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Tall In The Saddle Movie Script

Writer(s) : Michael Hogan, Paul P Fix, Gordon Ray Young

Genres : Mystery, Romance, Western

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                                    TALL IN THE SADDLE



                                        Written by

                               Michael Hogan & Paul P Fix


                                         Story by

                                     Gordon Ray Young



                                                        1944 SHOOTING DRAFT


                

               EXT. GARDEN CITY STATION - DAY

               CLOSE SHOT -- station signboard. It reads:

                                      "GARDEN CITY"

               CAMERA PANS to show the dusty platform of a typical small 
               Arizona town of the late nineties.

               CAMERA TRUCKS ALONG platform PAST a line of sleeping figures, 
               consisting of a couple of drunks, an Indian, two Mexicans 
               and a mongrel dog.

               CAMERA STOPS on the window of the ticket office. Inside the 
               office can be glimpsed the Station Agent dozing in a chair 
               with his feet up against the grill of the ticket window. The 
               clicking of the signal indicator is heard. The agent opens 
               his eyes, flips up the indicator and begins to get to his 
               feet sleepily.

               MED. SHOT

               line of sleeping figures, with dog in f.g. The sound of a 
               distant train whistle is heard o.s. The dog, which up to now 
               might have been dead, opens one eye and looks past camera.

               LONG SHOT

               railway track with the three-car train approaching.

               MED. SHOT

               line of sleeping figures. The dog jumps up barking furiously 
               and runs out of shot past camera. The sleeping figures come 
               to life and look toward camera. At the same time, the door 
               of the ticket office opens and the agent appears.

               FULL SHOT

               railway track. The train is now almost at the station.

               EXT. PLATFORM - DAY

               FULL SHOT -- with the line of men now standing on the edge 
               of the platform looking toward camera. Train steams slowly 
               in past camera, and stops, with a tall, wide-shouldered man 
               of about 28 (Rocklin), dressed in new store clothes, cowboots 
               and a broad-brimmed white hat, in f. g. standing on steps of 
               day coach with a small valise and saddle in his hands. Behind 
               Rocklin a conductor.

               MED. SHOT

               baggage car. The baggageman is standing at the open door of 
               the car with two sacks of mail. He drops them to the platform 
               and waves to the conductor o.s. and begins to close the doors 
               of the baggage car.

               MED. CLOSE SHOT

               on Station Agent and conductors. The latter signals the 
               engineer. The train whistle sounds again o.s. and the shadow 
               of the moving train begins to pass across the Station Agent's 
               face.

               TRUCKING SHOT

               As Rocklin comes along the platform carrying the valise in 
               one hand and balancing the saddle on his shoulder with the 
               other, a man behind him picks up the two mail sacks and exits 
               from scene. The station bums look at Rocklin curiously. His 
               expression giving no encouragement, they slink back out of 
               the sun and begin to settle down in their old places again. 
               At the ticket office, Rocklin pauses and looks around 
               uncertainly.

                                     STATION AGENT
                              (at office door)
                         Expectin' someone?

                                     ROCKLIN
                              (after a second's 
                              pause)
                         I guess not. Where's the stagecoach 
                         office?

                                     STATION AGENT
                              (pointing)
                         Back of the depot.

               EXT. GARDEN CITY STAGE DEPOT - DAY

               The stage is drawn up in front of the depot, over which is a 
               sign --

                                      RED ROCK STAGE

                                  J. Harolday Proprietor

               Rocklin, making his way along the walk, almost reaches the 
               depot when his attention is arrested by the sight of Dave, 
               the stage driver, who has just rounded in front of the lead 
               horses. He pauses close to one horse's head. Rocklin sees 
               Dave take a bottle from his person, uncork it as he glances 
               around, and raise it to drink. The bottle is almost to Dave's 
               lips when the horse shies, swinging its head. The bottle is 
               knocked from the old fellow's hands and smashes on the ground. 
               Now Rocklin witnesses a scene of intense fury, which he finds 
               amusing despite its seriousness. Old Dave rants and snorts -- 
               beats his thighs, his heads, flings his arms wildly and 
               exhibits his utter disgust generally.

                                     DAVE
                              (to horse)
                         Consarn you, Blossom -- lookit that -- 
                         jus' lookit what you done --
                              (some more pantomime)
                         I'm tellin' you, Blossom that --
                              (indicating broken 
                              bottle)
                         -- makes you the most aggravatin' 
                         female as ever I had a despise fer -- 
                         I've got a good notion to pizen you -- 
                         an' what's more --

               He stops talking abruptly because his hand has, quite by 
               chance, felt the spare bottle he carries, which he has 
               forgotten in his anger. A most satisfying smile lights his 
               bewhiskered face as he brings the bottle into view. He uncorks 
               it, and stepping a few paces from the horse, raises the 
               bottle.

                                     DAVE
                              (to Blossom)
                         Heh-heh -- fooled you, didn't I? --
                              (chuckles)
                         Fooled myself, too.

               ON ROCKLIN

               who has been watching Dave's performance. He smiles his 
               amusement and now proceeds toward the stage office.

               INT. GARDEN CITY STAGE DEPOT - DAY

               PAN SHOT. Rocklin enters and moves over to the counter, behind 
               which is the stage agent, a mild-looking man with pebble-
               lens glasses. During the scene, the character who picked up 
               the mail sacks from the platform, comes in, dumps the sacks 
               on the counter and leaves.

                                     STAGE AGENT
                              (to Rocklin)
                         Howdy.

                                     ROCKLIN
                              (indicating stage)
                         That the stage for Santa Inez?

                                     STAGE AGENT
                              (nods)
                         Leaving any minute.

               Rocklin puts his saddle on the counter, and taking out a wad 
               of bills, drops them on the counter. The Stage Agent counts 
               out the fare.

                                     STAGE AGENT
                         Santa Inez -- seventeen-fifty --
                              (returning the balance)
                         Name?

                                     ROCKLIN
                         Rocklin.

               The Stage Agent turns to make out the ticket. Rocklin takes 
               some tobacco and paper from his vest pocket as he glances 
               outside.

                                     ROCKLIN
                         Mind if I ride alongside the driver?

                                     STAGE AGENT
                              (over his specs)
                         It's all right with me -- if it's 
                         all right with Dave -- He's mad -- 
                         His last trip -- Had a row with 
                         Harolday, the boss -- Old-timer, 
                         Dave -- an' a grumpy old cuss.

                                     ROCKLIN
                              (soberly)
                         I like grumpy old cusses -- Hope to 
                         live long enough to be one.

                                     STAGE AGENT
                              (puzzled)
                         Yeah?

               He shakes his head and hands Rocklin the ticket, and moves 
               over to the door with one of the mail sacks in his hand.

               EXT. GARDEN CITY STAGE DEPOT - DAY

               The Stage Agent, carrying a mail sack, and Rocklin come from 
               the stage depot and reach the stage as Dave is in the act of 
               climbing up to the driver's seat.

                                     STAGE AGENT
                         Here's your mail, Dave --

               Dave looks over his shoulder at the Agent and steps to the 
               ground, as Rocklin climbs up to the driver's seat.

                                     ROCKLIN
                              (as he steps up to 
                              the seat)
                         -- and a passenger.

               Dave glares at Rocklin climbing up to the seat, and he is 
               about to order him down when Rocklin, now seated, looks down 
               at him and asks rather wistfully --

                                     ROCKLIN
                         Mind if I ride up here?

               Dave does mind, but his better judgment tells him to step 
               carefully in his attitude toward this stranger, who does 
               things first, then asks permission. His only answer to Rocklin 
               is a characteristic grimace which is eloquent enough. And 
               now Dave turns on the Agent, who becomes the target of his 
               pent-up wrath.

                                     DAVE
                         Where's them wimmen?

                                     STAGE AGENT
                         Up at the hotel.

                                     DAVE
                              (yanking mail sack 
                              from Agent)
                         Why ain't they here? -- This is the 
                         stage depot, ain't it -- ?
                              (heaves sack into 
                              boot)
                         Ain't it?

                                     STAGE AGENT
                         You can pick 'em up there -- it's 
                         only up the street --

                                     DAVE
                         On'y up the street -- an' they cain't 
                         walk it -- What's the matter -- don't 
                         Easterners have laigs like other 
                         folks?

               Dave stalks around the rear of the coach. The Agent meantime 
               stretches himself up toward Rocklin.

                                     STAGE AGENT
                              (so Dave won't hear)
                         Hold tight when you git in the 
                         mountains, mister -- When he gits 
                         riled you can hear the passengers 
                         prayin' for miles.

               Dave has climbed to his seat, and now the coach lurches away, 
               leaving the Agent shaking his head dubiously.

               EXT. GARDEN CITY HOTEL - DAY

               From the porch of the hotel. We see the stage approaching as 
               the hotel handyman brings a trunk and a couple of bags from 
               the hotel to the street. The coach pulls up and stops.

                                     DAVE
                              (to handyman)
                         Whar's them wimmen? -- They waitin' 
                         for you to carry 'em out?

               Before the handyman can answer, Dave's attention is taken by 
               someone calling his name from across the street. Meantime, 
               an Indian squaw wobbles from the hotel with bow and arrow, 
               etc. Rocklin buys bow and arrow.

                                     SADDLER
                              (as he comes to Dave)
                         Dave -- Dave -- tell Arly Harolday 
                         her saddle ain't ready yet, will ya?

                                     DAVE
                              (getting to the ground)
                         I ain't tellin' that crazy female 
                         nothin' -- Last time I seen her she 
                         threatened to rip the hide off'n me 
                         and bat me dizzy with it.

               Dave goes to the rear of the coach.

                                     SADDLER
                              (looks up to Rocklin)
                         Mister -- will you tell the Agent at 
                         Santa Inez to tell Miss Harolday her 
                         saddle ain't ready yet?

                                     ROCKLIN
                              (nods)
                         I'll say that.

               PORCH OF HOTEL

               Miss Martin steps out onto the porch followed by Clara and a 
               gentleman, presumably the hotel manager or clerk. The women 
               are obviously Easterners and are attired in the good taste 
               of the period. Miss Martin is a domineering woman, approaching 
               middle age. Her niece, Clara, is a well-bred, attractive 
               girl of twenty-one and completely under the influence of the 
               older woman.

                                     CLERK
                              (as group comes through 
                              door)
                         By next year, madam, we expect to 
                         have a bathtub on each floor.

               Miss Martin stops short and looks o.s.

               ON DAVE AT REAR OF THE COUCH

               having a time lifting the trunk up into the boot. Miss Martin 
               and the others come into the scene.

                                     MISS MARTIN
                         Now don't drop it --

               Dave pauses to see who is talking.

                                     MISS MARTIN
                         At your age you'd best not be lifting 
                         things so heavy.

                                     DAVE
                              (grimaces)
                         Mebbe you're young enough to hoist 
                         her up your own self.
                              (tries to lift trunk 
                              again)

               CLOSE SHOT

               on Clara. She is looking rather timidly up at Rocklin.

               CLOSE SHOT

               on Rocklin. He is grinning appreciatively at old Dave. Now 
               he notices Clara and regards her soberly a moment.

               FULL SHOT

               Dave has heaved the trunk in place and is securing it.

               Miss Martin, about to enter the coach, notices Clara staring 
               up at Rocklin.

                                     MISS MARTIN
                         Clara!

               Clara snaps her attention from Rocklin to her aunt. The Clerk 
               steps to the side of the coach and opens the door. He assists 
               Clara inside -- and now Miss Martin.

               INT. COACH - DAY

               Miss Martin and Clara. Miss Martin is just sitting. She looks 
               coldly at Clara.

                                     MISS MARTIN
                              (in low voice)
                         Staring as though you'd never seen a 
                         man before.

               EXT. GARDEN CITY HOTEL - DAY

               Dave, Rocklin and Clerk. Dave is at the moment climbing to 
               his seat on the other side of the coach. The Clerk swings 
               the door closed and looks up to Rocklin and speaks more or 
               less confidentially.

                                     CLERK
                         Try to hold him down or he'll scare 
                         the women to death.

               ON ROCKLIN

               He is looking down at the Clerk and answers quite casually, 
               but loud enough to be heard by the women.

                                     ROCKLIN
                         I never feel sorry for anything that 
                         happens to a woman.

               INT. COACH - DAY

               THROUGH window of door -- Miss Martin and Clara. The women 
               have obviously overheard Rocklin's remark. Miss Martin smiles 
               vindictively at Clara, who flushes.

               CAMERA PULLS BACK to include the Clerk, who moves to the 
               coach door.

                                     CLERK
                         Well, I hope you have a nice trip, 
                         ladies.

                                     MISS MARTIN
                         I hope we get there -- wouldn't 
                         surprise me if we didn't.

               EXT. GARDEN CITY HOTEL - DAY

               On Dave and Rocklin.

                                     DAVE
                              (mutters)
                         Wait till I get you on the road, you 
                         old buzzard, you'll be surprised all 
                         right.

               He takes up the reins and shouts the team away.

                                                               DISSOLVE OUT

               DISSOLVE IN

               EXT. ARIZONA COUNTRY - DAY

               EXTREME LONG SHOT -- with the stage hardly more than a black 
               dot below, its curl of rising dust in the midst of the whole 
               broad expanse. As the coach disappears from shot, the two 
               mounted men appear riding at an easy pace and continue in 
               the same direction as the coach.

               EXT. DRIVER'S SEAT OF COACH - DAY

               MED. CLOSE SHOT -- Dave and Rocklin, the latter staring 
               straight ahead. As they roll with the roll of the coach, 
               Dave steals a look at his companion.

                                     DAVE
                         I wonder why a young feller who don't 
                         have to wants to come into this God 
                         danged country?

               Rocklin ignores Dave's question and continues staring ahead. 
               Dave glances down toward the women.

                                     DAVE
                         Say -- did you mean what you said 
                         back there about wimmen?

                                     ROCKLIN
                              (grimly)
                         Every word of it.

                                     DAVE
                              (chuckling)
                         Then you're smarter than most.

                                     ROCKLIN
                         Maybe I seen more of 'em than most.

                                     DAVE
                              (looking at him 
                              admiringly)
                         Shouldn't be surprised. Shouldn't be 
                         a leetle bit surprised.
                              (reflectively)
                         All the same...

               He breaks off and chuckles again.

                                     ROCKLIN
                              (unsmilingly)
                         All the same -- what?

               Dave doesn't reply, but lifting the pint of whiskey, jerks 
               out the cork with one movement of his thumbnail.

                                     DAVE
                              (offering bottle to 
                              Rocklin)
                         Take a slug.

               Rocklin drinks and gives the bottle back to Dave, who all 
               but empties it in one pull.

                                     DAVE
                              (holding up the bottle 
                              and squinting through 
                              it)
                         Whiskey and wimmen -- ever think how 
                         much alike they are? Both fool you, 
                         but you never figger out how to do 
                         without 'em.

               Rocklin makes no reply. Dave offers the bottle again.

                                     DAVE
                         Take another.

                                     ROCKLIN
                         Not just yet.

                                     DAVE
                              (unoffended)
                         Well...
                              (putting the bottle 
                              to his lips)
                         Here's to her.

                                     ROCKLIN
                         Who?

                                     DAVE
                         The next one that fools you.

               He empties the bottle and shies it away. At the same time, 
               the coach hits a particularly bad patch of road and there is 
               muffled exclamation from inside the coach. Dave leans over 
               and looks down o.s.

               INT. COACH - DAY

               MED. CLOSE SHOT -- Clara and Miss Martin. The former is 
               showing the effects of the rough ride, but the old lady is 
               hanging on grimly.

               EXT. DRIVER'S SEAT - DAY

               Dave straightens up, grinning.

                                     DAVE
                              (with relish)
                         Mighty rough stretch along here.

               He whips up the team, at the same time weaving a little 
               unsteadily in his seat.

                                     ROCKLIN
                         Like me to speel you a while?

                                     DAVE
                         Nope. I've had a few snorts but that 
                         don't make no difference. Leas'ways, 
                         never has...
                              (after a second's 
                              pause)
                         Don't ever git wore out, and useless, 
                         like me.

                                     ROCKLIN
                         Who're them as say you are?

                                     DAVE
                         Harolday, for one. Oh, I ain't belly-
                         aching. Reckon he's entitled to his 
                         opinion. But him and me never did 
                         see eye to eye.

                                     ROCKLIN
                         What's wrong?

                                     DAVE
                         It's constitootional, I reckon. Like 
                         that step-daughter of his is crazy -- 
                         he's too sane. Believes In law and 
                         order.

                                     ROCKLIN
                              (grinning)
                         What's wrong with law and order?

                                     DAVE
                         Depends on who's a-dishin' it out. 
                         Never was good at takin' orders 
                         meself. As for the law -- well, you'll 
                         soon find out what that means 'round 
                         these parts.

               The coach hits a particularly bad bit of road and there is 
               an exclamation from inside. Dave grins and urges the team on 
               cheerfully.

                                                               DISSOLVE OUT

               DISSOLVE IN

               EXT. RIM - ARIZONA COUNTRY - DAY

               FULL SHOT -- as Dave pulls up the stage at the top of a long 
               downgrade and looks out appreciatively at the view. From 
               this crest of the rim, a vast expanse of country is visible.

               CLOSE SHOT

               stage. Miss Martin thrusts her head out of the window.

                                     MISS MARTIN
                         Driver? Driver, what's the matter?

                                     DAVE
                         Nothin'. Restin' hosses. Git out and 
                         stretch yore laigs if you want.

                                     MISS MARTIN
                         Resting horses? What for? I can see 
                         with my own eyes it's downhill.

               Dave brightens visibly at this challenge.

                                     DAVE
                         You in such an all-fired hurry, lady?

                                     MISS MARTIN
                         Certainly, we are in a hurry.

                                     DAVE
                              (beaming)
                         Well -- we'll hurry some.

               His whip cracks like a rifle shot and the startled horses 
               literally jerk the heavy stage over the rim and down the 
               grade.

               LONG SHOT

               grade, with the stagecoach bounding and reeling down the 
               narrow road and around the sharp bends.

               CLOSE FULL SHOT

               Dave and Rocklin on stage as it thunders downhill. Dave is 
               leaning out and listening hopefully for the outcries from 
               within. None come. Rocklin is hanging on with both hands and 
               mildly amused.

               INT. STAGECOACH - DAY

               The two women are really being scrambled.

               EXT. STAGECOACH - ARIZONA COUNTRY - DAY

               CLOSE TWO SHOT -- Dave and Rocklin. Rocklin is as calm as if 
               he were walking. Dave is more and more pleased with himself. 
               He again leans out to listen.

               LONG SHOT

               grade, with coach approaching in b.g. In f.g. the road narrows 
               and makes a sharp turn at the very edge of a precipice. There 
               is no possible way of getting the coach safely around this 
               turn except at a walk.

               LONG SHOT

               road, from point of view of driver's seat, establishing the 
               same menace ahead.

               CLOSE TWO SHOT

               Dave and Rocklin, as Rocklin glances out of the corner of 
               his eyes as if wondering whether or not Dave is too drunk to 
               perceive the disaster. He makes no move, however, to advise 
               or interfere.

               FULL SHOT

               road; at danger corner, as stage comes in. At the very last 
               second, Dave pulls in the horses and negotiates the turn in 
               safety.

               CLOSE SHOT

               stage. Dave grins at Rocklin, then listens for the outcry he 
               expects from the women within. The old lady's head bobs out 
               of the window.

                                     MISS MARTIN
                              (fiercely)
                         Now what's the matter. Why are we 
                         stopping again?

               Old Dave's mouth drops open, and as Rocklin begins to grin 
               at his discomfiture.

               DISSOLVE

               EXT. STAN'S PLACE - DAY

               FULL SHOT of lonely adobe which serves as a combination 
               roadhouse, stage station and bar. As the coach rolls into 
               f.g., a little Mexican boy (Pablo) runs out to change the 
               horses.

                                     PABLO
                              (as Rocklin swings 
                              down)
                         Buenas noches, senor.

                                     ROCKLIN
                         Buenas noches, amigo.

                                     PABLO
                              (grinning at the 
                              friendly tone)
                         Ha llegado anticipademente, senor.

                                     ROCKLIN
                         Tuvimos suerte en haber llegado.

               He glances pointedly at Dave who is climbing down unsteadily 
               and Pablo bursts out laughing.

               MED. CLOSE SHOT

               on door of coach. As Dave comes into shot, Miss Martin's 
               head pops out of the window.

                                     DAVE
                              (gruffly)
                         We stop here.

                                     MISS MARTIN
                         Why do we stop here?

                                     DAVE
                         If you wanta eat and stretch yore 
                         laigs.

                                     MISS MARTIN
                         Will you please stop referring to my 
                         legs!

                                     DAVE
                         You got some, ain't you?

               He turns and lurches toward the roadhouse.

               INT. STAN'S PLACE - DAY

               FULL SHOT from doorway. It is a large barn-like room on one 
               side of which is a bar. On the other side is a fireplace and 
               a partition behind which is a rough dining table and benches. 
               Standing at the bar drinking with his back to the door is a 
               wizened little man, dressed in an odd assortment of ragged 
               garments of unrecognizable origin. On the counter is a 
               travelling prospector's pack, to which is strapped an 
               assortment of prospector's equipment, including a pick and 
               shovel. As Dave enters, the man (Zeke) turns around and 
               reveals a face even hairier than Dave's.

                                     ZEKE
                              (holding out his arms)
                         Dave!

                                     DAVE
                              (letting out a yell 
                              and rushing to Zeke)
                         Why, Zeke, you two-legged old coot!

               CLOSE SHOT

               Zeke and Dave as they beat one another on the back.

                                     DAVE
                         Whar you been all these months?

                                     ZEKE
                         Up in the hills workin' my way down 
                         the biggest hole you ever seed.

                                     DAVE
                         Good -- What's at the bottom of it?

                                     ZEKE
                         Nothin'!

                                     DAVE
                              (roaring with laughter)
                         What, again!!

               MED. SHOT

               Rocklin has entered and moved to the fire. Miss Martin and 
               Clara enter and stand in the doorway watching the scene at 
               the bar. A pale-faced, dyspeptic-looking man of about 45 
               (Stan) comes from the kitchen and approaches them 
               ingratiatingly.

                                     STAN
                         Good evening, ladies. How about 
                         something to eat?

                                     MISS MARTIN
                              (with a dubious look 
                              toward the pair at 
                              the bar)
                         Well -- if it won't take too long.

                                     STAN
                              (leading the way toward 
                              the partition)
                         This way, ladies.

               MED. CLOSE SHOT

               bar. Dave has just fitted a cylindrical record of "She Was 
               Only a Bird in a Gilded Cage" to an old-type phonograph.

                                     DAVE
                         Yep -- this is my last trip.

                                     ZEKE
                         Why?

                                     DAVE
                         Old Harolday won't take back what he 
                         said.

                                     ZEKE
                         What'd he say?

                                     DAVE
                         "You're fired."

               They both yell with laughter and slap one another on the 
               back.

               MED. SHOT

               from fireplace. Rocklin is standing in f.g. looking down at 
               the fire and making the inevitable cigarette from his pocket 
               dip. Seated at the table are Clara and Miss Martin. From 
               o.s. comes the sound of Zeke and Dave singing to the 
               phonograph record. Miss Martin glares indignantly in the 
               direction of the bar, obviously about to make a protest. At 
               this moment Stan comes from the kitchen with a large dish in 
               his hand which he dumps on the table.

                                     STAN
                         There you are, folks. Dig in and 
                         help y'rselves.

               Miss Martin, sitting forward eagerly, suddenly sees the dish 
               of meat and freezes.

               CLOSE SHOT

               dish of meat. It is swimming in greasy brown gravy.

               MED. SHOT

               Miss Martin as she shudders dyspeptically and closes her 
               eyes.

               MED. CLOSE SHOT

               bar, as Stan comes from the table to Dave and Zeke.

                                     STAN
                         Supper, Dave?

                                     DAVE
                              (noisily)
                         I'm drinkin' mine. Set 'em up.

               MED. SHOT

               table. Clara has filled a plate with food, which she offers 
               to her aunt.

                                     CLARA
                         Auntie --

                                     MISS MARTIN
                         With my dyspepsia? Do you want to 
                         kill me?

               Clara hesitates for a second, then looks across to Rocklin.

                                     CLARA
                         Aren't you going to have any supper?

                                     ROCKLIN
                         Reckon so.

               He comes to table and begins to help himself. There is a 
               loud burst of laughter from the bar.

                                     MISS MARTIN
                         Young man, that driver's had all the 
                         liquor he can take.

                                     ROCKLIN
                         Has he?

                                     MISS MARTIN
                         You know he has. You're not a complete 
                         fool, are you?

                                     ROCKLIN
                         Frequently.

                                     MISS MARTIN
                              (to Clara, furiously)
                         The rudeness of people in these parts 
                         is appalling!

               Clara looks apologetically at Rocklin, then away again 
               nervously. Suddenly, she sees something o.s. and drops her 
               knife and fork with a little start.

               MED. CLOSE SHOT

               window. A thin, unpleasant-looking face is seen through the 
               glass. The windowpane is defective and so distorts the lower 
               part of the face into a hideous smile. It is the younger of 
               the two men who were watching the coach outside the hotel.

               PANNING SHOT

               on kitchen door as Stan comes through with a dish of potatoes. 
               A man's voice is heard o.s. and he pulls up abruptly.

                                     BOB CLEWS' VOICE
                         Well, well -- smells like a mighty 
                         nice bit of veal.

               CAMERA HAS PANNED TO include the side door next to the window 
               and almost opposite to the dining table. The owner of the 
               face at the window (Bob Clews) is now standing in the doorway. 
               Behind him is the man with the sheriff's badge on his dirty 
               vest (Jackson). As they come forward toward Stan, the latter 
               shows obvious signs of nervousness.

                                     BOB CLEWS
                         Doin' yourself well these days, Stan.

                                     STAN
                         A friend of mine was by an' sold me 
                         a quarter of beef.

                                     JACKSON
                              (insinuatingly)
                         The same friend as sold you that 
                         hide Bob, here, found stashed in 
                         your barn yesterday?

                                     STAN
                         Hide -- What hide?

                                     BOB CLEWS
                         The one that might send you to the 
                         penitentiary.

                                     JACKSON
                              (smugly)
                         What did you do with it, Stan?

                                     STAN
                         I never had no hide stashed --

                                     BOB CLEWS
                              (harshly)
                         I saw it yesterday under the hay.

                                     STAN
                         Then it must still be there.

                                     JACKSON
                         No it ain't -- we looked -- Where is 
                         it?

                                     STAN
                         I tell ya --

                                     MISS MARTIN
                              (who has been an 
                              interested witness)
                         What is all this?

               Jackson, as though noticing the women for the first time, 
               raises his hat.

                                     JACKSON
                         Afternoon ma'am. Miz Caldwell ain't 
                         it?

                                     MISS MARTIN
                         No -- Martin -- Miss Martin -- This 
                         is Miss Caldwell.

                                     JACKSON
                              (to Clara)
                         Glad to know you, miss -- Been 
                         expectin' you at Santa Inez. I'm 
                         Sheriff Jackson. Any relation of Red 
                         Caldwell's a friend of mine.

                                     BOB CLEWS
                              (that oily smile)
                         You're sure gonna brighten things up 
                         considerable around the K.C. Ranch.

               Miss Martin gives Clews an icy stare and snaps her eyes to 
               Jackson.

                                     MISS MARTIN
                              (indicating Stan)
                         What's going on with him?

                                     JACKSON
                         Just a little matter of the law.

                                     BOB CLEWS
                              (hastily)
                         Rustlin'.

                                     MISS MARTIN
                         Wrestling?

                                     BOB CLEWS
                         Rustlin' -- cattle stealin'.

                                     MISS MARTIN
                         Oh -- a thief --

                                     STAN
                              (visibly worried)
                         I tell ya I never --

                                     BOB CLEWS
                              (quickly)
                         Save it --

                                     JACKSON
                              (to Miss Martin)
                         Matter of fact -- Bob, here, says 
                         that the hide he saw yesterday had 
                         the K.C. brand on it.

                                     MISS MARTIN
                         Oh -- hmmm -- well, what do you intend 
                         doing about it?

                                     BOB CLEWS
                              (looking at Stan)
                         Law's pretty harsh 'round here on 
                         cattle thieves.

                                     JACKSON
                              (being the kind man)
                         Course, we don't want to make a 
                         mistake with an old-timer, but --

               Rocklin speaks from where he leans against the wall, casually 
               smoking.

                                     ROCKLIN
                         How about the owner of that beef -- 
                         mightn't he have somethin' to say 
                         about it?

               There's a pause in which all have turned their attention to 
               Rocklin.

                                     JACKSON
                         Meanin'?

                                     ROCKLIN
                         Red Caldwell -- he's the owner of 
                         the K.C., ain't he?

                                     BOB CLEWS
                              (after a short chuckle)
                         You're 'way behind the herd, mister -- 
                         Red Caldwell died three weeks ago.

                                     MISS MARTIN
                              (glaring at Clews)
                         Was murdered, you mean.

                                     JACKSON
                         That's right -- shot in the back -- 
                         not far from here.

                                     BOB CLEWS
                              (significantly to 
                              Stan)
                         Maybe he was gettin' on to things 
                         about the cattle that's been missin' 
                         from the K.C. lately.

                                     STAN
                         I tell ya I ain't never had any hide --

                                     BOB CLEWS
                              (quickly)
                         Well, you got beef --

                                     STAN
                              (meekly defiant)
                         Yes -- an' I got a bill of sale fer 
                         it, too.

               Jackson and Clews exchange a quick glance.

                                     JACKSON
                         S'pose you let me see that bill of 
                         sale.

                                     STAN
                              (starts for kitchen)
                         It's right out here.

               Jackson follows, looking at the women.

                                     JACKSON
                         Like I said -- I wouldn't want to 
                         make a mistake with an ole-timer.

               Jackson follows Stan into the kitchen. Clews moves to the 
               fire and lunges there picking his teeth and eyeing Clara, 
               who stirs uneasily under the man's gaze.

               MED. SHOT

               as Rocklin comes out of the thoughtful mood in which he has 
               been plunged by the information about Red Caldwell and notes 
               the by-play between Clews and Clara. He frowns and makes a 
               movement as if about to rise. At the same time, Dave and 
               Zeke, whose voices have been heard throughout In the b.g., 
               stagger into the shot.

                                     DAVE
                              (chuckling and pointing 
                              to Miss Martin)
                         See that one?
                              (confidentially)
                         She ain't got no laigs.

                                     MISS MARTIN
                         Hold your tongue.
                              (to Zeke, who is gaping 
                              at her)
                         And you -- stop staring as if we 
                         were monsters.

               Zeke takes it and staggers into the b.g. near Bob Clews.

                                     DAVE
                              (to Rocklin)
                         Where's Stan? We got to have another 
                         drink.

                                     ROCKLIN
                         He's outside tryin' to explain away 
                         a hide.

                                     DAVE
                         Eh?

                                     ROCKLIN
                              (indicating food)
                         Seems we're eatin' stolen beef.

                                     DAVE
                         Somebody's loco. Stan might have 
                         given house-room to bit o' dead beef, 
                         but he'd never be fool enough to 
                         leave the hide lyin' around.
                              (to Zeke)
                         How 'bout it, Zeke?

               Zeke opens his mouth to speak, and slowly folds up, sliding 
               down the wall to the floor.

               MED. SHOT

               as Clews comes from the fireplace and joins the group.

                                     BOB CLEWS
                         That's the way it is, Dave.

               Dave has gone to Zeke's aid and now peers at Clews closely, 
               recognizing him for the first time.

                                     DAVE
                              (disgustedly)
                         Oh -- it's you.

                                     BOB CLEWS
                         That's right -- your old pal Bob 
                         Clews.

                                     DAVE
                              (shoves Clews)
                         Git away from me -- you two-timin' 
                         horse thief.

                                     BOB CLEWS
                              (grinning)
                         Them's fightin' words, pardner.

               Stan and Jackson come from the kitchen. Dave is again picking 
               up Zeke, but seeing Stan, lets Zeke drop.

                                     DAVE
                              (moving to Stan)
                         Hey, Stan -- don't let 'em hang 
                         nothin' on you, you ain't done. 
                         They're just a couple of fourflushers -- 
                         the pair of 'em, everybody knows 
                         that.

               Jackson addresses everyone present with an indulgent Smile.

                                     JACKSON
                         Crazy drunk.

                                     DAVE
                              (wheels on Jackson)
                         Mebbe I am drunk -- mebbe that's why 
                         I'm tellin' the truth -- I'm drunk 
                         an' I'll say what I think -- I'll 
                         say what I know.

               Zeke, on the floor, takes up Dave's belligerent mood for a 
               flash.

                                     ZEKE
                         So will -- I --
                              (goes out again)

               Jackson goes to Dave.

                                     JACKSON
                         Don't act up this ways, Dave -- They's 
                         women watchin'.

               Clews moves in to Jackson and Dave, and now both men urge 
               Dave toward the door.

                                     DAVE
                              (attempting to throw 
                              them off)
                         Git your hands off me --

                                     BOB CLEWS
                              (to company in general)
                         What he needs is a short lay-down.

                                     ROCKLIN
                              (taking a step forward)
                         I'll lend a hand.

                                     JACKSON
                              (brushing past him)
                         Me an' Bob'll look after him. We're 
                         his friends -- come on, Bob.
                              (as they steer Dave 
                              through door)
                         Careful now -- don't hurt him.

               They exit. Rocklin stands frowning a second, then turns toward 
               the table where Stan is making a show of clearing dishes, 
               etc.

                                     ROCKLIN
                              (quietly to Stan)
                         How are things standin' now between 
                         you an' the law?
                              (indicates direction 
                              Jackson went out)

                                     STAN
                              (not wanting to talk 
                              about it particularly)
                         All right, I reckon --
                              (looks at Rocklin; 
                              more confidently)
                         I guess this bill of sale --
                              (indicates it in Vest 
                              pocket)
                         -- kinda winded him.

               Rocklin's lips curl in a wise smile.

                                     ROCKLIN
                         Good thing you saved it.

               Zeke is discovered on all fours crawling around on the floor 
               near the table where the women sit. He seems to be looking 
               for something.

                                     MISS MARTIN
                              (mystified)
                         What are you doing?

               Zeke turns his hairy face up toward Miss Martin.

                                     ZEKE
                         Musta been dreamin' -- Thought I was 
                         sittin' on a pot of gold.

                                     STAN
                              (wearily)
                         There ain't no gold here.

                                     ZEKE
                              (takes it)
                         There ain't even a pot.

               The door leading from the barn opens and Jackson enters 
               followed by Clews a few steps behind.

                                     ROCKLIN
                         How is he?

                                     JACKSON
                         Went to sleep soon's we laid him 
                         down.
                              (pulling off hat again)
                         Sorry to have a ruckus in front of 
                         you ladies. Dave's an ornery old 
                         cuss when he gets goin' -- No shape 
                         to drive on, I'm afraid.

                                     MISS MARTIN
                              (this is a fine kettle 
                              of fish)
                         Hmmm --

                                     JACKSON
                         Don't worry, ma'am. Bob, here, 'll 
                         take you on in -- knows every inch 
                         of the road -- Don't you?

                                     BOB CLEWS
                              (grins)
                         You bet.

               Rocklin has been listening intently.

                                     ROCKLIN
                         I'm drivin'.

               CLOSE SHOT

               of the group, with Clews looking significantly at Jackson, 
               who is obviously checkmated by Rocklin's remark.

                                     JACKSON
                              (finally speaks)
                         But if anything was to happen to the 
                         ladies, I'd feel -- to blame.

                                     ROCKLIN
                         Don't.

               He turns abruptly and walks out the front door to the coach. 
               Jackson stares after him a moment, uncertain. Now he turns 
               to the women.

                                     JACKSON
                         You ladies want he should drive?

               Miss Martin hesitates.

                                     BOB CLEWS
                         I'll be more'n glad to accommodate 
                         you --
                              (smiles at Clara)

                                     MISS MARTIN
                              (resenting Clews' 
                              familiarity)
                         He's going with us anyway -- he may 
                         as well drive.

                                     JACKSON
                         Anything you say, ma'am.

               EXT. STAN'S PLACE - LATE AFTERNOON

               MED. SHOT -- coach as Rocklin moves toward it from the house. 
               A crudely made arrow shoots in and hits Rocklin lightly. A 
               warning hiss is heard o.s. and he turns quickly in the 
               direction of the sound.

               EXT. STABLE - STAN'S PLACE - LATE AFTERNOON

               MED. SHOT -- door of stable. The little Mexican who attended 
               the horses is peering out from the stable.

                                     MEXICAN
                              (in a whisper)
                         Venga con migo, senor.

               The kid disappears inside the stable. Rocklin comes into 
               shot from the direction of the coach and enters the stable.

               INT. STABLE - STAN'S PLACE - LATE AFTERNOON

               Rocklin comes through the door and moves toward the boy, who 
               is standing looking downward into some hay.

               CAMERA PANS DOWN to show Dave unconscious, with a nasty cut 
               in his scalp. Rocklin kneels into the shot. Over the scene 
               comes the sound of retreating hoofbeats.

               EXT. STAN'S PLACE - LATE AFTERNOON

               LONG SHOT -- from Rocklin's ANGLE in the stable, of Jackson 
               and Bob Clews riding away.

               INT. STABLE - STAN'S PLACE - LATE AFTERNOON SHOT.

                                     ROCKLIN
                              (to boy)
                         Did they do it?

                                     MEXICAN
                              (nods)
                         Si, senor. They hit him with a 
                         pistola.

                                     ROCKLIN
                              (matters)
                         His friends, eh?

               He kneels again, picks Dave up, and prepares to carry him 
               out.

               DISSOLVE

               EXT. HIGHWAY - ROAD TO SANTA INEZ - NIGHT

               LONG SHOT of stagecoach traveling.

               CLOSE SHOT

               Rocklin on the driver's seat, handling the reins expertly.

               INT. COACH - NIGHT

               PANNING SHOT -- with Miss Martin and Clara now seated next 
               to one another. Clara is half asleep with her head against 
               the side of the coach. Miss Martin is sitting bolt upright 
               but her eyes are closed and her head nods. CAMERA PANS to 
               include the other side of the coach where Dave is sprawled 
               in the seat, his head on a cushion, his mouth open, sound 
               asleep. Suddenly he snores violently, and Miss Martin wakes 
               with a start and glares at him angrily.

               DISSOLVE

               EXT. STAGE DEPOT - SANTA INEZ - NIGHT

               PANNING SHOT on sign on window which reads:

                             RED ROCK STAGE SANTA INEZ DEPOT

                                Proprietor -- J. Harolday

               CAMERA PANS to show the coach pulled up outside, with Rocklin 
               lifting his saddle from the top of the coach, whilst a 
               stableman holds up Dave.

                                     STABLEMAN
                         What happened?

                                     ROCKLIN
                         Bumped his head.

                                     STABLEMAN
                              (skeptically)
                         Where -- on Iron Mountain?

                                     ROCKLIN
                         Where's the best chance of a cheap 
                         room?

                                     STABLEMAN
                              (pointing)
                         There's Cap's place across the Street -- 
                         the Sun-Up Saloon.

                                     ROCKLIN
                              (with valise, indicates 
                              saddle)
                         I'll pick that up later.

               MED. SHOT

               group, to include the window of the coach. Miss Martin's 
               head appears.

                                     MISS MARTIN
                              (to stableman)
                         This isn't the hotel.

                                     STABLEMAN
                         No'm, lady. Hotel's up the street a 
                         piece.

                                     MISS MARTIN
                         Are we expected to carry our bags at 
                         this time of night?

                                     STABLEMAN
                              (to Rocklin)
                         Want to drive 'em on up?

                                     ROCKLIN
                              (flatly)
                         Nope.
                              (offering a shoulder 
                              to Dave)
                         Here -- catch aholt.

               The two move out of shot across the road, followed by the 
               indignant gaze of Miss Martin.

               EXT. SUN-UP SALOON - NIGHT

               PANNING SHOT -- opening on the sign over the door, which 
               reads:

               SUN-UP SALOON

               CAMERA PANS to show Rocklin and Dave coming along the 
               boardwalk in front of the saloon. CAMERA PANS them to the 
               swing-doors, which Rocklin pushes open, passing through into 
               the saloon.

               INT. SUN-UP SALOON - NIGHT

               PANNING SHOT -- SHOOTING FROM BEHIND the bar toward the swing-
               doors as Dave and Rocklin enter. The bartender (Cap), a lean, 
               tallish man of about 50, studies them as they enter, then 
               turns and calls across the room.

                                     CAP
                         Hey Doc!

               CAMERA PANS to show a group of poker players seated around a 
               table. This consists of a well-dressed, powerful-looking man 
               of about 45 (Judge Garvey), with a smooth face and an 
               impressive manner; a flashily-dressed young man with a weak 
               face (Clint Harolday); a tough-looking cowboy of about 35 
               (Ab Jenkins); a pleasant-faced storekeeper of about 50 (Pap 
               Fossler); and a little man with a weather-beaten face and 
               intensely blue eyes (Doc Riding). Watching the game are Sam 
               Haynes and Shorty Davis, the former a townsman and the latter 
               a cowboy. As they all look toward the door, Cap's voice 
               continues.

                                     CAP'S VOICE
                         Customer --

               Doc Riding looks quickly toward the door, taking in the 
               situation.

                                     DOC RIDING
                              (to Haynes)
                         Take my hand, Sammy.

               MED. CLOSE SHOT

               Rocklin and Dave come to the bar. At the same time, Doc Riding 
               comes into shot from the poker table.

                                     DOC RIDING
                         What happened?

                                     ROCKLIN
                         Bumped his head.

                                     DOC RIDING
                              (dryly)
                         I see.
                              (examining the head)
                         Looks like he's going to need a couple 
                         or so stitches.
                              (to Cap)
                         Better get him upstairs.

               The bartender looks dubious.

                                     ROCKLIN
                              (nodding)
                         Okay. You can book me a room, too.

               As Rocklin and Doc Riding begin to lead Dave toward the 
               Stairs.

               DISSOLVE IN

               INT. DAVE'S BEDROOM - SUN-UP SALOON - NIGHT

               TRUCKING SHOT -- starting on big head of Dave, as he lies in 
               bed, with his eyes closed. His head is swathed in a clean 
               bandage. He stirs and gives a little chuckle.

                                     DAVE
                              (muttering)
                         No laigs.

               CAMERA PULLS BACK to show Doc Riding at the bed and Rocklin 
               beyond, standing in the connecting doorway between two 
               bedrooms. The latter has a face towel in his hands and has 
               evidently been washing up. As Dave settles down comfortably 
               in the bed, Doc Riding closes his bag, nods to Rocklin and 
               moves toward the second bedroom.

               INT. ROCKLIN'S BEDROOM - SUN-UP SALOON - NIGHT

               MED. CLOSE SHOT -- as Doc Riding comes through the doorway 
               from Dave's room.

                                     DOC RIDING
                         He'll be all right in the morning.

               Rocklin closes door behind him.

                                     DOC RIDING
                         How about a snort?

                                     ROCKLIN
                         Don't mind if I do.

               He moves across the room, followed by Rocklin, who throws 
               the towel down on the bed as he passes. For a second, he 
               hesitates as if about to pick up the gun-belt which is lying 
               on the bed. Then, deciding to leave it, he follows the doctor 
               through the door.

               DISSOLVE

               INT. SUN-UP SALOON - NIGHT

               MED. CLOSE SHOT -- at bar, with Cap Setting up glasses for 
               Doc Riding and Rocklin. He nods to indicate the bedroom 
               upstairs.

                                     CAP
                              (with a grin)
                         Will he make it?

                                     DOC RIDING
                         Sure he'll make it. Can't kill off a 
                         salty old hairpin like Dave that 
                         easy.

                                     CAP
                         You're right. Reckon Saint Peter 
                         must be gitten' mighty tired of 
                         dustin' off that doormat for him.
                              (to Rocklin)
                         By the way, how did you say it 
                         happened?

                                     ROCKLIN
                              (stolidly)
                         I didn't.

                                     CAP
                              (with a slight nod of 
                              approval)
                         That's right; you didn't.
                              (casually)
                         Reason I ask is, a couple fellers 
                         was in saying how Dave was kickin' 
                         up a ruckus up at Stan's place.
                              (to Doc Riding)
                         Sheriff Jackson it was and one of 
                         the Clewses.

                                     DOC RIDING
                              (with a look of 
                              distaste)
                         Oh!

               Cap reverts to Rocklin, still casually, but with an undertone 
               of friendly warning.

                                     CAP
                         Tough customers, the Clewses.

                                     DOC RIDING
                         Yeah -- don't pay to start something 
                         with 'em you don't intend to finish.

                                     CAP
                              (to Doc Riding before 
                              Rocklin can answer)
                         By the way, Doc, they tell me 
                         George'll be out again.
                              (to Rocklin, with the 
                              same casual air)
                         That's Bob Clews' brother. Jest done 
                         a stretch in pen 'tentiary for horse 
                         stealin'.

                                     ROCKLIN
                         They string 'em up for that where I 
                         come from.

                                     DOC RIDING
                              (muttering into his 
                              drink)
                         Pity they didn't string him up while 
                         they wore about it.

                                     CAP
                         That's what Arly Harolday was sayin' 
                         only this mornin'.
                              (to Rocklin)
                         You ain't met our Arly yet, I reckon?

                                     DOC RIDING
                         He will, if he stays here long enough.
                              (chuckles)

                                     CAP
                         Hell-fire in skirts.

                                     DOC RIDING
                              (raises his glass; 
                              grinning)
                         Well, here's now.

               They down the drinks. There is a burst of excited comment 
               from o.s. and they all look around toward the poker table.

               MED. SHOT

               Poker table from bar. The flashily-dressed youngster is raking 
               in the stakes triumphantly.

                                     CLINT
                         What did I tell you? They gotta be 
                         big to beat me!

               MED. CLOSE SHOT

               Group at bar.

                                     CAP
                         Clint Harolday's in luck tonight.

                                     DOC RIDING
                         They're certainly running for him. 
                         About time, too. He's taken a beating 
                         this last week would shake a better 
                         man.

               MED. SHOT

               Poker table and including bar. Sammy Haynes has risen and is 
               pushing back his chair.

                                     SAMMY
                         Include me out.

                                     CLINT
                         Aw -- come on. Can't you take it?

                                     SAMMY
                         Not that sort o' luck, I can't. 
                         Besides, I on'y came in to oblige.

                                     CLINT
                              (turning to bar and 
                              shouting)
                         Come on, Doc. I still got to take 
                         something from you.

                                     DOC RIDING
                              (shaking his head)
                         No more tonight, son. I've a full 
                         day ahead.

               Judge Garvey in foreground has been watching Rocklin, as if 
               trying to sum him up. He now leans forward with an 
               ingratiating smile.

                                     GARVEY
                         How about you, sir? Care to sit In? 
                         I'm warnin' you, though -- our young 
                         friend here has been holding 
                         phenomenal cards.

               Rocklin smiles and begins to shake his head.

                                     CLINT
                              (with a cocky grin)
                         Have a heart, Judge. This ain't no 
                         two-bit saddle-tramp's game. This is 
                         for real money.

               Rocklin turns very slowly and stares at Clint. The others 
               watch curiously. Without taking his eyes off Clint, he comes 
               forward slowly and stands looking down at him. Then, 
               unbuttoning the flap of his pocket, he takes out the wad of 
               bills and drops it on the table, at the same time sinking 
               into the chair vacated by Sammy. The tension amongst the 
               onlookers relaxes and Clint grins at Garvey and winks 
               significantly.

                                     GARVEY
                         Fine! Oh -- this is Pap Fossler; 
                         Shorty Davis; Ab Jenkins; Mr. 
                         Harolday, and my name's Garvey -- 
                         Judge Garvey. I didn't get your name.

                                     ROCKLIN
                         I didn't give it.
                              (to Pap, who is holding 
                              the cards)
                         Deal.

                                                               DISSOLVE OUT

               DISSOLVE IN

               INT. SUN-UP BAR - NIGHT

               MED. SHOT -- poker table, including Cap, who is watching. 
               Pap Fossler is dealing. There is an atmosphere of tension 
               around the table, and it is obvious that Clint has been 
               losing. As he picks up his cards, he is unable to restrain a 
               smile of triumph. Rocklin makes a bet. Pap Fossler and the 
               man next to him fold immediately.

                                     CLINT
                         Raise you twenty.

               This is more than Rocklin has in front of him.

                                     PAP
                              (quietly)
                         Table stakes, Clint.

                                     CLINT
                         Not if he wants to dig.

               He stares challengingly at Rocklin. Rocklin takes out a 
               wallet, from which he removes a bill and sees the raise.

                                     GARVEY
                              (folding)
                         No place for me.

                                     PAP
                         Cards?

                                     ROCKLIN
                         One.

                                     CLINT
                              (eagerly)
                         One for me.

               He reaches for it almost before it is dealt and as a result 
               the card, a Queen, falls face up. Clint looks at it gleefully, 
               snatches it up and puts it in his hand. Rocklin watches him 
               impassively.

                                     ROCKLIN
                         Don't you know that Queen is dead?

                                     CLINT
                         I can take it if I want it.

                                     ROCKLIN
                         Sure -- if you want -- but you'll 
                         have to beat my hand with four cards.

                                     CLINT
                              (hotly)
                         I'm playing these, mister!

               Rocklin glances inquiringly at the other players. All are 
               dead-panned, unwilling to interfere. Rocklin looks toward 
               Cap, who stands near him.

                                     CAP
                              (shaking his head)
                         I'm not settin' in.

                                     GARVEY
                              (smoothly)
                         Why don't you split the pot?

                                     CLINT
                         I'm not splitting -- I'm betting!

               He shoves all the money in front of him into the pot.

                                     CLINT
                         Are you calling?

                                     ROCKLIN
                              (calmly)
                         No.

               Clint excitedly starts to rake in the pot.

                                     ROCKLIN
                         I'm raising.

               He shoves in the money in front of him, which is more than 
               Clint's and in addition takes from his wallet more bills.

                                     ROCKLIN
                         Dig.

               Clint, very excited, empties his pockets, which is not enough.

                                     CLINT
                              (to other players)
                         Let me have some money

                                     PAP
                              (speaking for all)
                         You're in deep enough, Clint.

                                     CLINT
                              (disgusted, to Rocklin)
                         I've called for all I've got.
                              (spreads out his cards)
                         Full house.

                                     ROCKLIN
                         No good.
                              (spreads his hand)
                         Kings up. Your third queen is dead.

               Rocklin starts raking in the pot. Clint, almost hysterical, 
               jumps up, draws his gun and thrusts it almost into Rocklin's 
               face. The other players roll away from the line of fire.

                                     CLINT
                              (screaming)
                         You -- mister -- get away from that 
                         table. And get out of here. Maybe 
                         from now on you'll know a full house 
                         beats two pairs -- four-flusher!

               Rocklin, his hands outspread, slowly straightens up, rises 
               and backs away. At the foot of the stairs, he turns 
               deliberately and walks upstairs. When he disappears from 
               view --

               CLINT - WITH OTHERS AT THE POKER TABLE

               Clint breaks the tension, looking from one to the other.

                                     CLINT
                         No man can run a bluff on me.

               There is a cold silence.

                                     PAP
                              (finally)
                         He wasn't armed.

                                     CAP
                         I don't like to tell men how to play 
                         cards unless I'm settin' in -- but I 
                         mebbe ought to have spoken up.
                              (directly to Clint)
                         That Queen was dead, Clint -- and 
                         you know it.

                                     CLINT
                              (arrogantly)
                         When anybody plays poker with me, 
                         they play my game or not at all.

                                     CAP
                         You can't just go makin' your own 
                         rules, Clint --
                              (starts for the bar -- 
                              stops and turns)
                         -- an' if I was you I'd hightail 
                         outa here before he comes back.

                                     CLINT
                              (jolted)
                         Comes back?

                                     CAP
                              (wearily)
                         He's the kind.

               Cap turns and resumes his trek to the bar. Suddenly he stops 
               before reaching it and is looking up, o.s.

               THE TOP OF STAIRS FROM CAP'S ANGLE

               Rocklin is standing there grimly surveying the situation. As 
               he starts down the stairs...

               THE GROUP AROUND THE POKER TABLE

               They are staring o.s. Clint is very uneasy. And now Rocklin 
               moves slowly into the scene.

                                     ROCKLIN
                              (with deadly calm)
                         I've come for my money.

                                     CLINT
                              (nervously pleasant)
                         It's all yours, mister -- Cap, there -- 
                         Cap is an old gambler -- he says you 
                         were right all the time.

               Clint again looks around for approval, but gets no response. 
               Rocklin comes slowly forward, picks up the money from the 
               table and turns back to the stairs. As he reaches the foot 
               of the stairs, he turns and looks straight at Garvey with a 
               peculiar expression.

                                     ROCKLIN
                         By the way, Judge -- the name is 
                         Rocklin.

                                                                   FADE OUT

               INT. ROCKLIN'S BEDROOM - SUN-UP SALOON - DAY

               TRUCKING SHOT -- on a small cracked mirror in which can be 
               seen the reflection of a man shaving. A voice is heard 
               singing, atrociously off key.

                                     SINGER'S VOICE
                         She was only a bird in a gilded 
                         cage...
                              (etc.)

               CAMERA PULLS BACK to show that the owner of tie voice is 
               Rocklin, who has almost finished shaving. As he scrapes his 
               chin and whistles, peering at himself in the little cracked 
               mirror, he hears the sound of the door opening and turns, 
               then ducks quickly as a boot flies past him, just missing 
               the mirror. There is the sound of the door slamming and 
               Rocklin grins. He picks up the boot and goes to the door 
               leading to Dave's room.

               INT. DAVE'S BEDROOM - SUN-UP SALOON - DAY

               As Rocklin enters, Dave is discovered almost dressed sitting 
               on the bed. Rocklin, glad to see him, smiles and tosses the 
               boot to him.

                                     ROCKLIN
                         How you feelin'?

                                     DAVE
                         After that singin'? -- Thirsty.
                              (pulls on his boot)

                                     ROCKLIN
                         How's your head?

                                     DAVE
                              (evidently not aware 
                              of what happened)
                         Oh -- a mite hungover -- but I'll 
                         feel better once I git downstairs.

               He hurries out the hall door. Rocklin, amused at the old 
               coot, starts back into his room.

               INT. ROCKLIN'S BEDROOM - SUN-UP SALOON - DAY

               Rocklin is just coming through the door and sees something 
               o.s., stops and freezes.

               CAMERA PULLS BACK to include Bob Clews leaning against the 
               open ball door leading into Rocklin's room. He smiles as 
               Rocklin sees him.

                                     BOB CLEWS
                         I knocked, but guess you didn't hear 
                         me.

                                     ROCKLIN
                              (closing door to Dave's 
                              room)
                         What do you want?

                                     BOB CLEWS
                              (grinning)
                         Looks like you stirred things up 
                         around here last night, stranger.

                                     ROCKLIN
                         That all you came to say?

                                     BOB CLEWS
                         No. I got a message for you.
                              (getting no response)
                         From Old Man Harolday. Wants to see 
                         you out front.

                                     ROCKLIN
                         What about?

                                     BOB CLEWS
                         Maybe he wants to thank you for 
                         teaching that pup of his a lesson.

                                     ROCKLIN
                              (after a second)
                         I'll be down.

               Clews hesitates for a second as if anxious to wake sure he 
               is coming, then, turning, he disappears into the hall. Rocklin 
               wipes the last of the lather off his chin, buckles on his 
               gun-belt and picking up his hat goes out, closing the door.

               INT. SUN-UP SALOON - DAY

               MED. SHOT -- Dave, at the bar, grabbing a bottle, pours 
               himself a drink which he sinks in one draught. He shudders 
               and repeats the dose. During this, an excited murmur of voices 
               has been heard o.s. Dave turns and looks toward the far side 
               of the saloon and suddenly gapes.

               MED. SHOT - FROM THE BAR

               with Dave in f.g., and SHOOTING TOWARD the street. A group 
               of men, including Cap, the bartender, is gathered round the 
               window looking out into the street. Dave staggers across to 
               them and begins to push his way to the window.

               MED. SHOT

               group at window as Dave pushes them aside to get a view of 
               what is happening outside.

                                     DAVE
                         What's goin' on here?

                                     PAP FOSSLER
                         Arly Harolday's on the warpath.

               EXT. MAIN STREET - SANTA INEZ - DAY

               PANNING SHOT -- including Arly and Juan mounted in front of 
               the stagecoach office, which is situated diagonally across 
               the street from the Sun-Up.

               CAMERA HOLDS ON one group standing in front of Pap Fossler's 
               store, opposite the Sun-Up.

                                     AD LIBS
                         Here he comes. Watch the fun. This 
                         should be good. Etc.

               EXT. SUN-UP SALOON - DAY

               ON the window. The men inside, including Dave and Cap, are 
               pressed against the glass.

               CAMERA MOVES BACK and PANS TO the alleyway at the side of 
               the saloon. Rocklin is coming toward the street.

               CLOSE SHOT

               Rocklin, as he comes out of the shadow of the alleyway and 
               stands blinking in the full sunlight. Sensing something 
               unusual, he looks quickly around.

               PANNING SHOT

               from Rocklin's ANGLE. CAMERA PANS OVER the groups in the 
               street, STOPPING ON one which includes Bob Clews. As Clews 
               sees Rocklin, he nudges a bystander and looks toward the 
               stagecoach office with a grin.

               CAMERA PANS to include Arly and Juan.

               TRUCKING SHOT ON

               Rocklin as he takes in the situation. With a grim look, he 
               begins to move along the sidewalk, CAMERA TRUCKING WITH him. 
               Suddenly, there is the clatter of a horse's hooves and Arly 
               gallops into shot, forcing the mare up onto the sidewalk and 
               barring Rocklin's progress.

                                     ARLY
                              (imperiously)
                         Is your name Rocklin?

                                     ROCKLIN
                              (coldly)
                         Yes.

                                     ARLY
                              (contemptuously)
                         I want that money you took from my 
                         brother last night.

                                     ROCKLIN
                              (quietly)
                         Are you crazy? Or just ignorant?

                                     ARLY
                              (flaming)
                         You took it at the point of a gun --
                              (suddenly whipping a 
                              revolver from her 
                              saddle holster)
                         -- and I'm taking it back the same 
                         way!

               FLASH SHOT

               of group at window of Sun-Up Saloon.

               FLASH SHOT

               of group including Bob Clews, as Clint Harolday rides in and 
               stares o.s.

               TRUCKING SHOT

               Rocklin, as he looks coldly from Arly to the run and back 
               again. Calmly taking the reins, he forces the mare's head up 
               and moves on. Furiously, Arly spurs the mare alongside, CAMERA 
               TRUCKING WITH them.

                                     ARLY
                              (furiously)
                         Stop! You! stop, or I'll kill you!

               CLOSE MOVING SHOT

               Arly and Rocklin. Rocklin continues along the sidewalk.

                                     ARLY
                              (pulls up her horse)
                         Turn around.

               CLOSE SHOT

               Arly. She raises her gun.

               ROCKLIN CONTINUES WALKING

               A shot comes from o.s. and strikes the building close to 
               him. He stiffens but keeps on walking. Another shot comes 
               even closer this time. He keeps walking.

               ON ARLY - SHE IS FURIOUS

               ROCKLIN HAS REACHED THE SWINGING DOORS OF THE SUN-UP

               As he puts out his hand to push open the door,

               CLOSE SHOT

               Rocklin's hand on the door as four shots in quick succession 
               spatter a line down the door close to his hand.

               INT. SUN-UP SALOON - DAY

               TRUCKING SHOT -- Rocklin, as he continues his forward movement 
               through the swing-doors. CAMERA PULLS BACK in front of him 
               into the saloon until it reaches the bar. Cap moves from 
               window with crowd and goes behind bar.

                                     ROCKLIN
                         Whiskey!

               EXT. SUN-UP SALOON - DAY

               CLOSE SHOT -- Arley with the smoking gun still in her hand. 
               She stares wildly after Rocklin for a second, then wheels 
               her horse violently toward the group which includes Cling 
               Harolday and Bob Clews.

               MED. CLOSE SHOT

               group surrounding Clews and Clint Harolday. The clatter of 
               hoofs is heard and Arly gallops furiously into shot.

                                     CLINT
                         What happened?

                                     ARLY
                         You lied to me, didn't you?

                                     CLINT
                         I...

                                     ARLY
                         Don't think I'll forget this. Making 
                         a fool of me in front of the whole 
                         town.

               Before Clint can reply, she wheels the mare and gallops out 
               of shot.

               INT. SUN-UP SALOON - DAY

               MED. SHOT -- as the customers, with Dave in f.g., mill around 
               Rocklin.

                                     DAVE
                         Boy, oh boy, was that a near thing! 
                         She'd just as soon have hit you as 
                         missed. You don't know how lucky you 
                         were, son.

                                     ROCKLIN
                         Don't I?
                              (indicating whiskey 
                              with a sickly grin)
                         Why d'you think I need this?

               He sinks the whiskey and begins to pour himself another. At 
               the same time, the swing-doors open and Bob Clews comes 
               through. AS Rocklin raises the glass to his lips, Bob Clews 
               hits him on the back, causing him to spill the whisky.

                                     BOB CLEWS
                         Funniest sight I ever seen.

               There is a moment's pause. Then with a slow, grim smile of 
               satisfaction, Rocklin turns and knocks Bob Clews off his 
               feet.

               MED. CLOSE SHOT

               with Bob Clews on the floor, tugging at his gun. As it comes 
               free of the holster, Rocklin brings his heel down on Clews' 
               wrist, grinding on it with his whole weights. Then, kicking 
               the gun out of reach, Rocklin steps back. Bob Clews sits up, 
               clutching his wrist and weaving back and forth.

                                     BOB CLEWS
                              (moaning)
                         You broke it! You broke it!

                                     ROCKLIN
                         Try another trick like that on me 
                         and it'll be worse.

                                     BOB CLEWS
                         I never played you no trick. You 
                         broke my wrist.

               WIDER ANGLE

               to include the bystanders. They look at Bob Clews without 
               sympathy. He gets to his feet and stumbles back, collapsing 
               in a chair.

               CLOSE SHOT

               at bar, Dave has taken the bottle from Cap and is refilling 
               Rocklin's and his own glass ecstatically.

                                     DAVE
                              (gurgling with delight)
                         Oh boy -- has somebody come to town!

               He sinks both drinks quickly and is about to refill them 
               when Cap takes the bottle from him.

                                     ROCKLIN
                              (to Cap)
                         Where'll I find Judge Garvey?

                                     CAP
                         He rooms behind his office down the 
                         street. Don't usually pull up the 
                         blinds till around noon, though.

                                     ROCKLIN
                              (putting down money)
                         He will this morning.
                              (to Dave)
                         See you later, old-timer...

               As he moves toward the door.

                                                                   DISSOLVE

               EXT. GARVEY'S OFFICE - DAY

               Clint Harolday is seen at the window peering furtively toward 
               the Sun-Up Saloon. He suddenly notices something o.s. which 
               prompts him to say something which we of course cannot hear. 
               Now Garvey appears at the window.

               EXT. MAIN STREET - SANTA INEZ - DAY

               Rocklin, FROM Garvey's ANGLE as he leaves the Sun-Up and 
               starts toward the Judge's office.

               EXT. GARVEY'S OFFICE - DAY

               Garvey and Clint, at the window. From their expressions it 
               is apparent that anxious words are passing between them, and 
               now Clint suddenly drops from sight.

               ROCKLIN APPROACHES - LOOKS THE PLACE OVER - AND ENTERS

               EXT. MAIN STREET - SANTA INEZ - DAY

               ON Arly and Juan, mounted. They see Rocklin going into 
               Garvey's place.

               INT. GARVEY'S OFFICE - DAY

               MED. SHOT -- TOWARD door, with Garvey at desk in f.g. The 
               door opens and Rocklin enters.

                                     GARVEY
                              (effusively)
                         Oh, come in, Mr. Rocklin. Come right 
                         in.

               Rocklin looks him over for a second, then comes quietly to 
               the desk.

                                     ROCKLIN
                         I understand you were Red Caldwell's 
                         lawyer?

                                     GARVEY
                              (immediately on guard)
                         I was.

                                     ROCKLIN
                         Know anything about this?

               He takes out a letter and hands it to Garvey. The latter 
               takes it slowly, handling it as if it were dangerous. He 
               looks from the letter to Rocklin and back again. Then 
               reluctantly, he opens it and begins to read.

               LETTER -- It reads:

               Dear Mr. Rocklin:

               Glad you have made up your mind to take the job. Enclosed 
               find train fare and $150 advance on wages.

               Yours faithfully,

               J. Caldwell

               MED. SHOT

               Rocklin and Garvey. The latter looks up from the letter 
               completely bewildered.

                                     GARVEY
                         I don't understand. Job? What job?

                                     ROCKLIN
                         Foreman.

                                     GARVEY
                              (gaping)
                         On the "K.C."?
                              (trying to take it in)
                         But -- but why should he want you?

                                     ROCKLIN
                         Why not? Good foremen don't grow on 
                         bushes.

               There is a little pause, with Garvey still bewildered.

                                     GARVEY
                              (thinking hard)
                         Is that your only motive for coming 
                         here?

                                     ROCKLIN
                         What other motive could I have?

                                     GARVEY
                         I don't know -- It's just that Red 
                         Caldwell was a peculiar man -- had a 
                         funny way of doing things.

               He studies Rocklin a short moment, then sits back comfortably 
               and relieved.

                                     GARVEY
                         Well, I'm sorry, Mr. Rocklin, that 
                         you've been brought all this way on 
                         a fool's errand, but -- I'm afraid 
                         the deal's off.

                                     ROCKLIN
                         Off?

                                     GARVEY
                         I don't want to be too hard on you, 
                         but as executor of the estate I have 
                         to consider the interests of the new 
                         owner. How about, say, a hundred in 
                         full settlement?

                                     ROCKLIN
                              (thoughtfully)
                         Well --

               There is a knock on the door. Garvey rises and speaks on his 
               way to the door.

                                     GARVEY
                         That's my last word -- think it over.

               Garvey opens the door, and Miss Martin stalks in followed by 
               Clare.

                                     GARVEY
                              (graciously)
                         How do you do, ladies --

                                     MISS MARTIN
                              (icily)
                         You are Judge Garvey, I presume.

                                     GARVEY
                              (nods)
                         Yes -- and you are --

                                     MISS MARTIN
                         Miss Martin -- and my niece, Clara 
                         Caldwell.

                                     GARVEY
                              (reaching for a chair)
                         Of course -- of course --

               Miss Martin sits stiffly as she eyes Rocklin coldly.

                                     GARVEY
                         You came at a very opportune moment, 
                         madam. This gentleman claims to have 
                         some sort of a letter from the late 
                         Mr. Caldwell, engaging him as foreman 
                         of the "K.C."

                                     MISS MARTIN
                         What!

                                     ROCKLIN
                              (to Garvey)
                         What do you mean -- claims to have? -- 
                         You saw it, didn't you?

                                     MISS MARTIN
                              (before Garvey can 
                              answer)
                         You can't hold us to account for 
                         every promise made by that man. 
                         Everyone knows he wasn't responsible 
                         for his actions half the time. And 
                         if you think I'd have you as a foreman --

                                     ROCKLIN
                              (finds it hard to 
                              control himself)
                         Listen, lady -- I'd rather walk for 
                         somebody else, than ride for you.

                                     MISS MARTIN
                              (taken aback)
                         Well -- the impudence --

                                     ROCKLIN
                         All I come for this morning was to 
                         pay beck the hundred and fifty Red 
                         Caldwell sent in advance.

                                     CLARA
                         Oh, no

               They all turn and stare at her.

                                     MISS MARTIN
                         Don't interfere, Clara. Of course he 
                         must pay it back.

                                     ROCKLIN
                         The railway fare -- well, I reckon 
                         we can check that up against the 
                         time lost and call it quits.
                              (throws down a roll 
                              of bills in front of 
                              Garvey)

                                     CLARA
                              (summoning up her 
                              courage)
                         But, Mr. -- er -- I don't know your 
                         name...

                                     ROCKLIN
                              (raising his hat)
                         Rocklin, miss.

                                     CLARA
                         Mr. Rocklin, it isn't fair for you 
                         to pay anything back.

                                     ROCKLIN
                         That's how I'd prefer it, If you 
                         don't mind, miss -- never did care 
                         fer owing favors to no one -- 
                         especially women.

                                     CLARA
                              (as if she had been 
                              struck)
                         Oh!

               The sound of rapid steps approaching from outside is heard 
               and they all look toward the door.

               MED. SHOT

               on door, as it opens to admit Arly. Ignoring everyone in the 
               room except Garvey, she comes abruptly to the desk, with the 
               riding quirt dangling from her wrist.

                                     ARLY
                         I've just heard they let George Clews 
                         out of penitentiary and that he's 
                         headed this way. You might tell him 
                         from me, if he sets foot on the Santee 
                         Ranch, I'll shoot him on sight.

                                     GARVEY
                         But really, Miss Arly, why should 
                         you deliver your message through me?

                                     ARLY
                         You have mutual friends.

                                     GARVEY
                         If you're referring to Sheriff 
                         Jackson...

                                     ARLY
                         I am.

                                     GARVEY
                         But that's absurd. The fact that he 
                         employs one of the Clews brothers 
                         doesn't make the other his friend.

                                     ARLY
                              (contemptuously)
                         Have it your own way; but it'd be 
                         fair to warn him, because I mean it.

               For the first time, she appears to be conscious of the 
               presence of the other women.

                                     GARVEY
                              (hastening to change 
                              the conversation)
                         Oh, Miss Caldwell, this is Miss 
                         Harolday -- Miss Martin, Miss 
                         Caldwell's aunt. You should know one 
                         another, seeing you'll be neighbors. 
                         Miss Harolday runs the Santee Ranch 
                         for her stepfather. She's a famous -- 
                         ah -- horsewoman in these parts.

                                     CLARA
                              (with ingenuous 
                              enthusiasm)
                         I know. I saw you ride into town 
                         this morning. You looked lovely. 
                         Just what I'd like to be.

               Arly stares at her unbelievingly for a second.

                                     ARLY
                              (slowly, a bit 
                              flustered)
                         Yes?

               She looks slowly from Clara to Rocklin, as if suspecting 
               collusion.

                                     CLARA
                              (completely innocent)
                         Oh, this is Mr. Rocklin. He drove us 
                         in from Garden City last night. He...

                                     ROCKLIN
                              (dead pan)
                         I already met Miss Harolday.

                                     CLARA
                         Oh.

                                     ARLY
                              (stonily, to Rocklin)
                         I've a message for you -- from 
                         Harolday.

                                     ROCKLIN
                              (murmuring)
                         What, again?

                                     ARLY
                         He wants you to come down to the 
                         office.

                                     ROCKLIN
                         What for?

                                     ARLY
                         He's got a proposition to make -- 
                         about riding for him. Sixty a month.

                                     ROCKLIN
                         Hmmm -- That's a foreman's wages.

                                     ARLY
                              (suddenly exploding)
                         I wouldn't offer you a red cent.
                              (controlling herself)
                         But it's his money.
                              (bitingly)
                         And the way things are shaping, maybe 
                         we could do with somebody as mean as 
                         you around the ranch.

                                     MISS MARTIN
                              (pushing her way 
                              forward)
                         I warn you, you're making a great 
                         mistake. This man is no good.

                                     CLARA
                         Auntie!

                                     ARLY
                              (to Rocklin ignoring 
                              Miss Martin)
                         Well? D'you want the job?

               CLOSE SHOT

               Rocklin, as he stares at Arly with an enigmatic expression. 
               Suddenly, he seems to make up his mind.

                                     ROCKLIN
                              (indicating the door)
                         Lead the way.

               MED. SHOT

               as Arly turns abruptly on her heel and exits the way she 
               came. Rocklin makes a little gesture to the ladies with his 
               hat and follows. As he goes, Juan, who has been leaning 
               against the doorpost, follows, closing the door behind him.

                                     CLARA
                              (after they have gone)
                         Auntie, why did you have to say that? 
                         I simply don't understand you...

                                     MISS MARTIN
                              (cutting in, grimly)
                         But I understand you.
                              (scathingly)
                         I'd be ashamed of myself. Throwing 
                         myself at a man like that.

                                     CLARA
                         I... I...
                              (suddenly bursting 
                              into tears)
                         Oh, you're horrid -- horrid. I wish 
                         I'd never come.

               She turns abruptly and drops onto the couch by the window. 

               CAMERA PANS TO HOLD A CLOSE TWO SHOT of Garvey and Miss 
               Martin.

                                     MISS MARTIN
                         You must excuse her. She's young.

                                     GARVEY
                         And inexperienced.

               Garvey leans back in his chair and smiles.

                                     MISS MARTIN
                              (significantly)
                         And young people must be protected 
                         from themselves at times -- don't 
                         you agree?

               Miss Martin throws him a quick look, which he returns 
               steadily.

                                     GARVEY
                              (at last, with a grim 
                              echo of a smile)
                         Exactly.

               EXT. MAIN STREET - SANTA INEZ - DAY

               Arly and Rocklin walking along the street, not far from 
               Harolday's office. Rocklin glances back toward Julio, who is 
               following a few paces behind them. He rides his horse and is 
               leading Arly's.

                                     ROCKLIN
                              (to Arly, indicating 
                              Julio)
                         Does he always follow you?

                                     ARLY
                              (defiantly)
                         He's not following me -- he's with 
                         me -- he's always with me.

                                     ROCKLIN
                              (takes it mildly)
                         Oh -- just an old Indian friend.

                                     ARLY
                              (straight at him)
                         The best friend I've got.

               Rocklin nods, looks back again at Julio, then back to Arly 
               as they go out of shot.

               INT. SANTA INEZ STAGECOACH OFFICE - DAY

               PAINING SHOT -- as Arly comes to from the street, followed 
               by Julio and Rocklin.

                                     ARLY
                              (abruptly to Rocklin)
                         Wait here.

               CAMERA PANS her over to a door marked "PRIVATE," which she 
               opens without knocking.

               INT. HAROLDAY'S PRIVATE OFFICE - DAY

               MED. SHOT as Arly comes through from the outer office toward 
               Harolday, who is seated at desk in f.g. At Arly's abrupt 
               entrance, he looks up, startled.

                                     ARLY
                         I've just hired a man named Rocklin 
                         and said you made me do it. Sixty 
                         dollars and he 'll earn it -- while 
                         he lasts.

               There is a little pause. Harolday's face is completely dead 
               pan. He looks out of the window for a second, then back at 
               Arly.

                                     HAROLDAY
                              (quietly)
                         Why did you do it, Arly?

                                     ARLY
                         So I can fire him. I hate him. Clint 
                         and he quarrelled last night. Clint 
                         lied about it and I made a fool of 
                         myself.
                              (nodding toward the 
                              outer office)
                         He's outside now.

                                     HAROLDAY
                              (with a little sigh)
                         All right. Send him in.

               Arly goes to the door and opens it.

                                     ARLY
                              (calling)
                         Come in.

               Rocklin comes in and Arly exits without a word, closing the 
               door behind her.

               REVERSE SHOT

               as Rocklin comes from the doorway into f.g. of shot, facing 
               Harolday, who is seated on the far side of the desk.

                                     HAROLDAY
                         Mr. Rocklin, what happened between 
                         you and my son last night?

                                     ROCKLIN
                         Poker.

                                     HAROLDAY
                         Hmmm. About this suggestion of you 
                         working for me.

                                     ROCKLIN
                         It's your suggestion, not mine.

                                     HAROLDAY
                         Ye-es. Sixty dollars is big money.

                                     ROCKLIN
                              (turning to go)
                         If you've changed your mind...

                                     HAROLDAY
                         No, no.... Wait a minute. I take it 
                         you've had the experience.

                                     ROCKLIN
                         Enough for Red Caldwell to hire me 
                         as foreman.

                                     HAROLDAY
                         Oh -- had Caldwell hired you?

                                     ROCKLIN
                         Yeah -- but I won't ride for the new 
                         owners -- so that leaves me open.

                                     HAROLDAY
                         I see -- Were you a friend of Red's?

                                     ROCKLIN
                         No -- I guess he just heard about 
                         me.

               A sudden clatter of feet is heard and all eyes turn toward 
               the door.

               MED. SHOT

               as Dave, followed by Arly and Juan, bursts in. His eyes go 
               around the room quickly until he finds Rocklin.

                                     DAVE
                              (as excited as a 
                              schoolboy)
                         George Clews is in town. He's seen 
                         what you done to Bob and he's a-
                         lookin' for you.

               They all look quickly toward the window.

               EXT. MAIN STREET - DAY

               LONG SHOT -- from stagecoach office window. The center of 
               the street is clear and men's heads are peering from doorways.

               INT. HAROLDAY'S PRIVATE OFFICE - DAY

               MED. SHOT -- group at window, looking into street.

                                     HAROLDAY
                         The street is clear.

               Dave turns and looks curiously at Rocklin, who frowns 
               impatiently.

                                     ROCKLIN
                              (to Dave irritably)
                         Tell him I'll be out in the street 
                         in front of the saloon.

                                     DAVE
                              (dashing out, radiant)
                         Uh-huh!

               INT. SUN-UP SALOON - DAY

               The place is quite full and the atmosphere is one of 
               expectancy despite the outward casualness of the patrons. A 
               group lolls near the window, looking toward the stage office. 
               At the door a couple of customers peer out over the swinging 
               doors. The bar supports other customers engaged in various 
               private conversations but all are mindful of the presence of 
               George Clews who, with his brother, Bob, stands at the bar's 
               center, morosely toying with a glass of whisky in front of 
               him. He is quite conscious of the subtle glances of the 
               others, but regards them all with disdain. He downs his drink, 
               and speaks his thought to Bob.

                                     GEORGE CLEWS
                         I'm gonna get his ears.

               Suddenly Old Dave appears in a high state of excitement, and 
               halts with the swinging doors half open.

                                     DAVE
                              (loudly)
                         Hi you, George Clews --

               George Clews turns.

                                     DAVE
                         Rocklin says if you don't come out, 
                         he'll come in here after you, an' 
                         tear you apart.

               George Clews frowns. His eye catches sight of a king-size 
               glass of beer being slid across the bar to Shorty Davis, 
               standing alongside him. That quick, Clews beats Shorty to 
               the glass and hurls it at Dave, who ducks out. Cap, 
               anticipating trouble, brings a sawed-off shotgun up from 
               under the bar and now watches Clews and Shorty.

                                     SHORTY
                              (taps Clews)
                         That was my beer, you know.

                                     GEORGE CLEWS
                              (nastily)
                         If he comes in again -- I'll throw 
                         you.

               Before Shorty can reply, Clews yanks his hat down over the 
               little fellow's eyes, and gives him a backward shove that 
               sends him sprawling into a corner where we leave him 
               struggling to get his hat off. The crowd resents this, but 
               doesn't dare do anything, except Cap, who holds his shotgun 
               in sight.

                                     CAP
                              (to the Clews)
                         That does it, boys -- you know where 
                         the door is.

                                     GEORGE CLEWS
                              (to Bob)
                         Com-mon -- I'll get his ears.

                                     CAP
                         Not until I get my money --

               George and Bob Clews are now a few steps from the bar. They 
               have turned as Cap spoke and are looking at the shotgun.

                                     CAP
                         There's three drinks and a broken 
                         beer glass.

                                     GEORGE CLEWS
                              (to Bob, after a 
                              second's deliberation)
                         Pay 'im.

               George turns and starts for the doors as Bob comes back to 
               the bar to settle up.

                                     GEORGE CLEWS
                         I'll get his ears.

               ON PAP FOSSLER AND THE OTHERS AT WINDOW - AS GEORGE CLEWS 
               BURSTS OUT THROUGH THE DOORS

                                     PAP
                              (quietly)
                         That Rocklin'll kill him for sure.

                                     CUSTOMER
                         Le's hope.

               EXT. SUN-UP SALOON - DAY

               As George Clews steps outside, a mangy mongrel dog, basking 
               close by, evidently recognizes him and tails it away, leaving 
               George blinking at him.

               LONG SHOT

               Rocklin -- FROM George's ANGLE. He is walking slowly forward 
               down the middle of the street.

               MED. SHOT

               George, looking baffled by the steady approach.

                                     GEORGE CLEWS
                              (yelling)
                         I'm coming -- and you'd better run!

               He steps down from the sidewalk into the street and then 
               stands still again.

               CLOSE SHOT

               Rocklin -- CAMERA MOVING WITH him as he comes slowly and 
               steadily forward.

               CLOSE SHOT

               George. His hands are on his guns, but drunk or not, he has 
               too much sense to draw too soon.

               EXT. STAGECOACH OFFICE - DAY

               MED. SHOT -- Harolday watching from behind the window of his 
               office. Behind Harolday are Julio and Arly. The latter makes 
               a step as if about to move to the door, but Julio restrains 
               her.

               INT. GARVEY'S OFFICE - DAY

               MED. CLOSE SHOT -- as Garvey, Miss Martin and Clara watch 
               the scene below -- Garvey and Miss Martin excitedly and Clara 
               in great distress.

               EXT. HOTEL - DAY

               CLOSER SHOT -- men in hotel doorway, taut with excitement.

               FULL SHOT

               Rocklin -- SHOOTING PAST George, whose hands are on his gun 
               butts. Rocklin's thumbs are hooked in his belt as he continues 
               slowly forward, his eyes fixed on George's.

                                     ROCKLIN
                              (quietly)
                         Draw a gun and I'll kill you.

               MED. SHOT

               George, as he stands bewildered and open- mouthed. Rocklin 
               enters scene, suddenly whips out his gun and brings it 
               crashing down alongside George's head. The barrel strikes 
               though the crown of his hat and he goes down like a pole-
               axed steer.

               INT. HAROLDAY'S PRIVATE OFFICE - DAY

               MED. CLOSE SHOT -- group at window. Arly gives an involuntary 
               exclamation of pleasure, which she instantly checks, then 
               she moves abruptly out of shot, followed by Juan. Harolday 
               continues to stare frowningly out of the window.

               INT. GARVEY'S OFFICE - DAY

               MED. CLOSE SHOT -- group at window, with Garvey obviously 
               disapponted, Miss Martin bridling and Clara showing obvious 
               relief.

               EXT. SUN-UP SALOON - DAY

               MED. SHOT -- Rocklin and crowd as they swirl around him 
               offering congratulations. Dave pushes his way through the 
               crowd and thumps Rocklin on the back in wild enthusiasm. At 
               the same time, the sound of a horse cantering is heard, and 
               Jackson comes into shot.

                                     JACKSON
                              (to Rocklin)
                         Hey, you! What's this you been up 
                         to?

                                     ROCKLIN
                         I just laid a gun barrel over the 
                         head of a drunk friend of yours -- 
                         same as you did over Dave's here 
                         yesterday.

                                     DAVE
                              (surprised)
                         Eh?

                                     JACKSON
                              (blustering)
                         I don't know what you're talking 
                         about.

                                     ROCKLIN
                              (calmly)
                         You're a liar!

               He turns contemptuously and begins to move back towards the 
               stage office completely ignoring Jackson, who rides alongside 
               blusteringly.

                                     JACKSON
                         Now you lookee here, young feller. 
                         You go on talking that way and you'll 
                         find yourself in trouble.

               The crowd which has been following now begins to razz him 
               openly. He turns and glares, but without effect. He gives a 
               final shout to Rocklin.

                                     JACKSON
                         Don't say you ain't been warned.

               Pulling his horse around, he sets off in a lope up the street.

               MED. SHOT

               as Miss Martin comes along the street, determinedly, followed 
               by Clara, until she is face to face with Rocklin outside the 
               stage office where Arly and Juan are mounted ready to move 
               off.

                                     MISS MARTIN
                              (ignoring everyone 
                              but Rocklin)
                         I saw you. I saw you strike that 
                         poor man.

                                     ROCKLIN
                         Yes, ma'am. As hard as I could.

                                     MISS MARTIN
                         You ruffian, you!

               Clara pulls her sleeve imploringly.

                                     MISS MARTIN
                         Let me go!
                              (to Rocklin)
                         I knew the sort you were the moment 
                         I set eyes on you. You can't fool 
                         me! You're nothing but a common 
                         adventurer! Come, Clara!

               She takes Clara by the arm and sweeps past them towards the 
               hotel. Rocklin looks after them with a grim expression and 
               then up at Arly, who has been listening intently. She returns 
               his look steadily for a second. Then, with a mocking smile, 
               she wheels the mare and canters out of shot, followed by 
               Juan. He looks after her for a second; then with the same 
               grim look, enters Harolday's office.

               INT. HAROLDAY'S OFFICE - DAY

               Harolday is standing at the window, looking toward the door, 
               having seen Rocklin approaching. The door opens and Rocklin 
               enters and resumes his conversation as though it were hardly 
               interrupted.

                                     ROCKLIN
                         -- Now what was that you were sayin' 
                         about Caldwell?

                                     HAROLDAY
                         You being hired by Red Caldwell only 
                         confirms what I'd suspected -- he 
                         was getting ready to fight.

                                     ROCKLIN
                              (trying to get 
                              information)
                         Fight? Who?

                                     HAROLDAY
                         Organized rustling. Well at least -- 
                         that's my belief. Red was no friend 
                         of mine. Too fond of taking the law 
                         into his own hands. But he had my 
                         sympathy. He'd been harder hit than 
                         any of us. And on top of it all, he 
                         lost his foreman.

                                     ROCKLIN
                         You mean, he quit on him?

                                     HAROLDAY
                         He was shot -- in the back -- with a 
                         bullet from the same caliber rifle 
                         as got Red.

                                     ROCKLIN
                         Got any ideas?

                                     HAROLDAY
                         No -- Except that the man you just 
                         pistol-whipped is in on it somewhere.
                              (bitterly)
                         Pity you didn't kill him when you 
                         had the chance.

               Rocklin realizes that maybe Harolday is trying to throw a 
               curve -- trying to get him to talk.

                                     ROCKLIN
                         Say -- it don't sound as if it's 
                         goin' to be too easy for them wimmen 
                         at the K.C.

                                     HAROLDAY
                              (watching him keenly)
                         Want to go back and work for them?

                                     ROCKLIN
                         No, sir. And I ain't jumping at this 
                         offer o' yours either because I don't 
                         hold with working for wimmen.

                                     HAROLDAY
                              (quickly)
                         Oh, you mean my step-daughter. Well 
                         don't worry. She won't interfere 
                         with you...Rocklin -- I figure we've 
                         been losin' cattle over a place called 
                         Table Top -- it's the back way into 
                         the Topaz Ranch and the perfect route 
                         for rustlers -- I'm going to send 
                         you up to the line camp -- you don't 
                         mind working a lone hand -- do you?

                                     ROCKLIN
                              (measuring)
                         -- I like workin' that way.

                                     HAROLDAY
                              (rising and holding 
                              out a hand)
                         Good -- be ready to move out this 
                         afternoon.

                                                                   DISSOLVE

               EXT. MAIN STREET - SANTA INEZ - DAY

               On Dave and Pap Fossler engaged in conversation in front of 
               Pap's store. In the b.g. -- across the street, we carry the 
               entrance to the Sun-Up Saloon.

                                     DAVE
                              (in his best sales 
                              talk)
                         -- now Pap -- I'm givin' you first 
                         call on me services. They's lots of 
                         other folks lookin' fer a good man, 
                         too -- you know. So if you want me, 
                         you better hurry and speak up because --

               During Dave's speech Rocklin has come from the Sun-up carrying 
               his valise. He pauses a moment, looking around. Dave sees 
               him.

                                     DAVE
                         'scuse me, Pap -- Be right back to 
                         find out when I start.

               He hurries across the street toward Rocklin.

               EXT. SUN-UP SALOON - DAY

               On Rocklin just stepping off the curb. Dave comes in to him.

                                     DAVE
                         Whar you off to?

                                     ROCKLIN
                         I'm riding for the Topaz Ranch.

               They start across the street, slowly toward the stage office.

                                     DAVE
                         What! -- Have you gone plumb loco?

                                     ROCKLIN
                         Good money -- sixty a month

                                     DAVE
                         There ain't enough money in this 
                         town to make it worth your while to 
                         work for that gal.

               Rocklin gives Dave a quizzical look, which Dave mistakes for 
               weakening.

                                     DAVE
                         When she gits goin' she can be 
                         meaner'n a skillet full o' snakes. 
                         She ain't goin' to forget the way 
                         you made a fool of her today -- in 
                         front of the whole town.

                                     PAP FOSSLER'S VOICE (O.S.)
                         Hey, Dave.

                                     DAVE
                         Be right with you.
                              (to Rocklin)
                         It's pizen that's what it is -- jus' 
                         plain --- What you want to hang around 
                         this town for anyways? --

               Dave and Rocklin have reached middle of the street. Pap 
               Fossler's voice comes again from o.s.

                                     PAP FOSSLER'S VOICE
                         Hey, Dave.

               Dave reacts with a squint in Pap's direction. He runs out 
               toward Pap, but would rather stay with Rocklin. THE CAMERA 
               FOLLOWS Rocklin ACROSS the street To the stage office, where 
               see Arly and Tala sitting on their horses apparently waiting 
               for Rocklin. A third horse is standing by with Rocklin's 
               saddle on it.

               Rocklin, upon reaching the front of the stage office, pauses 
               a moment, to look over the horse carrying his saddle -- 
               glances up to Arly.

                                     ROCKLIN
                         Be right with you.

               He goes into the stage of office, as we

                                                               DISSOLVE OUT

               DISSOLVE IN

               EXT. FORKED ROAD - DAY

               LONG SHOT -- as Rocklin, Arly and Juan canter along a dirt 
               road over open country with the mountain ranges in the 
               distance.

               CAMERA PANS to show a buggy on the road ahead, approaching a 
               wooded dell where the road divides.

               MED. CLOSE SHOT

               of the buggy, showing Miss Martin riding in front, beside 
               Shorty Davis, who is driving, and Clara with her back to the 
               driver, facing the oncoming trio. Miss Martin hears the sound 
               of the approaching horses, and looks over her shoulder.

               MED. SHOT

               Arly, Juan and Rocklin, with Miss Martin in F.g. The latter 
               scowls and looks quickly to her front as the riders draw 
               level with the buggy, Rocklin coining to the right, alongside 
               Clara.

                                     CLARA
                         Good afternoon, Mr. Rocklin.
                              (looking at the sky)
                         Lovely day, isn't it?

                                     ROCKLIN
                         Reckon it is pretty nice. So you're 
                         moving in on the "K.C." eh?

                                     CLARA
                              (hesitating and 
                              throwing a look toward 
                              Miss Martin)
                         We-el, not exactly moving in. You 
                         see...

               MED. SHOT

               with Miss Martin in f.g. and SHOOTING OVER her shoulder to 
               include Clara and Rocklin.

                                     MISS MARTIN
                              (acidly, locking 
                              straight ahead)
                         Do you have to discuss our private 
                         affairs with every rag-tag-and-bobtail 
                         cow-person we meet, Clara?

                                     CLARA
                              (in a low voice)
                         Auntie!

                                     ROCKLIN
                         Sorry if I butted in, ma'am. Jest 
                         passing the time o'day.

                                     MISS MARTIN
                         We can do very well without it -- 
                         thank you.
                              (with a look over her 
                              shoulder)
                         And you're keeping your lady friend 
                         waiting.

               Rocklin looks quickly in the same direction.

               MED. SHOT

               from Rocklin's ANGLE, with Arly and Juan at the fork in the 
               road. They are looking back towards the buggy which has taken 
               the lower road to the right of the copse.

               REVERSE SHOT

               with Arly and Juan in f.g. and the buggy in the distance. 
               Rocklin raises his hat to the women in the buggy and canters 
               back to Arly, who has been watching with a peculiar 
               expression.

                                     ARLY
                              (coldly)
                         I thought maybe you'd changed your 
                         mind again.

                                     ROCKLIN
                              (cheerfully)
                         Nope.

               She looks at him angrily for a second as if about to say 
               something sarcastic. Then, repressing herself, she wheels 
               her horse and canters off along the side of the copse. Rocklin 
               throws an amused glance, at Juan, who has been watching with 
               an enigmatic expression. He returns Rocklin's look with a 
               stern, menacing frown. Then, with a gentle flick of the rein, 
               he urges his horse after Arly. Completely baffled, Rocklin 
               scratches his head for a second, then follows.

                                                                   DISSOLVE

               EXT. RANCH HOUSE - SANTEE RANCH - LATE AFTERNOON

               MED. SHOT -- as the three canter up the driveway to a smart-
               looking ranch house. Arly dismounts and throws her reins to 
               Juan.

                                     ARLY
                              (over her shoulder to 
                              Rocklin)
                         Juan'll show you the bunkhouse. I'll 
                         talk to you about your duties in the 
                         morning.

               Before Rocklin can speak, she runs quickly up the steps of 
               the verandah and disappears into the house. Leading Arly's 
               Horse, Juan moves out of shot to the left of the ranch house 
               and Rocklin follows.

               EXT. CORRAL - SANTEE RANCH - LATE AFTERNOON

               MED. SHOT -- as Juan comes into shot leading the mare, 
               followed by Rocklin. They both dismount and begin to off-
               saddle.

                                     ROCKLIN
                         How far is the line-camp at Table-
                         Top?

                                     JUAN
                         Twenty-five -- thirty mile.

                                     ROCKLIN
                         I'm moving out there first thing in 
                         the morning.
                              (as Juan turns and 
                              stares)
                         Boss' orders. Care to show me the 
                         way?

               There is a moment's pause. Then, what almost amounts to a 
               smile of relief, crosses Juan's face.

                                     JUAN
                         I will show you.

                                                                   DISSOLVE

               EXT. SANTEE RANCH - DAY

               LONG SHOT -- as Rocklin and Juan ride out from the ranch 
               through the early morning mist and turn off in the direction 
               of the distant line of mountains.

                                                                   DISSOLVE

               EXT. ENTRANCE TO CANYON - DAY

               LONG SHOT -- as the two leave the open country and enter the 
               mouth of a steep and narrow gorge at the foot of the mountain 
               range.

               MED. CLOSE SHOT

               as Juan pulls up and dismounts, followed by Rocklin.

                                     JUAN
                              (pointing ahead)
                         The trail is straight ahead. You 
                         will find the cabin at the top.
                              (turning back to his 
                              horse)
                         Adios, Senor.

                                     ROCKLIN
                              (challenging, but 
                              perfectly friendly)
                         Senor Romerez, it appears that you 
                         do not like me.

               For a second Juan does not reply. Then, as he speaks, he 
               takes a tobacco pouch from his pocket. Rocklin, his mind on 
               other things, does not take particular notice of the pouch, 
               but we cannot help notice the pouch ornament -- a steer's 
               head of hammered silver.

                                     JUAN
                              (during the above 
                              business)
                         Senor, that is true. I do not like 
                         you.

                                     ROCKLIN
                         Why?

                                     JUAN
                              (extending the pouch)
                         Permit that I offer you a cigarette.

               Rocklin shakes his head. Juan, having spilled tobacco in a 
               paper, now puts away the pouch and rolls his own.

                                     JUAN
                         It is not your fault that your shadow 
                         is black. But you will only bring 
                         unhappiness to my senorita. I do not 
                         blame you, but I fear I must hate 
                         you.

               He turns abruptly and mounts the waiting horse; then looks 
               down from the saddle.

                                     JUAN
                         Adios, Senor.

               He rides quickly out of the shot.

                                                                   DISSOLVE

               EXT. TABLE-TOP - DAY

               MED. SHOT -- as Rocklin forces his horse up the last few 
               feet of the steep trail at the top of the canyon, and pulls 
               up at the top of the rise with a look of amazement.

               FULL SHOT - FROM ROCKLIN'S ANGLE

               A rich meadow stretches ahead with a stream running through 
               it, and a cabin at the far end. Steep escarpments surround 
               the lush meadow land, making an idyllic scene. As Rocklin 
               comes slowly into shot with the same look of startled 
               appreciation on his face and begins to move toward the cabin,

                                                                   DISSOLVE

               EXT. APPROACH TO SANTEE RANCH - DAY

               LONG SHOT -- of Juan, as he canters across open country toward 
               the ranch.

               CAMERA PANS to include the road from Santa Inez along which 
               approaches a smallish freight wagon, pulled by two horses. 
               As the driver sees Juan and waves his whip, the Mexican 
               swerves from his course and canters toward the wagon.

               MED. SHOT

               wagon, which we now see is being driven by Dave. On the side 
               of the wagon is written: TRANSPORT & GENERAL FREIGHTAGE -- 
               Pap Fossler and Sons. Juan canters into shot and pulls up 
               alongside the wagon.

                                     DAVE
                         Hiya there.

                                     JUAN
                         Buenos dias, Senor Dave.
                              (looking at name on 
                              wagon)
                         You have found new employer, eh?

                                     DAVE
                         Yeah. Haulin' freight for ole Pap 
                         Fossler. Got a letter here for that 
                         crazy galoot, Rocklin.
                              (with a little Wink)
                         From the little Caldwell girl. Seems 
                         mighty took up about sumpin'. Made 
                         me promise to deliver it personal.
                              (indicates letter)

                                     JUAN
                         But Senor Rocklin is not here.

                                     DAVE
                         Lordy -- he ain't quit already...

                                     JUAN
                              (shakes head)
                         I have just accompany him to Table-
                         Top.

               DISSOLVE IN

               EXT. TOPAZ RANCH HOUSE - DAY

               Shelley, a Negro servant of the Harolday household, is 
               discovered sweeping the front porch. Behind him we see Clint 
               open the door -- peer furtively out -- then cross the porch 
               to its edge when he looks o.s. as though searching for 
               someone.

               Shelley, meantime, has noticed Clint, but goes right on with 
               his sweeping. His only reaction is a disparaging glance over 
               his shoulder.

                                     CLINT
                              (turning to Shelley)
                         Have you seen Arly?

                                     SHELLEY
                         No, suh, Ah didn't see Miss Arly 
                         today, but Ah seed her las' night, 
                         and she shore was mad.

               To emphasize his point, Shelley puckers his mouth in a 
               whistle.

                                     SHELLEY
                         Plenty mad!

               Clint's face tightens as he anticipates what is in store for 
               him. Over the scene comes the gradually increasing sound of 
               a feminine voice, gayly humming the notes of a popular tune 
               of the period. Clint's strained features relax in a can-that-
               be-Arly expression, while Shelley stops dead in the middle 
               of a sweep, and now both stare incredulously, o.s.

               ANGLE

               From their ANGLE we first see only the corner of the house, 
               while the owner of the voice approaches from the other side. 
               Now Arly comes into view, entirely oblivious of Clint and 
               Shelley watching her. She seems more attractive, in a feminine 
               way, this morning. It may be the skirt and blouse she is 
               wearing. Then again it may be the flower she is, even now, 
               adjusting in her hair. The presence of the two men suddenly 
               startles her. The song ends abruptly, while her hands fall 
               quickly away from the flower.

               ARLY

               As Arly moves toward the porch, Shelley snaps back to life 
               and resumes sweeping -- but furiously. Clint regards the 
               girl in the vague manner of the puzzled gent he is.

                                     CLINT
                              (not too definitely)
                         'Mornin', Arly --

               Arly is coming toward Clint.

                                     ARLY
                              (pleasantly)
                         'Mornin', Clint.

               She steps close to Clint, and he slowly backs up a step, for 
               he does not know she came up to him merely to pick up her 
               jacket lying on the ground near the step.

                                     CLINT
                              (as Arly leans down 
                              to pick up the jacket)
                         You must be feeling pretty good.

               Arly straightens up with the jacket in her hand, and the 
               corner of her mouth curls in a faint smile. She turns now 
               and starts along the walk, and takes only a few steps when 
               Clint comes to her side.

               ARLY AND CLINT WALKING

                                     CLINT
                              (as he joins Arly)
                         Say, Arly -- about that poker game, 
                         night before last, I ---

                                     ARLY
                              (tossing it off)
                         Forget it.

                                     CLINT
                              (did he hear correctly)
                         Forget it?

               Arly pays no attention to Clint. She is looking o.s. and 
               stops walking.

               EXT. GROUNDS NEAR TOPAZ RANCH HOUSE - DAY

               Tala, on his horse, as seen by Arly. Over the scene comes 
               Arly's voice calling from a distance.

                                     ARLY
                              (calling)
                         Tala.

               Tala reacts to the call by heading his horse at a slightly 
               different angle.

               ARLY AND CLINT

               Arly is looking o.s. toward Tala. Clint is now eyeing his 
               sister up and down quite openly. She turns her head now and 
               catches Clint looking her over.

                                     ARLY
                              (after a stilted pause)
                         Well --

                                     CLINT
                              (with a perplexed 
                              smile)
                         What is this? --

               A gesture of his hand indicates the way Arly has gotten 
               herself up. That quick, Arly's hand goes to the flower in 
               her hair. And, that quick, she guiltily withdraws it.

                                     ARLY
                              (bravely nonchalant)
                         What do you mean?

                                     CLINT
                         What do I mean? --

               Before he can explain, Tala pulls up in his horse and we 
               hear his voice over the scene.

                                     TALA'S VOICE
                         Good morning, Arliete.

               ARLY, TALA AND CLINT

               Tala sitting astride his horse smiles down at the girl.

                                     ARLY
                         Good morning, Tala.

                                     TALA
                         You have make yourself very pretty 
                         today.

               Arly is jolted by Tala's innocent remark, and she can't help 
               giving Clint a little side glance in the way of reaction. 
               Clint has not missed Tala's crack nor Arly's glance, and 
               when she gives it to him he says:

                                     CLINT
                              (pleasantly)
                         See what I mean?

               He tosses her an altogether knowing look now, and leaves, 
               going up the walk toward the house. Arly turns to Tala.

                                     ARLY
                         Have my horse saddled and sent around 
                         right away -- will you?
                              (then as a casual 
                              afterthought)
                         You can have that Rocklin bring it.

               She glances over her shoulder toward Clint going up the walk. 
               And then, looking back to Tala, finds he hasn't moved, but 
               remains smiling down at her.

                                     ARLY
                         What's the matter?

                                     TALA
                              (easily)
                         Rocklin is not here.

                                     ARLY
                              (breathlessly)
                         He quit?

                                     TALA
                         He has gone to the line camp at Table 
                         Top.

                                     ARLY
                         What?

                                     TALA
                         It was Mr. Harolday's orders.

               Arly looks away. Her eyes stare blankly into space as she 
               struggles with the mixed emotions of anger and disappointment. 
               Tala, aware of her plight, slowly dismounts and comes to the 
               girl's side.

                                     TALA
                              (in a fatherly manner)
                         Why do you make your heart heavy 
                         with thoughts of him, little one. -- 
                         He is not for you.

                                     ARLY
                              (bitterly)
                         Be quiet.

                                     TALA
                         He has made the choice, Arliete. 
                         With your own eyes you saw it 
                         yesterday.

                                     ARLY
                              (impatiently)
                         Oh --

                                     TALA
                         And she, too, has opened her heart 
                         to him -- Already she has summoned 
                         him to her.

                                     ARLY
                              (this turns her around)
                         What do you mean?

                                     TALA
                         Dave -- of the white beard -- carries 
                         a letter to Rocklin -- It is from 
                         her.

                                     ARLY
                         How do you know that?

                                     TALA
                         I have just now met Dave, and he 
                         tell me. -- So now he rides to Table 
                         Top.

               Arly is quiet a moment.

                                     TALA
                         Little one you --

                                     ARLY
                              (quickly, as she starts 
                              for the house)
                         Oh, leave me alone.

               LONG SHOT

               entrance to ranch. Entering the driveway from the direction 
               of Santa Inez, comes Harolday, still looking the distinguished 
               citizen.

               HAROLDAY RIDES UP TO THE PORCH - CLOSE TO ARLY AND JULIO

                                     HAROLDAY
                         Good morning, Julio -- morning Arly.
                              (to Julio as he 
                              dismounts)
                         Fetch my briefcase -- it's on my 
                         desk.

               Julio exits.

               HAROLDAY TURNS HIS ATTENTION TO ARLY WHO

               still smarting under the disappointment about Rocklin, seems 
               lost in thought. After regarding her a moment Harolday speaks.

                                     HAROLDAY
                         Looks like we're going to get that 
                         land we've been wanting along the 
                         river bottom.

               Arly turns her eyes on Harolday, who continues.

                                     HAROLDAY
                         I didn't tell you -- but I bought 
                         the mortgage on the Hardman ranch, 
                         and it's due today -- On my way over 
                         there now.

               Arly's eyes burn as she tosses her head slightly.

                                     ARLY
                         Did you send that Rocklin to Table-
                         Top?

                                     HAROLDAY
                         I did.

                                     ARLY
                              (furiously)
                         Well, let's get things straight. 
                         This place was my mother's -- now 
                         it's mine and Clint's -- It's true 
                         you've been helping out -- but the 
                         way things are going we'll soon be 
                         able to pay you back every penny we 
                         owe. Meanwhile, I'm running this 
                         outfit and I expect to give the 
                         orders.

                                     HAROLDAY
                         You generally do.

                                     ARLY
                         Why did you send Rocklin up to Table-
                         Top?

                                     HAROLDAY
                         It seemed to me a good idea -- what 
                         with all this rustling going on --

                                     ARLY
                         Who'd ever try driving cattle over 
                         Table-Top? -- Unless they were crazy.

                                     HAROLDAY
                              (coldly)
                         I don't agree with you. In any case -- 
                         if you must have it -- I'd no 
                         intention of engaging a man at 
                         foreman's wages just to gratify the 
                         whims of a jealous woman!

                                     ARLY
                              (dangerously)
                         You take care what you're saying.

                                     HAROLDAY
                              (very controlled)
                         It's you should take care, my dear. 
                         I'm afraid there's one man you can't 
                         rawhide into jumping the way you 
                         want. You've made a fool of yourself 
                         over him once. Better watch out you 
                         don't do it again.

               He turns abruptly and walks off the verandah.

               MED. SHOT

               as Harolday comes from the verandah to his horse. Juan is 
               standing there with the briefcase which Harolday takes with 
               a yank, mounts his horse and rides out.

               The CAMERA MOVES IN CLOSE on Arly, who stands in furious 
               silence watching Harolday ride away.

                                                                   FADE OUT

               FADE IN

               EXT. CANYON ROAD ON THE WAY TO TABLE-TOP - DUSK

               Old Dave is jogging along in his wagon. A rumble of thunder 
               echoes through the canyon. Dave reacts with a look toward 
               the sky.

               SHOT

               of storm clouds gathering.

                                                                   DISSOLVE

               EXT. MOUNTAIN ROAD NEAR TABLE-TOP - DUSK

               A night shot of the mountain road near Table-Top. It is a 
               wooded section of the plateau, and occasional flashes of 
               lightning illuminate the big trees skirting the road. Dave, 
               in his wagon, looms out of the b.g., and as he nears the 
               camera we hear him urging the team through the downpour. As 
               he passes and continues hurriedly on his way, we

                                                                   FADE OUT

               FADE IN

               INT. CABIN - NIGHT

               CLOSE SHOT on a soiled and wrinkled envelope lying on a table. 
               It is addressed to:

                               Mr. Rocklin c/o Santee Ranch

               The CAMERA PULLS BACK and Rocklin is revealed at the table, 
               looking down at the letter. His hat is tipped back on his 
               head, and his sleeves are rolled up. He is mixing dough in a 
               bowl sitting on the table near the letter, and his hands are 
               all gooey. Dave is discovered in front of the fireplace where 
               his outer shirt and socks are drying. It is dark outside, 
               but the storm has abated. Rocklin goes to a shelf near the 
               fireplace to get a pan.

                                     DAVE
                              (during the above)
                         Durn funny -- that storm quittin' 
                         just about the time I get here.

                                     ROCKLIN
                         No funnier than you sloggin' through 
                         it, just to deliver a letter from a 
                         woman.

                                     DAVE
                              (disgustedly)
                         Reckon I'm gettin' to be more of a 
                         fool the older I get.

               Dave watches Rocklin at the table shaping the dough for 
               biscuits and putting it in the pan.

                                     DAVE
                         When are we gonna get around to 
                         readin' it?

               Rocklin cannot help smiling a bit at the way Dave includes 
               himself in.

                                     ROCKLIN
                         Thought I'd wait till mornin' -- 
                         might be bad news an' I wouldn't be 
                         able to sleep.

               Dave screws up his face in utter disgust and turns his 
               attention to his drying clothes.

               Rocklin, meanwhile, takes a flour sack from the table, wipes 
               the dough from his hands and picks up the letter. He goes 
               over to the fireplace, opening the letter the while, and 
               sits on the bench. Dave, seeing this, edges discreetly around 
               in back of Rocklin in order to see over his shoulder.

               The letter open, Rocklin takes out a roll of bills along 
               with the folded message. He lays the envelope on the bench.

                                     DAVE
                         Mmmm -- dineroo.

               Rocklin places the money in his shirt pocket for the moment, 
               and opens the folded message.

               LETTER. It begins with the usual Dear Mr. Rocklin.

               Rocklin's voice is heard over the insert as he reads from 
               here.

                                     ROCKLIN'S VOICE
                              (reading)
                         Forgive me if this letter is a trifle 
                         incoherent, but I am terribly worried 
                         and unhappy.

               BACK TO SCENE.

                                     DAVE
                         Who wouldn't be -- livin' with that 
                         ole screech owl.

                                     ROCKLIN
                              (continues to read)
                         I am desperately in need of help and 
                         advice from someone whom I feel I 
                         can trust, and I am appealing to 
                         you, because I regard you in the 
                         same way my Uncle surely must have. 
                         I heartily dislike and distrust Judge 
                         Garvey --

                                     DAVE
                              (interrupting)
                         Huh -- Smart girl --

                                     ROCKLIN
                              (going on)
                         But my Aunt seems to have suddenly 
                         revised her opinion of him, and now 
                         wants me to place all my affairs in 
                         the Judge's hands and return east. 
                         Such is certainly not my wish.

                                     DAVE
                              (significantly)
                         Looks kinda like she's formed an 
                         attachment.

               Rocklin glares up to Dave.

                                     DAVE
                              (quickly)
                         For the locality, I mean.

                                     ROCKLIN
                              (continues reading)
                         I wanted so much to give ranch life 
                         a trial, but fear circumstances are 
                         against me, especially in view of 
                         the recent Indian trouble --

                                     DAVE
                              (explosively)
                         Indian trouble --
                              (in normal tone)
                         Good Lord, they ain't been any Indian 
                         trouble around here in --

                                     ROCKLIN
                              (caustically)
                         You want to hear the rest of this?

                                     DAVE
                              (getting the inference)
                         Might's well -- come this far.

                                     ROCKLIN
                              (reading)
                         I want to apologize for what took 
                         place this afternoon. And I am 
                         returning the 150, because I feel it 
                         is rightfully yours. You must take 
                         it. Faithfully yours, Clara Caldwell.

               The letter finished, Rocklin regards it a moment, then slowly 
               returns it to the envelope as he gazes thoughtfully into the 
               fire.

               Dave meantime straightens up -- scratches his shaggy top, 
               and turns his attention once more to his drying clothes.

                                     DAVE
                              (feeling his socks)
                         Well -- what do you make of it?

               Rocklin continues looking into the fire as he lays the letter 
               back on the bench and takes out tobacco to roll a cigarette.

                                     ROCKLIN
                         Somebody's sure bustin' to get her 
                         out of there.

               Dave sits alongside Rocklin and begins putting on his socks.

                                     DAVE
                         Indian trouble --

                                     ROCKLIN
                              (after a pause)
                         Wonder why the old lady's playin' 
                         along?

                                     DAVE
                              (sourly)
                         Baaa -- Wimmen -- Who can ever figure 
                         'em?
                              (pause)
                         Got to admit though, I feel a mite 
                         sorry for the young'un -- nice little 
                         tyke.

                                     ROCKLIN
                         Too nice for this country.

                                     DAVE
                              (after a slight pause)
                         She's shore a pretty thing.

               Rocklin has been mulling things over.

                                     ROCKLIN
                         Don't know how I could help her -- 
                         even if I wanted to -- I don't know 
                         any thing about this Garvey -- or 
                         Caldwell -- or --

                                     DAVE
                         Well, now -- I could mebbe help you 
                         out some, there -- Fact, I could 
                         tell you somethin' 'bout ole Red 
                         that might be interestin'.

                                     ROCKLIN
                         You must have known him pretty well -- 
                         What kind of a man was he?

               Rocklin goes to the table and resumes molding biscuits.

               Dave has his boots on and is putting on his outer shirt.

                                     DAVE
                         Caldwell? -- The best -- cantankerous 
                         cuss -- but a real cowman, believe 
                         me -- He was a big feller, like 
                         yourself -- Fact, you coulda passed 
                         fer a blood relation, come to think 
                         of it.

                                     ROCKLIN
                              (casually, as he busies 
                              himself with the 
                              biscuits)
                         Was the Judge and Red friends?

                                     DAVE
                              (anigmatically)
                         That's what you'd say. Garvey managed 
                         all Red's business. Besides which 
                         they was regular drinkin' pals -- 
                         played poker together most nights -- 
                         tho' they do say Red got the worst 
                         of it.

                                     ROCKLIN
                         Red was a gambler, eh?

                                     DAVE
                         Oh, yeah -- reckon a pretty poor 
                         one, tho' -- still you'd say him and 
                         Garvey was friends.

                                     ROCKLIN
                              (after a side glance 
                              to Dave)
                         Anything ever happen to make you 
                         think they weren't?

                                     DAVE
                              (moves close to Rocklin)
                         Rock -- I'm gonna tell you somethin' 
                         I ain't never told anybody.

                                     ROCKLIN
                              (with a slight smile)
                         Think you can trust me?

               Dave grimaces his confidence.

                                     DAVE
                         The last time I seen Red was the day 
                         he died --

               In the pause Rocklin remains silent.

                                     DAVE
                         -- 'Twas in town -- he jus' come out 
                         of the stage office. Tried to book 
                         passage to Garden City but couldn't 
                         on account I had a full load. -- 
                         Well, sir, he took me aside and give 
                         me a printed sheet of paper and says, 
                         "Read it." I looked it over and fer 
                         as I could see it was a paper from 
                         one of them Chicago sportin' firms, 
                         tellin' how to manipulate trick 
                         playin' cards.

                                     ROCKLIN
                         Marked cards.

                                     DAVE
                              (nods)
                         Reckon so. -- Seems Red found some 
                         cards and this paper in a coat one 
                         of his friends loaned him one night.

                                     ROCKLIN
                         Whose was it?

                                     DAVE
                         Well, now that's just what I asked -- 
                         but all he said, was that it belonged 
                         to a good friend. Then he said he 
                         wasn't waitin' fer the next coach, 
                         but was ridin' over to see the 
                         district judge about it alone.

                                     ROCKLIN
                         That's when they got him.

                                     DAVE
                         Yes, sir -- 'bout a mile or so from 
                         Stan's place. A bullet in the back 
                         an' his pockets empty.

                                     ROCKLIN
                         How come you never told this before?

                                     DAVE
                         Who was there to tell? -- Sheriff 
                         Jackson? -- Him an' Garvey's thick 
                         as thieves.

                                     ROCKLIN
                         How about what's his name -- Harolday? -- 
                         He's no friend of the Judge's, is 
                         he?

                                     DAVE
                         Hates his guts -- sure riles him to 
                         see young Clint hangin' onto the 
                         Judge's coattails. All the same, I 
                         jus' decided to keep my mouth shut 
                         and my eyes open.

                                     ROCKLIN
                              (after a pause)
                         Even if it was Garvey Red was talkin' 
                         about -- it don't follow that he 
                         killed him.

                                     DAVE
                         No -- general opinion is that it was 
                         rustlers.

                                     ROCKLIN
                         Why would rustlers take the evidence 
                         Caldwell had with him?

               Rocklin moves away to a large earthen jug holding water as 
               Dave talks.

                                     DAVE
                         Looks to me if you get the man who 
                         owned the marked cards, you get the 
                         killer.

                                     ROCKLIN
                              (drinking)
                         Funny tho' -- first the K.C. foreman -- 
                         then Caldwell -- an' now these women.

                                     DAVE
                         Lordy -- you ain't thinkin' somebody 
                         might try bumpin' them?

                                     ROCKLIN
                              (slowly, to himself)
                         I'm not so sure somebody hasn't tried 
                         already --
                              (to Dave)
                         Remember, when we stopped to change 
                         horses on the way Over from Garden 
                         City --

                                     DAVE
                         Shore -- you told me how Jackson and 
                         Clews tried to frame Stan.

                                     ROCKLIN
                              (nods)
                         Yeah. Like they wanted to be sure 
                         he'd keep his mouth shut about 
                         something.

               Dave sits down on a box sitting against the wall, directly 
               under the large earthen jug of water.

                                     DAVE
                         And layin' that gun across my skull -- 
                         an' offerin' to drive the coach 
                         themselves.

               A SECTION OF THE CLEARING - MOONLIGHT

               A dark, mysterious figure on a horse raises his rifle --

               INT. OF CABIN - NIGHT

               SHOT.

                                     ROCKLIN
                              (nods)
                         It was almost as if --

               A shot splinters the windowpane and shatters the earthen jug 
               on the shelf directly above Dave's head. The contents pour 
               down on Dave and he topples over. Rocklin meanwhile has wiped 
               the lantern off the table and ducked. They are both on the 
               floor in the faint glow coming from the fireplace.

                                     ROCKLIN
                              (going to Dave)
                         You all right?

                                     DAVE
                              (blustering)
                         Will be if I ever get dry.

               Rocklin takes off his hat and puts his finger through two 
               holes drilled by the bullet.

                                     ROCKLIN
                         Lookit that --

                                     DAVE
                         Good Lord --

               Rocklin puts the hat aside -- crawls over to his gun belt -- 
               straps it on.

                                     ROCKLIN
                         Come on --

               He opens the door cautiously. Then sneaks out, followed by 
               Dave.

               EXT. OF CABIN - MOONLIGHT - AFTER THE STORM

               Rocklin and Dave stand close to the cabin, just clear of the 
               door, tensely scanning the surrounding darkness.

               Water can be heard dripping from the cabin roof, and an owl 
               hoots in a near-by tree.

               The sound of neighing horses comes from the direction of the 
               corral. Both men re-act.

                                     DAVE
                         My team.

               Almost immediately the neighing is repeated, but this time 
               from another direction entirely -- and from a distance.

                                     ROCKLIN
                         That's not your team.

               He moves to the corner of the cabin, followed by Dave.

               HORSE IS STOMPING NERVOUSLY

               and now it starts away, galloping through the deep grass at 
               the edge of the clearing. Only the lower part of the animal 
               is seen, along with the legs of the rider.

               ROCKLIN AND DAVE HEAR THE SOUND OF RETREATING HOOF BEATS

               And they can barely make out their quarry riding hell-bent 
               toward the deep blackness of the trees.

               Rocklin fires and runs out into the moonlight in the clearing -- 
               Dave close behind.

               Rocklin halts -- fires again -- and again. Dave fires.

               The mysterious rider is now swallowed by the night.

               Dave starts after him again. Looking back, he sees Rocklin 
               has not moved.

                                     DAVE
                         Come on --

                                     ROCKLIN
                         No use -- he's gone.

                                     DAVE
                         Mebbe we winged him.

               He starts through the wet grass alone. Rocklin turns back 
               toward the cabin.

               DAVE - PLOUGHING THROUGH THE GRASS

               He has reached the edge of the clearing where a slight 
               embankment leads to the level of the trees. He is just 
               starting up to higher ground when his eyes catch something 
               on the embankment, shining in the moonlight. It proves to be 
               a tobacco pouch bearing a steer's head of hammered sliver. 
               It is dry, so has evidently just been dropped. Dave pockets 
               it, and proceeds warily along the mystery rider's trail.

               ROCLKLIN - WHO HAS JUST ABOUT REACHED THE CABIN

               He looks back in Dave's direction, and then looking toward 
               the cabin, suddenly stops and tenses.

               THE CABIN DOOR IS PARTLY OPEN

               and through it Rocklin can plainly see an indistinct form 
               moving in the faint glow of the dying fire.

               ROCKLIN DRAWS HIS GUN AND MOVES STEALTHILY TOWARDS THE CABIN 
               DOOR

               INT. OF CABIN - NIGHT

               Rocklin has reached the entrance unheard, and silently watches 
               the strange figure, its back to him, now headed for the 
               fireplace with his saddlebag, taken from the bunk. He sees 
               the intruder start emptying his saddlebag on the bench in 
               the light of the fire. He sees him suddenly stop and pick up 
               something hidden from his view.

               At that instant, Rocklin slams the door shut.

               The intruder whirls around.

               It is Arly -- tense -- and now defiant.

               The two regard each other like vicious animals in the same 
               cage. Arly's heart is pounding, but you would never know it.

               And now Rocklin, his gun away, starts closing in, slowly -- 
               but Arly holds her ground -- her eyes never leaving his.

               When Rocklin reaches Arly, he takes her one hand from behind 
               her back, and slowly forcing it up sees what is obviously 
               Clara's letter in her tightly clenched fist. He tries to 
               open her hand, and Arly, knowing she lacks the strength to 
               prevent it, suddenly whips out a knife with her free hand. 
               But that quick, Rocklin grabs the knife hand, and without 
               any apparent effort, wrenches it free of her grasp and tosses 
               it across the room, where it lands on the bunk. Arly relaxes 
               her grip on the letter meanwhile, and Rocklin gets it, and 
               tears it very deliberately, letting the pieces fall at her 
               feet.

               He turns his back on her now, going over to his hat on the 
               floor.

               Arly is furious in her helplessness and humiliation. And 
               Rocklin's smug manner isn't helping any. He picks up his hat 
               and, glancing at Arly, puts his finger once more through the 
               bullet holes.

                                     ROCKLIN
                              (smiling wryly)
                         Not bad shootin'.

                                     ARLY
                              (right back at him)
                         You think I did that?

                                     ROCKLIN
                         Sure -- to draw us away from here.
                              (looks at his hat)
                         You know, you cut it mighty close -- 
                         Good thing I ain't got brains enough 
                         to fill it.

               Rocklin puts his hat on. He sees Arly looking down at the 
               torn letter.

                                     ROCKLIN
                              (suppressing smile)
                         Too bad you had to come 'way up here 
                         through that storm for nothin'.

                                     ARLY
                              (affectedly)
                         I haven't minded a bit --
                              (harshly)
                         -- because I came up to fire you.

                                     ROCKLIN
                         Oh --
                              (nods)
                         I see.

               Rocklin goes toward the bunk with his saddlebag.

                                     ARLY
                         Get out of here -- get off the Santee 
                         and don't ever come back.

                                     ROCKLIN
                         Mind if I wait for Dave? He ought to 
                         be along any minute -- Be funny if 
                         he winged that shadow of yours.

                                     ARLY
                         If you mean Juan -- you're loco. 
                         He's not even up here.

                                     ROCKLIN
                              (mildly surprised)
                         You came up alone?

                                     ARLY
                         Yes.

                                     ROCKLIN
                              (half believing her)
                         Then who was that we took out after?

                                     ARLY
                         The man who shot at you.

               Rocklin sits on the bunk and casually picks up Arly's knife.

                                     ROCKLIN
                         Who was he?

                                     ARLY
                         I don't know.

                                     ROCKLIN
                         You mean you won't tell.

                                     ARLY
                         I mean I don't know -- Why should I 
                         lie to you?

               That last from Arly brings a kind of smile to Rocklin's face -- 
               a smile that says in effect -- "Are you kidding?" He gets up 
               from the bunk to go to the door, and finding himself still 
               holding Arly's knife, throws it back to her in a seemingly 
               casual manner. It passes too close to Arly for comfort and, 
               Rocklin just opening the door, gets the knife right back -- 
               that close to his ear he feels the breeze. He looks at it, 
               quivering in the door. Then, moving to Arly in what could be 
               construed as a threatening manner, he takes her in his arms 
               and kisses her. Arly is caught completely unaware. Rocklin's 
               action disarms her. But it is, after all, what she really 
               wants, so before the kiss ends, Arly's arms slowly entwine 
               themselves around Rocklin's neck. In the middle of the kiss 
               Rocklin gently but forcefully takes her arms from around his 
               neck and puts her from him.

                                     ROCKLIN
                         I guess you forgot -- you jes' fired 
                         me.

               He goes to the bunk -- picks up his saddlebag, coat, etc., 
               and starts for the door.

               Arly has been silently watching.

                                     ROCKLIN
                              (turning near the 
                              open door)
                         So long.

               Dave's voice is heard just outside the cabin door.

                                     DAVE'S VOICE
                         Hey, Rock --

               Dave now rushes through the door, puffing and excited.

                                     DAVE
                         -- He got away -- but guess what, I --

               He sees Arly and pulls up abruptly.

                                     ROCKLIN
                              (slowly to Dave)
                         You guess --

               Rocklin gives Arly a disparaging side glance and starts out.

                                     ROCKLIN
                              (to Dave, who is trying 
                              to figure things out)
                         Come on.

               EXT. OF CABIN - NIGHT

               Rocklin is headed for the corral as Dave catches up to him.

                                     DAVE
                              (glancing back to the 
                              cabin)
                         Fer a man who's got a despise fer 
                         wimmin, you sure do get all snaggled 
                         up with 'em.

               INT. OF CABIN - NIGHT

               Arly, her back to us, is standing in the open doorway watching 
               the two headed for the corral.

               Her mood is evidenced by the manner in which she suddenly 
               slams shut the door. As she turns and leans against it, we 
               see tears in her eyes, and hear suppressed sobs. Her eyes 
               light on the bits of torn letter, and presently we see her 
               face set itself grimly, and now she walks toward the fireplace 
               and, passing the torn bite of paper, kicks at them viciously.

                                                                   FADE OUT

               FADE IN

               EXT. MAIN STREET - SANTA INEZ - DAY

               LONG SHOT -- of Rocklin as he comes riding into town. As he 
               nears the corner where the stage and Harolday's office is 
               situated, the CAMERA MOVES IN, getting Rocklin and one of 
               the Harolday employees repairing the wooden sidewalk near 
               the hitching rail.

                                     ROCKLIN
                              (as he dismounts)
                         You work for Harolday?

               The man nods.

                                     ROCKLIN
                         Here's one of his horses -- I'll 
                         pick up my saddle later.

               He enters the building.

               INT. HAROLDAY'S OFFICE - DAY

               PANNING SHOT on Harolday as he sits at the desk working on a 
               ledger. The sound of a door opening is heard. Harolday looks 
               up casually as if expecting a customer, then suddenly gapes. 
               CAMERA PANS to include doorway in which stands Rocklin.

                                     ROCKLIN
                         Howdy...

                                     HAROLDAY
                              (frowning)
                         I thought I sent you up to Table-
                         Top.

                                     ROCKLIN
                         That's right.

                                     HAROLDAY
                              (slowly)
                         What happened?

                                     ROCKLIN
                              (taking off his hat)
                         Well, this, for one thing.

               He pokes a finger through the hole in the crown. Harolday's 
               eyes narrow.

                                     HAROLDAY
                              (after a little pause)
                         I told you you'd regret letting that 
                         rat Clews off so easy.

               Rocklin looks at him with a queer expression without replying.

                                     HAROLDAY
                         What's the matter? Don't you think 
                         it was him, then?

                                     ROCKLIN
                              (slowly)
                         I been figgerin'. Don't seem 
                         reasonable Clews was in condition to 
                         take that sort of chance alone... 
                         Besides -- how could he have known I 
                         was up there -- that soon. And -- 
                         George Clews ain't the only one I've 
                         run contrariwise to in this town. 
                         There's that Mexican, for instance.

                                     HAROLDAY
                         Juan?

                                     ROCKLIN
                         He as good as told me yesterday that 
                         him and me was due for a run-in one 
                         of those days.
                              (suddenly nodding 
                              toward window)
                         And then there's him!

               Harolday looks sharply toward the window.

               EXT. MAIN STREET - SANTA INEZ - DAY

               MED. SHOT from office window. Clint is hurrying across from 
               the direction of the Sun-Up Saloon toward the office.

               INT. OUTER STAGECOACH OFFICE - DAY

               PANNING SHOT on Clint as he enters from street and crosses 
               to the door of Harolday's office.

               INT. HAROLDAY'S OFFICE - DAY

               MED. SHOT on door of inner office with Harolday at desk in 
               f.g. As the door opens it conceals Rocklin from Clint.

                                     CLINT
                              (excitedly)
                         I just heard that -- that Rocklin 
                         was --
                              (sees Rocklin)

                                     ROCKLIN
                              (slowly)
                         Was what?

                                     CLINT
                              (subdued)
                         Was shot at last night.

                                     HAROLDAY
                              (very calm)
                         Mr. Rocklin was just telling me all 
                         about it.
                              (significantly)
                         Any idea who might have done it?

               Clint looks quickly at Harolday and back at Rocklin with 
               frightened eyes.

                                     CLINT
                         Not me.

               Rocklin makes no reply.

                                     CLINT
                         You ain't trying to pin it on me?
                              (his courage returning)
                         'Cause if you are, you're in for a 
                         big disappointment. I was over at 
                         the Sun-Up playing poker with the 
                         Judge and the rest of the boys till 
                         early morning. If you don't believe 
                         me, ask for yourself.

                                     ROCKLIN
                              (after a pause)
                         All right. I believe you. But that 
                         don't mean you couldn't tell a thing 
                         or two as would help -- if you wanted.

                                     CLINT
                              (very nervous again)
                         What d'you mean?

                                     HAROLDAY
                              (sharply)
                         Yes. What sort of thing would Clint 
                         here know about, that would help 
                         identify the man who tried to kill 
                         you last night?

                                     ROCKLIN
                         This for one.

               He pulls out the tobacco pouch which Dave found at Table-
               Top.

                                     ROCKLIN
                         Ever seen it before?

               CLOSE SHOT

               Clint as he stares wide-eyed at the pouch.

               MED. SHOT

               group, with Rocklin and Harolday both watching Clint intently.

                                     HAROLDAY
                              (harshly)
                         Well, go on -- speak up. Did you 
                         ever see it before?

                                     CLINT
                              (avoiding Harolday's 
                              eye)
                         No. Course I didn't
                              (suddenly raging at 
                              Rocklin)
                         Quit riding me! I don't know nothin' 
                         about it I tell you. Jest because I 
                         had a run-in with you over a game o' 
                         cards, that don't mean I'd sneak up 
                         on you in the dark and...

               Rocklin's disdainful smile takes the speech out of Clint, 
               who just sort of runs out of words. Rocklin hesitates for a 
               second then moves toward the door.

               CLOSE SHOT

               Harolday and Clint are at window looking past camera toward 
               the street. They see Rocklin carrying his saddle, walking 
               toward the Sun-Up. Shorty Davis hails Rocklin, says something 
               to him and points to the Sun-Up. Rocklin leaves, walking 
               faster.

                                     HAROLDAY
                              (frowning deeply)
                         He means trouble.

               He turns from camera toward the desk.

                                     CLINT
                              (still at window)
                         Aw, what do I care.

                                     HAROLDAY
                              (turning on him with 
                              cold fury)
                         Listen, I never did have much use 
                         for you. You're a poor specimen at 
                         the best; but as a would-be bad man 
                         you're nothing but a laughing stock. 
                         Why, the way you lied about that 
                         pouch just now wouldn't have deceived 
                         a six-year old.

                                     CLINT
                         I...

                                     HAROLDAY
                              (harshly)
                         All right, let it go at that. But I 
                         got myself to think of. It wouldn't 
                         suit me at all just now to have you 
                         shown up in public for what you are 
                         by that trouble-shootin' cowhand. My 
                         advice to you is to get out of the 
                         district and stay out.
                              (taking a key from 
                              his vest pocket)
                         You'll find some money in the safe 
                         at the ranch. Take what you need and 
                         put the key in the desk drawer. Now 
                         get.

               INT. UPPER HALL - SUN-UP SALOON - DAY

               Rocklin comes down the hall carrying his saddle and looking 
               at the room numbers. As he nears the f.g. he locates the 
               room he is looking for (it is a room facing toward the rear 
               of the Sun-Up). He knocks. Almost immediately the door opens 
               and Clara stands there -- flushed and embarrassed.

                                     CLARA
                         Oh, Mr. Rocklin --

               INT. ROCKLIN'S ROOM - SUN-UP SALOON - DAY

               This is the room in which Clara has arranged to meet Rocklin, 
               who later takes it as his own.

               SHOT at door as Rocklin steps into the room.

                                     CLARA
                         I'm so glad I've found you -- I was 
                         on my way to the Santee and learned 
                         you were in town.

                                     ROCKLIN
                              (putting his saddle, 
                              etc., aside)
                         Just got in.

                                     CLARA
                         I feel perfectly awful, running after 
                         you like this, but --

                                     ROCKLIN
                         You got trouble, eh?

                                     CLARA
                         My aunt found out I wrote you and 
                         made a terrible scene --

                                     ROCKLIN
                         You haven't signed everything over 
                         to that Garvey, have you?

                                     CLARA
                         No -- and because I refused, Auntie 
                         said she would sign an affidavit 
                         that I'm still underage, and then, 
                         as my guardian she can do what she 
                         likes.

                                     ROCKLIN
                         Got anything to prove you're not 
                         underage?

                                     CLARA
                              (after a slight pause)
                         No -- but Mr. Garvey has a letter 
                         that would prove it. My aunt wrote 
                         it before we came out here.

                                     ROCKLIN
                         S'pose we could get it?

                                     CLARA
                         He'd never give it to me.

                                     ROCKLIN
                              (starts for door)
                         Wait here.

                                     CLARA
                              (with a slight start 
                              toward Rocklin)
                         Oh, please -- you --
                              (she hesitates, not 
                              quite sure what to 
                              say)
                         You won't go getting yourself in 
                         trouble -- I -- I'd rather give up 
                         everything -- I mean --

               Rocklin notes her confusion. He regards her with a slight 
               sympathetic smile. Then opens the door and exits.

                                                               DISSOLVE OUT

               DISSOLVE IN

               INT. GARVEY'S OFFICE - DAY

               CLOSE SHOT -- a letter written in a bold feminine hand. It 
               reads:

               DEAR MR. GARVEY:

               In answer to your letter of the 25th, kindly be advised that 
               my niece, Clara Caldwell, became of age January 11th of this 
               year. And, although I am no longer her legal guardian, it 
               behooves me, as her nearest kin, to show continued interest 
               in her affairs --

               The CAMERA HOLDS LONG ENOUGH for the letter to be read. And 
               now the letter begins to be consumed in a flame as the CAMERA 
               PULLS BACK showing the burning letter in Judge Garvey's hand. 
               He is standing over the potbellied stove in his office, and 
               Miss Martin is close to him watching the letter burn. Garvey 
               finally lets it fall from his fingers onto the top of the 
               stove. He lifts the lid, lets the remains fall inside, and 
               smiles to Miss Martin.

                                     GARVEY
                         That takes care of that --
                              (crosses to his desk)
                         Now, I'll draw up an affidavit right 
                         away and everything will be taken 
                         care of as we want it.

                                     MISS MARTIN
                              (not too enthusiastic)
                         I certainly hope so -- it's not myself 
                         I'm concerned about --

                                     GARVEY
                              (getting out the papers)
                         -- Of course not.

                                     MISS MARTIN
                         I can't say I'm very happy about 
                         doing this -- I only hope it works 
                         out for the best.

                                     GARVEY
                         It's the better choice of two evils -- 
                         now let's see --
                              (begins to write)
                         I, Elizabeth --
                              (looks at Miss Martin)
                         It is Elizabeth, isn't it?

                                     MISS MARTIN
                         Yes --

                                     GARVEY
                         -- Elizabeth Martin, of Danvers, 
                         Massachusetts, do hereby --

               The door opens and Rocklin enters. Miss Martin, who has been 
               pacing nervously, stops in her tracks. Garvey, taken 
               completely by surprise, feigns an affected casualness. Rocklin 
               eyes them both suspiciously as he slowly closes the door.

                                     GARVEY
                              (leaning back in his 
                              chair)
                         Well, Mr. Rocklin, this is indeed a 
                         surprise. Didn't expect to see you 
                         so soon. I understood you were riding 
                         for the Santee.

                                     ROCKLIN
                              (coldly)
                         That's right.

               It is quite obvious to Garvey that Rocklin is here on 
               business. He turns to Miss Martin.

                                     GARVEY
                              (to Miss Martin)
                         Perhaps you'd better come back later --

               Miss Martin is in accord with that suggestion, and after 
               giving Rocklin the frigid eye, flounces out, slamming the 
               door.

               Garvey shakes his head, wipes his brow, and is returning to 
               his desk.

               INT. HALLWAY OUTSIDE GARVEY'S OFFICE - DAY

               SHOT -- door to Garvey's office. Miss Martin has her ear 
               glued to the panels. Over scene comes Rocklin's voice.

                                     ROCKLIN'S VOICE
                         I came for that letter.

               Miss Martin reacts.

               INT. OF GARVEY'S OFFICE - DAY

               SHOT -- Garvey and Rocklin.

                                     GARVEY
                              (calmly)
                         Did you say letter?

                                     ROCKLIN
                         That's right -- the one Miss 
                         Caldwell's aunt wrote from out east 
                         sayin' she was of age. Remember?

                                     GARVEY
                         No -- I'm afraid I don't.

               INT. HALLWAY OUTSIDE GARVEY'S OFFICE - DAY

               SHOT -- door. Miss Martin reacts with nod of satisfaction 
               and leaves.

               INT. GARVEY'S OFFICE - DAY

               Rocklin goes to the filing cabinet where he opens the drawer 
               marked "C." As he fingers through the papers, Garvey sits 
               back in his chair, watching.

                                     GARVEY
                         What is your interest in this letter?

                                     ROCKLIN
                         My only interest is getting' it.

                                     GARVEY
                         You realize what this is, don't you? -- 
                         Robbing -- armed robbery at that.

               Rocklin pulls open the "M" drawer.

                                     GARVEY
                         I warn you, you're in for a 
                         disappointment.

               Not finding the letter in the "M" drawer, Rocklin goes to 
               the desk and pulls the handle of one of the drawers. It is 
               locked.

                                     ROCKLIN
                         Open up.

                                     GARVEY
                              (has had about enough)
                         Listens, you --
                              (suddenly controls 
                              himself)
                         There's nothing in there that'd 
                         interest you.

                                     ROCKLIN
                              (grimly)
                         I'd like to make up my own mind about 
                         that.

                                     GARVEY
                              (forces a chuckle)
                         All right -- I'll open it -- just to 
                         convince you I'm not hiding any 
                         letter.

               Garvey unlocks the drawer and opens it. It is found to contain 
               nothing but two brand new decks of playing cards.

               The UNOPENED DECKS OF CARDS.

               BACK TO SCENE. Garvey seems a little too anxious to close 
               the drawer, and before he can do so, Rocklin has one hand 
               inside. Garvey, checked for a second, looks up at Rocklin.

                                     GARVEY
                         What's the idea?

               Rocklin slowly withdraws his hand, holding one of the decks.

                                     ROCKLIN
                         These cards --

                                     GARVEY
                              (attempting to bluff 
                              it out)
                         Anything wrong in a man having cards 
                         in his possession?

                                     ROCKLIN
                         Depends on what kind they are -- 
                         'specially when they're under lock 
                         and key.

               The two regard each other silently a moment. Now Rocklin 
               casually slips the deck he holds into his pocket.

                                     GARVEY
                              (too politely)
                         You're taking those, I presume.

                                     ROCKLIN
                         That's right.

               He takes a step away. Garvey turns him by touching his arm.

                                     GARVEY
                              (has had almost enough)
                         Now, you look here --

                                     ROCKLIN
                              (soberly)
                         You're the one who better start 
                         lookin' -- lookin' for a way out for 
                         killin' Red Caldwell.

                                     GARVEY
                              (blanches)
                         Caldwell --

                                     ROCKLIN
                              (takes up one of the 
                              decks of cards)
                         He found out about these -- and you 
                         went and killed him.

                                     GARVEY
                              (with an affected 
                              smile and unnatural 
                              calmness)
                         And you believe a story like that?

                                     ROCKLIN
                         I will until I hear a better one.
                              (puts deck he holds, 
                              in his pocket)
                         I'll just take this along -- the 
                         district judge at Garden City should 
                         be mighty interested.

               He starts around the desk toward the door. From the corner 
               of his eye he catches Garvey reaching for a gun in the middle 
               drawer. Before he can raise it, Rocklin is on him with a 
               blow that sends Garvey reeling back toward the stove.

               Rocklin starts for the door again, and just misses being 
               struck by a chair which Garvey hurls with vicious fury. The 
               chair crashes against a window.

               EXT. STREET IN FRONT OF GARVEY'S OFFICE - DAY

               The sound of breaking glass attracts the attention of passers-
               by, as well as Miss Martin seated in her surrey with Sammy, 
               the K.C. China-boy.

               INT. OF GARVEY'S OFFICE - DAY

               The two are now fighting in earnest.

               VARIOUS FLASHES

               of the fight, intercut with townspeople gathering outside.

               EXT. STREET IN FRONT OF GARVEY'S OFFICE - DAY

               Dave pulls up in his wagon.

               INT. OF GARVEY'S OFFICE - DAY

               It is pretty well wrecked. Rocklin has Garvey just about 
               done in. He gives him one final Sunday punch and Garvey goes 
               down and stays down. At that moment, Dave and Pap Fossler 
               enter followed by other curious natives.

                                     DAVE
                         Say -- looks like you two been 
                         disagreein' 'bout somethin' --
                              (to Fossler, who has 
                              gone over to Garvey)
                         He ain't daid, is he?

                                     PAP FOSSLER
                         Not permanently, I don't reckon. -- 
                         What happened, anyways?

                                     DAVE
                              (to Rocklin)
                         You musta found out somethin'.

                                     PAP FOSSLER
                              (with a wink to Dave)
                         I reckon the Judge did, too.

               They exit, and almost immediately Miss Martin enters, and 
               after gaping in horror at the appearance of the place, sees 
               the Judge, who, having regained consciousness, bestirs himself 
               on the floor.

                                     MISS MARTIN
                         Oh, dear -- dear -- are you hurt?

                                     GARVEY
                              (getting up painfully)
                         Get out of my way --

               Garvey, on his feet now, makes for the door leading to his 
               living quarters at the back of the office. Miss Martin follows 
               him.

                                     MISS MARTIN
                              (haughtily)
                         Now don't you use that tone of voice 
                         to me --
                              (going through doorway)
                         I'll have you understand I --

               She sees the bed and shrieks upon realizing where she is, 
               and backs out quickly, almost catching the door which Garvey 
               slams in her face.

               EXT. MAIN STREET - SANTA INEZ - DAY

               Rocklin and Dave as they walk from Garvey's office. Dave has 
               a time hopping along against Rocklin's strides.

                                     DAVE
                         -- Find out who owns that tobaccy 
                         pouch yet?

                                     ROCKLIN
                              (staring straight 
                              ahead)
                         No -- but get hold of Clint Harolday.

                                     DAVE
                         Clint -- Is he in on it?

                                     ROCKLIN
                         Can't say for sure -- Bring him to 
                         the Sun-Up, and don't take no for an 
                         answer.

               Dave leaves and exits from shot in the direction of the stage 
               office. Rocklin goes off toward the Sun-Up.

               EXT. SUN-UP SALOON - DAY

               PANNING SHOT. Juan is lounging against the corner of the 
               building, soberly watching Rocklin's approach. As Rocklin 
               comes into the scene he spots Juan, and stops a moment as 
               though deciding whether or not to question him. During this, 
               Juan casually takes his ornamental tobacco pouch from his 
               pocket and begins to roll a cigarette.

               The CAMERA PANS Rocklin to the side of the building and up 
               the outer stairs.

               INT. UPPER HALL - SUN-UP SALOON - DAY

               Rocklin comes through the door and down the hall. He reaches 
               his room, and is about to open the door when he hears a 
               familiar voice inside. He listens.

                                     ARLY'S VOICE
                         -- So now you know the truth. And if 
                         you think you can steal him away 
                         from me, you're welcome to try it.

               Rocklin frowns and enters.

               INT. ROCKLIN'S ROOM - SUN-UP SALOON - DAY

               Rocklin steps into the room, holding the door partly open as 
               he focuses his attention on Arly. Clara, who has been sitting 
               in the rocker near the window, gets up and is the first to 
               speak.

                                     CLARA
                              (anxiously)
                         Did you get it?

               Rocklin closes the door.

                                     ROCKLIN
                         No -- but I don't think it's gonna 
                         matter much -- you go on back to the 
                         K.C. and I'll be out in the mornin' 
                         and take you with me to Garden City 
                         to see the district judge.

                                     CLARA
                         But I hate putting you to that 
                         trouble.

                                     ROCKLIN
                         No trouble at all -- I'm going anyway.

                                     ARLY
                              (casually)
                         You look like you've been fighting.

                                     ROCKLIN
                              (soberly)
                         What are you doin' here?

                                     ARLY
                         I was just telling Miss Caldwell 
                         about -- well -- you and me.

                                     ROCKLIN
                              (his eyes narrowing)
                         What about, you an' me?

                                     CLARA
                              (sensing the static 
                              in the atmosphere)
                         I think I'd better be going...

                                     ROCKLIN
                              (turning quickly from 
                              Arly)
                         Just a minute --
                              (glances at Arly)
                         What all has she been tellin' you?

                                     CLARA
                              (embarrassed)
                         Oh -- oh, really I'd rather not --

                                     ARLY
                              (interrupting)
                         Go ahead, tell him --
                              (looks at Rocklin and 
                              goes on defiantly)
                         -- and I dare him to deny it.

                                     ROCKLIN
                         Deny what?

                                     CLARA
                         That she was with you last night at 
                         the cabin in the mountains.

                                     ROCKLIN
                         Well -- why should I deny it?...

                                     ARLY
                              (quickly)
                         And didn't you make love to me?

                                     ROCKLIN
                              (this is getting a 
                              bit thick for him)
                         Make love to you --

                                     ARLY
                              (forcing her point)
                         You didn't kiss me -- I suppose?

                                     ROCKLIN
                         Did you expect me to deny that, too?

                                     ARLY
                              (smiles at Clara)
                         You see?

                                     ROCKLIN
                              (to Clara)
                         Now, maybe you ought to hear what 
                         I've got to say --

               Clara is terribly hurt, but struggles to be grown-up about 
               it.

                                     CLARA
                         Please -- you needn't explain. After 
                         all, it really isn't any of my 
                         business, is it?

                                     ROCKLIN
                              (in the pause he looks 
                              at Arly)
                         You little --

                                     ARLY
                              (quickly)
                         That's it -- start swearin'--
                              (to Clara)
                         Just like a man.

                                     ROCKLIN
                         If there wasn't a lady here, I'd do 
                         more to you than swear.

                                     CLARA
                         I don't know how I can ever thank 
                         you for trying to help me. I do 
                         appreciate it ever so much --
                              (to Arly)
                         Don't think too harshly of me, will 
                         you -- I --

               Clara can say no more without breaking. So she turns away 
               quickly and hurries out the door. Rocklin does a slow burn 
               as he glares at Arly.

                                     ARLY
                              (sincerely -- after a 
                              pause)
                         She's lovely, isn't she? -- So sweet -- 
                         honest, and helpless.

               Rocklin makes no reply.

                                     ARLY
                         Pity you didn't fall in love with 
                         her, instead of me.

               Arly is being ridiculous now. He ignores her remarks and 
               concentrates his attention on one of his hands -- he may 
               have sprained it slightly in the fight.

                                     ROCKLIN
                         You might's well know right now that 
                         you or no woman is ever goin' to get 
                         me.

                                     ARLY
                         Don't be so sure -- I don't think 
                         I'm doin' so badly.

                                     ROCKLIN
                         Don't you?

                                     ARLY
                         Don't you know?

                                     ROCKLIN
                         I know there ain't a dirty trick you 
                         wouldn't play to get what you want.

                                     ARLY
                              (smiling)
                         I always get what I want.

               She takes a folded piece of paper out of her pocket and drops 
               it on the dresser as Rocklin watches her.

                                     ARLY
                         -- See?
                              (opens the door)
                         -- 'Bye now --

               The door closes. Rocklin stands a moment. Now curiosity brings 
               him to the dresser where he takes up the paper and unfolds 
               it.

               CLARA'S LETTER. The torn pieces have all been sorted and 
               pasted together on a sheet of paper

               BACK TO SCENE. Rocklin holds the letter. He is mad. He shakes 
               his head -- What a gal --- Now he is almost smiling -- almost. 
               He folds the letter -- puts it in his pocket. Takes off his 
               gun-belt and hangs it over the rocker near the window, and 
               stretches out on the bed, as we

                                                                   FADE OUT

               FADE IN

               EXT. CALDWELL HOUSE - LATE AFTERNOON

               ON Clara hurrying toward the front door in a suppressed state 
               of excitement. She has presumably just arrived at the ranch 
               in advance of Miss Martin. She enters the house after a glance 
               toward the gate.

               INT. HALL - CALDWELL HOUSE - LATE AFTERNOON

               Clara enters hastily and beats a path to the door of her 
               room.

               INT. CLARA'S ROOM - CALDWELL HOUSE - LATE AFTERNOON

               The door flies open. Clara bursts in, closing the door in 
               the same movement. Her eyes swing to someone o.s. and she 
               freezes to the spot.

               ON

               Miss Martin, standing by the window, cold and threatening. 
               She has not taken the time to remove her hat. After a moment's 
               pause, she moves slowly toward Clara.

               The CAMERA PANS WITH her into a TWO SHOT. Clara, her back 
               pressing harder and harder against the door, becomes more 
               terrified at the other's approach. Miss Martin appraises the 
               girl a short moment and now suddenly slaps her hard across 
               the face. Clara opens her mouth, about to scream, but even 
               stifles this impulse under the cold stare of her aunt.

                                     MISS MARTIN
                              (quietly but viciously)
                         Whatever is to become of you?

               Clara can only stare as one under an hypnotic spell.

                                     MISS MARTIN
                         Have you no sense of pride, or 
                         decency? Throwing yourself at that -- 
                         that wretch, like any shameless hussy.

               Clara hasn't moved.

                                     MISS MARTIN
                         I thought we'd done with him -- but 
                         no -- you have to run to him and 
                         tell him all our business --

               Clara merely gasps for a breath of air, but Miss Martin, 
               thinking her about to speak, goes on, more forcefully now.

                                     MISS MARTIN
                         Don't you dare deny it -- you know 
                         very well you told him about that 
                         letter I wrote Mr. Garvey.

               Clara remains silent.

                                     MISS MARTIN
                         Didn't you? --

               Clara, now utterly broken, moves away. Miss Martin, her eyes 
               still rivited on the girl, follows.

                                     MISS MARTIN
                         Didn't you?

                                                                   DISSOLVE

               INT. GARVEY'S OFFICE - LATE AFTERNOON

               The office has been more or less cleaned up since the fight. 
               Garvey is discovered near the window. He has cleaned himself 
               up but bears some evidence of the fight. He is reading a 
               letter as Sammy, the K.C. China-boy, stands waiting near the 
               door.

               LETTER. The message is written in the same bold hand of Miss 
               Martin already seen in the previous letter:

               Mr. Garvey,

               I have just learned that despicable Rocklin person intends 
               to take Clara to Garden City in the morning -- evidently to 
               have you investigated. I thought you had better know about 
               it.

               E.M.

               BACK TO SCENE. Garvey puts the message in his pocket as he 
               addresses Sammy.

                                     GARVEY
                         Tell Miss Martin that I'll take care 
                         of everything.

                                     SAMMY
                         -- You take clare of evelything.

                                                               DISSOLVE OUT

               DISSOLVE IN

               INT. ROCKLIN'S ROOM - NIGHT

               On Rocklin, stretched across the bed, examining the cards in 
               the light of a lamp.

               EXT. REAR OF SUN-UP SALOON - NIGHT

               Garvey comes from around the building's corner and peers 
               furtively through the darkness toward the lighted windows of 
               Rocklin's room.

               EXT. MAIN STREET - SANTA INEZ - NIGHT

               The area in front of the Sun-Up. Dave's wagon pulls up to 
               the hitching rail in front of the saloon. Clint, stripped of 
               his gun, is driving with Dave, alertly watching him. They 
               get down from the wagon and Dave prods Clint toward the corner 
               of the building.

               EXT. SIDE OF SUN-UP SALOON - NIGHT

               Garvey has left the spot where we saw him look up to Rocklin's 
               window. We now see him as he rounds a rear corner of the 
               building and goes toward the outer stairs leading to the Sun-
               Up's second floor. He starts up the steps and stops almost 
               immediately and stares o.s.

               ANGEL

               From Garvey's ANGLE as he sees Dave bringing Clint from around 
               in front of the building toward the stairway.

               CAMERA HOLDS

               Garvey steps quickly to the ground and takes up a position 
               around the roar corner. He watches the two men approach the 
               stairway and go up. He moves out of the shot now, going toward 
               the street. The CAMERA HOLDS on the corner, and we see Tala 
               come into view, as though from nowhere, and take the exact 
               position at the building's corner vacated by Garvey only a 
               moment before. It is apparent that he is watching Garvey, 
               and after a momentary pause he too moves stealthily out of 
               the scene.

               INT. ROCKLIN'S ROOM - SUN-UP SALOON - NIGHT

               PANNING SHOT on Rocklin asleep. He is fully dressed, as we 
               last saw him, with the exception of his boots. He is stretched 
               full length on top of the covers. His gun-belt still hangs 
               over the rocker, close to the open window. A knock on the 
               door brings him to a sitting position.

                                     ROCKLIN
                         Come in --

               CAMERA PANS TO door as Clint enters reluctantly, followed by 
               the triumphant Dave.

                                     DAVE
                         Here he is, Rock. Caught him jist in 
                         time near the Santee. Headed fer 
                         out, I'd say.

                                     ROCKLIN
                         Sit down, Clint.
                              (to Dave, as he reaches 
                              into his pocket)
                         How about goin' down below an' havin' 
                         one on me?

               He tosses Dave a coin, who catches it. Then Rocklin puts on 
               his boots.

                                     DAVE
                              (delighted)
                         Well, now -- that's right thoughtful -- 
                         Holler if you need me.

               Dave exits.

                                     CLINT
                              (belligerently, as he 
                              stands near the window)
                         What's this all about?

                                     ROCKLIN
                              (calmly, as he stands 
                              up)
                         It ain't gonna do you any good to 
                         get all het up and tough, kid --

               Rocklin begins rolling a cigarette as he moves toward Clint.

                                     ROCKLIN
                         I just want to ask you a few questions -- 
                         that's all.

               EXT. SIDE OF SUN-UP SALOON - NIGHT

               An unidentifiable form is seen moving through the darkness 
               toward the outer stairway. As it nears the stairway, the 
               CAMERA MOVES IN so that as the mysterious figure begins 
               stealthily up the stairs, we see only the feet through the 
               rungs.

               The CAMERA THEN PANS QUICKLY AND ZOOMS INTO A CLOSE SHOT of 
               Juan, across the alley. And now through Juan's eyes we watch 
               the ascent of the mysterious intruder: The Mexican's line of 
               vision gradually raises, then the eyes slowly move across 
               the camera as the dark figure proceeds along to the rear 
               portion of the verandah.

               INT. ROCKLIN'S ROOM - SUN-UP SALOON - NIGHT

               Rocklin finishes rolling his cigarette and lights it.

                                     CLINT
                         I told you once, I don't know who 
                         owns that pouch-- and I don't know 
                         who shot you.

                                     ROCKLIN
                              (calmly)
                         Forget it -- that's not what I want 
                         to talk to you about, anyway.

                                     CLINT
                              (harshly)
                         Well, what do you want to talk about? 
                         Come on, get it over with.

               EXT. VERANDAH - REAR OF SUN-UP SALOON - NIGHT

               The mysterious form has moved past the darkened windows along 
               the verandah and is nearing Rocklin's lighted room -- stops 
               close to the open window.

               INT. ROCKLIN'S ROOM - SUN-UP SALOON - NIGHT

               SHOT -- Rocklin and Clint.

                                     ROCKLIN
                         Clint -- I want you to tell me why 
                         Garvey murdered Red Caldwell --

               Clint tenses -- stares -- finds breathing difficult.

                                     ROCKLIN
                         You know -- don't you?

                                     CLINT
                              (shaking)
                         Me? No!

                                     ROCKLIN
                         Oh yes you do.
                              (advancing on him)
                         And you're going to tell me all about 
                         it.

                                     CLINT
                         I don't know nothing, I tell you -- 
                         I --

               Rocklin slaps Clint's face open-handed, throwing him off 
               balance, then grabs him by the shirt front.

                                     ROCKLIN
                         Talk!

                                     CLINT
                         I tell ya, I...

                                     ROCKLIN
                              (hitting him again)
                         Talk!

               Completely terrified, Clint opens his mouth as if about to 
               speak. Suddenly he sees something out of the shot over 
               Rocklin's shoulder and his expression changes. Rocklin looks 
               quickly in the same direction.

               MED. SHOT

               window. A gloved hand has come out of the dark and is reaching 
               through the window for Rocklin's gun in the belt which is 
               hanging over the chair.

               CLOSE SHOT

               Clint and Rocklin. The latter is still looking toward the 
               window. With a swift movement Clint picks up the water jug 
               from the washstand and brings it down on Rocklin's head. As 
               Rocklin falls out of shot, Clint turns to the window with a 
               triumphant smile. Suddenly his expression changes.

                                     CLINT
                              (in a hoarse scream)
                         No! No, don't!

               There is a shot from o.s. and Clint's hands go to his stomach. 
               With a gasp of pain he doubles up and collapses on the floor.

               SHOT

               window. The hand of the killer pitches the gun toward Rocklin 
               and disappears.

               INT. BAR - SUN-UP SALOON - NIGHT

               Lined up at the bar are Dave, Pap Fossler, Shorty Davis and 
               a few others. Cap is in his usual place. At the poker table 
               are Doc Riding, Sam Haynes, Ab Jenkins and one or two others.

               The shot has evidently been heard, for everything seems to 
               have stopped, and Dave and Pap Fussier are looking up toward 
               the ceiling, as are others. Now Dave snaps back to life -- 
               gulps down his drink, and hurries toward the stairs. As he 
               starts up, the others move slowly in the same direction.

               INT. ROCKLIN'S ROOM - SUN-UP SALOON - NIGHT

               Rocklin is on the floor, groggy. He shakes his head, and as 
               his senses return, he picks up the gun and just gets to his 
               feet as Dave rushes in.

               Dave sees Clint's body on the floor -- notices the gun in 
               Rocklin's hand. He opens his mouth to speak but nothing comes 
               out. All he can do is stare and grimace. The sound of hurrying 
               feet comes from the hall, and presently the mob closes in, 
               crowding the room and the hall.

               Pap Fossler, who has been one of the first to enter, kneels 
               over Clint.

               During this, there are general ad libs from the crowd.

                                     AD LIBS
                         What happened? Who is it? Clint 
                         Harolday -- Etc.

                                     PAP FOSSLER
                         Where's Doc Riding?

                                     AD LIBS
                         Get the Doc. Hey, Doc -- He was down 
                         below. Here he is.

               Doc's voice is heard from the hall as he makes his way through 
               the jam.

                                     DOC RIDING'S VOICE
                         Here I am --

                                     AD LIBS
                         Look out, men -- Let the Doc through. 
                         Etc.

               Doc riding comes through the crowd, kneels beside Pap Fossler. 
               He needs only a glance to know he can be of no use.

                                     DOC RIDING
                              (breaking the silence)
                         Somebody better fetch Harolday.

                                     CAP
                         Shorty's already gone for him.

                                     PAP FOSSLER
                              (getting up)
                         Better get Arly, too.

               A voice is heard from the hall.

                                     VOICE
                         She was at the hotel a while ago.

                                     PAP FOSSLER
                              (looking down at Clint 
                              and shaking his head)
                         He was only a kid.

               CLOSE SHOT

               Rocklin, still holding his gun as he stares down at Clint's 
               body o.s. Now he studies the faces of the mob.

               PANNING SHOT

               of the crowd. There is nothing but a sea of hostile faces.

                                     JACKSON'S VOICE
                         What's goin' on here -- gang way --

               The crowd parts to admit Jackson, who comes stalking in 
               followed by Judge Garvey.

                                     JACKSON
                         What's the trouble here --

               He stops abruptly as he sees Clint's body. Now he levels his 
               eyes on Rocklin.

                                     JACKSON
                              (with a bitter smile)
                         I warned you, didn't I? -- Well, I 
                         guess this is the last trouble you'll 
                         ever make in this town.
                              (extending his hand)
                         Hand over that gun.

                                     ROCKLIN
                         Just a minute, now --

               He steps back so no one is behind him. And there is something 
               about his manner and tone that urges Jackson to use 
               discretion.

                                     ROCKLIN
                              (to the crowd, 
                              generally)
                         I know it looks bad -- but I didn't 
                         kill the kid.

               The crowd stares in skeptical silence. Even Dave thinks 
               Rocklin is lying, and now does his best to protect his friend.

                                     DAVE
                         I believe you.
                              (to the others)
                         His gun was layin' over there on the 
                         floor when I come in and --

                                     ROCKLIN
                              (cutting in)
                         No it wasn't -- It was right in my 
                         hand -- like it is now.

               Dave winces.

                                     JACKSON
                         If you didn't know him -- then who 
                         did?

                                     ROCKLIN
                         I don't know --
                              (looks at garvey)
                         But I'm going to find out.

               INT. UPPER HALL - SUN-UP SALOON - NIGHT

               Harolday, followed by Shorty Davis, is making his way down 
               the hall from the inner stair landing. As he nears the crowd 
               gathered at Rocklin's door, Juan comes into view down the 
               hall, having just entered through the door leading out onto 
               the verandah.

                                     HAROLDAY
                              (as he nears Rocklin's 
                              door)
                         Where is he? -- Where's my boy?

               INT. ROCKLIN'S ROOM - SUN-UP SALOON - NIGHT

               Harolday enters, over the ad libs of the mob, followed by 
               Shorty Davis. During the following action, Juan enters and 
               stands near the door, silently taking in everything.

               CLOSE SHOT

               Harolday, as he sees Clint's body and stops dead in horror. 
               He turns to Rocklin.

                                     HAROLDAY
                              (with cold violence)
                         You murderer.

                                     ROCKLIN
                         I didn't do it, Mr. Harolday.

                                     HAROLDAY
                              (quickly)
                         Then who did?

                                     VOICE
                              (from crowd)
                         He had a gun in his hand when we 
                         come in.

                                     GARVEY
                              (smoothly)
                         And I'll bet it's the same one the 
                         bullet that killed Clint came out 
                         of.

               Rocklin gives Garvey a hard, slow look.

                                     HAROLDAY
                         Well, what do you say to that?

                                     ROCKLIN
                         He's right.

                                     GARVEY
                         You admit it.

                                     ROCKLIN
                         Yeah -- but that still don't say I 
                         killed him.

                                     AD LIBS
                         Aw, take him away -- Liar -- Lock 
                         him up, Sheriff -- The yellow-bellied -- 
                         Etc.

               ON ARLY AS SHE PUSHES HER WAY THROUGH THE CROWD

               She stares down at Clint. An expression of pity comes over 
               her. Now she looks coldly at Rocklin.

                                     ARLY
                              (softly)
                         Why did you do it?

               MED. SHOT

               with Rocklin in f.g.

                                     ROCKLIN
                         I didn't.

                                     GARVEY
                         He admits it was his gun that shot 
                         him.

                                     ARLY
                              (whose eyes haven't 
                              left Rocklin's)
                         But you didn't fire it.

                                     ROCKLIN
                         That's right.

                                     ARLY
                         What happened?

                                     ROCKLIN
                              (slowly)
                         Clint and me was having a bit of an 
                         argument.

                                     ARLY
                              (quickly)
                         What about?

                                     ROCKLIN
                              (searching for words)
                         About whether he was going to help 
                         clear up a few things that's been 
                         bothering me and some others 'round 
                         these parts.
                              (looking at Garvey)
                         For instance -- who it was shot Red 
                         Caldwell.

                                     JACKSON
                         Caldwell!

                                     ROCKLIN
                              (still at Garvey)
                         And the K.C. foreman. And who took 
                         that shot at me up at Table-Top last 
                         night. And why certain people are so 
                         anxious to get rid of the Caldwell 
                         girl.

                                     PAP FOSSLER
                         How would Clint know about all that?

                                     HAROLDAY
                              (harshly)
                         He's lying. He's trying to cover up 
                         for killing my boy.

                                     JACKSON
                              (encouraged by the 
                              support)
                         Quit stalling, Rocklin.

               He makes a tentative movement toward Rocklin but Arly 
               intervenes.

                                     ARLY
                         Wait a minute -- he's get a right to 
                         be heard.
                              (to Rocklin)
                         Well, we're listenin'.

                                     ROCKLIN
                         Well -- Clint was getting' all set 
                         to talk, when -- somebody snuck up 
                         along the verandah there and pulled 
                         the gun out o' my belt...
                              (indicating the belt 
                              on chair)
                         ... and let him have it.

               There is a moment's amazed silence. Then the crowd breaks 
               into derisive comment.

                                     AD LIBS
                         What a story! What an alibi! String 
                         him up, the heel! Etc.

                                     JACKSON
                              (grinning)
                         You'll have to think up something 
                         better than that Rocklin.

               MED. SHOT

               with Garvey in f.g.

                                     GARVEY
                              (smoothly)
                         Don't be a fool, Rocklin. You know 
                         you can't get away with a yarn like 
                         that. Why don't you save yourself 
                         and everyone else a lot of trouble 
                         by surrendering to the Sheriff? After 
                         all, it isn't such a crime in these 
                         parts to kill a man in self-defense.

                                     ROCKLIN
                         Self-defense?

                                     GARVEY
                         Everyone knows what Clint was like. 
                         He probably lost his head and pulled 
                         a gun on you, like he did at the Sun-
                         Up that night. Wasn't that it?

                                     ROCKLIN
                              (grimly; after a little 
                              pause)
                         No, that wasn't it. And till I do 
                         what I got to do, I ain't surrenderin' 
                         to anybody -- least of all to your 
                         pal here.
                              (indicates sheriff)
                         If I got to be shot for knowing too 
                         much, it ain't going to be in the 
                         back, in a framed-up jail-break.

               CLOSE SHOT

               Arly, who has been staring at Rocklin in frowning 
               bewilderment.

                                     ARLY
                         But if someone's trying to kill you, 
                         why didn't they do it just now? Why 
                         did they have to kill Clint?

               CLOSE SHOT

               Rocklin.

                                     ROCKLIN
                         Guess they wanted to get Clint, too. 
                         Doin' it this way they get us both. 
                         Clint first -- an' me afterwards -- 
                         like I jus' said.

               MED. SHOT

               with Garvey in f.g. Close beside him are Pap and Dave, who 
               watches Garvey closely.

                                     PAP FOSSLER
                         Quit fancy talk. Who's "they?"

                                     ROCKLIN
                         I might be able to tell you that 
                         later.

                                     JACKSON
                              (quickly)
                         No you won't -- because you're comin' 
                         with me.

                                     ROCKLIN
                              (raises his gun)
                         Am I?

               The crowd tenses. Rocklin eyes them grimly.

                                     ROCKLIN
                         The first one that moves -- gets it.

               He moves over to the open window, and with his gun leveled 
               on the mob, steps out onto the verandah. Once outside, he 
               suddenly lets the window fall and disappears. A shot from 
               Jackson's gun shatters a pane, during which time there has 
               been a rush to the window. It is Arly and Dave who reach it 
               first, and feigning an attempt to raise the window, they 
               momentarily delay pursuit.

               AT THE DOOR LEADING FROM THE ROOM

               There is the inevitable jam as the pushing, yelling crowd 
               all try to exit at once.

               EXT. REAR OF SUN-UP SALOON - NIGHT

               Rocklin, as he picks himself off the ground, having dropped 
               from the verandah. He starts quickly away.

               EXT. WINDOW OF ROCKLIN'S ROOM - NIGHT

               SHOOTING INTO the room, we see Arly and Dave shoved to one 
               side by Jackson and Garvey. The window goes up and Jackson 
               steps out, followed by Garvey, Harolday, Arly, Dave, and 
               others.

               INT. UPPER HALL - SUN-UP SALOON - NIGHT

               The human jam has been broken, and now the mob dashes wildly 
               toward the stairway, and verandah exit in the b.g.

               EXT. SUN-UP SALOON - NIGHT

               The hitching rail in front of the Sun-Up. There are a dozen 
               or so horses tied up to it and close to it is Dave's team 
               and wagon. Rocklin comes from around the corner of the 
               building and races to the hitching rail.

               TOP OF OUTSIDE STAIRS

               Jackson and Garvey come from around the corner of the porch 
               followed by Harolday, Arly, Dave, and others. At the stairs 
               they collide with some of the men who have raced down the 
               hall, only to reach the stairway at the same moment. There 
               is another jam on the landing as the mob all try to get down 
               at once.

               ROCKLIN AT THE HITCHING RAIL

               He has cut the lines of the horses tied to the rail. We see 
               him cutting the last line and fire into the air. The horses 
               rare and stampede.

               THE MOB - WITH JACKSON AND GARVEY LEADING - COME FROM AROUND 
               THE BUILDING

               And now there is a state of utter confusion as the mob and 
               horses rush in all directions as the men try to retrieve 
               their mounts. Rocklin is no where in evidence.

               GARVEY AND JACKSON - AS HAROLDAY JOINS THEM NEAR DAVE'S WAGON

                                     HAROLDAY
                              (sarcastically)
                         Well, Sheriff -- you certainly are 
                         to be congratulated.

                                     JACKSON
                              (harassed)
                         Look, Mr. Harolday -- you saw what 
                         happened --

                                     GARVEY
                              (deeply concerned)
                         Never mind that -- Let's get going 
                         for Garden City -- that's where he's 
                         headed for.

                                     HAROLDAY
                         You sure?

                                     GARVEY
                         I'm positive.

               Dave climbs into his wagon behind the group as Jackson exits 
               quickly.

               EXT. STAGE OFFICE - SANTA INEZ - NIGHT

               At hitching rail. There are four or five horses tied up here. 
               Arly and Juan enter and mount their horses, and almost 
               immediately Garvey and Harolday come hurrying into the scene 
               after two of the other horses.

                                     ARLY
                              (shouts from her horse)
                         Where do you think he's gone?

               Before either of the two men can answer, Jackson's voice is 
               heard shouting o.s.

                                     JACKSON'S VOICE
                         All right, men -- follow me --

               The CAMERA PANS AROUND, getting Jackson, now mounted, as 
               others come riding in. He rares his horse around and starts 
               away followed by the mob, including our principals. They do 
               not get very far when Dave's wagon comes into the shot, going 
               hell-bent in pursuit.

               EXT. ROAD NEAR EDGE OF SANTA INEZ - NIGHT

               The posse riding hard, with Dave's wagon following.

               CLOSE SHOT

               Dave, half standing as he urges his team on. Behind him are 
               the closed flaps of the wagon top.

               WIDER ANGLE

               as a hand reaches out from between the flaps and grasps the 
               reins. Dave takes it, and looks wildly around -- falls back 
               on the seat.

               ON ROCKLIN - AS HIS HEAD COMES FROM BETWEEN THE FLAPS

               CAMERA PULLS BACK to include Dave, smiling broadly. Rocklin 
               is pulling hard on the reins.

                                     DAVE
                         I mighta knowed you'd do somethin' 
                         like this.
                              (as Rocklin slows the 
                              team)
                         What are we doin'?

                                     ROCKLIN
                         Headin' for the K.C.

               With that Rocklin starts swinging the team around.

               ON THE WAGON AS IT SWINGS AROUND AND BECOMES LOST IN THE 
               DISTANT NIGHT

                                                                       WIPE

               INT. HALL - CALDWELL HOUSE - NIGHT

               Sammy, the China-boy, is nervously knocking on Miss Martin's 
               door. It opens and Miss Martin is seen slipping a robe over 
               her long Mother Hubbard nightgown, with cap to match.

                                     MISS MARTIN
                              (impatiently)
                         Now -- what is it?

               Sammy points o.s. -- Miss Martin looks and freezes.

               As she moves down the hall, the CAMERA PANS WITH her until 
               it gets two men standing near the entrance door.

               Now the CAMERA MOVES IN TO A THREE SHOT and we recognize 
               George Clews and his brother, Bob. Bob, his wrist bandaged, 
               takes off his hat at Miss Martin's approach, and George 
               noticing, does likewise.

                                     GEORGE CLEWS
                         The name's Clews, ma'am -- Mr. Garvey 
                         sent us out --

                                     BOB CLEWS
                              (eagerly)
                         Said you were expectin' trouble with 
                         that Rocklin.

                                     MISS MARTIN
                         I am.
                              (acidly to George)
                         -- But I'm wondering if you're up to 
                         it. I noticed you didn't fare so 
                         well with him yesterday.

                                     BOB CLEWS
                         He was drunk --

                                     GEORGE CLEWS
                              (quickly)
                         Yeah -- But I'm sober now.

                                     MISS MARTIN
                         Well, see that you stay that way.

                                     GEORGE CLEWS
                         Don't worry, ma'am -- I've jus' bin 
                         waitin' to get even with that saddle-
                         bum.

               He opens the door.

                                     BOB CLEWS
                              (with that oily smile)
                         We'll be close-by.

                                     GEORGE CLEWS
                              (confidently)
                         You bet.

               They start out.

               INT. CLARA'S BEDROOM - CALDWELL HOUSE - NIGHT

               Clara is seen in her nightgown, listening at the door to her 
               room. The sound of the outer door closing comes over the 
               scene and she hurries to her bed and feigns sleep, and just 
               in time, for the door opens and Miss Martin sticks her head 
               in, and satisfied that Clara is sleeping, exits.

                                                                   DISSOLVE

               EXT. HIGHWAY - ROAD TO GARDEN CITY - NIGHT

               A raspy voice is heard coming out of the darkness singing a 
               ribald song of the periods. And now Old Zeke, riding his 
               burro, comes into view. As he passes close to the camera, we 
               PAN and get the posse coming out of the darkness in the 
               opposite direction Zeke is travelling.

               As the posse pulls up to Zeke, the CAMERA MOVES IN on a group 
               including Zeke, Jackson, Garvey, Harolday.

                                     JACKSON
                         Seen anybody ridin' hard for Garden 
                         City.

                                     ZEKE
                         Bin on the road since sundown -- 
                         ain't seen a livin' soul -- be he 
                         man or beast.

                                     JACKSON
                         He mighta taken the cutoff through 
                         Jaw Bone Canyon.

                                     HAROLDAY
                         After that storm? -- He'd never make 
                         it.

                                     GARVEY
                         There's only one other place he might 
                         have gone -- the K.C.

                                     JACKSON
                         You think so?

                                     GARVEY
                              (very definitely)
                         I'm positive.

                                     HAROLDAY
                         That's what you said before.

                                     JACKSON
                              (shouting to the posse 
                              milling around)
                         To the K.C., men.

               The posse swings around and starts back toward Santa Inez.

               ARLY AND JUAN

               Arly watches the posse, then turns to Juan.

                                     ARLY
                              (excitedly)
                         Take me through the canyon.

                                     JUAN
                         It is dangerous, senorita.

                                     ARLY
                         But if we get through we'll beat 
                         them to the K.C.

                                     JUAN
                         You would risk your life for Senor 
                         Rocklin?

               Arly does not answer in words. But Juan sees the answer in 
               her eyes. Now she tosses her head defiantly and swings her 
               horse off the road in the direction of the canyon. Juan 
               watches a moment, then spurs his mount after her, as we

                                                                   DISSOLVE

               INT. CLARA'S BEDROOM - CALDWELL HOUSE - DAWN

               On Clara, tossing fitfully in her bed. Suddenly she sits up 
               as an idea begins to take form in her mind. Now she hurries 
               out of bed, moves stealthily to the door and goes out, leaving 
               her door open.

               INT. HALL - CALDWELL HOUSE - DAWN

               ON door to Miss Martin's room. Clara comes down the hall to 
               the door. She puts her ear close and listens. Now she opens 
               it cautiously and peers inside. The door to her room is 
               slammed o.s. by a sporadic draft. It startles the girl and 
               she quickly closes Miss Martin's door and hurries away.

               EXT. HIGHWAY - DAWN

               ON the posse, riding hell-bent.

               EXT. JAW BONE CANYON - DAWN

               Arly and Julio, as they slowly pick their way along the 
               difficult trail, skirting a roaring torrent. Julio is leading 
               and close behind him Arly is having a time negotiating the 
               unsteady ground of a landslide.

               ARLY AND JULIO AS THEY STAND CLOSE TO A DANGEROUSLY FORBIDDING 
               PORTION OF JAW BONE CANYON

               She notices Julio staring o.s. and slowly shaking his head.

                                     ARLY
                         Afraid?

               Julio nods his head slowly, deliberately.

                                     JULIO
                         Only for you -- you must not do this -- 
                         I will go through from here alone.

               A faint smile of admiration brushes Arly's face.

                                     ARLY
                         No, -- we're going through together.

               Arly lashes her horse away. Julio realizes the futileness of 
               further pleading and now moves his horse out after Arly.

               EXT. ROAD NEAR KC RANCH - DAWN

               The wagon with Dave and Rocklin coming out of the night.

               CLOSE SHOT

               Dave is driving the team for all it is worth. Rocklin is 
               looking back. He turns to Dave.

                                     ROCKLIN
                         You can ease up now.

                                     DAVE
                         We're just about there.

                                                                   WIPE OUT

               WIPE IN

               EXT. ENTRANCE TO KC RANCH - DAWN

               A wooden gate is swung closed across the roadway. On the 
               gate is a crudely printed weather-beaten sign: K.C. RANCH. 
               Over the scene comes the SOUND of the wagon approaching.

               THE WAGON PULLS UP TO THE GATE

               Rocklin hops out, opens the gate. Dave drives the wagon 
               through. As Rocklin lets go the gate, it swings closed of 
               its own accord.

               EXT. SHED - KC RANCH - DAWN

               The shed is a short distance from the Caldwell house. Bob 
               Clews is standing at a corner of the shed looking o.s. Over 
               the scene comes the SOUND of the wagon.

                                     BOB CLEWS
                              (peering into shed)
                         Hey, George -- George, get up.

               EXT. KC RANCH - DAWN

               The wagon moving slowly through the cottonwoods, along the 
               drive not far from the house. It stops now, and the CAMERA 
               MOVES CLOSER to get Dave and Rocklin as they leave the team 
               and start stealthily toward the house seen in the moonlight 
               in the b.g.

               INT. CLARA'S BEDROOM - CALDWELL HOUSE - DAWN

               We pick up Clara in the act of nervously pinning on her hat 
               in the dim light of a small lamp. She is fully dressed, and 
               once the hat is on, she looks around anxiously for her top 
               coat which she finds in the closet. She takes the coat and 
               starts hurriedly toward the lamp, sitting on a small taboret 
               near the door. As she bends over to blow it out, her eyes 
               raise and she freezes.

               MISS MARTIN HAS JUST OPENED THE DOOR AND STANDS THERE STARING 
               ICILY FOR A LONG MOMENT

               Now she snaps the door closed without removing her eyes from 
               Clara, and starts forward.

               The CAMERA PULLS BACK to include the two. Clara stands as 
               one under an hypnotic spell.

                                     MISS MARTIN
                              (in a very low tone)
                         You vile, ungrateful strumpet -- 
                         running away in the night, like a 
                         deceitful sneak-thief --

                                     CLARA
                              (unrestrained)
                         Yes -- I'm running away -- and it's 
                         all your fault -- you're the one 
                         who's been deceitful and sneaking -- 
                         and don't think I don't know what 
                         you intend doing.

                                     MISS MARTIN
                              (very controlled)
                         -- And don't think I don't know what 
                         you intend doing.

                                     CLARA
                              (crying, as she moves 
                              away)
                         I don't care -- I'm not ashamed of 
                         it -- and nothing you can say or do 
                         is going to stop me.

                                     MISS MARTIN
                              (hardly above a whisper)
                         You little fool -- if you go to Garden 
                         City with that man -- you stand to 
                         lose everything.

                                     CLARA
                              (stops pacing)
                         But why? -- Why are you being so 
                         secretive? -- If you know something, 
                         why don't you tell me?

               ON DAVE AND ROCKLIN AT THE WINDOW LISTENING

                                     DAVE
                              (nods and mumbles to 
                              himself)
                         Yeah -- why don't you? --

               Rocklin quickly shushes Dave.

               ON MISS MARTIN AND CLARA

                                     MISS MARTIN
                              (Unmindful of the 
                              presence of the men)
                         All right, I'll tell you -- Rocklin 
                         is a nephew of the late Mr. Caldwell. 
                         And, as nearest of kin, he stands to 
                         get everything -- according to the 
                         will. Because you are not the old 
                         man's niece, but only his grand-niece.

               DAVE AND ROCKLIN AT THE WINDOW LISTENING - ROCKLIN SOBERLY - 
               DAVE WILD-EYED

                                     MISS MARTIN'S VOICE
                         Rocklin turned up unexpectedly --

                                     CLARA'S VOICE
                         And you and Mr. Garvey knew the truth 
                         all the time?

                                     MISS MARTIN'S VOICE
                         Yes.

               If Dave keeps quiet any longer he'll burst. He spins Rocklin 
               around and speaks in his natural voice.

                                     DAVE
                         -- And you knew the truth all the 
                         time, too -- didn't you? -- No wonder 
                         you stuck around --

               From Rocklin's expression it is quite apparent to Dave that 
               he is right.

               CLARA AND MISS MARTIN

               Both women are staring dumbly toward the window. Now the 
               realization that she has been overheard staggers Miss Martin. 
               She utters a stifled scream and, seeing Rocklin starting 
               through the window, runs from the room.

               ROCKLIN - JUST INSIDE THE ROOM - TURNS TO DAVE

                                     ROCKLIN
                         Get in here and take care of her.

               Dave scrambles through the window and hurries in pursuit of 
               Miss Martin. Rocklin is at Clara's side.

               EXT. CALDWELL HOUSE - DAWN

               Bushes near the house. George and Bob Clews are crouched, 
               watching.

                                     GEORGE CLEWS
                         Come on --

               They move out.

               EXT. ROAD BETWEEN SANTA INEZ AND THE KC RANCH - DAWN

               The posse riding hard.

               EXT. JAW BONE CANYON - DAWN

               We see Arly and Julio as they descend a steep embankment 
               toward the raging torrent. They both are riding Julio's horse.

               CLOSE SHOT

               Arly and Julio; Arly seated behind Julio, considerably 
               disheveled and sobbing.

                                     JULIO
                              (comfortingly)
                         You are crying, senorita --?

                                     ARLY
                              (lying bravely)
                         No.

                                     JULIO
                              (knows she is)
                         It is too bad we lose your horse. 
                         She was good horse, for sure.

                                     ARLY
                         If only we make it in time.

               As they move away into a longer shot, a huge boulder comes 
               crashing down the canyon side, across their path, and tumbles 
               with a great roar and splash into the torrent.

               INT. CLARA'S BEDROOM - CALDWELL HOUSE - DAWN

               Clara is talking feverishly to Rocklin.

                                     CLARA
                         -- And I heard one of them tell my 
                         aunt not to worry, that he was just 
                         as anxious as she was to get even 
                         with you.

               Dave enters from the hall carrying Miss Martin over his 
               shoulder. He has her wrapped in a sheet and bound up in 
               tassled curtain cord.

                                     DAVE
                              (as Clara and Rocklin 
                              react)
                         This is the only way I could handle 
                         her.

                                     ROCKLIN
                         The Clews are around here some place -- 
                         Garvey sent 'em out.

               CLOSE TWO SHOT

               George and Bob Clews at the window. George has his gun 
               leveled, and a dirty smile twists his face.

                                     GEORGE CLEWS
                         You bet we're around.

               The CAMERA PULLS BACK as George Clews climbs into the room, 
               followed by Bob. They disarm both Rocklin and Dave as Clara 
               watches helplessly, and Miss Martin struggles in her wrapping.

                                     GEORGE CLEWS
                              (to Bob)
                         Untie her.

                                     BOB CLEWS
                              (to Dave)
                         Untie her.

               Dave puts Miss Martin down and begins undoing her as Bob 
               covers him with his gun.

               EXT. ROAD BETWEEN SANTA INEZ AND THE KC RANCH - DAWN

               The posse riding.

               EXT. MOUTH OF JAW BONE CANYON - FLAT COUNTRY - DAWN

               Arly and Juan leave the hazardous trail behind and now start 
               across the flat on a run.

               INT. CLARA'S BEDROOM - CALDWELL HOUSE - DAWN

               Dave has unwrapped Miss Martin and she gets to her feet 
               bristling.

                                     GEORGE CLEWS
                              (to Bob)
                         Now tie him up.
                              (indicates Dave)

                                     MISS MARTIN
                              (quickly, as she picks 
                              up the tassled cord)
                         I'll take part in this -- you -- you 
                         hairy beast.

               Bob Clews tosses the sheet over Dave's head. And as Dave 
               struggles,

               ROCKLIN AND GEORGE CLEWS

               Rocklin thinks he has George off guard and makes a pass at 
               him. But George is on the alert and strikes Rocklin on the 
               head with his pistol.

               ON CLARA AS ROCKLIN GOES DOWN

               She utters a choked cry and falls to the floor in a faint.

               WIDER ANGLE

               as Miss Martin comes to Clara and kneels beside her.

                                     MISS MARTIN
                         Help me get her to the bed.

               FULL SHOT

               of the room. Bob Clews has Dave securely tied, and now assists 
               Miss Martin in getting Clara to the bed.

                                     GEORGE CLEWS
                              (indicating Rocklin 
                              on the floor)
                         What'll we do with 'em?

                                     MISS MARTIN
                         Take them in to Mr. Garvey and tell 
                         him I must see him at once.

                                     BOB CLEWS
                              (triumphantly)
                         We'll dump them right in the Judge's 
                         lap.

               George Clews picks up the unconscious Rocklin.

                                     MISS MARTIN
                              (still administering 
                              to Clara)
                         Hadn't you better tie him, too?

                                     GEORGE CLEWS
                              (to Bob, after a 
                              second's pause)
                         Get some more rope.

               Bob hurries to do so.

               EXT. ROAD TO THE KC RANCH - DAWN

               The posse riding.

               EXT. KC RANCH - DAWN

               Dave's wagon. Bob Clews is seen dumping Dave into the rear 
               of the wagon. George Clews stands near him with Rocklin's 
               unconscious form over his shoulder. Now he puts Rocklin in.

                                     GEORGE CLEWS
                         Get our horses and meet me at the 
                         gate.

               Bob runs after the horses. George gets onto the wagon seat -- 
               swings the team around and heads for the gate.

               EXT. FLAT LAND NEAR THE KC RANCH - DAWN

               Arly and Juan riding hard.

               EXT. ENTRANCE TO THE KC RANCH -DAWN

               George Clews sits in the wagon waiting for Bob, who now comes 
               out of the darkness with their horses. He dismounts, ties 
               the horses to the back of the wagon, comes around in front 
               to the gate. He is about to swing it open when he looks past 
               the camera at Arly and Juan, who now pull up to the outside 
               of the gate. Arly dismounts quickly, her gun in her hand. 
               Bob Clews backs up toward the wagon as Arly walks through 
               gate.

               CLOSE SHOT

               of Arly.

               CLOSE SHOT

               George Clews on the wagon seat. He is smiling and is going 
               to try to bluff it out.

                                     GEORGE CLEWS
                              (to Arly)
                         What are you doin' with that gun, 
                         Arly?

               CLOSE SHOT

               Arly.

                                     ARLY
                         Get down from there before I show 
                         you.

               INT. OF WAGON - DAWN

               Rocklin has regained consciousness and listens.

                                     GEORGE CLEWS' VOICE
                         Now listen, Arly -- this ain't your 
                         wagon --

                                     ARLY'S VOICE
                         Neither is it yours -- Get down out 
                         of there -- before I knock you down.

               Rocklin recognizes Arly's voice. Now he raises himself up 
               over the tailboard and falls out.

               EXT. REAR OF WAGON - DAWN

               The horses tied in back shy as Rocklin falls to the ground.

               EXT. FRONT OF WAGON - DAWN

               Arly, as she takes it and starts toward the rear of the wagon.

               BOB CLEWS - STANDING CLOSE TO GEORGE - WHO IS STILL ON THE 
               SEAT - SEES HIS CHANCE TO GET ARLY AND SLOWLY REACHES FOR 
               HIS GUN

               He no more than gets it out when a knife whirls in from o.s., 
               getting him in the small of the back.

               JUAN

               He sits calmly astride his horse, his gun leveled on George 
               Clews.

               EXT. REAR OF WAGON - DAWN

               Arly is cutting the rope binding Rocklin.

                                     ARLY
                         -- And they're headed this way and 
                         should get here any minute --

               Rocklin gets to his feet. Arly notices something shining on 
               the ground where Rocklin lay. She picks it up. It is the 
               tobacco pouch with the steer's head of hammered silver.

                                     ARLY
                         Where'd you get this?

                                     ROCKLIN
                              (taking the pouch)
                         That belongs to the man who shot at 
                         me on Table-Top -- Dave found it.

               INT. OF WAGON - DAWN

               On Dave's Wrapped form, kicking the wagon tailboard. Arly's 
               head appears between the flaps above the tailboard and as 
               Dave groans and kicks, she takes her knife and slits the 
               rope binding him.

               EXT. FRONT OF WAGON - DAWN

               Rocklin has come to George clew and we see him wrest the gun 
               from his hand and yank George down from the wagon seat. Once 
               down, he lets him have a hard right that sends him sprawling.

               ON GEORGE CLEWS GETTING UP OFF THE GROUND AND ROCKLIN CLOSING 
               IN

               They start fighting viciously. Arly rushes in crying wildly.

                                     ARLY
                              (trying to stop Rocklin)
                         You've got to get away -- they'll be 
                         here -- they'll catch you --

               CLOSE SHOT

               Rocklin. There is but one thought in his enraged mind -- 
               Clews. He tears into him again.

               ON ARLY AS DAVE JOINS HER

                                     ARLY
                              (frantically)
                         You've got to stop him -- he's got 
                         to get away.

               THE FIGHT - AS DAVE AND ARLY FUTILELY ATTEMPT TO BREAK IT UP

               ON DAVE AS HE GETS IN THE WAY OF ONE THAT SITS HIM DOWN

               ON THE FIGHT AS ROCKLIN GETS IN A SUNDAY PUNCH THAT SENDS 
               GEORGE BACKWARD INTO A SHALLOW DITCH OUT OF SIGHT

               ON GEORGE CLEWS LYING UNCONSCIOUS IN THE DITCH

               EXT. ROAD NEAR THE KC RANCH - DAWN

               The posse approaching.

               EXT. FRONT OF WAGON - DAWN

               Rocklin, Arly, Dave, Rocklin is about done in from the fight.

                                     DAVE
                              (anxiously)
                         Come on -- let's git goin' --

                                     ROCKLIN
                              (as he walks to wagon)
                         Where's the girl?

                                     DAVE
                         Back at the house --

                                     ROCKLIN
                         We've got to get her.

                                     ARLY
                         You haven't time -- they're coming -- 
                         don't you believe me? --

                                     ROCKLIN
                              (to Dave)
                         Come on --

               Arly's plea goes unheeded and he starts away toward the house 
               on the run.

                                     DAVE
                              (mutters)
                         Stubborn as an ole mule.
                              (shouts)
                         You're puttin' a rope around your 
                         neck --

               Dave runs after Rocklin.

               ARLY AND JUAN - ARLY CLIMBING HURRIEDLY UP ONTO THE WAGON 
               SEAT

                                     ARLY
                         Get him --
                              (indicates Bob Clews)
                         -- out of sight, and follow me.

               She takes up the reins now and swings the team around and 
               off the road into the thickness of the trees.

               EXT. CALDWELL HOUSE - DAWN

               Rocklin and Dave. They are approaching the house warily.

                                     DAVE
                              (softly)
                         But what'll we do with the ole lady?

                                     ROCKLIN
                         Anything you like.

                                     DAVE
                         I'd like to pizen her.

               EXT. GROVE OF COTTONWOODS NEAR GATE - DAWN

               Arly is seated on the wagon seat looking toward the gate as 
               Juan comes in on his horse.

                                     ARLY
                              (pointing o.s.)
                         Look.

               EXT. ENTRANCE TO KC RANCH - DAWN

               At gate. The posse rides up. The gate is swung open and they 
               ride through.

               EXT. GROVE OF COTTONWOODS NEAR GATE-DAWN

               At wagon. Arly jumps to the ground and speaks to Juan.

                                     ARLY
                         Come on.

               As she starts toward the house, Juan dismounts and follows.

               EXT. FRONT OF CALDWELL HOUSE - DAWN

               The posse comes riding in. Jackson, Garvey, Harolday, and a 
               few others dismount and go toward the door.

               ARLY AND JUAN

               as they move stealthily into a spot shielded by undergrowth, 
               which gives them full view of the front and one side of the 
               house.

               INT. CLARA'S BEDROOM - CALDWELL HOUSE - DAWN

               Miss Martin is coming into the room with a glass and a pill 
               for Clara, who is still stretched on the bed.

                                     MISS MARTIN
                         If you'll just take this -- you'll 
                         go to sleep --

               The sound of someone knocking on the front door comes over 
               the scene. Miss Martin exits hurriedly.

               EXT. FRONT OF CALDWELL HOUSE - DAWN

               At front door. Miss Martin opens the door, confronting Jackson 
               and the group. She is bewildered.

                                     JACKSON
                         Evenin' ma'am -- hate to bother you 
                         like this, but --

                                     MISS MARTIN
                              (seeing Garvey, 
                              interrupts)
                         I'm so glad you've come, Mr. Garvey, 
                         the most awful --
                              (as though seeing the 
                              crowd for the first 
                              time)
                         -- Why -- what are all these people 
                         doing here?

                                     GARVEY
                         We're after Rocklin -- has he been 
                         here?

                                     MISS MARTIN
                              (smugly)
                         Oh yes -- here and gone.

                                     JACKSON
                         What!

                                     GARVEY
                              (astounded)
                         Gone --

                                     MISS MARTIN
                              (triumphantly)
                         Yes -- the two men you sent out are 
                         taking him and that horrid old man 
                         back to town.

                                     GARVEY
                         The Clewses -- funny we didn't see 
                         them.

                                     JACKSON
                         Somethin' musta gone wrong -- We 
                         better fan out and see what's goin' 
                         on.

                                     MISS MARTIN
                              (quickly)
                         Don't leave, Mr. Garvey -- I've got 
                         to talk with you, privately --

               As all but Garvey and Harolday go back to their horses, Garvey 
               speaks.

                                     GARVEY
                         But, madam --

                                     MISS MARTIN
                         It's very important.

               Garvey looks at Harolday in a manner evidencing his distaste 
               and impatience.

                                     HAROLDAY
                         We'll go on and meet you in town.

                                     GARVEY
                         Perhaps you'd better.
                              (calls to Jackson 
                              o.s.)
                         I'll meet you in town, Jackson.

                                     JACKSON'S VOICE
                         Right -- come on, men.

               The sound of running horses comes over the scene as Harolday 
               hurries away and Garvey enters the house.

               ON HAROLDAY AS HE GOES TO HIS HORSE

               He starts to mount, but instead leads the horse into the 
               bushes close to where Juan and Arly are watching.

               ARLY AND JUAN - WATCHING

               INT. HALL - CALDWELL HOUSE - DAWN

               Miss Martin and Garvey have been talking. Garvey paces 
               nervously.

                                     GARVEY
                              (quickly, as he turns 
                              to Miss Martin)
                         -- And you're positive he knows 
                         everything?

                                     MISS MARTIN
                         Absolutely everything -- He was 
                         standing at the window all the time -- 
                         the scoundrel.

               INT. CLARA'S BEDROOM - CALDWELL HOUSE - DAWN

               Rocklin has his ear glued to the door. He can't help but 
               smile at Miss Martin's reference to him. Dave is behind the 
               curtain at the window, watching the outside. Clara is close 
               to Rocklin.

                                     ROCKLIN
                              (whispers)
                         You better get back on the bed -- in 
                         case they come in here.

               Clara tiptoes away.

               EXT. FRONT OF CALDWELL HOUSE - DAWN

               Arly and Juan, as they watch Harolday approach the house and 
               go to the hall window.

               INT. HALL - CALDWELL HOUSE - DAWN

               Garvey and Miss Martin. Garvey is still pacing very nervously. 
               He is trying to think of his next move.

                                     MISS MARTIN
                         If you were to ask me, I think the 
                         best thing to do is --

               Garvey stops and glares.

                                     GARVEY
                              (irritably)
                         I'm not asking you -- and don't bother 
                         me with your silly questions -- we've 
                         got to do something besides talk.

                                     MISS MARTIN
                              (drawing herself up)
                         You mean -- you have to do something.

               Garvey stops and looks at her again.

                                     MISS MARTIN
                         -- This was all your idea, remember.

                                     GARVEY
                              (tossing it off)
                         My idea -- that's all you know about 
                         it.

               THE DOOR TO CLARA'S BEDROOM

               It is open and Rocklin stands there looking o.s.

                                     ROCKLIN
                         If there's anybody else in on it -- 
                         speak up, Judge.

               ON GARVEY AS HE WHIPS AROUND AND STARES AT ROCKLIN

               ON MISS MARTIN - GAPING OPEN-MOUTHED

                                     MISS MARTIN
                         Well -- I do declare --

               She can say no more.

               FULL SHOT

               Rocklin steps away from the door, where Dave and Clara now 
               stand. He has Garvey covered. Dave is pointing his gun, and 
               grimacing at Miss Martin.

               EXT. FRONT OF CALDWELL HOUSE -DAWN

               At hall window -- on Harolday watching.

               INT. HALL - CALDWELL HOUSE - DAWN

               Garvey is stepping back, in a cold sweat, toward Miss Martin, 
               as Rocklin advances toward him.

                                     ROCKLIN
                              (to Garvey, quite 
                              casually)
                         Talk.

               Miss Martin opens her mouth, about to speak.

               FLASH

               of Dave.

                                     DAVE
                              (blasting, to Miss 
                              Martin)
                         Not you.

               CLOSE SHOT

               Miss Martin. Her mouth snaps shut like a trap.

               THREE SHOT

               Garvey, Rocklin, Miss Martin. Rocklin takes the tobacco pouch 
               out of his pocket.

                                     ROCKLIN
                              (to Garvey)
                         Ever see that before?

                                     GARVEY
                              (blanches)
                         No -- it's not mine.

                                     ROCKLIN
                         Tell me whose it is.

                                     GARVEY
                              (shaking)
                         No -- no -- I don't know --

               EXT. FRONT OF CALDWELL HOUSE - DAWN

               Harolday at hall window. He raises his gun -- he is about to 
               fire when a knife whirls out of nowhere and sticks in the 
               window frame, inches from Harolday's head. He spins around 
               and stares wildly here and there at the darkness.

               GROUNDS AND BUSHES NEAR THE FRONT DOOR - FROM HAROLDAY'S 
               ANGLE

               There is no one in evidence.

                                     ARLY'S VOICE
                         Drop that gun.

               ON HAROLDAY AT THE HALL WINDOW - STARING HARD - TRYING TO 
               LOCATE THE VOICE

               He drops the gun. Arly and Juan come in to him. Arly has him 
               covered.

               The CAMERA PULLS BACK to a WIDER ANGLE, getting the front 
               door as it is opened by Rocklin, who evidently heard Arly.

               AT FRONT DOOR

               Arly is prodding Harolday into the scene.

                                     ARLY
                              (to Rocklin)
                         He was just getting ready to finish 
                         you off, through that window.

               INT. HALL - CALDWELL HOUSE - DAWN

               Harolday is herded inside, close to Garvey and Miss Martin.

                                     ROCKLIN
                              (almost enjoying this)
                         You seem to like to do business 
                         through windows, Mr. Harolday.

               In the pause Harolday remains sneeringly silent.

                                     ROCKLIN
                         You're not Clint's killer, by any 
                         chance --

                                     ARLY
                              (cutting in)
                         By one bad chance --
                              (glares at Harolday)
                         Juan saw you do it.

               Harolday looks at Juan, who slowly nods.

                                     ROCKLIN
                         Well, now we're gettin' some place --

               He brings up the tobacco pouch. But before he can ask about 
               it, Arly speaks.

                                     ARLY
                         That pouch is his --
                              (indicates Harolday)
                         Juan made it for him a long time 
                         ago.
                              (to Juan)
                         Didn't you?

               Juan nods.

               Rocklin, with a sudden transition, speaks to Harolday in a 
               hard, threatening tone.

                                     ROCKLIN
                              (to Harolday)
                         Why did you kill Caldwell?

               Harolday doesn't answer. He finally looks at Garvey in 
               desperation. Perspiration runs down Garvey's forehead. 
               Suddenly Harolday makes a mad dash for the door. Rocklin 
               shoots, but Arly pushes his arm and sends the shot wild. 
               Rocklin looks at her in amazement. Julio hurries out.

               EXT. FRONT OF CALDWELL HOUSE - DAWN

               On Harolday as he rushes madly across the clearing toward 
               the bushes where his horse waits.

               The CAMERA SWINGS BACK to the porch in time to catch Julio 
               crossing it in pursuit of Harolday. Arly and Rocklin come 
               through the open door and stand on the porch watching.

               THE BUSHES WHERE HAROLDAY'S HORSE IS HIDDEN - ARLY AND 
               ROCKLIN'S ANGLE

               They see Julio disappear in the brush. For a moment nothing 
               happens; now Harolday's horse bolts out, riderless, and 
               gallops away. Now Julio comes slowly into view. He moves 
               slowly and deliberately back toward the house.

               AT PORCH

               Julio comes in to Rocklin and Arly. The three exchange 
               significant glances as we

                                                                   DISSOLVE

               INT. HALL - CALDWELL HOUSE - DAWN

               In the hall are Clara and Miss Martin, Rocklin, Arly and 
               Julio, Dave and Garvey. Garvey is seated and has evidently 
               been talking in the way of confession.

                                     GARVEY
                         -- Harolday wanted the K.C. like he 
                         wanted the Santee and the Hardman 
                         place, for his land scheme -- He 
                         planned on breaking up the ranches 
                         into small holdings and selling to 
                         dirt farmers. He pretended to be on 
                         the outs with me so I could get 
                         Caldwell's confidence. And when Red 
                         caught me with the crooked cards and 
                         threatened to expose me -- Harolday 
                         shot him.

                                     ROCKLIN
                         Why did he kill Clint? An' not me?

                                     GARVEY
                         That shot was an accident -- it was 
                         meant for you. We planned on getting 
                         the women to let me handle their 
                         business --

                                     MISS MARTIN
                              (interrupting, furious)
                         -- And do us out of everything --
                              (moves close to Garvey)
                         You vile -- wicked -- despicable --

               She is beside herself in her anger -- and taking up a large 
               vase sitting nearby, she smashes it to pieces over Garvey's 
               head. Garvey goes down unconscious. Miss Martin rushes to 
               her room screaming. Clara follows her.

               ON DAVE GRINNING BROADLY - ROCKLIN COMES TO HIM

                                     ROCKLIN
                         When he wakes up -- we'll have him 
                         put everything on paper.

                                     DAVE
                         Well, you'll have to do the writin' -- 
                         'cause I don't know how to write.

               CLARA HURRIES BACK TO THE GROUP FROM UP THE HALL

                                     CLARA
                              (genuinely concerned)
                         Oh, Mr. Rocklin -- please -- I think 
                         Auntie is out of her mind -- she's 
                         in her room -- laughing.

                                     DAVE
                              (grimaces)
                         What that ole pelican needs is a 
                         good spankin'.

                                     ARLY
                              (who has been silently 
                              listening)
                         And I'll bet you're just the one who 
                         can do it.

                                     DAVE
                              (his eyes flash with 
                              an idea)
                         Yeah -- I believe I am.
                              (looks at the group)
                         I know I am.

               He starts away down the hall, rolling up his sleeves. 
               Rocklin's eyes wander to Clara, who seems quite at a loss. 
               Now he moves slowly toward her. In the b.g. Arly watches 
               Rocklin's every move.

                                     ROCKLIN
                         I guess there's no rush for you to 
                         get to Garden City, now --

               After a slight pause in which she becomes conscious of Arly, 
               Clara speaks.

                                     CLARA
                         No -- I don't suppose there's any -- 
                         rush --

               There is another short pause. Rocklin glances at Arly, and 
               Arly assuming they want to be alone, turns and goes out the 
               door, leaving Julio attending Garvey.

                                     CLARA
                              (after Arly goes)
                         If I was like her, I'd stay in the 
                         West.

                                     ROCKLIN
                         That means you're goin' back East -- 
                         Cousin Clara?

                                     CLARA
                              (smiles, nods)
                         It's where I belong -- I know that 
                         now --

                                     ROCKLIN
                         It's good to know where you Belong, 
                         I reckon -- Wish I knew.

                                     CLARA
                              (wistfully)
                         I can tell you -- you belong with 
                         her --

               Rocklin takes it -- a faint smile brushes his face. He turns 
               now and walks out.

                                                               DISSOLVE OUT

               DISSOLVE IN

               EXT. GROUNDS NEAR CALDWELL HOUSE - SUN-UP

               Arly is seated on the shaft of an old wagon. The first rays 
               of the morning sun streak through the trees across her as 
               she smiles wistfully down at the antics of a little woodchuck 
               cavorting on the ground close to her. In a moment Rocklin 
               comes into view in the b.g. He spots Arly, who has her back 
               to him, and walks over. His approach frightens the woodchuck 
               away, and turns Arly's head toward him. Neither has anything 
               to say. Now Rocklin sits beside Arly, but faces the other 
               way.

                                     ROCKLIN
                              (after a pause)
                         Thanks.

                                     ARLY
                         For what?

                                     ROCKLIN
                         Everything.

               There is another stilted pause.

                                     ARLY
                              (her eyes sweeping 
                              the morning)
                         Beautiful day.

                                     ROCKLIN
                              (reflecting)
                         It didn't start out so beautiful.

                                     ARLY
                         That's true of lots of things.

                                     ROCKLIN
                         Fer instance?

                                     ARLY
                              (hesitantly)
                         Well -- you and -- me.

               There is another pause. But worlds are being said in the 
               language of eyes. Their heads move closer and now Rocklin's 
               arms sweep around the girl and they kiss.

               GROUNDS NEAR ARLY AND ROCKLIN DAVE AND JULIO HURRYING THROUGH 
               THE GRASS

                                     DAVE
                              (shouting)
                         Hey, Rock -- Rock -- get out your 
                         pencil and paper --

               The two stop abruptly and look o.s.

               ON ROCKLIN AND ARLY KISSING ON DAVE AND JULIO

                                     DAVE
                              (grimacing)
                         Doggone it -- here Garvey is back in 
                         this world -- an' they're out of it.

                                                                   FADE OUT

                                         THE END