica.
CHEYENNE
Satisfied?
HARMONICA
You Frank?
Cheyenne laughs.
CHEYENNE
If you don't know Cheyenne, you
must not be from around here.
HARMONICA
Cheyenne? What kind of name is
that? Sounds Indian.
Cheyenne scowls at Harmonica.
CHEYENNE
I'm half Indian, half Mexican, and
half white man.
He steps closer and glares challengingly.
CHEYENNE (CONT’D)
You got a problem with that?
Harmonica laughs.
HARMONICA
The only problem I got, is that's
three halves. You can't have three
halves.
Cheyenne picks up his shot glass and slugs it down.
CHEYENNE
Tell that to my mother, and father
— whoever he was.
Harmonica's smile turns into a laugh. He and Cheyenne stare
at each other, then Harmonica continues playing.
CHEYENNE (CONT’D)
Do you only know how to play, or do
you know how to shoot? Because
you're not gonna kill Frank by
playing a harmonica.
Paco turns to leave. Harmonica grabs his coat and examines
it.
The well-dressed patron sitting by himself, slowly moves his
hand toward his gun. Harmonica glances to the card table,
where another man is inching toward a gun sitting on his lap.
Harmonica shakes his head at the well-dressed man, but he
continues to move his hand toward the gun. Harmonica draws
his gun, lightning-fast, and shoots the man's hand, then he
spins and shoots the card player's hand.
Cheyenne and his men draw their guns, but Cheyenne looks at
the two men and at the guns sitting on the floor.
CHEYENNE (CONT’D)
It looks like I owe you, music man.
Harmonica steps up to the bar, takes a swig from a bottle and
turns to face Cheyenne.
HARMONICA
It's no big deal.
Cheyenne moves closer.
CHEYENNE
It's no big deal that you shot
them, or my life is no big deal?
Harmonica gulps another shot.
HARMONICA
Either way.
Cheyenne stares, then laughs and turns toward the door. He
stops and looks at the men Harmonica shot.
CHEYENNE
Try anything like that again and
you'll lose more than a hand.
Harmonica looks at Paco's duster again and examines it, then
turns to face Cheyenne.
HARMONICA
I saw three of these dusters a
short time ago. They were waiting
for a train.
Cheyenne moves back to the bar and takes a sip of whiskey
from Harmonica's bottle, but he keeps his eyes on Harmonica.
HARMONICA (CONT’D)
Inside the dusters, there were
three men.
Cheyenne cocks his head and raises his eyebrows.
Harmonica takes a long gulp from the bottle.
HARMONICA (CONT’D)
Inside the men, there were three
bullets.
Cheyenne turns and looks quizzically at his men, then back to
face Harmonica. He moves closer and wags his finger in
Harmonica's face.
CHEYENNE
That's a crazy story - for two
reasons.
(A beat)
One - nobody in these parts got the
guts to wear these dusters except
Cheyenne's men. And two -
Cheyenne's men don't get killed.
Harmonica raises his eyebrows and Cheyenne continues staring.
CHEYENNE (CONT’D)
That surprise you?
Harmonica sets the bottle down hard. He moves a step closer
to Cheyenne.
HARMONICA
Yeah, now I see you can count - all
the way up to two.
Cheyenne doesn't take his eyes off Harmonica. He puts his gun
up next to his ear and spins the gun barrel.
CHEYENNE
All the way up to six if I have to.
He taps the gun against Harmonica's shoulder, the one showing
a bullet hole and blood from his shootout at the depot.
CHEYENNE (CONT’D)
And maybe faster than you.
Harmonica grins as he turns his back to Cheyenne and takes
another swig of whiskey. He then continues playing the
harmonica.
Cheyenne shakes his head and laughs.
CHEYENNE (CONT’D)
Yeah, go on. Play, Harmonica. Play
so you can't bullshit.
He turns to leave.
CHEYENNE (CONT’D)
But be careful of those false
notes.
Harmonica plays a few notes, then hits several sour notes.
Cheyenne stops. He listens to Harmonica play, then he nods
and leaves. His men follow.
Jill puts her necklace back on and turns to Harmonica.
JILL
Thank you for getting my necklace
back.
HARMONICA
I didn't do it for you. I was
testing his mettle.
Genres:
["Western","Action","Drama"]
Ratings
Scene
22 -
A Mother's Grief
EXT. MCBAIN FARMHOUSE - DAY
Tiva steers the buggy to an area in front of the farmhouse
where a small crowd gathers. People are milling about or
sitting at long wooden tables laden with food - fruits, meat,
casseroles, and more.
All the people stare as Jill pulls up. She looks around
inquisitively.
An OLDER GENTLEMAN (60, glasses, kind) helps her get off the
buggy, and leads her to a PREACHER (50, pious, speaks loudly)
surrounded by a small group of townsfolk. He reads to them
from a Bible.
Jill walks past him and suddenly stops. Her hands fly to her
mouth and she gasps. Two lifeless bodies are lying before her
on tables — Brett McBain and his son, Matt. Their chests are
covered in blood.
Jill wipes her eyes with a handkerchief, lowers her head, and
cries. She races over and throws herself on Brett and holds
him tightly.
The older gentlemen pats her back, and several of the women
offer comforting words. Off to the side, a FEW YOUNGER MEN
dig graves.
Jill sits at one of the tables loaded with food. She looks at
the older gentleman, tears in her eyes.
JILL
Where is Amy?
The older gentleman looks around and then turns back to Jill.
OLDER GENTLEMAN
Who?
JILL
He had a daughter - Amy. She was
sixteen.
DEPUTY SIMMS (35, calf-high brown boots, white shirt and tie,
and brown jacket, cowboy hat) steps up holding the brim of
his hat.
A MAN (20s, thin, wide-brimmed hat) rides up and dismounts
his horse, then he whispers in the deputy's ear.
Simms nods and faces Jill.
DEPUTY SIMMS
We just got news that Cheyenne
escaped on his way to prison. It's
clear who did this.
Simms holds Jill's hand and pats it.
DEPUTY SIMMS (CONT’D)
Don't worry, Mrs. McBain, we'll
find the girl. I'm sure Cheyenne
has her.
JILL
I'm not so sure, Deputy. Cheyenne
was at the cantina when I was. He
didn’t seem like the type.
DEPUTY SIMMS
I know you're upset, Mrs. McBain,
but leave the lawman work to me.
Simms raises his voice and addresses the crowd.
DEPUTY SIMMS (CONT’D)
There is now a $5,000 reward for
Cheyenne. And that's dead or alive.
My guess is his men killed Sheriff
Buckner and Deputy Quill this
morning.
(A beat)
And now he's done this. There’ll be
no jail for him. He's gonna hang.
Tiva waits for people to leave, then he approaches Mrs.
McBain.
TIVA
You want I take you to town?
Jill shakes her head and dries her eyes.
JILL
No, I'm staying here. I made it out
of New Orleans, and I swore I'd
never go back.
INT. MCBAIN FARMHOUSE - NIGHT
Jill walks through the house, picking up things to examine.
She sees pictures of Brett's kids, picks them up and sheds a
tear. She then continues going through the house.
She opens and empties all the drawers, looks under the beds
and mattresses, and even goes into the attic. Frustrated, she
sits on the sofa and holds her head in her hands.
Jill flops on the bed and cries. She opens an unpacked
suitcase, takes out a dress and holds it up. After a long
gaze, she puts the dress back and closes the suitcase.
Genres:
["Western","Drama"]
Ratings
Scene
23 -
Brutal Interrogation
INT. SMALL HOUSE AT EDGE OF TOWN - NIGHT
CHESTER (40, short, chubby, Mexican, full mustache and beard)
finishes off a jug of wine and gets up for another one.
Harmonica kicks open the door and walks in. Chester hides
behind the door leading to a storage area.
Harmonica glances around the room. Four children lie asleep
on makeshift beds, and their mother sleeps next to them. The
mother stirs, and Harmonica holds a finger to his lips.
HARMONICA
Shh!
Harmonica continues searching. He moves aside sheets covering
doors and he looks under the makeshift beds. He comes to the
closed door and kicks it open. Chester cowers on the floor.
Harmonica reaches down and grabs him by his collar, yanks him
up, and slams his head against the wall.
CHESTER
What do you want? Money?
Harmonica drags him out of the room and slams his head into a
large pail of water hanging from the ceiling. Water spills
over the rim of the pail and onto Chester. Droplets of water
run down his face and soak into his shirt.
CHESTER (CONT’D)
But I —
Harmonica slams him into another wall and then back into the
pail of water. More water spills onto Chester and it mixes
with blood that drips from the side of his head and his nose.
Chester spits blood onto the floor.
Harmonica ties a short rope around Chester's neck and
squeezes. Chester chokes and gasps. His breathing is short
and labored.
CHESTER (CONT’D)
I . . . can't . . . talk.
HARMONICA
You know, Chester, I'm kinda mad at
you.
Harmonica chokes harder.
HARMONICA (CONT’D)
Frank wasn't at the station.
(A beat)
But he sent three friends.
Harmonica loosens the rope so Chester can speak.
CHESTER
I know nothing.
Chester bends over, holds up his hand, and coughs.
CHESTER (CONT’D)
I only arranged the meeting. I
don't know why Frank wasn't there.
HARMONICA
(Disgustedly)
Because he was at McBain's farm.
CHESTER
That wasn't Frank. Everyone knows
Cheyenne did that.
HARMONICA
I don't think so, Chester. And the
next time I tell you to give
someone a message, make sure they
understand it.
Harmonica lets go of the rope around Chester's neck and walks
out the door. He turns and punches him one more time before
leaving, knocking him to the ground.
INT. MCBAIN FARMHOUSE - NIGHT
Jill searches the house again. She searches unpacked luggage
and large chests. In one of the chests, she finds several
wooden models — one is a large sign sitting atop two posts.
INSERT: SWEETWATER
Other models depict a general store, a blacksmith shop, a
stable, a church, a bank, and more. She sets them on a table
and lines them up. Then she sits back and stares.
The sound of a harmonica from outside alerts her. She gets up
quietly and creeps to the front door where a rifle leans
against the wall. She picks up the rifle and carefully moves
the curtains aside so she can peek outside.
The music continues to play, but Jill sees no one. She goes
to bed but keeps her eyes open and the rifle by her side.
Genres:
["Western","Action","Drama"]
Ratings
Scene
24 -
Tension at the McBain Farmhouse
EXT. MCBAIN FARMHOUSE - DAY
Jill walks across the porch carrying an empty pail. She goes
down the steps and toward the well.
She only takes a few steps before Cheyenne and several of his
men ride up. They exchange stares until she lowers her head.
CHEYENNE
Did you make coffee?
Jill lifts her head and looks at him with sorrow in her eyes.
She shakes her head.
JILL
I had no one to make it for.
CHEYENNE
You do now.
INT. MCBAIN FARMHOUSE - DAY
Jill reluctantly reenters the house and goes to the kitchen.
She attempts to light a fire several times. Finally, Cheyenne
sighs and snatches a match from her hand.
CHEYENNE
I'll do that. You fix coffee.
Cheyenne lights the fire while Jill prepares the coffee.
CHEYENNE (CONT’D)
That stupid deputy and his posse
chased after me all night. They're
accusing me of killing your family.
The fire crackles. Cheyenne stands and rubs his hands
together. He walks slowly to Jill. He spins her around, leans
close to her face, and stares.
CHEYENNE (CONT’D)
I never had a problem killing
things. I'll kill most anything,
but I'd never kill a child — never.
Cheyenne picks up the coffee pot and puts it on the fire.
JILL
Do you know where the girl is?
CHEYENNE
I didn't know there was a girl.
Jill nods.
JILL
She was sixteen. I've never seen
her, but I have pictures that Brett
gave me.
(a beat)
I hate to think what might become
of her.
Cheyenne grits his teeth and checks the gun in his holster.
CHEYENNE
You got a picture of her? Because I
think I know who has her; the same
one who tried to frame me.
And that fires me up.
Jill looks at Cheyenne, on his knees stoking the fire. She
opens a drawer, stares at a knife that's lying there, and
glances at Cheyenne. She slowly reaches for the knife while
keeping an eye on Cheyenne.
From the corner of his eye, Cheyenne catches a glimpse of
Jill. He grins.
CHEYENNE (CONT’D)
One thing for sure — you don't want
to see a fired-up Cheyenne.
Jill slams the drawer and glares.
Cheyenne smiles and relights the fire, then he stands and
looks at the mess Jill made while searching.
CHEYENNE (CONT’D)
By the looks of things, I guess you
didn't find any money.
JILL
There's nothing here. Search if you
want. If you find any, it's yours.
Cheyenne walks around opening drawers. He pushes the curtains
aside on the front window and looks outside, and then he sits
at the table. He stares as Jill moves back and forth,
preparing coffee.
CHEYENNE
Not many women would have stayed
when their husband was killed.
You’re a pretty remarkable woman,
Mrs. McBain.
Jill looks at him from the corner of her eye, then she pulls
the coffee pot from the fire. She sets it on the table and
returns to get mugs.
JILL
There are many people in New
Orleans who would disagree.
CHEYENNE
What did you do to them?
JILL
I did nothing. I . . . was a whore.
Jill looks at Cheyenne from the corner of her eye.
JILL (CONT’D)
Does that surprise you — that I
admitted it?
Cheyenne shakes his head and smiles.
CHEYENNE
Nothing you do surprises me;
besides, my mother was a whore. She
was also the most remarkable woman
I knew.
(a beat)
And best of all, she made a great
cup of coffee.
JILL
You should look for the money.
Maybe you'll change your mind.
CHEYENNE
Tempting, but no need to look. By
the way, do you know anything about
that man who plays the harmonica —
the one at the cantina?
JILL
I saw nothing more than you did. I
know he got my necklace back — the
one you took from me.
Jill grits her teeth and glares.
JILL (CONT’D)
Now you should leave. I've got no
use for killers. Or thieves. Or
criminals of any type.
CHEYENNE
Already told you. I don't kill
people unless I have to.
Cheyenne gets up from the table and heads to the door.
JILL
Wait!
Jill holds Amy's picture with both hands. She seems hesitant
to show it to Cheyenne.
JILL (CONT’D)
You asked for a picture of Amy. Why
do you want it?
CHEYENNE
So my men can spread word that
she's missing. Sooner or later,
someone will spot her.
(a beat)
And you should go to the hotel.
You'll be safe there, at least for
a while.
Genres:
["Western","Drama"]
Ratings
Scene
25 -
Confrontation in the Train Car
INT. TRAIN CAR OUTSIDE OF TOWN - DAY
An engine and two cars sit on the train track, and a few
horses are tied up outside.
Inside the spacious third car, items of high value decorate
expensive woodworking. Morton sits behind a large mahogany
desk bearing intricate woodwork. Floor-to-ceiling bookcases
fill the gaps between windows.
Frank sits in a chair opposite him and smokes a cigar. He
kicks his feet up on a nearby chair.
MORTON
Was it necessary to massacre the
whole family? I told you to scare
them, not kill them.
FRANK
Shouldn't be any problem now that
we've got the girl.
Morton slams his fist on the desk.
MORTON
No problem? You killed a man and
his child.
FRANK
Who's gonna say anything? We own
this town.
MORTON
You don't own the sheriff.
Frank chuckles, as if he knows something Morton doesn't.
FRANK
Haven't you heard? The sheriff's
dead. So is his deputy and others
who might have stood against us.
Morton stands. He grabs hold of overhead bars he uses to walk
and makes his way to a small desk sitting against the wall
near the center of the car and removes some papers.
MORTON
That's why you'll never be anything
but a hired hand, Frank. I checked
with the land office today because
I planned to transfer the deed, but
it seems there is a Mrs. McBain.
The deed is in her name too.
Frank puffs on his cigar and blows smoke in Morton's
direction.
FRANK
A bullet will stop her just like
anyone else.
MORTON
It might not be so easy. She's
being protected by a mysterious
stranger.
Frank furrows his brow. He sits up and leans toward Morton.
FRANK
The one who plays the harmonica?
MORTON
And from what I hear, you already
lost three men trying to get him.
FRANK
Yeah, I did. But this time, I'm
sending five.
It doesn't much matter. We can buy
more men.
The train door opens, and Amy enters balancing a tray of
drinks. She walks slowly, careful not to spill any.
MORTON
Just in time, Young Lady.
Frank grabs Amy's dress as she passes and rips it open at the
legs, exposing her thigh.
FRANK
How many times do I have to tell
you? The next time I see you
dressed so prudish, I'll rip the
whole thing off. You won't feel so
smug walking around naked.
Amy sets the tray on Morton's desk and turns to exit. She
stops when she gets to Frank.
AMY
I'll never dress the way you want.
It's not proper; besides, that land
is mine, and you’re not getting it.
FRANK
I doubt if your mother will stand
so firm.
Amy smacks him in the face.
AMY
She’s not my mother.
Morton pushes the curtains aside at the sound of horses
arriving.
Frank points outside to the arriving riders and turns to Amy.
FRANK
You see those men out there? Do as
I say, or I'll let them have you as
much, and as often, as they want.
Amy nods but holds her head up high. She exits when Frank
goes outside to meet the riders.
Genres:
["Western","Drama"]
Ratings
Scene
26 -
Confronting the Threat
EXT. TRAIN CAR OUTSIDE OF TOWN - DAY
SEVEN RIDERS (30s and 40s, all wearing long brown dusters)
bring their horses to a stop outside the train car.
JAKE (30, weather-beaten, brown cowboy hat, riding a white
stallion) leans forward in his saddle.
JAKE
Frank, two of Cheyenne's men
checked into the hotel.
Frank bites the end off his cigar and spits it to the side.
FRANK
And the woman?
JAKE
Far as we know, she's at the
farmhouse.
FRANK
What are you waiting for? Send two
men to get the widow and take the
rest to the hotel.
Jake shifts in his saddle and hesitates.
JAKE
What if Harmonica is there?
Frank grins. He reaches down and strikes a match against his
boots, lights his cigar, then flicks the match at Jake.
FRANK
Then you'll have to earn your money
for once.
Genres:
["Western"]
Ratings
Scene
27 -
Confrontation at the Farmhouse
INT. MCBAIN FARMHOUSE - DAY
Jill packs several suitcases and prepares to leave, but as
she ties her horse to the buggy, the sound of a harmonica
comes from the loft. She spins around, shocked.
JILL
What are you doing here?
Harmonica descends the ladder.
HARMONICA
Escort you to town safely.
JILL
Why do you think I'm going to town?
HARMONICA
Because Frank will be after you,
and I intend to be there when he
finds you.
JILL
So you're using me! As bait.
Harmonica shrugs.
HARMONICA
If you want to see it that way.
Jill reluctantly climbs into the wagon, but Harmonica grabs
her arm and pulls her down. He rips her sleeves off at the
elbow, then he rips the top of her dress, exposing a lot of
cleavage.
She quickly covers herself and glares.
JILL
What do you think you're doing?
HARMONICA
This isn't the time to leave.
He gestures toward the well outside.
HARMONICA (CONT’D)
Get me some water. And get it from
the well. I like my water fresh.
Genres:
["Western","Drama"]
Ratings
Scene
28 -
A Sudden Threat
EXT. MCBAIN FARMHOUSE - DAY
TWO MEN (30s, brown dusters, brown hats, thin) wait outside,
hidden among the scrub brush. Both hold rifles.
Jill walks out carrying an empty pail and is followed by
Harmonica. She gets to the well and lowers the bucket.
Harmonica removes his hat and jacket while he stares into the
surrounding brush. His gun sits on the top of the well.
Jill raises a pail of water, and Harmonica dips in a ladle to
take a sip. All the while, he scans the surrounding area.
HARMONICA
When you hear a strange sound, get
down.
Jill seems puzzled. She stares at Harmonica.
JILL
A sound like what?
The two men spur their horses and ride toward Jill. They hold
their rifles ready to fire. The sound of guns cocking alerts
Harmonica, and he pushes Jill to the ground.
HARMONICA
Like that.
He draws his gun, and as the men come over the rise, he
fires, taking them both out before either one could shoot.
Harmonica puts his hat back on and picks up his jacket.
Genres:
["Western","Action"]
Ratings
Scene
29 -
Tension at the Farmhouse
EXT. BRUSH OUTSIDE OF FARMHOUSE - DAY
Further out in the brush, Cheyenne and four of his men wait.
He holds a rifle.
After Harmonica shoots Frank's men, Cheyenne stares.
CHEYENNE
He not only plays, he shoots too.
Harmonica helps Jill stand, and he brushes off her dress.
HARMONICA
Now's the time to leave.
JILL
I don't intend on leaving. I was
going into town to get supplies.
HARMONICA
It's not safe for you out here. Not
by yourself.
Jill casts a hard-eyed look.
JILL
I'm not leaving.
Harmonica sighs and shakes his head.
HARMONICA
If you say so.
Jill goes into the barn to get the wagon. When she returns,
Harmonica helps her onto the seat and secures all the
belongings.
Cheyenne and four of his men ride up slowly.
CHEYENNE
Mind if we tag along?
Harmonica shrugs.
HARMONICA
I like company.
CHEYENNE
You'll need it, the way you stirred
up Frank.
Harmonica looks at Cheyenne.
HARMONICA
You're not coming?
Cheyenne shakes his head.
CHEYENNE
Frank framed me for killing the
McBains. It wouldn't do for me to
be seen in town.
Cheyenne gestures to the wagon, and his men position
themselves on each side and in the front and back. Cheyenne
rides off.
Genres:
["Western","Action","Drama"]
Ratings
Scene
30 -
Tension at the Farmhouse
INT. GENERAL STORE - DAY
Jill buys supplies: sewing material, needles and thread,
cooking oil, coffee and more. She then buys tools for
repairing things on the farm.
On her way to get in the wagon, Harmonica greets her.
HARMONICA
Your mind still made up?
JILL
And I won't change it. Frank won’t
bother me while I own the land. And
I have an idea about an auction.
Harmonica looks at her questioningly.
JILL (CONT’D)
In New Orleans, it was a well known
saying that the best way to win a
poker game was to let your opponent
think they were winning.
HARMONICA
We can help with that.
Jill gets in the wagon and heads for home.
Paco steps up next to Harmonica and waits for Jill to leave.
PACO
I sent two men back to the
farmhouse. They'll watch out for
her, but they'll stay out of sight.
Harmonica nods.
HARMONICA
Good.
EXT. MCBAIN FARMHOUSE - DAY
Jill drives up to the house and stops near the porch. She
unloads the wagon, sets everything onto the porch, and parks
the wagon in the barn.
Cheyenne's men watch from the other side of a hill, using
scrub brush for cover.
Frank rides up and quietly dismounts almost 1/4 mile away. He
ties his horse to a small tree and then creeps forward.
He takes the last few steps very slowly, then he taps one of
the men on the back. When the man turns, Frank plunges a
knife in his heart.
Cheyenne's other man jumps up, reaching for his gun, but
Frank cuts his throat. He cleans the blade of his knife,
sheaths it, then walks toward the farmhouse.
Genres:
["Western","Action","Drama"]
Ratings
Scene
31 -
Struggle for Control
INT. MCBAIN FARMHOUSE - NIGHT
Jill finishes putting things away, and then she heats up
water for tea. She hears footsteps sounding on the porch,
shakes her head, walks to the front door, and yanks it open.
JILL
I told you, I'm not leaving.
She gasps, and her hands fly to her mouth.
JILL (CONT’D)
What are you doing here?
Frank smiles and steps inside. Jill tries to shut the door,
but he pushes it open and shoves her toward the kitchen. She
reels, but catches herself and continues moving back.
Jill grabs a knife from the kitchen, raises it, and lunges
toward Frank.
JILL (CONT’D)
Get back or I'll stab you.
Frank grins and continues to move toward her.
FRANK
You won't. Not that you don't want
to, but I won't let you. Not
tonight. Not ever.
Jill thrusts the knife at him, but Frank grabs her arm and
twists, causing her to drop the knife.
Jill yells and pulls her arm free.
JILL
You hurt me!
FRANK
You're not hurt. Not yet.
Frank grabs her dress and tears it off her. Then he takes
hold of her hair and drags her to the bedroom.
FRANK (CONT’D)
I know you're just a whore from New
Orleans, or N'awlins, as you folks
like to call it, but if I don't get
the land, you might be hurt by the
end of the night. And if that
happens, you'll wish you never left
your fair city.
Jill tries covering herself, but Frank throws her on the bed.
FRANK (CONT’D)
Finish undressing.
Jill cowers and shakes her head.
JILL
No. I know what I’ve been, and I
know what I am. And nothing you can
do will change that.
Frank backhands her and strips the rest of her clothes off.
FRANK
Like I said, you're just a New
Orleans whore. Does it matter who
has a turn with you?
Jill wipes the blood from her lips and pulls a quilt up to
cover herself. She glares at Frank and scowls.
JILL
I've known men like you — men too
cowardly to fight real men, and too
pitiful to attract women, so you
beat on them.
Frank steps closer to Jill and holds her shoulders.
FRANK
A woman like you shouldn't be hit.
(a beat)
Do as you're told and you won't be.
JILL
And I should believe that?
(a beat)
After you have what you want,
you'll forget about me, just like
everyone else. And I don't mean
just the land; besides, if you kill
me, you'll never get the land.
Frank looks at her questioningly.
FRANK
And why not? I have the girl.
JILL
Because I signed the land over to
Harmonica.
Frank paces, thinking.
FRANK
I guess I'll have to see Harmonica.
Genres:
["Western","Drama"]
Ratings
Scene
32 -
Tension at Twilight
EXT. MCBAIN FARMHOUSE - NIGHT
Jill watches Frank ride off, then quickly dresses and heads
toward town. She meets Cheyenne a few miles outside of town.
Cheyenne pulls his horse alongside her and leans forward.
CHEYENNE
You don't look so good.
JILL
Frank came to see me.
Cheyenne grits his teeth.
CHEYENNE
Did he hurt you?
Jill's face is set in stone.
JILL
Nothing I couldn't take.
EXT. HOTEL AND CANTINA - NIGHT
Cheyenne's men, accompanying Harmonica and Jill, arrive at
the hotel and hitch their horses to the post. The noise
travels to the blacksmith's shop and can even be heard over
the pounding on his anvil.
TWO MEN approach, kick the mud off their boots, and enter the
hotel. Chester locks his laundromat, and follows the other
men inside.
Genres:
["Western","Drama"]
Ratings
Scene
33 -
Night of Tension and Courage
INT. HOTEL AND CANTINA - NIGHT
Swinging doors open to a large room filled with tables and
chairs. A long bar runs the length of the room with bottles
of whiskey filling the shelves behind it and dusty, grimy men
waiting to down a shot or two. A lantern sits on every table.
Chester sits at the bar, orders a bottle, and downs shots
like a thirsty man does water. After a few shots, he joins a
card game with a large ROUGH-LOOKING MAN (pockmarked face,
short beard) and ANOTHER of Frank's men.
MAI-LIN and SUN-LU (20s, Asian, timid, thin, black hair)
serve drinks, clean tables, and sweep the floor, all the
while keeping their heads hung low and speaking to no one.
The hotel doors swing open and Harmonica and Jill enter.
Harmonica looks around the room, then carefully makes his way
to the bar. He and Jill stand at the end.
HARMONICA
Water for the lady and a bottle of
whiskey for me. Good whiskey.
The rough-looking man is joined by three other cowboys who
sit at the table and break open a deck of cards. One cowboy
uncorks a bottle and takes a long swig.
The rough-looking one and one of the others continually cast
glances at Harmonica and Jill.
Jill stares at the men and trembles.
JILL
I'm afraid. They're here for me.
HARMONICA
They won't get you. No one will.
The rough-looking man laughs loudly and tosses a few dollars
into the pot and hollers to Jill.
ROUGH-LOOKING MAN
Don't think that half-man can
protect you 'cause he can't.
Harmonica turns sideways and squeezes her hand.
JILL
Frank can't hurt me. Tell him I
said that, and tell him I said he's
a coward. Afraid to meet with me.
Mai-Lin and Sun-Lu move to the side and continue their work.
MAI-LIN
Stay away from those men. They bad.
The rough-looking man and the others laugh.
ROUGH-LOOKING MAN
All right, here are the rules. The
winner gets the pick of the chinks.
The losers get the other one.
The other men at the table hoot and holler. The rough-looking
man turns his head and stares at Jill.
ROUGH-LOOKING MAN (CONT’D)
We'll tell Frank what you said.
Harmonica turns and faces the rough-looking man. He pushes
his coattail to the side, exposing his holster and gun.
HARMONICA
Tell him I said it too.
The man loses his smile, and the table goes quiet.
ROUGH-LOOKING MAN
You'll be sorry you said that.
HARMONICA
Just tell him.
The rough-looking man takes a swig from the bottle and passes
it around to the others. When the last man finishes, he
tosses it to the floor.
ROUGH-LOOKING MAN
Need another bottle over here.
MAI-LIN
Gěi tā yī píng. (Get him a bottle)
The rough-looking man stares at Mai-Lin, and then he grabs
her arm and yanks her to his table.
ROUGH-LOOKING MAN
Yellow girl, what'd you say to her?
Mai-Lin fights to get free. Her skimpy outfit tears and she
runs away.
The rough-looking man gets up to follow, but Chester
hesitantly grabs his arm. He looks at him meekly and shakes
his head.
The rough-looking man scoops his money from the table and
stuffs it in his pocket, then he grabs hold of Mai-Lin and
drags her up the stairs. She tries to fight him off, but when
she can't stop him, she cries.
SECOND FLOOR BEDROOM - CONTINUOUS
Mai-Lin's screams and the sound of furniture breaking is
interrupted by the door bursting open. Mai-Lin stumbles out
the door backward, but before she gets her balance, the rough-
looking man backhands her and knocks her down the stairs.
She falls down a few steps, but manages to keep hold of the
handrail. She continues to grab it until she reaches the
bottom where she falls the last few steps.
Harmonica helps her up and stands beside her while she
brushes her dress off. She folds her hands and bows to him.
MAI-LIN
You save me.
Harmonica nods as Mai-Lin speaks, but he doesn't take his
eyes from Frank's men.
HARMONICA
You're just lucky. I needed a
reason to kill him.
The rough-looking man descends the steps and tries to leave
but Harmonica grabs hold of his coat sleeve.
HARMONICA (CONT’D)
Don't forget to apologize.
The rough-looking man squints.
ROUGH-LOOKING MAN
Apologize for what?
Harmonica stands rigidly and stares.
HARMONICA
The girl.
The man laughs and moves toward the steps.
ROUGH-LOOKING MAN
Maybe I'll stay a while.
HARMONICA
You'll be dead before your boots
touch the first step.
The rough-looking man faces Harmonica and grins. His hand
moves slowly toward his gun.
ROUGH-LOOKING MAN
Frank sent more men this time.
Harmonica nods.
HARMONICA
I hope he dug enough graves.
One of the men goes for his gun and Harmonica draws and
shoots. The man crashes onto the table, turning it over.
Another stumbles back until he hits the wall, and the rough-
looking man falls sideways, breaking the railing.
Harmonica overturns a table and ducks behind it just as
bullets from the other two cowboys hit the table.
Paco enters the front door and shoots one of Frank's men, and
RENNI (40, scruffy beard) steps in from the back and shoots
Frank's other man.
Harmonica stands and glances around. He nods to Paco and
Renni.
HARMONICA (CONT’D)
Guess it's time to see Frank.
Jill looks behind the bar and sees Chester cowering on the
floor. He gets up and stands in front of her.
JILL
Find some courage, and tell Frank I
want to meet him - personally.
(A beat)
And tell him I know everything.
Harmonica steps between the two of them. He looks at Chester
and shakes his head.
HARMONICA
I asked Frank to meet me, but he
didn't show. I'm sure Mrs. McBain
doesn't want to meet a man who
doesn't keep appointments.
Chester looks at Harmonica and sneers.
CHESTER
This is Frank's business. I don't
remember asking you, Mister.
Harmonica smiles. He pushes his coattails behind his holster.
HARMONICA
Now I know that your memory's good.
(A beat) )
Let's see how good your draw is.
Chester loses his smile. Harmonica nods and holsters his gun.
HARMONICA (CONT’D)
I thought so.
Harmonica grabs Jill's arm gently.
HARMONICA (CONT’D)
We got you a room upstairs, and
several of Cheyenne's men are in
rooms on each side of yours.
(a beat)
And this time, you're staying put.
JILL
How long do I have to stay?
HARMONICA
Until it's safe.
JILL
I can't even walk through town?
HARMONICA
You can leave the room and walk
through town, but only if
Cheyenne's men are with you.
Genres:
["Western","Drama","Action"]
Ratings
Scene
34 -
Betrayal on the Train
EXT. MAIN STREET IN TOWN - DAY
Jill walks down the street with Cheyenne's men. Harmonica
watches from behind a wooden post that supports an
overhanging roof. He waits for Chester to leave and follows.
INT. TRAIN CAR OUTSIDE OF TOWN - DAY
Chester stands with Frank and Morton. Morton glares and
purses his lips.
MORTON
You were told never to come here,
no matter what business you have.
CHESTER
I wouldn't have come, but when
McBain said she knew everything, I
thought I better tell you about it.
Frank stares out the window, and sees the shadow of a man
walking on the top of the train car.
FRANK
And you're sure you weren't
followed?
CHESTER
(NERVOUS)
You know how careful I am, Frank.
No one saw me come here. You can
trust me.
Frank walks over to Chester. He looks him in the face and
smiles. He then reaches down and pulls his suspenders out and
lets them snap back to place.
FRANK
Chester, how can I trust a man who
wears both a belt and suspenders.
Harmonica stares through a skylight in the top of the train
car. Frank walks over and tugs on a cord, signaling the train
to get moving.
A whistle blows and the train moves. Harmonica holds onto the
sides of the car and lies as flat as he can.
In the distance, a half dozen horsemen ride toward the train.
Harmonica presses himself even lower onto the top of the car.
As the riders draw closer, Harmonica quietly climbs down the
ladder. When he reaches the bottom, Frank waits with a gun
pointed at his face.
Harmonica stares.
HARMONICA
You Frank?
FRANK
You know I am.
HARMONICA
I've been looking for you.
FRANK
And now you've found me.
Frank gestures with his gun toward the inside of the train
car. Harmonica goes inside.
FLASHBACK
A man walks slowly through the desert filled with scrub
brush. A coat is draped over his left shoulder and he wears a
holster on his right side. His face is blurry and can't be
made out, but he is tall and thin with dark hair.
END OF FLASHBACK
Frank takes Harmonicas's gun and gives it to one of his men.
FRANK
Tie him up to the post inside.
Frank walks to Chester, stands in front of him, and stares.
FRANK (CONT’D)
So you weren’t followed?
So I can trust you?
Frank pushes Chester out the door of the train car and all
the while Chester protests that he can be trusted.
CHESTER
You don't have to worry about me,
Frank. I'm reliable.
EXT. TRAIN CAR OUTSIDE OF TOWN - DAY
Chester lands on his back in the dirt. He struggles to get up
but moans every time he moves. When he finally stands, he
sees Cheyenne hanging onto the undercarriage of the train.
Cheyenne holds his finger to his lips, as if to say ‘shh.’
CHESTER
Frank, you know —
Frank draws his gun and shoots.
Genres:
["Western","Action","Drama"]
Ratings
Scene
35 -
Standoff in the Train Car
INT. TRAIN CAR OUTSIDE OF TOWN - DAY
Frank looks to one of his men, Jackson (40, rugged-looking,
black hat).
FRANK
Did they take care of the woman?
Jackson shakes his head.
JACKSON
We found them dead out by the farm.
The five you sent to the hotel are
dead also.
A wide grin covers Harmonica's face.
HARMONICA
Your friends have a high mortality
rate, Frank. First three, then two,
now five. If you're not careful,
you'll run out of men.
Frank walks over slowly and takes off Harmonica's hat.
FRANK
So you're the one who makes
appointments?
HARMONICA
And you're the one who doesn't keep
them.
Frank stares while puffing cigar smoke in his face.
FRANK
What do you want? Who are you?
Harmonica looks back with cold eyes.
HARMONICA
Dave Jenkins.
Frank's face loses color. He takes the cigar out of his mouth
and steps closer.
FRANK
Dave Jenkins has been dead for a
long time.
HARMONICA
Calder Benson.
Frank bites the end of his cigar. Frustration shows on his
face.
FRANK
(irritation)
What's your name? Calder Benson's
dead too.
Harmonica squints his eyes until they're nearly closed. He
stares at Frank.
HARMONICA
You know better than anyone. You
killed 'em.
Frank tosses his cigar away and grimaces. He turns to his
men.
FRANK
Soften him up. Maybe he'll feel
like talking then.
MUSHON (30, brash, overly-confident) steps up and punches
Harmonica in the face.
Harmonica smiles.
HARMONICA
You can do better than that.
Mushon hits his gut, then his kidney.
Harmonica falls forward, but he recovers quickly. When he
stands, his smile remains.
HARMONICA (CONT’D)
C'mon, you can't hurt me like that.
Frank scowls and steps up to Harmonica. He holds a match
against his arm. Harmonica stares, but he doesn't react.
Frank lights another match and holds it until the skin sears.
HARMONICA (CONT’D)
That all you got, Frank? You'll
never get your land this way.
Several other men punch and beat Harmonica using whips,
clubs, and the butt of their guns.
Harmonica bleeds from his mouth and nose. His eye is
blackened.
HARMONICA (CONT’D)
You can keep this up all day, but
you're not getting the deed.
Frank steps forward and gets within inches of Harmonica face.
FRANK
I can break your hand so you can't
shoot. What good is a man if he
can't shoot?
HARMONICA
I'll learn to use my left hand.
FRANK
I can break that one as easy as the
other.
HARMONICA
If you break both my hands, I won't
be able to sign the deed. Then
where will you be, Frank?
(a beat)
The railroad almost here, and you
with no land.
Harmonica laughs.
HARMONICA (CONT’D)
Besides, if you torture someone,
you have to be willing to kill
them. If they know you won't kill
them, there's no reason to do what
the person wants.
FRANK
Maybe so, but you'll end up like
Morton if you don't sign soon.
Harmonica squints and stares at Frank.
HARMONICA
Judge Salazar has to witness the
signing of this deed. If you take
me to him beaten up, he'll know
what happened.
(a beat)
Face it, Frank, that train's gonna
come and go, and you still won't
have that piece of land.
FRANK
What do you suggest we do? Maybe I
should just kill you.
HARMONICA
If I die, Cheyenne gets the deed.
You'll have a much tougher time
getting the deed from him.
Frank punches the wall and moves closer to Harmonica. He
slaps both sides of his face several times.
FRANK
Who are you? What do you want?
Frank rears back to hit harmonica again.
MORTON
Frank! Remember the woman. We're
losing time.
Frank looks from Morton to his men.
FRANK
All right let's go. I guess we'll
have to take care of her ourselves.
Frank turns to the man standing next to him and points to
Harmonica.
FRANK (CONT’D)
Keep an eye on him. If he gives you
any trouble, hit him hard, but
don't hit his mouth. He's got a lot
of talking to do.
Genres:
["Western","Action","Drama"]
Ratings
Scene
36 -
Reckoning on the Train
EXT. TRAIN CAR - DAY
Frank exits the train and gets on his horse. Four others join
him. He turns to a man standing by Chester's body.
FRANK
Bury this one. And make sure you
keep an eye on that cripple while
I'm gone. Understand?
Frank rides off with his men. As they disappear, we see
Cheyenne hanging onto the bottom of the train car.
INT. TRAIN CAR - DAY
The train whistle blows and the train moves. Morton sits
behind his desk, while three of Frank's men nap in chairs.
One chair is next to the window and the others are near the
end of the car.
Harmonica is tied to a dark wooden post that supports the set-
up Morton uses to walk.
As the train picks up speed, Harmonica looks to the side
window and opens his eyes wide. Cheyenne is hanging upside
down from the top of the car and looking in the window.
Cheyenne smiles and nods to Harmonica, who smiles in return.
Cheyenne taps the window lightly with his gun. When Frank's
man doesn't respond, he taps it twice more, then again.
Frank's man stirs and turns to look out the window. When he
sees Cheyenne, he goes for his gun, but Cheyenne shoots
first. The bullet hits him in the throat.
Morton stands, using his crutches, and FRANK'S OTHER MEN jump
out of their chairs, guns drawn.
FRANK'S OTHER MAN
Who the hell was that?
Cheyenne climbs back atop the train car. Within a moment, he
comes in through the door between the cars. He shoots one of
Frank's men, then returns to the top of the car.
Morton hides behind his desk.
One of the last of Frank's men moves slowly across the train
car, listening closely to Cheyenne's footsteps on the roof.
He hears a gun cock and spins around quickly.
A man's boot is seen through the window, as if someone is
descending from above. Frank's man moves quietly, and when he
is close, he raises his gun, waiting for Cheyenne to show,
and prepares to shoot.
The boot turns a little, and a gunshot sounds, shooting a
hole in the toe of the boot and in the man's eye.
Morton limps on his crutches as he moves across the car.
Cheyenne enters holding his gun.
Harmonica, still tied to the post, looks at him and smiles.
HARMONICA
Do you only know how to shoot? Or
do you know how to cut too?
Cheyenne pulls a knife and cuts Harmonica free. He hollers at
Morton, who is limping away.
CHEYENNE
Let's have a good look at you.
He walks to Morton and draws his gun. His voice is taunting.
CHEYENNE (CONT’D)
Mr. Choo Choo.
Morton slowly turns and moves toward Cheyenne while holding
onto the overhead rails.
Cheyenne chortles as he looks Morton up and down.
CHEYENNE (CONT’D)
It's easy to find you, bastard. I
don't have to kill you now. You
leave a slime behind you like a
snail — two beautiful shiny rails.
Harmonica walks up to Cheyenne.
HARMONICA
Don’t forget there's another
bastard, and he gets farther away
every minute.
Harmonica pulls the strap signaling the train to stop. The
whistle blows and the brakes squeal as they come to a stop.
Cheyenne opens the door leading to the steps at the end of
the car. He looks west, into the horizon. Soon, riders
appear. Cheyenne turns to Morton.
CHEYENNE
It won't be long, Mr. Choo Choo.
Here come my men.
Genres:
["Western","Action","Drama"]
Ratings
Scene
37 -
Train Heist Showdown
EXT. TRAIN CAR - DAY
EIGHT MEN, riding hard, approach the train cars. Cheyenne
looks out at them and smiles.
As the riders get closer, they continually fire on the train,
focusing on the engine. As they gain ground on the train, the
side door of the second train car slides open to reveal A MAN
standing behind a GATLING GUN sitting atop a tripod.
The horses close to one hundred feet before the man turns the
crank. The gun fires hundreds of bullets rapidly. The bullets
rip through Cheyenne's men, knocking them from their horses
and leaving gaping holes where the bullets hit. Three men
fall with the first burst.
Frank's man turns the crank on the gun again and bullets fly
toward the rest of Cheyenne's men.
The two men in front are knocked off their mounts as soon as
they're hit, flying backward. The second wave of bullets
takes out the rest of them, including a few horses.
Cheyenne climbs back atop the train car and makes his way to
the next car. He steps quietly and slows even more when he
gets close to the man with the Gatling gun.
He lies as flat as he can on top the car, then leans over and
fires three shots, killing the gun's operator. The man falls
forward, and Cheyenne shoots him two more times.
Genres:
["Western","Action"]
Ratings
Scene
38 -
Confrontation at the Cantina
EXT/INT. MCBAIN'S FARMHOUSE - DAY
Frank knocks on the door, but no one answers. He kicks the
door in and goes through the house, searching everywhere.
He finds models of a town and nods knowingly, and then he
goes outside and gets on his horse.
FRANK
Looks like we're going to town. Two
of you need to get the girl while
I'm in town. Meet me outside of
town by the split in the road.
INT. HOTEL AND CANTINA - DAY
Frank walks up to the bar and orders a shot of whiskey. He
downs it and signals the MAN TENDING BAR (60s, almost bald,
thin) for another.
FRANK
I need to speak with Mrs. McBain.
MAN TENDING BAR
(stammering)
I don't know any . . . McBain.
FRANK
She's a good-looking woman, and I
heard she might be staying here.
Footsteps sound on the stairs and Harmonica slowly descends.
HARMONICA
She's here, Frank, but she doesn't
want to see you.
Frank takes a step back and stares.
FRANK
And you know that?
HARMONICA
She has no business with you, so I
guess you'll have to wait.
FRANK
Wait for what?
HARMONICA
For the train tracks to get here.
Frank turns slowly and faces Harmonica. He pulls his duster
behind his holster.
Harmonica smiles and does the same.
FRANK
I see you got away from my men.
They dead?
Harmonica nods.
HARMONICA
I'm afraid they are. But you're a
smart man, Frank. You knew they
would be.
(a beat)
And you noticed I'm here, so you've
got good vision too.
The sound of more footsteps on the stairs. Three more men
appear and stand next to Harmonica.
Frank glances from one to another.
FRANK
I guess what I need will hold.
He slugs the last of his drink, keeping an eye on Harmonica
as he does, and then he tosses a few silver dollars on the
bar and leaves.
Genres:
["Western","Action","Drama"]
Ratings
Scene
39 -
The Land Deal
EXT. OUTSIDE OF TOWN BY SPLIT IN ROAD - DAY
Frank and his men sit inside a basin of rocks, sipping on
coffee the men made over a campfire. Several riders approach
with a young woman. Mushon rides at the front.
MUSHON
Here she is, Frank.
FRANK
Thanks . . . What's your name
again?
MUSHON
It's —
FRANK
Ah, never mind. A name's a name.
One's as good as another.
INT. TRAIN CAR - DAY
Frank enters the car and sits in Morton's chair, his feet
propped up, boots on the desk.
FRANK
Looks like the land is going for
auction.
MORTON
What! We can't have that. What if
—?
FRANK
Don't get worked up. It won't go
for more than a few hundred
dollars. I'll make sure of it.
Morton sighs, opens the top drawer of his desk, and gives
Frank a stack of cash.
MORTON
Here's two thousand dollars, just
in case it goes for more. I'm not
concerned with a little money. As
long as we get the land.
Genres:
["Western","Drama"]
Ratings
Scene
40 -
The Auction Showdown
EXT/INT. HOTEL AND CANTINA - DAY
Frank hitches his mount in front of the hotel, and then he
helps Amy dismount. He unties her hands before going inside.
A dozen of his men follow him.
Frank holds onto Amy's arm and sits at a nearby table along
with several of his other men.
FRANK
Remember what I told you, girl. You
need to sign that deed over after I
win the auction.
AMY
You’re wasting your time. I won’t
sign anything.
Frank squeezes her arm tightly.
FRANK
We’ll see.
Frank's men mill about the crowd of potential bidders. As the
auction starts, there are a few low bids, then one of Frank's
men bids two hundred dollars.
Frank looks over to his man and smiles.
Harmonica stands on a landing halfway to the second floor.
The deputy calls out the bid.
DEPUTY SIMMS
We have a bid of two hundred
dollars. Do I hear three hundred?
How about two hundred fifty?
Simms turns to Mrs. McBain and whispers.
DEPUTY SIMMS (CONT’D)
Are you sure you don't want to set
a minimum price?
Jill shakes her head.
JILL
I want to be rid of it.
DEPUTY SIMMS
Two hundred going once, twice . . .
The BLACKSMITH (40, muscled) raises his hand to bid, but one
of Frank's men grabs his arm and lowers his hand. The rest of
Frank's men glare at people, a warning not to bid.
The room is silent, then the blacksmith bids despite the
threat.
BLACKSMITH
Three hundred dollars.
Frank's men stare. Everyone casts looks in that direction.
SIMMS
That's more like it. Do I hear four
hundred? All right then, three
hundred once. Three hundred twice.
Simms raises the gavel and is about to bring it down when
someone hollers from the stairs.
HARMONICA
Five thousand dollars.
Everyone turns to see who bid. The room is abuzz with
chatter. Frank's face is ashen. He appears shocked.
Deputy Simms walks up the stairs to meet Harmonica.
DEPUTY SIMMS
This is a cash only auction. You
have the money?
Harmonica looks up the stairs and nods. Footsteps are heard
on the steps above, then a man comes down leading Cheyenne
with a rope tied to his neck and his hands tied before him.
Harmonica looks to Deputy Simms.
HARMONICA
I understand there's a five
thousand dollar reward for him.
Simms nods. He looks to JUDGE SALAZAR (60, gray hair, chubby,
stern), and the judge gives his okay.
Cheyenne looks sourly at Harmonica.
CHEYENNE
Judas was content with 4,970
dollars less.
HARMONICA
There were no dollars in them days.
CHEYENNE
But sons of bitches, yeah.
JUDGE SALAZAR
The bounty is valid. The land goes
to —
Frank stands.
FRANK
Hold that bid for thirty minutes.
I'll be back.
Judge Salazar shakes his head and bangs his gavel on the
table.
JUDGE SALAZAR
The sale is final.
Frank approaches Salazar.
FRANK
But judge, I'll —
JUDGE SALAZAR
I said the sale is final, and that
concludes our business.
Frank slams his fist on the table and then he takes hold of
Amy’s hand and pulls her up to go with him.
Jill grabs Amy’s other hand.
JILL
Amy’s staying.
Harmonica, Cheyenne, and Deputy Simms stand up.
Frank looks at them, then to the door. Five of Cheyenne’s men
stand by the door and others descend the stairs.
Frank stares from one group to the other, then lets go of Amy
and signals for his men to follow him.
FRANK
This isn’t over.
After Frank leaves, Amy turns to Harmonica.
AMY
Thank you for your help.
HARMONICA
It was all Jill’s idea — the
auction and everything else.
Amy blushes and turns to Jill. She extends her hand.
AMY
It’s not something I ever imagined
I’d say, but thank you.
Jill smiles and shakes her hand.
JILL
It was Harmonica, the deputy, and
Cheyenne who did all the work.
Deputy Simms waits for all of Frank's men to leave, then he
cuts Cheyenne free and turns to Harmonica.
DEPUTY SIMMS
Looks like you were right. It was
obvious Frank was after the land,
but why? He was prepared to pay
more than five thousand.
Cheyenne rubs his wrists and smiles. He and Harmonica sit at
a table with Jill, Amy, and several of Cheyenne's men. One
the men carries a bottle of whiskey and several shot glasses.
Cheyenne pours a drink for everyone and sits.
CHEYENNE
Simms is right. The question is why
does anyone want that piece of
land. First McBain and now Frank.
HARMONICA
Don't forget the railroad.
AMY
I know why.
She turns to face Jill.
AMY (CONT’D)
Do you know why?
Jill loses her smile and gets a serious look on her face.
JILL
All I know is what Brett told me —
he said this land would make him
wealthy, but he didn’t tell me how.
Amy continues to stare, her face a mask.
AMY
Did he love you?
Jill folds her hands in front of her and thinks.
JILL
I can’t be sure, but I think he
did. The first night I met your
father, he took me to dinner at a
very nice restaurant - Antoines.
(a beat)
As we ate dinner, Brett told me how
lonely life was without his wife,
and told me how hard it was to
raise two kids by himself.
(MORE)
JILL (CONT’D)
He told me he put a lot of weight
on you, Amy, and asked you to do
too much, especially when it came
to Matt. But he said you never
complained.
Jill cocks her head, as if in thought.
JILL (CONT’D) (CONT’D)
He surprised me again, though. We
sat in that restaurant until it
closed, and then he walked me home
and said goodnight. And all we did
was talk. I had a lot of respect
for your father after that night. I
decided then, I’d go off with him
if he asked.
AMY
You loved him?
JILL
I promised I would cook for him,
take care of him physically and
mentally, clean for him, and be
faithful. What else can a man want?
AMY
You didn’t answer my question.
JILL
No, I didn’t, but I gave you my
answer.
All eyes turn to Amy.
AMY
(sighs)
My father told us before we got
here that the land had water on it
— a lot of water. He said the
railroad needs water to run, and
that the land would make us rich.
Jill bends over and hugs Amy.
JILL
If there was water, I think I would
have seen it. But if it’s really
there, we’ll find it and make
Brett’s dreams real.
AMY
If that’s what you plan to do, I’ll
help. Dad would have wanted that.
Cheyenne turns to Paco.
CHEYENNE
Get some of your Indian friends and
find out if there's any water on
that land. If there is water, find
out how much is there and how to
get to it.
Paco gulps his glass of whiskey and gets up to leave.
PACO
I leave now. Be back late morning.
Harmonica sips on his glass.
HARMONICA
If the land has water, it explains
why the railroad wants it.
(A beat)
I think we need to visit the
McBain's farmhouse.
JILL
I think so too. I'm going with you.
Harmonica gestures to Cheyenne.
HARMONICA
Watch her. I'll finish registering
the deed and join you afterward.
Cheyenne and his men ride out, accompanied by Jill and Amy.
Genres:
["Western","Drama"]
Ratings
Scene
41 -
Standoff on the Road
EXT. ROAD TO MCBAIN FARMHOUSE - LATER
Harmonica leaves the land office and heads toward the
farmhouse. He rounds the bend where the road splits, going
north and east.
Just as he heads east, where the road narrows, a DOZEN MEN
block his way. Harmonica brings his horse to a stop. He looks
from one man to the other.
Mushon spurs his mount forward a few steps.
MUSHON
Frank wanted to make sure you got
where you're going.
Harmonica continues glancing at the men.
HARMONICA
Tell Frank not to worry.
Mushon draws his gun, as do all the others.
MUSHON
I know you're fast, but not fast
enough to take all of us.
Harmonica sits up tall and pulls his coat behind his holster.
Mushon and his men draw their guns and aim them at Harmonica.
MUSHON (CONT’D)
We're not gonna hurt you, but
you're coming with us.
Harmonica looks at the men again. He lets go of his coat.
HARMONICA
I'll go with you, but you're not
getting my gun.
Mushon tugs on the horse's reins and heads further east. The
rest of the men fall in behind him.
Genres:
["Western"]
Ratings
Scene
42 -
Under the Weight of Oppression
EXT. RAILROAD LINE EAST OF PROMONTORY - DAY
LATER:
Mushon rides up to the railroad line, where hundreds of
workers put down railroad ties, lay tracks, and pound spikes.
FOREMEN walk up and down the line whipping and clubbing
people for not working hard enough or even for stopping to
take a drink.
Harmonica looks around, then turns to Mushon.
HARMONICA
Why are we stopping here?
Mushon grins.
MUSHON
This is your home until Frank gets
the land.
Harmonica nods.
HARMONICA
One home's good as another.
MUSHON
We'll see.
Harmonica dismounts and goes to see the OVERSEER (40, harsh,
Irish accent).
OVERSEER
Get a hammer and pound those
spikes.
Mushon walks to the overseer and whispers.
MUSHON
Frank wants you to keep an eye on
this one. Don't take it easy on
him, but don't hurt him too badly.
Mushon gets on his horse, and he and his men ride away. The
overseer steps over to Harmonica and taps his shoulder.
OVERSEER
What kind of man you be?
HARMONICA
Just a man.
OVERSEER
We got us four kind of men working
these lines, Mister. White men,
including Irish, and the lesser men
— redskins, yellow men, and blacks.
Since you don't fit with the
whites, I'm putting you with them.
Harmonica turns around and swings the hammer.
The overseer whips his back several times. Blood trickles
from the lashes the overseer gives.
OVERSEER (CONT’D)
Nobody turns their back on me,
Mister. You got that?
LATER:
Harmonica finishes hammering a spike into the ground when the
whistle blows. The men stop working and carry their tools
with them as they move toward an encampment made of tents.
HARMONICA
This where we sleep?
OVERSEER
Someone will be around with food,
or what they call food. You sleep
with the blacks, the chinks, and
the redskins. White people sleep in
the boxcars.
Genres:
["Western","Drama"]
Ratings
Scene
43 -
A Moment of Kindness
EXT. RAILROAD LINE EAST OF PROMONTORY - NIGHT
A wagon carrying two dirt-covered barrels moves slowly
through the camp. The DRIVER (40s, tall, thin, wiry) stops,
gets off, and ladles soup from the first barrel. Pieces of
something float on the top. Some of them appear to be moving.
Harmonica looks closely at the soup and scowls.
HARMONICA
You expect me to eat that?
The driver spits to the side.
DRIVER
It's this or nothin', Mister.
Harmonica grudgingly takes a bowl of soup and sits next to
the fire. He wraps a blanket around his shoulders.
After eating, the workers retire to the tents to sleep.
Harmonica picks a tent with two CHINESE MEN and a BOY (10,
scrawny, ribs showing, scars on his back).
LATER:
During the middle of the night, the boy hugs himself and
shivers. Harmonica gets up and lays his blanket over the boy,
then he goes back to sleep.
Genres:
["Western","Drama"]
Ratings
Scene
44 -
A Breakfast Interrupted
EXT. RAILROAD LINE EAST OF PROMONTORY - DAY
Harmonica eats breakfast by the fire when the young boy comes
out. He wipes sleep from his eyes and sits next to Harmonica.
BOY
Thank you for blanket.
HARMONICA
You looked cold.
The overseer walks up and down the line whipping people. When
ONE MAN resists, the overseer shoots him, and he falls onto
the tracks, bleeding badly.
OVERSEER
Get him off the tracks. And do it
now! If work is held up, you'll pay
with your blood.
Harmonica stands, reaches a hand to the boy, and picks up his
hammer which he swings over his shoulder. He sees Paco riding
his horse in their direction.
Paco looks at Harmonica, but Harmonica shakes his head. Paco
nods and continues riding along.
EXT. MCBAIN FARMHOUSE - DAY
Paco dismounts and joins Cheyenne and TEN more on the porch.
CHEYENNE
About time you got here. What did
you find out?
PACO
Nothing yet, but on way, I see
Harmonica working on railroad. I
come to tell you.
CHEYENNE
What?
PACO
Men whipping him and others.
CHEYENNE
Frank must have gotten him.
Cheyenne mounts his horse and looks to the others.
CHEYENNE (CONT’D)
What the hell are you waiting for?
Let's go get him, but four of you
stay here.
(a beat)
Paco, see about the water while I
take care of this.
Genres:
["Western","Action","Drama"]
Ratings
Scene
45 -
Revolt on the Railroad
EXT. RAILROAD LINE EAST OF PROMONTORY - DAY
Cheyenne and his men ride along the tracks and continually
look for Harmonica.
Cheyenne sees him and steers his horse close. When he is next
to Harmonica, he leans down and whispers.
CHEYENNE
We're getting you out of here. Be
ready in five minutes, and it
wouldn't hurt to have help.
Harmonica nods.
HARMONICA
What took you so long?
Cheyenne rides further along, and Harmonica moves slowly from
one worker to the next, whispering.
As the overseer moves away from Harmonica, Cheyenne turns his
horse and draws his gun.
CHEYENNE
Fat man, you're gonna listen
closely.
Cheyenne points to Harmonica.
CHEYENNE (CONT’D)
See that man? He's coming with me.
The overseer shakes his head.
OVERSEER
He works for the railroad. I hired
him.
Cheyenne draws his gun and shoots the man in the foot.
CHEYENNE
I just un-hired him.
The gunshot draws attention, and several of the foremen move
quickly toward Cheyenne.
Harmonica waits until one of them gets a few feet away, and
swings his hammer at the man's gut, dropping him.
A Chinese worker swings his hammer while the foreman is down.
It strikes his arm. Bones break.
The riot continues as more and more workers join in and
revolt against the railroad men. Cheyenne's men shoot more of
the foremen.
Cheyenne sees Harmonica's horse and unhitches it, then takes
it to Harmonica.
CHEYENNE (CONT’D)
Time to go, and don't think of
stopping to play any music.
As they ride away, Harmonica hollers to the workers.
HARMONICA
Tell the bosses Cheyenne did this.
Harmonica spurs his horse to a gallop and catches up with
Cheyenne
Genres:
["Western","Action","Drama"]
Ratings
Scene
46 -
Confrontation in the Train Car
EXT/INT. TRAIN CAR - DAY
Frank rides up to the train car and dismounts. He climbs the
steps and goes inside. He looks around at the dead men.
FRANK
Harmonica do this?
MORTON
Cheyenne helped. They got the
Gatling gun too.
Frank shrugs and takes a seat.
FRANK
We didn't win the auction, but I
intend to get that land back.
MORTON
You never had the land, Frank. And
I've been a fool thinking you could
get it. You cost me money and time.
And I can't afford the time.
FRANK
You'll have to get used to it. In
the meantime, I'm going to town to
settle things once and for all, but
I'm going to need more money.
MORTON
How much?
FRANK
Better make it ten thousand.
MORTON
Ten thousand!
FRANK
They paid five thousand for the
land. Gotta show them a profit.
MORTON
No violence. You know I don't like
violence.
FRANK
Yeah, well there are a lot of
things you don't like, but you'll
get used to them too.
MORTON
There’s no need to be violent. I’ll
find another way to get the land.
Frank kicks his feet up on the desk and strikes a match on
the heel of his boot. He lights a cigar, takes a long drag,
and blows smoke toward Morton.
MONTAGE: FLASHBACK - FRANK'S EARLY LIFE
- Five-year-old Frank, looking emaciated, scrounging for food
behind the cantina.
- Frank in front of the cantina begging for food or change.
- Frank at the dinner table with only soup to eat.
- Frank walking home with his father and two men take his
money and the food he carries.
- Frank being tortured and beaten by older boys.
END OF MONTAGE
MORTON
Are you listening, Frank? I said
I'd find another way.
Morton stares and shakes his head.
MORTON (CONT’D)
What makes you so mean?
Frank puffs on his cigar, leans his head back, and thinks.
FRANK
I’m not mean. I’m just not gonna
let anybody take from me like they
did from my father.
Genres:
["Western","Drama"]
Ratings
Scene
47 -
Betrayal on the Tracks
EXT. TRAIN CAR - DAY
Frank exits the car and saddles up. He takes four men with
him and rides off, leaving four behind.
INT. TRAIN CAR - DAY
Morton invites Frank's men to play cards with him. He sits
behind his desk, then reaches into a drawer and pulls out a
huge stack of cash.
Instead of dealing cards, he slowly deals out hundred dollar
bills until there is a thousand dollars in front of each one
of them.
CISCO (30s, rugged, cowboy hat) picks up the cash and counts
it slowly. He looks at Morton.
CISCO
How do you . . . how do you play
this game, Mr. Morton?
MORTON
It's simple. As long as you use
your head, you never lose.
CISCO
I still need a clue.
MORTON
Let's say it would be a shame if
Frank were to befall an accident,
or die at the hands of a bandit.
The men look at him as if they don't trust him, then one of
them picks up the cash and pockets it. The others follow
suit. Each man pockets the money and leaves. They ride off on
their horses toward town.
Genres:
["Western","Drama"]
Ratings
Scene
48 -
Reinforcements and Resolutions
EXT. OUTSIDE PROMONTORY - DAY
Frank stops about halfway to town, and his men come to a stop
alongside him.
FRANK
I don't like the way things are
going. I want you to ride to
Pineville and pick up some more
men. Get five or six of them and
wait for me at the train.
Frank sits astride his horse. He stares across the vast
desert wilderness as if thinking.
FRANK (CONT’D)
Mushon, did you take care of that
thing I told you about?
Mushon nods.
MUSHON
Dropped him off like you said. They
put him with the yellows.
Franks smiles.
FRANK
All right, good. That solves one of
our problems.
Genres:
["Western","Action","Drama"]
Ratings
Scene
49 -
Building a Future
EXT. MCBAIN FARMHOUSE - DAY
Paco rides up and dismounts, then he goes to Cheyenne.
PACO
You were right. I find nothing, so
I go to Shoshone chief and he say
underground water near farmhouse.
Big river. Plenty of water.
CHEYENNE
And it goes through McBain's land?
PACO
Chief say yes. And he say McBain
pay him many favors for access.
CHEYENNE
That about solves it. Let's search
this place and find it.
Harmonica, Cheyenne and his men, and Jill and Amy walk the
property.
A dozen or more wagons loaded with lumber and other building
material pull up to the farmhouse. The DELIVERY FOREMAN (30s,
scrawny, wiry hair) hands a bill of sale to Jill.
DELIVERY FOREMAN
Here it is, Mrs. McBain. Everything
that Mr. McBain ordered — stacks of
beech, pine, oak — all cut to
order.
(MORE)
DELIVERY FOREMAN (CONT’D)
Plus ten kegs of nails, windows and
doors, and all the tools needed to
work it.
(A beat)
And it's all paid for, so nothing
is owed.
JILL
But why? What is it for?
Harmonica takes the bill of sale from her hand.
HARMONICA
I think I know, Mrs. McBain. Your
husband bought this land because he
found out there was water. The
railroad needs water to run and
having water on this land will save
them a lot of money and time.
That's why Frank wants it so bad.
Jill frowns, and she lowers her head. She speaks somberly, a
defeated woman.
JILL
And now you want it?
Harmonica shakes his head.
HARMONICA
We don't want it. We just want to
make sure you get it. Plus, I have
a score to settle with Frank.
(A beat)
Let us take it from here?
Cheyenne's men wander around, looking at the stacks of
lumber.
HARMONICA (CONT’D)
This stack has a sign on it. It
says: general store.
CHEYENNE
And this one says, Post Office.
PACO
These stacks are for a church and a
bank.
CHEYENNE
What the hell is this?
HARMONICA
Can't you see?
(A beat)
It's a station for the train and
the beginnings of a town. McBain's
dream was real.
Cheyenne looks around and shakes his head.
CHEYENNE
There's already a station twenty
miles from here.
HARMONICA
But it doesn't have enough water
for all the trains that will be
coming past here. When McBain found
out about the water, he bought the
land. He wouldn't have been better
if he found gold.
Jill walks over carrying a handful of papers.
JILL
I just found these among Frank's
papers. It's a contract with the
railroad, and it states it will
honor the deal as long as the depot
is built before the tracks reach
this point.
Cheyenne looks east, where the tracks are being laid.
CHEYENNE
Well, that's not going to happen.
HARMONICA
It might.
Harmonica saddles up and heads eastward.
Cheyenne hollers to his men.
CHEYENNE
What are you waiting for? Let's go.
After riding for a few hours, they come to the point where
the tracks are being laid, the same place where they kept
Harmonica.
A foreman whips a WORKER for drinking too much water, and
ANOTHER is beaten for eating.
Harmonica stops his horse and glares at the FOREMAN (40s,
huge forearms, heavily muscled).
HARMONICA
Why did you hit that man?
FOREMAN
He took too many drinks; besides,
he's a yellow-skinned chink.
HARMONICA (V.O.)
How many drinks do you take in a
day?
The man glares and slowly moves his hand toward his gun.
FOREMAN
None of your business, stranger.
The foreman picks up his whip to strike another man.
Harmonica draws his gun and shoots him in the leg.
The Chinese worker who was whipped runs up to Harmonica.
WORKER
Now you make it bad for us. We no
get paid, and we no have work.
Harmonica leans down and raises his voice.
HARMONICA
Don't worry. If anyone wants work,
we have a lot of it, and we'll pay
you fair — five dollars a day and
all the water and food you want.
Good, clean food and water.
The man looks shocked and suspicious.
WORKER
What kind work?
HARMONICA
Building a town.
The man nods and turns to the other men and speaks in
Chinese. He then faces Harmonica.
WORKER
We do work for you.
THREE RAILROAD MEN (30s, big and burly) approach, hands on
holsters.
RAILROAD MAN ONE
You lookin' for trouble?
Harmonica stares, but says nothing.
RAILROAD MAN ONE (CONT’D)
I asked if you're lookin' for
trouble? You can't have these men.
We own them.
CHEYENNE
You ought to know better, Mister.
You can own a horse or a dog, but
you can't own men. Now get out of
my way before I forget that.
Cheyenne and six of his men surround them, guns drawn.
CHEYENNE (CONT’D)
That man's not lookin' for trouble,
but I might be. Wanna oblige?
The foreman looks at Cheyenne and gulps. Then he leans to the
top BOSS (60, white hair).
FOREMAN
That's Cheyenne.
The boss stares at Cheyenne, and then he looks around to his
other men.
CHEYENNE
If you're thinking - can you and
all your workers take us, you're
probably right.
(A beat)
But we can kill a lot of you before
you get off a shot.
Cheyenne points to the boss.
CHEYENNE (CONT’D)
Staring with you.
BOSS
We want no trouble. Take who you
need.
Cheyenne and Harmonica ride away with THIRTY to FORTY Asian
men following them.
When they get to the farmhouse, they hand out tools to all of
the workers, give them food and water, and afterward, they
instruct them on what to do.
HARMONICA
We should get more help. This thing
needs to go up quickly.
JILL
I'll go to town.
CHEYENNE
No, you don't. I can't have you out
there by yourself, not with Frank
on the loose.
Cheyenne signals Paco.
CHEYENNE (CONT’D)
Paco, pick out six or seven of our
best men and have them escort Mrs.
McBain to town.
HARMONICA
You think that's wise?
CHEYENNE
She'll get men to work for her
quicker than they'd work for us.
Harmonica stares as she rides away.
Genres:
["Western","Drama"]
Ratings
Scene
50 -
A Day's Work and Dreams
EXT. FARMHOUSE - DAY
Jill returns from town with TWO DOZEN WORKERS, men willing to
work hard for a good day's pay.
Cheyenne smiles when she gets back with the men. He taps
Harmonica on the arm and whispers.
CHEYENNE
We could make a fortune here —
hundreds of thousands of dollars.
Hell, we could make thousands of
thousands of dollars.
Harmonica laughs.
HARMONICA
They call that millions.
Cheyenne hollers to his men.
CHEYENNE
What the hell are you standing
around for? Get busy.
(MORE)
CHEYENNE (CONT’D)
You got men here to help you, and
we could make millions here.
PACO
Help doing what?
CHEYENNE
What do you think? Building a
station — hell, building a whole
damn town.
The Chinese workers jump in and begin hauling lumber and
swinging pick axes.
Jill watches from the porch of the farmhouse, but after a few
minutes, she walks toward the door.
Genres:
["Western","Drama"]
Ratings
Scene
51 -
Provocative Strategies
INT. MCBAIN FARMHOUSE - DAY
Jill enters the house and into the kitchen. Cheyenne follows
her in and lights a fire.
CHEYENNE
I need coffee to get anything done.
He walks over to Jill and rips the sleeves off her dress,
then he tears part of the top off, exposing milky skin.
She spins around, eyes agape, and covers up.
CHEYENNE (CONT’D)
Don't think harshly of me, Mrs.
McBain, but if you want those men
to work harder, take them some food
and water dressed like this.
(A beat)
You'll have your town built in no
time, then you can dress any way
you like.
Jills looks at Cheyenne and smiles. She takes a pair of
scissors and cuts a little more from her dress to show more
cleavage.
JILL
If all they need is a look, I have
no problem.
(a beat)
By the way, I'm going to the hotel
with Harmonica. Can you watch over
the workers?
CHEYENNE
Of course.
Jill fills a pail with water and sets several ladles inside
it to use for drinking.
Cheyenne laughs as she walks out the door.
CHEYENNE (CONT’D)
I may not have said it before, Mrs.
McBain. But you're a remarkable
woman.
JILL
Where are you going?
CHEYENNE
I've got business with Frank's men.
Genres:
["Western","Drama"]
Ratings
Scene
52 -
Tension at the Cantina
INT. HOTEL AND CANTINA - DAY
Jill and Harmonica stand alongside each other at the bar. She
sips on a glass of water, and he nurses a bottle of whiskey.
JILL
What do we do now?
Jill raises her glass in a toast and taps Harmonica's shot
glass against hers.
JILL (CONT’D)
Congratulations. You got a good
deal.
Harmonica looks at her.
HARMONICA
You mean the auction? Forget it. I
don't invest in land. That auction
was just part of your plan.
Jill sets her water down and grabs a shot glass. She then
pours herself a shot from Harmonica's bottle.
She swigs the remainder of her drink and Harmonica eyes her
up and down. She finishes her drink and sets the glass on the
bar and turns to Harmonica.
JILL
Then I guess all I need is hot
water — a bathtub full of it.
The swinging doors open and Frank steps inside. Jill scowls
and glares.
Frank looks to Harmonica and Jill, then he pulls his duster
behind his holster and approaches very slowly. He moves to a
nearby table surrounded by four chairs and sits with his back
to the wall. He doesn't take his eyes off them.
Jill grits her teeth and turns to go up the stairs, but she
frequently looks back and glares.
FRANK
(smirking)
What's your hurry?
Harmonica grabs his bottle and two shot glasses. He takes his
time walking over to Frank's table, then he sits in a chair
across from Frank.
HARMONICA
Looks like it's just us, Frank.
Frank pours himself a whiskey from Harmonica's bottle and
gulps it down. He signals for the BARTENDER (50s, thin,
balding). The bartender brings a bottle of whiskey.
Frank picks the bottle up and turns it in his hand, staring.
FRANK
This is horse piss.
Harmonica picks up the bottle and examines it as well.
HARMONICA
He’s right. Bring us a bottle of
the best you have.
FRANK
And bring me the best steak you
have too — medium rare.
Frank stares at Harmonica but keeps his hand near his gun.
FRANK (CONT’D)
I see you got away.
HARMONICA
Stuff like that happens.
Frank gulps down a shot of whiskey.
FRANK
Who are you?
Harmonica gets up and walks around. He leans over, places his
palms on the table.
HARMONICA
Jim Cooper.
Frank pours another drink.
FRANK
Jim Cooper's dead.
HARMONICA
Jack Youngblood.
FRANK
Another dead man.
Harmonica nods, then he stands and moves toward the swinging
doors. He leans his elbows on them and looks out.
Frank looks at Harmonica from the corner of his eye.
FRANK (CONT’D)
You paid five thousand dollars for
something that belongs to me.
He pulls out a stack of cash and sets it on the table.
FRANK (CONT’D)
Five thousand dollars . . .
He sets a silver dollar on top of the cash.
FRANK (CONT’D)
Plus one.
(a beat)
Everyone deserves to make a profit
The sound of a harmonica playing is heard. Harmonica stares
out the door.
FLASHBACK
A lone man is walking through the desert, a coat is draped
over his left shoulder and he wears a holster on his right
side. He smiles and his eyes are intense.
END OF FLASHBACK
FRANK
I wouldn't take too long thinking
about it if I were you.
(MORE)
FRANK (CONT’D)
You got yourself into something
that's bigger than you are.
(a beat)
You have a chance to get out easy,
and you better take it.
Harmonica continues staring outside.
HARMONICA
You sound like a real businessman,
Frank. Being with Mr. Morton has
done you a lot of good.
The streets bustle with activity, men working, wagons being
unloaded, and women shopping. The area near the cantina is
not so active.
Harmonica searches the streets both ways.
A MAN with a rifle hides behind a building across the street.
HARMONICA (CONT’D)
And you've learned a lot of new
methods. Yeah, Mr. Morton has shown
you a lot of new ways.
Harmonica continues searching. He sees ANOTHER MAN on a
second-floor balcony, also toting a rifle.
The man positions himself so he can't be seen from the
street.
FRANK
Pick any method you like — just
make the deal.
Frank turns his head and spits tobacco on the floor.
Harmonica continues to look up and down the dirt-paved
street.
HARMONICA
Which deal, Frank? We have more
than one, you and me.
Frank stares and puts another wad of tobacco in his mouth.
FRANK
Well, we can lump 'em together into
one bundle and settle all of them.
Here and now.
Harmonica looks down the street again. A THIRD MAN waits
behind a wagon in front of the blacksmith's shop.
Harmonica clicks his tongue several times (an admonishment).
Harmonica turns and looks at Frank.
HARMONICA
Easy, Frank. Easy. You gotta learn
not to push things. Taking it easy
is the first thing a businessman
should do.
Harmonica leaves the swinging doors and slowly walks to the
table, his boots clicking loudly on the floor. He picks up
the shot glass, fills it from Frank's new bottle, then sets
the glass down and signals to the bartender.
HARMONICA (CONT’D)
How much?
BARTENDER
One dollar.
Harmonica picks up Frank's silver dollar and drops it into
the shot glass. Then he climbs the stairs as Frank watches.
Frank waits until Harmonica disappears, then he riffles the
cash he laid on the table and puts it in the inside pocket of
his coat. He nods his head, takes a final look, then grins
and walks out the doors.
Frank walks out and looks both ways. The area surrounding him
is quiet, not many people. He stares suspiciously.
Genres:
["Western","Drama"]
Ratings
Scene
53 -
A Tense Standoff
INT. HOTEL AND CANTINA - DAY
SECOND FLOOR
Harmonica walks quickly down the hall, and opens the window
at the end. He stares outside, watching Frank as he
cautiously makes his way down the street.
EXT. STREET OUTSIDE HOTEL AND CANTINA - DAY
Frank narrows his eyes and checks both sides of him. He moves
very slowly and has his duster pulled back, ready to draw.
INTERCUT HOTEL AND STREET - DAY
Frank walks even slower as he makes his way down the street,
checking both ways.
Harmonica stares from the second-floor window of the hotel.
He loses sight of two of the men, so he walks down the hall,
kicks open the door to Jill's room and rushes to the window.
Jill is naked, taking a bubble bath. She GASPS and covers her
breasts with her arms. Her eyes open wide.
Harmonica hurries by and hands her a towel. As an
afterthought, he hands her a scrub brush, and then he goes to
the window and opens it.
HARMONICA
Don't worry. I'm not here to see
you.
Harmonica moves the curtain to the side and looks out the
window.
Frank is making his way down the street. He walks slowly, and
looks in all directions.
Harmonica sees the men behind the wagon and behind the post
office, but he doesn't see the other one. He continues
looking and spots the barrel of a rifle sticking out from
behind a banner above the roof of a new business.
Frank positions himself in front of the bank, allowing his
back side to be protected. He moves slowly along the porch.
The barrel of the rifle moves, following Frank, and Harmonica
tracks it. As Frank moves from under the overhang, his shadow
is visible. Soon, he's in plain view of the shooter.
Jill scrubs her back with the brush. Soap floats atop the
bath water and covers her body.
JILL
I could swear we're going to hear
that strange sound.
HARMONICA
Right now.
Harmonica aims his gun and fires three shots, dropping the
man behind the banner. He falls onto the street.
Frank jumps back, draws his gun, and stares. The dead man
falls in front of Frank, and then the other two men step out,
carrying rifles.
Frank spins and shoots both of them, and when ANOTHER MAN
steps out on the balcony, Harmonica shoots him.
Overly conscious now, Frank takes one small step at a time,
and he checks every direction. He hears a sound and spins,
pointing his gun across the street.
Harmonica stands on a balcony looking down on him.
HARMONICA (CONT’D)
Aren't you glad you didn't break my
hand now?
FRANK
Am I supposed to be impressed?
HARMONICA
Just grateful. But I'd be more
concerned about the time. It's
almost twelve thirty.
Frank stares, brow furrowed, but then he spins and shoots a
man hiding behind the clock on top of the store behind him.
Frank lowers his gun, but he continues staring at Harmonica
as he comes out from under the overhang.
Harmonica gives him a hard-eyed glare. They stare at each
other for a moment, then Harmonica holsters his gun.
After a few seconds, Frank holsters his, but as he walks
away, he continually looks back at Harmonica.
Harmonica watches him ride off, then he walks back to where
Jill is bathing.
END INTERCUT
Genres:
["Western","Action","Drama"]
Ratings
Scene
54 -
Moral Reckoning
INT. HOTEL AND CANTINA - DAY
SECOND FLOOR
Jill is out of the tub and wrapped in a towel. Suds cover the
top of her body.
JILL
They were his men!
HARMONICA
Guess they found somebody who pays
better.
JILL
(disgustedly)
And you saved his life.
Harmonica spins around and stares. His voice is cold.
HARMONICA
I didn't let them kill him, and
that's not the same thing.
He stares at Jill, lust in his eyes.
HARMONICA (CONT’D)
Get dressed. It's time to go home.
Genres:
["Western","Drama"]
Ratings
Scene
55 -
Descent into Despair
EXT. TRAIN CAR OUTSIDE PROMONTORY - DAY
Frank rides up and dismounts near the train. Bodies litter
the ground, and as he gets closer, he sees they are his men.
He turns a few over with his boot, and then enters the train.
INT. TRAIN CAR - DAY
Frank pulls his gun and walks through the train cars. He
carefully makes his way to the last train car, where Morton
stays, and kicks the door open, gun drawn and ready.
He finds more of his men dead - on the floor, in the chair
and lying across Morton's desk. He goes to the rear door and
opens it.
EXT. TRAIN CAR - DAY
Frank steps onto the small platform and looks around. He sees
Morton crawling toward a mud hole. Frank walks over, and
Morton turns his head.
MORTON
Help me, Frank? I'm hurt.
FRANK
Looks like you're thirsty too. Go
ahead and take a drink. I've got
time.
Frank draws his gun and waits while Morton inches his way to
the filthy water.
Frank cocks his gun and aims it at Morton, but as Morton
drinks from the dirty pool of water, Frank lowers his gun. He
grins and spits tobacco, then he holsters it.
FRANK (CONT’D)
I should kill you, Morton. I'd be
doing you a favor if I did.
(MORE)
FRANK (CONT’D)
But your life is so miserable,
you'd rather be dead.
Morton collapses face down in the mud as Frank leaves.
EXT. RAILROAD TRACKS EAST OF PROMONTORY - DAY
Hundreds of railroad workers lay track not far from the
McBain farmhouse. In the distance, a town is being built. The
station is finished, and the frames of the bank and general
store are complete.
Harmonica sits on a fence post, his gun resting atop it,
handle facing him. He whittles on a piece of wood.
Cheyenne rides up and Harmonica stops whittling long enough
to look at him and nod. Cheyenne nods in return.
HARMONICA
You did a good job, Cheyenne.
CHEYENNE
I aim to please.
Harmonica grins and goes back to whittling.
HARMONICA
Especially the woman, huh?
Cheyenne nudges his horse toward the farmhouse. He dismounts
and walks to the door.
Genres:
["Western","Drama"]
Ratings
Scene
56 -
Tension at the McBain Farmhouse
INT. MCBAIN FARMHOUSE - DAY
Cheyenne opens the door and goes inside. Jill, preparing
pails of water for the workers, is startled. When she sees
it's Cheyenne, she smiles warmly.
Cheyenne looks her up and down. She wears a white bottom with
a black top showing plenty of cleavage. Amy sits on a bench
at the end of the table.
AMY
I never thanked you for helping.
CHEYENNE
No need.
Cheyenne turns to Jill and smiles.
CHEYENNE (CONT’D)
I see you took my advice.
Jill fills the pails with water.
JILL
And it works.
Cheyenne sits at the table and takes his hat off.
CHEYENNE
Did you make coffee?
Jill's smile broadens.
JILL
This time, I did.
Jill pours a cup of coffee and gives it to Cheyenne. He sips
it and smiles.
CHEYENNE
Good. My mother made coffee this
way — hot, strong, and good.
Amy looks out the window at Harmonica, still whittling on his
piece of wood.
AMY
What's he waiting for? What's he
doing?
Cheyenne splashes his face with water and then dries it with
a towel.
CHEYENNE
He's whittling on a piece of wood.
Cheyenne moves closer to where Jill and Amy stand.
CHEYENNE (CONT’D)
I got a feeling when he stops
whittling, something's gonna
happen.
Men are working at all sorts of jobs, and in the middle of
it, Frank rides up.
Harmonica stares as Frank approaches, then he tosses the
whittling stick away, folds his knife, and puts it away.
Frank brings his horse to a stop in front of Harmonica.
FRANK
Surprised to see me here?
HARMONICA
I knew you'd come.
Frank dismounts slowly, cautiously, and walks his horse
toward Harmonica. They both stare.
FRANK
Morton once told me I could never
be like him. Now, I understand why.
Wouldn't have bothered him knowing
you were around somewhere — alive.
Harmonica's stare is intense.
HARMONICA
So you found out you're not a
business man after all.
Frank shakes his head.
FRANK
Just a man.
Harmonica loses his smile and grows serious.
HARMONICA
An ancient race.
Harmonica looks around, focuses on the railroad workers.
HARMONICA (CONT’D)
Other Morton's will be along, and
they'll kill it off.
FRANK
Doesn't matter to us. Nothing
matters now. Not the land, not the
money, and not the woman. I came
here to see you.
(a beat)
Because I know that now you'll tell
me what you're after.
Harmonica sits up and gets off the post. He does it slowly.
HARMONICA
Only at the point of dying.
Frank nods.
FRANK
I know.
Harmonica reaches for his gun belt and slowly puts it on.
Frank watches, fully prepared to draw.
Harmonica puts on the gun belt, and then picks up the gun by
the barrel and puts it in the holster, careful to make no
threatening moves.
Harmonica walks toward McBain's farmhouse. Frank ties his
horse to a hitching post, all the while watching Harmonica.
HARMONICA
What is it you’re after, Frank? The
money or the power.
FRANK
Maybe both. I just don’t want
people to have what I don’t have.
Harmonica nods.
HARMONICA
It’ll all be over soon.
Genres:
["Western","Drama"]
Ratings
Scene
57 -
Building a Legacy
INT. MCBAIN FARMHOUSE - DAY
Jill stares out the window, a worried look on her face.
Frank and Harmonica enter the front of the farmhouse property
taking each step cautiously.
Cheyenne steps up to stand beside Jill.
JILL
I heated some water for you. And I
also found a razor.
CHEYENNE
Put it there, please. I want to
watch the railroad being built
while I shave.
Cheyenne continues to look out the window.
CHEYENNE (CONT’D)
If I were you, I'd go down there
and give those boys a drink.
Jill stands beside Cheyenne and looks out the window.
CHEYENNE (CONT’D)
You can't imagine how happy it
makes a man to see a woman like
you.
Jill stares harder.
CHEYENNE (CONT’D)
And if one of them should pat your
behind, just make believe it's
nothing. They earned it.
Jill pulls Amy close and puts her arms around her.
JILL
You once asked me if I loved your
father. I didn’t answer because I
didn’t know, but I think I do now.
(pause)
Your father was a good man. He
offered me a new life — a good life
— and for that I am grateful.
Amy pushes Jill away and stares with hard glares.
AMY
I can manage by myself.
Jill nods disappointingly.
JILL
I’m sure you can manage by
yourself, and I admire you for
that, but I’m here if you need me.
(a pause)
I know I could use your help. I
can’t run this town by myself. Will
you stay and help me build what
your father started — what he
dreamed of?
Amy looks up at Jill for a long time, then nods her head.
AMY
I’m not going to call you mom, but
I am ready to work with you to make
Dad’s dream come to life.
Jill dries her eyes and hugs Amy long and hard. She cries a
little more and holds Amy at arm’s length.
JILL
We’ll get it done together. Brett
would’ve been proud.
AMY
I think that would be nice.
They both hug each other.
Genres:
["Western","Drama"]
Ratings
Scene
58 -
The Final Standoff
EXT. MCBAIN FARMHOUSE - DAY
Frank and Harmonica stand fifty feet apart, staring. Watching
each move carefully. Frank has the farmhouse to his back, and
Harmonica has the mountains.
They walk in circles, each glancing up at the sun to gain an
edge with position.
Frank removes his coat and drops it on the ground. He steps
to his left, but never takes his eyes off Harmonica.
Harmonica stands still, his left foot on a rock, his glare
intense.
Frank moves another twenty feet to his left and stops. He
appears ready to draw.
Harmonica smiles and advances to within twenty feet. He pulls
his coat behind his holster, then continues to stare. They
both stare for a long time.
FLASHBACK
A man (the same one, but a clearer image) walks through the
desert, coat over shoulder and holster on the right side. He
walks through scrub brush, smiling.
The man's image comes into focus, and it is Frank as a
younger man. He pulls a harmonica from his shirt pocket.
END OF FLASHBACK
Harmonica glares intensely at Frank. (close up on eyes)
FLASHBACK
Young Frank puts the harmonica into a YOUNG BOY'S (12,
STRINGY BLACK HAIR) mouth.
FRANK
Keep your loving brother happy.
The young boy supports someone who stands on his shoulders.
Frank and several others watch as the boy holds another man
on his shoulders and keeps him from hanging.
The young boy's older brother has a rope around his neck and
is hanging from an arch.
The boy wobbles, unsteady, as the brother strives to maintain
balance.
The brother gets a determined look in his eyes, and then he
kicks his brother out from under him, hanging himself. The
boy lands in the dirt, dust going everywhere, and the
harmonica falls from his mouth.
END OF FLASHBACK
Frank draws, followed by Harmonica. Harmonica shoots him,
spinning him around. Frank has a surprised look on his face.
Genres:
["Western","Action","Drama"]
Ratings
Scene
59 -
Echoes of the Past
INT. MCBAIN FARMHOUSE - DAY
Cheyenne cuts himself shaving at the sound of the gunshot.
EXT. MCBAIN FARMHOUSE - DAY
Frank tries to holster his gun, but he is hurt badly, and
can't manage to do it.
INTERCUT MCBAIN FARMHOUSE
Frank continues to try to holster his gun, but he can't and
it falls to the ground. He attempts to walk, but stumbles to
the ground.
Harmonica stands above him.
Frank struggles to speak, but manages to utter a few words.
FRANK
Who are you?
Harmonica says nothing, just glares. He rips the harmonica
from his neck and bends over, shoving it into Frank's mouth.
END INTERCUT
A harmonica sounds.
FLASHBACK
The young boy falls into the dirt and the harmonica falls
from his mouth.
Frank's eyes show recognition, and he nods and then falls
over and dies.
END OF FLASHBACK
Genres:
["Western","Drama"]
Ratings
Scene
60 -
Bittersweet Departures
INT. MCBAIN FARMHOUSE - DAY
Jill and Amy are with Cheyenne in the kitchen. Jill smiles
broadly at Cheyenne.
JILL
You're sort of a handsome man when
you're cleaned up like this.
Cheyenne looks at Jill with a somber expression, his eyes
have no life to them.
CHEYENNE
But I'm not the right man.
Jill loses her smile. Her attention is distracted by the
noise outside.
CHEYENNE (CONT’D)
And neither is he.
Jill smiles.
JILL
Maybe not, but it doesn't matter.
Jill takes plates and napkins to set the table. Cheyenne
follows her.
CHEYENNE
You don't understand. People like
Harmonica have something inside.
Something to do with death.
(a beat)
If that fellow lives, he'll come in
this door, pick up his gear, and
say adios.
Cheyenne hears footsteps on the porch. He reaches for his
gun.
The door opens and Jill smiles as Harmonica enters. Amy runs
and hugs him.
Harmonica stares at Jill, then he picks up his bags.
HARMONICA
I gotta go.
Jill turns and sighs. Cheyenne stares.
Harmonica opens the door and looks outside. Buildings are
springing up everywhere.
HARMONICA (CONT’D)
It's gonna be a beautiful town with
some water.
Jill looks longingly at Harmonica.
JILL
I hope you'll come back some day.
Harmonica turns slowly and stares at her.
HARMONICA
Someday.
Cheyenne watches Harmonica leave.
CHEYENNE
Yeah. I gotta go too.
Cheyenne walks over to Jill and lightly taps her ass, then he
smiles.
CHEYENNE (CONT’D)
Make believe it's nothing.
Jill pecks Cheyenne on the cheek.
JILL
Anytime you need a good cup of
coffee, stop by.
Cheyenne rubs his cheek gently and smiles.
CHEYENNE
I’ll take you up on that sometime.
Jill walks to the window and watches Cheyenne and Harmonica
ride off. She steps across the kitchen and hugs Amy again.
JILL
Let’s take the men some water.
EXT. MCBAIN FARMHOUSE - DAY
Jill and Amy cross the front yard on their way to take water
to the workers. Amy stops near Frank’s body and stares.
A bullet hole is in his chest and blood pools on the ground
under him. Amy looks as if she want to kick him.
Jill looks for a moment and then she grabs Amy’s arm and tugs
her forward.
JILL
We have the water now; that’s all
we need. And now that we have that,
there is nothing the two of us
can’t accomplish — together.
Amy’s face lights up as she walks with Jill.
AMY
We’ll make Dad proud.
A train whistle is heard as it pulls into the station.