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"Ambush At Apache Pass" - screenplay by Derek Paterson
This is an excerpt from a completed screenplay.
"Ambush At Apache Pass" (working title) - screenplay by Derek Paterson.
FADE IN:
EXT. DESERT - DAY
Just cactus and tumbleweed, as far as the eye can see.
EXT. ATOP A HIGH RIDGE - DAY
View's different from up here. Five trails of dust stream
across the desert. One horse, pursued by four other horses.
Too distant yet to make out their riders.
Watching this is TOM HANNAY, a tall man who sits motionless
on his tall horse. He's covered in a layer of dust. Only
his eyes seem alive.
Below, the four horses gain on the leading horse.
Tom guides his horse along the ridge, following a parallel
course.
EXT. DRY CREEK - DAY
The leading horse gallops along the creek bed. Not one rider,
but two -- an APACHE WARRIOR, 20, and an APACHE GIRL, 17, in
a buckskin dress.
BLAM! The horse screams and topples, spilling its riders.
The dazed Warrior gets to his feet. CAL, 18, rides up fast,
slams his horse into the Apache Warrior and sends him
sprawling.
The Apache Girl springs up and runs away. Cal rides after
her, leaps from his saddle and throws her onto the ground.
Cal rolls her over onto her back. She claws at his face.
He grabs her wrists, forces her down and ravages her neck
and breasts. She twists and kicks but it's no good.
The three other riders rein up and dismount. Their leader,
EARL, 30s, as merciless as the noon desert sun, pulls Cal
off the Apache Girl.
CAL
Hey! I got her first!
Earl signs to the other two men, JENNINGS and HANCOCK.
EARL
Get a fire started. This's as good
a place as any.
They grab the Apache Girl and pull her up. She struggles
and tries to bite them. They laugh at her.
CAL
Whadda we need a fire for?
EARL
You'll see.
FLAMES CRACKLE OVER BURNING LOGS
Earl squats at the fire, heating up his knife. He inspects
the blackened blade. Spits on it. HISS.
The unconscious Apache Warrior and the Apache Girl lie staked
out on the ground, side by side.
Hancock takes a whisky bottle from his saddlebag. He spits
out the cork and takes a long drink.
CAL
What are you gonna do?
Earl takes the bottle from Hancock, drinks. He gives it to
Jennings who drinks and gives the bottle to Cal. Cal takes
a mouthful and gags, but swallows it. Cal passes the bottle
back to Hancock.
EARL
Gonna have us some fun. With him.
Then with her.
Cal licks his lips and stares hungrily at the Apache Girl.
She stares back at him, her eyes filled with contempt.
Earl signs to Jennings who gives him the bottle.
EARL
Wake him up.
Jennings unbuckles his belt, opens his pants and pisses on
the Apache Warrior who wakes up gasping and choking. Jennings
laughs. The Apache Warrior tries to break free but it's no
good.
EARL
Let's do it.
Earl touches his knife to the Apache Warrior's shoulder.
Flesh HISSES. The Apache Warrior grimaces but presses his
lips tight together, refusing to make a sound.
The Apache Girl turns her head away and closes her eyes.
CAL
Why can't we just shoot him?
Earl turns his knife, examining the smoking blade.
EARL
I can see I'm gonna have to teach
you how to enjoy yourself, young
feller. What we got here's an Apache.
He'd skin you alive soon as look at
you.
CAL
That's no excuse for doing what you're
doing.
EARL
Tell 'im, Rance.
JENNINGS
You only been here a while. Most of
us, we lost kin and friends to Apache.
You can bet they all prayed for death.
And didn't get none.
EARL
That pretty sister of yours, you
want to know what they'd do to her
if they got their hands on her?
You'd shoot her yourself--
CAL
Don't you talk about Rita.
EARL
--put her out her misery. I'll talk
'bout Rita all I want.
He touches his knife to flesh. HISS. The Apache Warrior
shudders but makes no sound.
EARL
She likes me, and I like her too.
Maybe I'll woo her come Saturday
night. Bring her some flowers.
Take her dancing.
Jennings doubles over laughing.
EARL
What's so funny?
JENNINGS
You with a bunch of flowers in your
hand and your hair slicked down. A
real Eastern gent.
Jennings clasps his hands above his heart.
JENNINGS
"Oh my darlin' I have come to woo
you. Pardon my spurs."
Cal scowls, but Earl grins. And touches his knife to flesh
again. HISS. The Apache Warrior squirms silently.
EARL
Come on over here, Cal. I branded
him. Now it's your turn.
CAL
Just shoot him and get it over with,
dammit.
JENNINGS
Here, give me that knife.
Earl stands and gives Jennings the knife. Jennings squats
down and grabs the Apache Warrior's jaw. But the Warrior is
unconscious.
JENNINGS
Wake up, you godless heathen! Gonna
write my name on your face.
HANCOCK
Hey! Leave some'a him for me.
Hancock raises the whisky bottle to his lips -- then slowly
lowers it, staring at something.
Earl sees his look and turns round fast.
Jennings stands up, drops the knife.
Cal sees their reaction, turns round.
Tom, sitting on his horse twenty paces away, holds his
Winchester at waist level. Aiming at them.
Cal's eyes widen in recognition.
Tom's eyes narrow as he looks at the two Apaches. His gaze
comes back to Earl.
Earl grins. He keeps his gaze locked on Tom but turns his
head slightly to the left, then slightly to the right, warning
Jennings and Hancock. They stand loose, ready to draw.
EARL
Best thing you can do...
He turns his head and spits on the Apache warrior.
EARL
...is turn and ride out of here.
Leave us to our legal business.
Tom doesn't even bat an eyelid.
Cal anxiously looks from Earl to Tom, not sure what's gonna
happen next.
EARL
You think you can take four of us?
He spits again.
EARL
Mister, you got dung for brains.
Hancock and Jennings grin.
TOM
I got a cocked Winchester, too.
The grins slowly fade.
Earl claws at his holster. BLAM! Tom's bullet spins him
round, blocking Hancock's aim.
BLAM! Jennings doubles over, his knees give way, his gun
falls from his hand, they hit the ground together.
Hancock side-steps, takes aim. BLAM! His head snaps back,
he topples like a tree.
Tom spurs his horse toward Cal who doesn't know what the
hell to do.
Earl's on his knees, trying to bring up his gun.
BLAM! Another bullet punches Earl onto his back.
Tom's horse slams into Cal with brutal force, knocking him
flying.
BLACKNESS.
FADE IN:
Cal awakens to find his hands tied behind his back -- and
he's lying alongside the staked-out Apaches. The Warrior is
still unconscious, the Apache Girl shows no emotion. Cal
shuffles away from them.
Tom's strung their horses together. Earl, Jennings and
Hancock lie belly-down over their saddles, tied in place.
Tom walks over to Cal, drags him to his feet. Cal struggles,
Tom slaps him hard. Cal collapses, sobbing.
Tom pulls him over to his horse, lifts Cal's boot into the
stirrup and physically heaves him up in into his saddle.
Tom walks to his own horse and mounts up.
He guides his horse over to the Apaches. He unwraps a water
canteen strap from his saddle horn and drops the canteen
beside the Apache Girl.
She looks at it, then looks up at Tom.
He draws a knife, takes aim, throws.
The knife thumps into the ground, inches from her. Close
enough for her to reach it.
Tom turns his horse around, pulling the string of horses
after him, Cal on the last horse.
Cal looks back over his shoulder. The Apache Girl cuts
herself free, then cuts the unconscious Warrior free. She
opens the water canteen and holds it to the Warrior's lips.
EXT. DESERT - DAY
The merciless sun beats down... and Cal doesn't have his hat
on. He wilts under the blazing heat.
Tom constantly looks around, always alert.
CAL
What are you gonna do with me?
Tom doesn't reply.
CAL
You gonna shoot me too?
No reply.
CAL
They was only Apaches. We caught
'em off the Reservation, fair and
square.
Tom stops. Seems to think about that for a moment. Then he
turns round.
TOM
What did they do?
CAL
What d'you mean, what did they do?
They're Apaches.
Tom rides on. But he's got Cal thinking...
CAL
What are you, some kinda Indian lover?
Tom doesn't reply.
CAL
You shot and killed three white men
because of heathen Apaches. You'll
burn in Hell for this, Tom high and
mighty Hannay.
EXT. TOWN LIMITS - DAY
Tom approaches the town, a collection of wooden buildings
including a jail house, hotel, saloon, and steak house.
Cal's barely able to sit upright in his saddle, the sun's
got to him.
Tom stops, unties Earl's horse, and rides back to Cal. He
pulls a knife from his boot, cuts the ropes on Cal's wrists.
Cal looks at him, not understanding.
Tom rides back to Earl's horse, picks up the rope and rides
into town, leading the horses -- and leaving Cal behind.
Cal rubs his wrists as he watches Tom depart. He rides around
the town, heading for the rear of the steak house.
EXT. JAIL HOUSE - DAY
Tom dismounts as SHERIFF HARRY JACKS, 40s, steps out onto
the porch. TOWNSPEOPLE up and down the street have stopped
and noted Tom's arrival.
SHERIFF HARRY JACKS
Good to see you, Tom.
Tom ties his horse to the rail while Harry examines the three
dead men. Harry calls inside--
SHERIFF HARRY JACKS
Andy, come on out here.
ANDY, 20s, Harry's deputy, steps out. He stares at the bodies
and gives a soft whistle.
SHERIFF HARRY JACKS
Go fetch Billings. Tell him he's
got business.
Andy nods and heads for the Undertaker's up the street.
SHERIFF HARRY JACKS
You look like you could use a drink.
Tom follows Harry inside.
INT. JAIL HOUSE - DAY
Harry opens a drawer, pulls out a whisky bottle and fills
two glasses, nudges one across his desk to Tom.
SHERIFF HARRY JACKS
You want to tell me what happened?
Tom knocks the drink back.
TOM
Not particularly.
SHERIFF HARRY JACKS
You know that's Quinn Ryan's brother
out there?
TOM
I know.
Harry stares into his glass.
SHERIFF HARRY JACKS
Did you have a reason for killing
them, or did you just kill them?
You don't have to answer, but other
people are going to ask that same
question.
Tom absently brushes dust off the front of his shirt,
revealing a Texas Ranger badge.
TOM
I had plenty of reason.
EXT. JAIL HOUSE - DAY
A dozen townsfolk have gathered. They keep a respectful
distance from the bodies.
Tom exits. They stare at him, fearful and disapproving. He
ignores them and crosses the street, heading toward the steak
house.
EXT. STEAK HOUSE - DAY
Tom pauses on the porch. He takes off his hat, runs his
fingers through his hair. Then goes inside.
INT. STEAK HOUSE - DAY
RITA, 25, an attractive redhead in a checkered dress, brings
plates of food to two COWBOYS. She looks up as Tom enters.
She lays down the plates and the Cowboys thank her.
Tom takes a seat by a window overlooking the street.
Rita straightens her dress and approaches Tom.
RITA
Did you have to bring half the desert
in with you?
Tom looks abashed and brushes himself with his hat.
TOM
Sorry.
Rita looks across the street, sees the crowd at the jail
house.
RITA
Who are they?
TOM
Fella named Jennings. Another fella
named Hancock, maybe. And the middle
Ryan brother, Earl.
Rita sucks in a deep breath. An anxious moment.
RITA
Was Cal with them?
TOM
You can ask him yourself, when you
see him.
Rita sighs with relief.
RITA
I'll fetch your usual.
TOM
Thank you kindly.
Rita heads into the kitchen.
MATTY, 40s, wearing a suit, hat and lace tie, crosses the
street and enters the steak house.
MATTY
Mind if I join you, Tom?
SIZZLING noises from the kitchen.
TOM
As long as you don't expect me to
talk once the grub gets here.
MATTY
I admire a man who can eat after
killing three men.
TOM
Maybe one day you can tell me what
that means. What's on your mind,
Matty?
MATTY
Quinn Ryan isn't going to be happy.
TOM
What do you think I should do about
that?
MATTY
I don't know. Maybe explain to him
why you shot his brother. Damn it
Tom, why couldn't you just arrest
Earl? Why'd you have to kill him?
TOM
Earl wasn't the arresting kind.
Neither were those fellas with him.
MATTY
That's no answer!
TOM
It's the only answer on sale today.
Rita backs out of the kitchen with a plateful of steak and a
pitcher of beer.
Matty gets up and exits, angry.
Rita puts down the plate and pitcher and watches Matty stamp
across the street.
RITA
This means trouble for you Tom,
doesn't it?
Tom tucks his napkin into his collar.
TOM
I wouldn't have thought that's
anything for you to worry about.
Not any more.
Rita stares at him, then spins and hurries back to the
kitchen.
Tom cuts up his steak and eats.
INT. STEAK HOUSE KITCHEN - DAY
Rita leans back against the door frame, closes her eyes.
She hears something -- moves to another door.
INT. CAL'S BEDROOM - DAY
Cal's stripped to the waist, washing himself from a basin.
Rita watches him from the doorway. He senses her, looks up.
His face is swollen and burned.
CAL
Can't a man have no privacy?
RITA
What happened to you?
CAL
Why don't you ask your beau?
Rita's surprised.
RITA
Tom did this to you? He's sitting
out front eating my food, and he did
this to you?
CAL
I didn't say he did it!
RITA
Then what happened?
CAL
I fell off my horse.
RITA
You mean you've been drinking again.
CAL
You're not my mother.
RITA
No, but I'm the closest thing you've
got. Cal, you have to stop this.
CAL
Stop fussing over me. I won't be
home tonight.
RITA
Where will you be?
CAL
Quinn Ryan's place.
RITA
You're going to tell him about Earl?
CAL
Someone has to. Nobody round here's
got the guts, that's for sure.
RITA
What really happened, Cal?
CAL
I don't want to talk about it.
RITA
I'm asking you.
CAL
And I said I don't want to talk about
it!
RITA
Sometimes you remind me of Pa when
he got the devil in him.
CAL
I've had worse things said about me.
Cal dries himself, puts on his shirt, puts on his gun belt.
Rita turns and leaves.
EXT. TOWN LIMITS - DAY
A stagecoach approaches the town.
EXT. HOTEL - UPSTAIRS WINDOW - DAY
CASH POTTER, 30, a slick and handsome card sharp, watches as
the stagecoach comes into town and stops at the hotel.
The driver, YANCY, opens the coach door and steps aside to
let two PASSENGERS climb out. He passes their bags down
from the roof rack, they enter the hotel.
INT. COACH - DAY
BELLE CUBBINS, 25, a blonde Southern beauty, peeks out the
coach window at the hotel.
EXT. HOTEL - DAY
Tom crosses the street to talk to Yancy.
YANCY
Hey Tom.
TOM
Hey Yancy. Good trip?
YANCY
Good enough.
Belle emerges from the coach. Tom offers her his hand, she
smiles, takes it and climbs down.
BELLE
Why thank you, suh.
TOM
My pleasure, Ma'am.
Yancy climbs up and hands Bells's bags down to Tom.
TOM
After you, Ma'am.
Belle smiles and enters the hotel.
INT. CASH'S HOTEL ROOM - DAY
Cash watches, amused.
INT. STEAK HOUSE - DAY
Rita, cleaning Tom's table, looks across the street and sees
Tom following Belle into the hotel.
HOOFBEATS come from the back of the steak house. Rita hurries
to the back window in time to see Cal riding out of town.
INT. STEAK HOUSE KITCHEN - DAY
Rita throws dirty dishes into the sink and pumps water
furiously.
INT. HOTEL LOBBY - DAY
Belle signs the register, the CLERK gives her a key. Tom
waits with her bags. Belle smiles at him.
BELLE
You are too kind, suh.
TOM
Least I can do, Ma'am. It's not
often we see a lady of your persuasion
around these parts. Town like this,
doesn't have much in the way of
delicate refinements, if you catch
my meaning.
BELLE
Just what does this town have, besides
men who wish to pry into a lady's
private affairs?
TOM
Oh, I didn't mean to pry. Maybe
you'll allow me to make up for it.
Let me carry your bags up to your
room, then buy you some dinner.
There's a chuck house across the
street, good cooking and it's clean.
BELLE
Thank you for your kindness, but I
cannot accept your offer.
TOM
The bags or the dinner?
BELLE
Both. Thank you and good day to
you, suh.
Tom smiles wryly. He puts down the bags, tips his hat and
exits. She watches him go, then turns to the Clerk.
BELLE
Has anyone left a message for me?
Cubbins, Miss Belle Cubbins.
The Clerk gives her a note, Belle reads it, and smiles.
INT. STEAK HOUSE KITCHEN - DAY
Rita's up to her elbows in soapy water, clattering dishes
around.
Tom comes to stand in the doorway. He leans against the
frame and watches her.
Rita finally notices him and starts in surprise.
RITA
Tom! You scared me!
TOM
What I said, I didn't say it to hurt
you.
Rita keeps washing the dishes, but she calms down.
TOM
Fact is, you and me, there's always
been a shadow between us.
RITA
There doesn't have to be.
TOM
What happened, happened. You picked
the right man. I never doubted that.
RITA
I didn't pick him over you. Don't
make it sound like I did. They posted
your name out there along with the
others.
TOM
Sorry if my turning up breathing
disappointed you.
RITA
I didn't say that, why do you have
to keep twisting things?
TOM
Guess it's my nature.
RITA
Say what you mean and have done. Be
good to hear plain words around here.
TOM
I'm thinking of turning in my badge.
RITA
Leaving the Rangers? Lord's sake,
why?
TOM
You ever bed down for the night and
try to count the stars?
RITA
The roof kind of gets in the way.
TOM
I once talked with a Sioux medicine
man. He said stars are the souls of
dead warriors.
RITA
What's that to do with anything?
TOM
Makes a man think, that's all. About
what he's doing. About where he's
going. Before his time comes, and
it's all over for him.
RITA
I never heard you talk like this
before, Tom.
TOM
I just wanted you to know, I didn't
mean to hurt you.
He turns and leaves. Rita stares at the doorway.
INT. HOTEL HALLWAY - DAY
Belle knocks on a door. Cash opens the door and grins.
INT. CASH'S HOTEL ROOM - DAY
Cash closes the door, Belle puts her bags down.
BELLE
A true gentleman would have met me
off the stagecoach.
CASH
Well don't you fuss none sweetheart,
this gentleman's gonna take you to
New Orleans, buy you everything you
could ever wish for. Who was the
dude with the badge?
BELLE
He kindly offered to carry my bags
up to my room. I naturally declined.
CASH
Not your type, huh?
BELLE
We had not been formally introduced.
CASH
Quite the lady, aren't you? How'd
you come by all those airs and graces
anyway?
BELLE
I'm sure I told you my family owned
a plantation outside Atlanta.
CASH
I thought it was outside Charleston?
BELLE
Why Cash, honey, your memory must be
failing.
CASH
Well, we got plenty of time to kill
before Deuce gets here. I got a
fresh deck of cards in my bag.
Belle sits down on the bed and tests the mattress. She smiles
at him knowingly. Cash raises an eyebrow.
EXT. ATOP A HIGH RIDGE - NIGHT
As the last light of day fades, Cal comes within sight of a
cattle ranch. Yellow lamplight spills from windows.
INT. RYAN RANCH HOUSE - NIGHT
QUINN RYAN, 40s, a grizzly bear of a man, opens the door and
lets Cal inside.
QUINN
Where's Earl?
Cal nods hello to MARTINS and SHEPHERD, two tough cowboys
who stare at him without expression.
Quinn pours a drink and gives it to Cal.
QUINN
I said where's Earl?
CAL
That's why I'm here.
QUINN
Maybe you better sit down.
Cal throws back the drink.
CAL
Some things got to be said standing
up.
QUINN
You been out in the sun?
Quinn pours himself a drink and sprawls in a big chair.
QUINN
I'm about as comfortable as I'm gonna
get.
CAL
Earl's dead.
QUINN
Figured as much. Now. You wouldn't
be here telling me he's dead if you
could'a done something about it. So
let's hear your story.
CAL
Tom Hannay shot him.
QUINN
What's a Texas Ranger shooting my
men for?
Cal stares into his empty glass.
CAL
We caught a couple of Apaches.
QUINN
Did you now? Shep. Get the man
another drink.
Shepherd fills Cal's glass. Cal hesitantly drinks.
CAL
Hannay showed up just as we was...
QUINN
Earl never did like Apaches.
MARTINS
Earl never did like anyone.
Quinn chuckles. Then loses his humor.
QUINN
So Hannay shows up and lays down the
law. Did he kill them?
Cal frowns, puzzled.
QUINN
Did Earl kill the Apaches?
CAL
Didn't have a chance. That's what
I'm trying to say. Earl shot it out
with Hannay.
QUINN
What about Rance and Chris?
CAL
He got them too.
QUINN
How many Rangers he have with him?
CAL
It was just Hannay. He rode me down
like I was a dog. Like I wasn't
worth a bullet.
QUINN
You rather be dead?
CAL
No...
QUINN
Then quit talking like you would.
Where's Earl lying?
CAL
At the Undertaker's. Hannay brought
him into town.
Quinn glances at Martins and Shepherd. They get up and exit.
Cal watches them go.
QUINN
Reckon you ain't done riding yet.
CAL
You gonna collect Earl's body?
QUINN
Tomorrow's soon enough. We're paying
somebody a visit tonight.
CAL
I don't honestly know where Hannay
is. He might have lit out by now.
Besides, Apache signal fires been
burning all day. Looked back over
my shoulder so much my neck hurts.
QUINN
God damned Apache. They're like a
nest of bees when they're stirred
up. Wouldn't have happened if Hannay
hadn't stuck his nose in.
CAL
That's what I can't figure. Why a
white man would choose Apache over
his own kind.
Quinn gets up, claps on his hat and heads for the door.
QUINN
I aim to ask Tom Hannay that same
question real soon.
INT. SALOON - NIGHT
Piano music provides a pleasant background for a mix of
customers, TOWNSFOLK and COWBOYS, to slake their thirst.
Stairs lead up to rooms where a couple of popular GIRLS ply
their trade. Poker games are under way at tables.
Activity is oversee'd by JAKE MACKINNON, 50s, a gold-toothed
professional gambler who wears a pearl-handled six-shooter
on prominent display. He lights a fat cigar.
MacKinnon's attention is on one of the poker tables where
five men are playing, three of them Cowboys, the fourth man
is hidden by the others. The dealer, CHARLIE, waits for
ANGRY COWBOY to make a decision.
CHARLIE
You gonna see him or are you gonna
fold, mister?
Angry Cowboy throws down his cards in disgust and leans
forward to glare at the man who's just cost him dearly.
ANGRY COWBOY
Looks like you're the only one who's
making any profit.
MacKinnon shifts position so he can see who else is at the
table. It's Tom, in a fresh shirt and without his badge.
TOM
Guess it's my lucky night.
ANGRY COWBOY
Yep, you sure are one lucky poker
player.
Tom rakes in the pot and adds the money to his stack.
ANGRY COWBOY
Twice I seen you beat the best hands
I ever played in my life. I wonder
what cards you got in your hand now?
TOM
You folded. That means you don't
get to see 'em.
Angry Cowboy looks at his pals, soliciting their support.
He gets it -- they've all lost money. Charlie sees the
volcano smoking and grabs Tom's cards, slips them into the
pack and shuffles. The Cowboys stare at his blurring hands.
CHARLIE
I don't mean no insult, but you boys
been drinking too much tonight to
expect to win much. Next time, play
when you're sober.
ANGRY COWBOY
I don't recall asking you for your
advice.
MacKinnon steps up to the table.
JAKE MACKINNON
Gentlemen, you've been good customers,
let's not end the night on a sour
note. Step up to the bar and have a
drink on the house.
The other Cowboys think this is a great idea and head for
the bar. MacKinnon nods to Charlie who leaves the table.
Just Tom and Angry Cowboy remain.
JAKE MACKINNON
You've had too much to drink, cowboy.
Maybe it's time you got on your horse
and rode back to camp.
ANGRY COWBOY
I still got business here.
MacKinnon scowls at Tom.
JAKE MACKINNON
Why ain't you wearing your badge?
TOM
Don't see the need, for a friendly
game of poker.
Angry Cowboy realizes what's been said. He gets up, real
slow, keeping his hands above the table, and joins his pals
at the bar. PETE the bartender has a drink ready for him.
Angry Cowboy knocks it back.
JAKE MACKINNON
Tom, you attract trouble like a
lantern attracts night bugs.
TOM
You want me to stop coming in here,
you only got to say so.
JAKE MACKINNON
There's been times I've been glad to
see you. If you get under my skin,
I'll let you know.
Cash enters, and holds the door open for Belle.
JAKE MACKINNON
Now, here's someone who might interest
you. If you're looking for higher
stakes.
TOM
You know them?
JAKE MACKINNON
The man, not the woman. He was in
here last night. Won a pretty pot
or two. Fellahs he was playing with
dropped out. Know what he did?
Bought them drinks and gave them the
price of a steak. Said he makes it
a point never to let any man walk
away hungry.
Tom's eyes meet Belle's. They hold each other's gaze before
Belle looks away. MacKinnon goes to meet them.
JAKE MACKINNON
Come on in, Mr. Potter, nice to see
you again. Ma'am, I don't believe
I've had the pleasure.
CASH
Mr. MacKinnon, allow me to introduce
Miss Belle Cubbins. I was just
telling Miss Cubbins, you run a fine
establishment.
MacKinnon's smile can't hide his puzzlement.
CASH
Miss Cubbins has more than a passing
interest in games of chance. She
once worked as a dealer on a
Mississippi gambling boat.
JAKE MACKINNON
You don't say!
CASH
All very respectable, of course.
What we were wondering, Mr. MacKinnon,
is whether you might be running any
games of chance tonight?
JAKE MACKINNON
You might just be in luck... in more
ways than one, I hope.
MacKinnon leads them to the table. Tom stands up.
JAKE MACKINNON
Mr. Hannay. This is Mr. Potter and
Miss Cubbins. I do believe they're
interested in a "friendly game of
poker," to use your own term.
CASH
Are you up for it, Mr. Hannay?
TOM
That depends.
CASH
We can limit betting, if you're
worried about losing your pants.
BELLE
Mr. Hannay doesn't strike me as the
kind of man who worries much about
anything.
JAKE MACKINNON
You're an astute judge of character,
Miss Cubbins.
CASH
We'll need a dealer.
JAKE MACKINNON
I thought Miss Cubbins...?
BELLE
Do you object to a lady playing at
your table, Mr. MacKinnon?
JAKE MACKINNON
If Mr. Hannay doesn't have problems,
I see no reason--
TOM
I got no problems.
JAKE MACKINNON
I'll go get Charlie.
TOM
It's been a while since I saw you
sit in on game, Jake. Why don't you
make up a five?
JAKE MACKINNON
Well. I suppose I could. Give me a
moment to steal some petty cash and
I'll be right with you.
MacKinnon leaves. Cash picks up the cards, smiles at Tom.
CASH
Do you mind?
TOM
Not at all.
Cash shuffles, spreads the deck across the table, flips 'em
over, gathers them up and shuffles again.
CASH
Just warming up my hands.
BELLE
You know, the first thing I noticed
about Mr. MacKinnon was his hands.
How neatly trimmed his fingernails
are. The French would say
"manicured."
CASH
I believe the word comes from the
Latin, manus, hand, and cura, care.
Cash turns the deck up so he can see the cards. He thumbs
through the deck, looking at all the cards. Then he turns
them over and shuffles them.
TOM
Just warming up your eyes?
CASH
You might say.
Cash shuffles, cuts the deck, shuffles again, then deals
five cards each to Belle, Tom and himself, flicking them
across the table. The cards fall into perfect fans.
Tom lifts his cards and peeks at them. He does a surprised
double take. He has four Kings and a Seven.
Belle flips over her cards revealing four Queens and a Seven.
She smiles, not in the least surprised.
Cash flips over his cards. Four Aces and a Seven.
Tom lays down his cards revealing the four Kings and a Seven.
TOM
That's a real smart trick.
CASH
It's just a matter of knowing where
the cards are, and helping them come
out in the right order.
TOM
I seen men gunned down for less.
CASH
Last time I worked as a dealer, that's
exactly what someone tried to do.
TOM
They miss?
CASH
You might say I helped them in that
regard.
TOM
Why the sevens?
Cash deals the next card, it's the fourth Seven.
CASH
Seven's my lucky number.
MacKinnon and Charlie sit down. Charlie nods hello to
everyone. He's brought a metal cashbox and a tray of painted
chips with him, marked 5, 10, 25, 50, 100.
JAKE MACKINNON
Ma'am, can I offer you a drink? On
the house, since it's your first
time here.
Tom gathers Belle's cards with his own and slides them across
to Charlie. Cash gives Charlie his cards and the rest of
the deck.
TOM
What's come over you, Jake? You
keep giving drinks away like this,
you'll wipe yourself out.
JAKE MACKINNON
Wouldn't bother me none, I already
got my retirement salted away. Ma'am?
BELLE
You wouldn't happen to have some
lemonade, would you? I'm in the
mood for something refreshing.
MacKinnon looks over at the bar, not sure. Pete heard, he
shrugs and nods, sure.
JAKE MACKINNON
Mr. Potter?
CASH
I guess whisky's refreshing enough
for me.
MacKinnon holds up three fingers, Pete nods.
JAKE MACKINNON
Shall we get down to a little game?
Cash shoves a bundle of money toward Charlie.
CASH
I'm in for three hundred. Ten fives,
five tens, four twenty-fives, and
two fifties.
Charlie puts the money into the cashbox, counts out the chips
and shoves them toward Cash.
JAKE MACKINNON
Gimme the same.
Charlie does, taking MacKinnon's money.
Belle opens her purse, takes out cash.
BELLE
Two hundred. Never mind the fifties.
Charlie counts out Belle's chips and takes her money.
Everyone looks at Tom who counts his meager stack of chips
from the previous game.
TOM
Looks like I got seventy dollars
here. Somehow I don't think that's
serious money to you folks.
JAKE MACKINNON
A couple of good hands and you could
be walking away from the table with
just under a thousand dollars.
TOM
That'll be the day. I'll play till
my luck turns bad. If I ask you for
credit, throw me out.
JAKE MACKINNON
I will, too.
CASH
Seems to me there's a lot of money
sitting in that little tin box, and
a lot of eyes watching.
MacKinnon grins and slaps his holster.
JAKE MACKINNON
That's why I wear this, and Pete
keeps a loaded shotgun under the
counter. Charlie here, his eyes are
good close up, but ask him to shoot
at something ten feet away, he's as
liable to put a hole in the roof.
Anyone starts shooting, Charlie's
job is to grab the box and run.
CHARLIE
I'd be obliged if someone could point
me at the door.
Pete brings a tray, whiskies go to the men, a glass and a
jug of cloudy lemonade to the lady.
JAKE MACKINNON
Allow me.
MacKinnon pours Belle a drink.
BELLE
Thank you, suh.
JAKE MACKINNON
Now that we're comfortable, perhaps
we can begin. Charlie?
Charlie shuffles the cards.
CHARLIE
Call it out.
BELLE
Five card stud, aces high, sevens
wild.
CHARLIE
Lady says stud, aces and sevens.
Charlie deals to Cash, MacKinnon, Belle and Tom. They all
peek at their cards. Cash slides a card back to Charlie.
CASH
Gimme one.
Charlie deals him another card. Cash looks at it and picks
a fifty from his chip stack.
BELLE
Let's not frighten Mr. Hannay away
just yet.
Cash chuckles and throws in a 5-chip instead.
JAKE MACKINNON
I'll stick with what I got.
MacKinnon throws a 5-chip in.
Belle slides 2 cards back to Charlie.
BELLE
Two, please.
Charlie deals her another 2 cards. Belle looks at them.
BELLE
I'm in.
She adds a 5-chip to the pot.
Tom studies his cards. He takes such a long time over it
that everyone exchanges glances.
JAKE MACKINNON
Tom?
Angry Cowboy steps away from the bar, his gun in his hand.
A gunshot BOOMS! The music stops. Angry Cowboy scatters
drinks and startled Customers on his way to the floor.
MacKinnon draws his gun and covers the other Cowboys who
freeze, staring at their friend's corpse.
Tom, still sitting, slowly returns his smoking gun to its
holster. He notices Cash has drawn a silver six-gun and
Belle has a Derringer cocked and ready.
JAKE MACKINNON
Somebody get the Sheriff.
A Customer rushes outside.
JAKE MACKINNON
Jesus, Tom, that was fast.
Belle de-cocks her Derringer and returns it to her purse.
Cash spins his gun like a carnival gunslinger. Tom stares
at the gleaming metal as if hypnotized. Cash slips the gun
back into its holster, and sips his drink, unaware that he
has Tom's full attention.
Harry and Andy rush inside, MacKinnon makes calm-down gestures
and indicates the dead Cowboy.
JAKE MACKINNON
It's over.
Harry looks at Cash, at Belle, finally at Tom.
SHERIFF HARRY JACKS
Mind telling me what happened?
JAKE MACKINNON
Sore loser. He drew first. Didn't
give no warning.
SHERIFF HARRY JACKS
Tom?
TOM
Didn't have much of a choice, Harry.
CASH
I can verify that, Sheriff. If not
for Mr. Hannay, Miss Cubbins or myself
could have been killed.
Harry picks up the dead man's gun and addresses the Cowboys.
SHERIFF HARRY JACKS
It's over. Now you boys, I want you
to ride on out of here, unless you
want to spend a night in the cells.
Anyone wants to claim his body, it'll
be at the Undertaker's until noon
tomorrow. After that, it'll be
underground.
An Older Cowboy glares at Tom.
OLDER COWBOY
You know how old he was, mister?
Eighteen.
JAKE MACKINNON
Old enough to carry a gun. Stupid
enough to think he knew how to use
it. Maybe you should'a taught him
better.
The Cowboys exit the saloon, Andy follows them. Harry calls
after him--
SHERIFF HARRY JACKS
Ask them his name. And tell Billings
we need another coffin.
Andy nods and exits. MacKinnon signs to some Customers.
JAKE MACKINNON
Take him out back, boys. Then have
a drink on the house.
The Customers drag the corpse out through a back door.
MacKinnon signs to the Piano Player and the music starts up
again.
Harry picks up a chip, flips it like a coin and slaps it
back down on the table.
SHERIFF HARRY JACKS
Seems the only way to make a profit
in this town is to open a saloon, or
become an undertaker.
TOM
I didn't ask him to draw.
JAKE MACKINNON
That you didn't.
SHERIFF HARRY JACKS
Why don't you drop by the jail house
when you got a minute, Tom? We got
us some things to discuss.
Harry exits.
JAKE MACKINNON
What's he all het up about? Dumb
cowboy could'a blown any of us in
half. You did the right thing, Tom.
Tom throws back his drink, gets up and exits. Belle watches
him go.
CASH
Looks like he folded. Shall we
continue our game?
JAKE MACKINNON
If you give me a few minutes, Mr.
Potter, I'll drum up another couple
of players. Charlie, go look for
Doc Halloran, will you?
MacKinnon and Charlie leave, MacKinnon gives the cashbox to
Pete behind the bar.
CASH
Wonder what he had?
Cash flips Tom's cards over. Four Kings and a Seven.
CASH
Son of a--! He kept the hand I dealt
him. Did you know?
BELLE
He gave them to the dealer. At least
I thought he did.
CASH
Why, that's downright dishonest.
BELLE
Seems there's more to Mr. Hannay
than meets the eye.
CASH
I will remind you, Miss Cubbins,
that we are here to earn ourselves a
fortune, not to dally with strange
men. Especially strange men who
wear badges when they're not cheating
at poker.
BELLE
I'll keep that in mind. Although I
might question your drawing attention
to yourself by showing off. "Seven's
my lucky number." How gauche.
CASH
Had to scare him away. Last thing I
want is some Texas Ranger sitting in
on my poker game.
BELLE
I think you mean "our" poker game.
CASH
A slip of the tongue. Let's stop
arguing like some married couple and
get some practice in. We're gonna
need it.
EXT. JAIL HOUSE - NIGHT
Harry reaches the porch steps and turns at the sound of
HOOFBEATS from down the street. The noise fades. Harry
looks around, then goes inside.
INT. RITA'S BEDROOM - NIGHT
Dressed in her nightgown, Rita brushes her hair by the open
window. HOOFBEATS come from outside. She pulls back the
curtain and looks out, but the sound quickly fades.
She blows out the lantern, plunging the room into darkness.
EXT. APACHE STATION - NIGHT
A motley handful of buildings including a general store and
the agent's shack.
INT. AGENT'S SHACK - NIGHT
POUNDING on the door. SMITH, 40s, answers the door in his
nightdress and bare feet, holding a lantern.
SMITH
All right, all right, hold your
horses...
He opens the door to Quinn and Cal.
SMITH
Well, what do you want?
Quinn barges past Smith.
QUINN
We're looking for an Apache.
SMITH
Then you've come to the right place.
You're slap bang in the middle of a
thousand Apaches.
Cal enters and moves toward another door. Smith shifts to
stop Cal but Quinn cocks his gun. Smith stares at the gun,
then at Quinn.
Cal opens the door and looks into a bedroom. An Apache woman
sits up in bed and stares at him.
CAL
There's one of 'em in here.
QUINN
Not the one I want. Watch her.
SMITH
Mister, you better start making sense.
QUINN
An Apache brave took a ride outside
the reservation today. He had a
squaw with him. I hear tell he came
back with some scars.
SMITH
If it's the brave I think you mean,
he's at the warrior's gathering.
Cal hears, and looks nervously at Quinn.
QUINN
I thought you were the Apache agent?
SMITH
I am the Apache agent.
QUINN
Why aren't you riding hell for leather
to Fort Benning and telling the Army
there's an uprising?
SMITH
Because there isn't one. Put that
gun away. You pull the trigger,
you'll never get out of here alive.
QUINN
I pull the trigger, you won't care
about it one way or another. This
brave, he got a name?
SMITH
Paza.
QUINN
How often does he come here?
SMITH
He sticks with his own kind. Won't
have anything to do with me.
Quinn nods toward the bedroom.
QUINN
Some Apaches do.
SMITH
Not Paza or those like him. They
got reason to hate whites. It's
only the word of the chiefs that
keeps them from staking me out over
an ant's nest.
QUINN
What about the squaw he was with?
SMITH
She's his sister. The way I heard
it, she took off with some buck Paza
was none too fond of. Paza lit out
after them. You can bet that
somewhere out there, the coyotes are
gnawing on the bones of a dead Apache
warrior.
Smith gestures to a cupboard.
SMITH
I need a drink. How 'bout you?
Quinn nods. Smith opens the cupboard, takes out a bottle
and glasses. He sits down at a table and pours. The bottle
clinks against the glasses; Smith's hands are shaking. He
slides a glass toward Quinn.
SMITH
Look, I don't know what this is about.
You seem all riled up over Paza.
Maybe you got reason. But I'm asking
you to do the sensible thing, forget
about him, get on your horse, ride
out of here and don't come back.
Quinn empties his glass.
QUINN
That's not so easy to do.
SMITH
It never is.
Quinn thinks about it... and holsters his gun. He nods to
Cal, telling him they're leaving.
CAL
What's to stop him telling this Paza
you're looking for him?
QUINN
Last thing an Apache agent wants is
Apaches getting all moody.
SMITH
You got that right.
CAL
What about the sister?
This startles Smith, and gives Quinn food for sly thought.
QUINN
One thing's for sure. She won't be
at any warrior's gathering.
SMITH
You are asking for a bucket load of
trouble, believe me.
Quinn draws his knife and rams it into the table.
QUINN
Swear to God, I'll make a hat out of
your squaw's tits, you don't tell me
where she is.
Smith swallows hard.
EXT. APACHE RESERVATION - NIGHT
Four men creep through shadows to a darkened mud dwelling.
Martins and Shepherd keep watch while Quinn opens a door and
peers inside. He nods to Cal who slips inside carrying a
blanket.
EXT. DESERT - NIGHT
Four horsemen ride hard for the horizon. One of them grips
a struggling woman-sized bundle.
EXT. HOTEL - DAY
Dawn brings life to the town.
Cash Potter steps out onto the porch and takes a deep breath.
EXT. LIVERY STABLE - DAY
Harry speaks with a STABLE BOY who shakes his head. Harry
heads on up the street, sees Potter on the hotel porch and
swings to talk to him.
INT. STEAK HOUSE - DAY
Rita, wiping tables and getting ready for the day, looks out
the window and sees Harry approach Cash.
EXT. HOTEL - DAY
Cash offers Harry a cigar but Harry shakes his head. Cash
lights himself a cigar.
SHERIFF HARRY JACKS
How long you in town for?
CASH
Wish I had ten dollars for every
time someone asked me that question.
Have I broken some law I don't know
about?
SHERIFF HARRY JACKS
Not yet. I stopped by the saloon
early this morning, just as Jake was
closing up.
CASH
That's mighty interesting.
SHERIFF HARRY JACKS
I asked him about you and the lady.
Jake seems to like you. Specially
the way you took Doc Halloran for
everything he had, then let him win
some back for pride's sake.
CASH
A rare moment of weakness.
SHERIFF HARRY JACKS
Jake says you're the best he's seen.
And he's seen plenty. Which makes
me wonder what you're doing in this
one-horse town.
CASH
If you must know... we're waiting
for a friend to arrive.
SHERIFF HARRY JACKS
And that friend would be...?
CASH
Just a friend. Once he gets here,
and rests up, we'll be packing our
bags. This is a charming place, but
it's doubtful we'll ever come back
this way. Does that answer satisfy
you?
SHERIFF HARRY JACKS
Take my advice, keep out of trouble's
way, Mr. Potter.
CASH
I'll remember that. Been nice
talking.
Harry heads for the jail house.
EXT. JAIL HOUSE - DAY
As Harry arrives he meets Rita, carrying a covered basket.
RITA
Morning, Harry.
SHERIFF HARRY JACKS
You didn't have to bring me breakfast.
RITA
Thought you and Tom might be hungry.
Just some cold chicken and grits.
SHERIFF HARRY JACKS
Well, I can't speak for Tom. He lit
out last night.
Rita tries to hide her disappointment -- fails.
RITA
All the more for you.
SHERIFF HARRY JACKS
You hear what happened last night?
RITA
No.
SHERIFF HARRY JACKS
Tom shot someone.
RITA
Who?
SHERIFF HARRY JACKS
One of Lassiter's men. Got real
sore over losing a hand of poker.
Everyone says he drew on Tom.
RITA
You believe them, don't you?
SHERIFF HARRY JACKS
He was just a boy.
RITA
That's awful.
SHERIFF HARRY JACKS
I'm thinking... I'm thinking maybe
Tom didn't like what he done.
RITA
Well. Can you blame him?
SHERIFF HARRY JACKS
It's hard to guess how Tom feels
about anything. He keeps it to
himself. Reminds me of his Pa and
his brothers. Yesterday he brought
three dead men into town. I never
seen him colder than he was then.
RITA
Earl Ryan and his gang. Tom told
me.
SHERIFF HARRY JACKS
Now I got Matty and his pals, calling
themselves the town elders, telling
me to order Tom out of town. They're
writing a letter to the Captain of
the Rangers. Can you believe that?
Writing a letter.
Rita looks past Harry. Something's caught her attention.
Harry turns and looks.
EXT. HOTEL - DAY
Cash looks too.
EXT. JAIL HOUSE - DAY
Rita walks past Harry and shields her eyes from the sun.
Harry joins her and shields his eyes.
EXT. TOWN LIMITS - DAY
THREE APACHE WARRIORS sit on horseback, not moving, staring
at the town.
EXT. JAIL HOUSE - DAY
Cash crosses the street to join them.
SHERIFF HARRY JACKS
Now just what in the hell do they
want? Begging your pardon, Rita.
CASH
Comanche?
RITA
Worse. They're Apache.
EXT. TOWN LIMITS - DAY
The three Apache Warriors turn their horses around and ride
away from the town.
EXT. DESERT - TOM HANNAY'S CAMP - DAY
Tom squats beside a fire. He pours himself coffee from a
tin pot. His saddle and a blanket lie beside the fire.
Something catches his eye. He fetches a pair of binoculars
from his saddlebag and peers through them.
He lowers the binoculars. Thinks for a moment. He empties
the coffee pot over the fire, saddles his horse.
EXT. DESERT - DAY
Tom rides hard, moving in parallel with a cloud of dust some
distance away.
INT. STEAK HOUSE - DAY
Harry, Andy, Matty and a half-dozen MEN, the "Town Elders,"
hold an impromptu meeting. Rita serves coffee and fusses
over everybody, bringing extra chairs over.
RITA
Anybody needs anything, give me a
holler.
SHERIFF HARRY JACKS
Thanks, Rita.
MATTY
There's tell of smoke trails to the
east.
SHERIFF HARRY JACKS
It's been nigh on ten years since
there was trouble from the Apache.
The station agent's been living there
the last three years--
TOWN ELDER
Smith.
SHERIFF HARRY JACKS
--and he's still alive.
MATTY
The station agent doesn't concern
me. It's us, this town. If Apaches
have left the reservation, all our
lives are in danger.
MacKinnon enters, nods hello to Rita. Cash follows him inside
but stays by the door, keeping his distance. Seeing Rita,
Cash raises his hat.
Rita holds up the coffee pot but Cash smiles and shakes his
head, no. Rita wonders who this fellow with the frilly shirt
and fancy hat is.
JAKE MACKINNON
Seems a mite crowded in here. No
reason you couldn't have come on
over to my place. No offense, Rita.
Rita gives him a tin cup and pours coffee with a wry smile.
SHERIFF HARRY JACKS
Too much temptation over in the
saloon, Jake.
(to Matty)
What makes you think they'll come
here? We're not the only town.
MATTY
Someone's got to ride to Fort Benning
and let them know what's going on.
SHERIFF HARRY JACKS
Benning sends patrols out every day.
If there's trouble, they'll figure
it out for themselves.
MATTY
So you propose we sit here and do
nothing, is that why you called this
meeting?
SHERIFF HARRY JACKS
I didn't say we'd do nothing--
TOWN ELDER
Any more coffee, Rita?
RITA
Sure.
Rita refills his cup, gives Harry an apologetic look.
SHERIFF HARRY JACKS
From now on, every man carries a
gun. No exceptions. We'll post
lookouts at each end of town, give
us plenty of warning. If the worst
happens, we'll be ready.
MATTY
I still think we should send a rider
to Fort Benning.
SHERIFF HARRY JACKS
Are you volunteering, Matty?
MATTY
I don't think that's funny, Harry.
It has to be a younger man on a fast
horse. How about young Andy here?
SHERIFF HARRY JACKS
Andy's staying put, and so is
everybody else. No one leaves town
till we know what's happening out
there. Is that understood?
MATTY
Well, if the town elders are agreed--
SHERIFF HARRY JACKS
I'm really hoping for your support
on this, Matty.
Harry's hard look hits its target, Matty backs down.
MATTY
Well of course, that goes without
saying, we'll do everything--
RITA
What about the stagecoach?
SHERIFF HARRY JACKS
She came through yesterday.
TOWN ELDER
She's due in again today.
SHERIFF HARRY JACKS
How do you figure that out?
TOWN ELDER
Special run.
SHERIFF HARRY JACKS
Was anyone thinking about telling
me?
MATTY
Maybe someone should ride out and
warn them?
SHERIFF HARRY JACKS
They got eyes. Besides, I thought
we just agreed. Nobody's riding
anywhere.
MATTY
Well, I thought this was different.
SHERIFF HARRY JACKS
What I need you all to do is spread
the word, make sure everyone knows
what's going on.
MATTY
What about the ranchers?
SHERIFF HARRY JACKS
You think maybe we should send a
rider to warn them?
MATTY
Well, that would certainly be my
first...
Matty catches on, Harry's making a fool of him.
TOWN ELDER
Sure is good coffee, Rita.
Harry slams his hand down on the table, everyone jumps.
SHERIFF HARRY JACKS
Look to your guns, and go spread the
word. I want everyone to meet me in
front of the jailhouse in thirty
minutes. We'll figure who's going
to stand lookout, and how best to
defend the town.
Matty looks around and gets nods from the Town Elders.
MATTY
We're in agreement.
SHERIFF HARRY JACKS
Do I get to say "meeting adjourned"
or do I need your permission?
Looking miffed, Matty stands, claps on his hat, and marches
to the door. Cash politely opens it for him. The Town Elders
follow Matty outside.
JAKE MACKINNON
How serious you think this is?
SHERIFF HARRY JACKS
All we saw was three Apache. Might
not mean a thing.
JAKE MACKINNON
And if it does?
Harry indicates MacKinnon's pearl-handled gun.
SHERIFF HARRY JACKS
Just how handy are you with that pea
shooter?
JAKE MACKINNON
Why you don't expect me to fight, do
you Harry? That's against my
philosophy.
SHERIFF HARRY JACK
What philosophy would that be?
JAKE MACKINNON
Look after Jake MacKinnon and keep
his retirement fund safe. I thought
Tom would be here?
Rita turns and goes into the kitchen.
JAKE MACKINNON
I say something wrong?
SHERIFF HARRY JACKS
Tom lit out last night.
(to Cash)
I guess you got an interest in this
too.
CASH
Guess maybe I have, seeing as how I
can't leave town.
Cash exits.
JAKE MACKINNON
I've been around a mite, Harry. Saw
a lot of men die in stupid fights
over nothing. Yes sir.
MacKinnon pours himself a coffee while Harry waits, curious.
JAKE MACKINNON
That cowboy last night. He had his
gun in his hand when he came at Tom,
and Tom still got the better of him.
They watch Cash cross the street, enter the hotel.
JAKE MACKINNON
But that Potter fellow. He was just
as fast. Maybe even faster.
SHERIFF HARRY JACKS
I'm glad to hear it.
JAKE MACKINNON
Any other time, maybe you wouldn't
be so glad.
SHERIFF HARRY JACKS
There's a reason you're telling me
this.
JAKE MACKINNON
I think Tom Hannay knows him. Not
in a good way.
SHERIFF HARRY JACKS
Least of my problems. Least of yours,
too.
JAKE MACKINNON
I was wondering why you invited me
along.
SHERIFF HARRY JACKS
Thought it polite to ask first.
JAKE MACKINNON
I'll put the boys to work, get the
windows boarded. We can cover the
hotel, most of the street.
SHERIFF HARRY JACKS
That's what I figured.
MacKinnon fishes a quarter out of his waistcoat pocket, puts
it on the table along with his empty cup. He nods toward
the kitchen.
JAKE MACKINNON
There's a woman makes good coffee.
MacKinnon exits, and Rita enters from the kitchen.
RITA
They all gone?
SHERIFF HARRY JACKS
Me too. Thanks, Rita.
RITA
Any time.
SHERIFF HARRY JACKS
You see the fellow came in after
Jake?
RITA
Dude with the fancy shirt?
SHERIFF HARRY JACKS
Goes by the name of Potter, Cash
Potter. You know him?
RITA
Not before this morning. So the men
get to march around with rifles,
feeling important. What do the
womenfolk get to do?
SHERIFF HARRY JACKS
First sign of trouble, you head for
the hotel. Never mind bringing coffee
and biscuits along, just hitch up
your skirts and run.
RITA
All right. Am I still open for
business till then?
SHERIFF HARRY JACKS
No reason why not. I'm hopeful
nothing will come of this, those
bucks will ride back to the
reservation, it'll all blow over.
RITA
I hope so too.
Harry turns to leave.
RITA
No word from Tom?
SHERIFF HARRY JACKS
If I see him, I'll make sure to tell
him to drop in, let you know he's
all right. If that's what you want.
Rita looks away, thinks about it, then nods to Harry.
RITA
Thanks, Harry.
Harry exits. Rita clears away the cups, finds MacKinnon's
quarter, looks happily surprised, slips it into her skirt.
02/07
end excerpt
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