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Ride the High Country (1962) movie script

by N.B. Stone Jr. with Robert Creighton Williams and Sam Peckinpah.
Shooting draft.

More info about this movie on IMDb.com
OUT
Sequence omitted from original script.

EXT. HIGH SIERRA TRAIL - CLOSE ON BIRD - DAY

as it flutters helplessly about on the trail. A string, tying 
the bird's leg to a root, NOT VISIBLE FROM THIS ANGLE. Beyond 
the bird A MINER rides into view. The miner's only weapon is 
a rifle, in the saddle boot. A sizeable pouch of gold dust 
hangs from the saddle horn. Seeing the bird, he halts and 
reacts sympathetically. Dismounts, walks cautiously toward 
the bird, trying not to frighten it. Two SHOTS ARE HEARD. 
Both bullets hit the miner, who falls face down on the trail, 
and lies still.

ANOTHER ANGLE

as a man (HENRY HAMMOND) comes out of the underbrush, takes 
the gold pouch, unties the bird, COOS to it, then WHISTLING 
TUNELESSLY, happily disappears into the rocks.

A SERIES OF ANGLES FOR TITLES

Leaving the body, the CAMERA PANS to the mountain slopes, 
beginning a SERIES OF PAN SHOTS, EACH SHOT SHOWING A DIFFERENT 
TYPE OF TERRAIN, to ESTABLISH that we have covered a four 
day mountain trip to the foothills far below.

OUT
Sequence omitted from original script.

EXT. HORNITOS STREET - DAY

As STEVE JUDD rides into the town of Hornitos. Judd is a 
tall, imposing figure of a man. In his mid-fifties, he holds 
his age remarkably well. Still, little things are seen that 
reveal his years. Thinning hair, gray at the temples, and a 
slight limp, memento of a gun fight years before.

Judd dresses with dignity, yet in his clothes is reflected 
evidence, however slight, of the adversity that has dogged 
him since the era of the 'town tamers' died a natural death. 
The cuffs of his shirt are frayed, there is a patch on the 
sleeve of his coat, and the boots are run over at the heels.

EXT. HORNITOS - ON JUDD - RIDING INTO TOWN

A scattering of TOWNSMEN, MINERS and FARMERS line the board 
walks, all looking down the street in the direction Judd 
rides. They are waving and smiling. Judd reacts, looks around. 
Finally he is convinced that he is the focus of attention.

MED. SHOT - POLICEMAN

As he chases some CHILDREN out of the street, then turns, 
looks off and yells:

		POLICEMAN
	Get out of the way! Clear the street!

MED. SHOT - JUDD

He does not hear. Continues to react to his apparent welcome.

FULL SHOT - REVERSE

As the Policeman runs up to Judd and shoos him to a side 
street.

		POLICEMAN
	Clear the street! Can't you hear -- 
	Old Man? There's a race going on...

		JUDD
		(interrupting)
	All right.

They move aside, then turn as the crowd ROARS.

HIS POV - CAMEL-HORSE RACE

Racing at full speed down the street are a CAMEL and three 
HORSES. With their RIDERS urging the animals on to even 
greater speed. The spectators CHEER ON their favorites. The 
horses, foam-flecked and slightly in the lead, are being 
overtaken by the camel.

BACK TO JUDD

as the camel and horses pass by.

A SERIES OF ANGLES COVERING THE RACE

EXT. CARNIVAL AREA AND FINISH LINE - DAY

In a vacant lot off the main street. Consisting of four 
booths, three of them advertising, by posters, 'THE WILD MAN 
FROM BORNEO', 'HERCULES, STRONGEST MAN IN THE WORLD', and 
'LITTLE SHEBA, BELLY DANCER'. Some TOWNSMEN, MINERS, FARMERS 
wander in and out of the booths. Most are grouped around the 
finish line. We HEAR HURDY-GURDY MUSIC FROM LITTLE SHEBA'S 
BOOTH.

The fourth booth is an open air affair, consisting of a 
counter, a rack of six-guns, and a home-made apparatus, 
similar to a modern skeet arm, which hurls objects into the 
air. Its posters, on a rack at the rear, depict a gentleman 
with long hair flowing from under his hat. He wears a Van-
Dyke beard. In appearance and dress this could easily be 
'Buffalo Bill' Cody at the height of his Wild West Show fame. 
But the legends on the posters read:

THE OREGON KID in PERSON!
Match Your Gun Skill With The Frontier Lawman WHO TAMED Dodge 
City & Wichita and who SINGLE-HANDEDLY Sent the Infamous 
OMAHA GANG to their GRAVES!

OVER the street is a banner marking the start and finish 
line of the camel horses contests. The legend reads:

THE PHANTOM of THE DESERT!

Takes on All Comers Match Your Prize Racing Stock Against 
the Pride of Araby No Wagers Less Than One Dollar!

Judd RIDES INTO THE SHOT and pulls up near the finish line 
as the racers turn the final corner and move TOWARD HIM.

NEW ANGLE - RACE

The camel overtakes the sweat-lathered horses and wins going 
away. HECK LONGTREE, the camel rider, dismounts, as do the 
riders of the horses. Heck is a handsome young man of twenty-
three, rugged, brash, cocky. Two of the losers pay up and 
move away. The third, HANK, stands looking at the camel.

MED. SHOT - JUDD

He dismounts and starts toward Carnival area, only to be 
stopped by the Policeman.

		POLICEMAN
	Watch out, Old Man!

He pulls Judd back, as a vintage automobile races past.

CLOSER ANGLE - HECK AND HANK

		HECK
	You got a good horse, cowboy. But 
	not good enough.
		(holds out a hand)
	I'll have that dollar.

		HANK
		(softly)
	I'm beginning to figure these races 
	smell pretty bad. That thing never 
	loses and it's been runnin' since 
	breakfast.

		HECK
		(his hand still out)
	You had your chance.

		HANK
	Not an even-money chance. I suspect 
	as how that animal could run all day 
	without raisin' a thirst.

		HECK
	All day -- and all night.

		HANK
	That's how it is?

		HECK
		(losing patience)
	That's how it is -- now pay up!

Hank brings a silver dollar from his pocket, flips it, catches 
it.

		HANK
	Let's say I'm a poor loser -- you 
	want the dollar -- you come after 
	it.

ANOTHER ANGLE

He puts it back in his vest pocket, prepares for a fight. 
Heck turns away as if to pick up the reins. Hank gives a 
snort of contempt. Heck whirls, swings a fist, knocking him 
flat. Hank lies on the ground, dazed. Heck takes the dollar 
out of his vest pocket, leads the camel away. Judd is about 
to leave when the Oregon Kid begins his spiel. Judd listens 
for a moment then grins and dismounts.

MED. SHOT - BOOTH

THE OREGON KID keeps up an almost constant spiel to WES, a 
cowboy, as he gets a tin can from a pile on the ground, places 
it on the pan of the hurling arm.

		OREGON KID
	All you got to do is hit the can and 
	you win the money. You miss -- I've 
	got to hit it -- or I lose! Squeeze 
	the trigger, don't jerk it. Keep 
	your elbow close to your body.

		WES
		(putting down his 
		money)
	Forget the sermon and turn her loose.

The Kid pulls a cord, which releases the hurling arm, tossing 
the can high in the air. Wes aims with a six-gun, FIRES, 
misses. While the can is still in the air, the Oregon Kid 
draws his gun, FIRES.

CLOSE ON CAN

as it is hit.

TWO SHOT

The Kid shakes his head, and holsters his gun and scoops a 
quarter off counter into a cash drawer.

		OREGON KID
		(loudly)
	Tell you what I'm going to do. I'll 
	hit it twice, to your once, that is, 
	if you hit it -- but I don't believe 
	you can or you will -- my grandaddy 
	would say shootin' against you is 
	like sneakin' licorice whips from a 
	baby girl. Why don't you just forget 
	it -- throw away that pistol and 
	pick up a plow -- save my conscience 
	and your money?

Wes, mad enough to use skunk scent for soap, slaps two dollars 
on the boards. The Kid pulls down the hurling arm, locks it 
in place, puts another can on the pan.

NEW ANGLE

		OREGON KID
		(kindly, overly 
		concerned)
	Don't hurry your shots, son.

Pulls cord. Wes FIRES, again misses. Oregon Kid shakes his 
head hopelessly.

		OREGON KID
	My boy, I keep telling you...

He draws, FIRES TWICE, each shot hitting the can.

		OREGON KID
	But you don't seem to listen. Care 
	to try again...

		WES
		(stalking off)
	I'll be back.

Oregon Kid grins, scoops two dollars into cash drawer, as 
Heck joins him.

CLOSE SHOT - JUDD

watching.

MED. SHOT - BOOTH

		HECK
	I'm fed up with it, Gil -- racing 
	that double humped water tank is bad 
	enough --
		(looks off -- reaches 
		for money)
	-- but knockin' somebody down for a 
	slim dollar only to give most of it 
	away is poor rations for Mrs. 
	Longtree's first born.

He falls silent as JAKE, a real carny, complete with derby 
and cigar, steps up and holds out his hat. Heck drops in 
four silver dollars. Jake gives him one back and turns to 
The Oregon Kid.

		OREGON KID
	I'll settle up tonight.

		JAKE
	Now.

The Kid hesitates, then puts part of his cash box money in.

		JAKE
	Sweeten it, gunfighter, or you're 
	through.

		OREGON KID
		(after a long moment)
	Don't say anything more, you mean 
	mouthed, two bit, chicken hearted 
	son -- of greed and envy. Just get 
	out.

And Jake does.

NEW ANGLE

		HECK
		(after a moment)
	You sure told that Jake what he could 
	do.

		OREGON KID
		(dryly)
	And how can man die better, Than 
	facing fearful odds, For the ashes 
	of his fathers, Or the temples of 
	his gods --
		(then)
	It was a poor excuse for a job anyway, 
	Heck -- time I was movin' on. You 
	want big money you go where the big 
	money is.

		HECK
	I'm going with you.

They are silent for a moment.

		OREGON KID
	All right -- get the horses.

Heck moves away. The Oregon Kid watches him go, then turns 
to the passing crowd.

Judd WALKS INTO SCENE. Stops at the counter, keeping his 
head bowed so his features aren't visible to The Kid. Speaks 
with a mountain twang.

		JUDD
	If it's all right with you, mister, 
	I would surely like to make a ten 
	cent bet?

		OREGON KID
	A whole dime? You are a plunger, 
	sir.

He tries to see under Judd's hat. Judd keeps his head lowered.

		JUDD
	Well, you see, I'm not just altogether 
	sure I could hit a movin' target 
	without using buckshot. I used to be 
	fair to middlin' with a shotgun. If 
	the bird was movin' slow and not too 
	far away.
		(beat)
	But, them tin cans move too fast -- 
	I just don't see how you manage.

NEW ANGLE

The Oregon Kid, puzzled, still tries to see under the hat. 
Moves his head from side to side, then down as low to the 
counter as possible. With Judd evading him. Finally grabs 
Judd by the coat lapels with one hand, pushes his hat up 
with the other. Sees Judd grinning at him.

		OREGON KID
	Well, I'll be damed!

They shake hands.

		JUDD
	How are you, Gil?

		OREGON KID
	No great complaints. How long's it 
	been? Lordy, I'd hate to say.

		JUDD
	Quite some time.

		OREGON KID
	Where you been all these years?

		JUDD
		(after a moment)
	Here and there.
		(looks around)
	Nice little enterprise you've got.

		OREGON KID
	Well, Steve, it's easier than punching 
	cows. And it pays off with free drinks 
	every time I walk into a saloon -- 
	Would it surprise you to know The 
	Oregon Kid is the envy of every small-
	minded ribbon clerk and shirttail 
	towhead from here to Pocatello?

NEW ANGLE

		JUDD
		(indicates the Oregon 
		Kid's poster)
	Why not, with all these single-handed 
	exploits -- tell me, Gil, who was 
	'the Omaha Gang' -- I don't recollect 
	ever hearing about them fellows.
		(Gil doesn't answer)
	Hondo and Monterey and Flagstaff -- 
	we worked them places -- but Dodge 
	City and Wichita -- you spend some 
	time with the Earp brothers, Gil?

		OREGON KID
	Got to allow for a little 
	exaggeration. That's part of playing 
	this game.

		JUDD
	Not much of a game.

		OREGON KID
	Well, no danger of getting rich, but 
	I do all right when you consider I 
	never lose.

Judd breaks open the cylinder of the gun fired by Gil. 
Extracts cartridge. Removes wax. Pours out several buckshot. 
They BOUNCE one by one on the counter.

		JUDD
	A blind man couldn't miss, shooting 
	buckshot.

		OREGON KID
		(embarrassed -- angry)
	Must be something important to bring 
	you here -- looks to me like you 
	been riding a long time -- and not 
	getting very far.

		JUDD
	Job.

		OREGON KID
	A 'job'? You mean to tell me you're 
	still at it?
		(Judd nods)
	Federal Marshal?

		JUDD
	Working for the Bank.

		OREGON KID
	A bank guard?

		JUDD
		(stiffly)
	I'm transporting gold. From a mining 
	camp up on top down here to the 
	bank... Gold bullion -- in the 
	neighborhood of two hundred and fifty 
	thousand dollars, was the way the 
	letter put it.

		OREGON KID
		(with admirable 
		restraint)
	A quarter of a million.

		JUDD
	I'll need some help. Can you recommend 
	anyone?

		OREGON KID
		(after a moment)
	I'll give it some thought.

		JUDD
	Do that, will you? And let me know.

		OREGON KID
	I will, Steve, I surely will.

Judd walks off. The Oregon Kid is already giving it a lot of 
thought. Heck reappears with horses.

		HECK
	What do you figure we're going to 
	do.

		OREGON KID
		(absently)
	Hmmm?

		HECK
	Food, clothing and shelter -- What 
	have you got in mind?

		OREGON KID
		(softly)
	Champagne, kid -- and only the best -- 
	about $250,000 dollars worth.

										DISSOLVE TO:

INT. BANK - MED. SHOT - DAY

Behind the teller's window, ABNER, a sharp-tongued diminutive 
clerk in his sixties, counts money (silver). Judd advances, 
stops at the counter. The clerk glances up, then continues 
his work. Judd RAPS GENTLY on the counter. In the far corner, 
is LUTHER SAMSON, a dignified, frock-coated man in his 
eighties.

		ABNER
		(not too politely)
	Yes.

		JUDD
	I'd like to see Mr. Samson, please.

		ABNER
	He's busy. What about?

		JUDD
	The name is Judd. Stephen Judd.

Abner looks at him thoughtfully.

		ABNER
	Oh. Just one moment.

He crosses to Samson.

CLOSER ANGLE

		ABNER
	Excuse me, sir. Mr. Judd is here.

Samson looks up and nods. Abner crosses back to Judd and 
opens the railing gate.

		ABNER
	Mr. Samson will see you --

Judd enters and crosses toward the two men.

		JUDD
		(nods)
	Good afternoon.

		SAMSON
	I'm Luther Samson, Mr. Judd.
		(shakes hands)
	And this is Abner, my son -- our 
	vice president.

Judd, Abner shake hands. AD LIB "How do you do's." While 
shaking hands, Abner notices Judd's frayed shirt cuff. This 
noticed in turn by Judd, who 'shoots' the cuff, concealing 
it under the coat sleeve. Samson indicates a chair, and all 
sit down.

The bankers regard Judd in silent appraisal. The man they 
see is not all they expected. Samson doesn't wish to offend. 
Still, he must say it:

		SAMSON
	Somehow, I pictured you as being a 
	younger man.

		JUDD
	I used to be.
		(after a moment)
	We all used to be.

		SAMSON
	Yes, of course.

Judd looks from one to the other, waiting. Senses what they 
are thinking -- is he the man he once was?

		ABNER
		(sharply)
	Mr. Judd, we're more than familiar 
	with your reputation. But it was 
	made many years ago and we're dealing 
	in the present, not the past...

		JUDD
		(interrupting)
	Thank you. What's the problem, 
	gentlemen?

		SAMSON
	The Coarse Gold Strike is on the 
	crest of the Sierras. Only one trail 
	in and out. Six miners have been 
	killed trying to bring their gold 
	down here. Killed and robbed, of 
	course. Weeks ago we petitioned for 
	a Federal Marshal. And received 
	nothing.

		ABNER
	The only law up there is too drunk 
	to hit the ground with his hat.

		SAMSON
	The man we send up there must be 
	completely reliable and not just 
	from the standpoint of honesty.

		ABNER
	We're speaking of gold, Mr. Judd. -- 
	Twenty thousand dollars worth.

		JUDD
	Twenty thousand? From your letter I 
	expected...

		ABNER
		(interrupting)
	Our original estimate was... overly 
	enthusiastic. The strike is not a 
	mother lode -- but it is productive. 
	Slow but steady.

		SAMSON
	The day of the Forty-niner is past, 
	Mr. Judd. The day of the steady 
	businessman has arrived.

		JUDD
	My usual fee is twenty dollars a 
	day. I'll have to charge you forty.

		ABNER
		(appalled)
	Forty dollars a day?

		SAMSON
	Just what does that...?

		JUDD
	Two other men. Four days is a long 
	time to go without sleep.

		SAMSON
	The question is --

		JUDD
	The question is, can I do it? Can't 
	answer that by talking. Only by doing 
	it. If you want to talk about it, go 
	ahead. I'll read the contract.

Abner looks at Samson, who nods. Brings a contract from a 
drawer, hands it to Judd.

		JUDD
	In private, if you please.

Bankers are mildly surprised at the request. Abner indicates 
a door at the side of the room.

		SAMSON
	You can go in there.

Judd rises, walks out, limping slightly as before.

INT. WATER CLOSET - DAY

Judd enters, closes the door. Produces a wooden spectacle 
case from an inner pocket. Glances back at the door, then 
dons the spectacles. Quickly reads the contract. Returns the 
spectacles to their case, the case to his pocket. Opens the 
door.

INT. BANK - DAY

Judd returns to the desk. The bankers have obviously been 
whispering.

		JUDD
	Contract's all right. How about me? 
	Any doubts?
		(silence)
	If not, I'll borrow your pen, sir.

Samson pushes quill pen and ink toward Judd. He places the 
contract on the desk. Standing erect so he can view his 
signature, stiff-armed, he signs the contract. As they react 
with dismay to this evidence of failing eyesight we --

										DISSOLVE TO:

INT. EATING HOUSE - NIGHT

Judd, at a table, is eating supper. An attractive WAITRESS 
serves half a dozen other DINERS.

EXT. WINDOW - OF THE EATING HOUSE - NIGHT

Outside the window, LOOKING THROUGH AT JUDD, are Heck and 
The Oregon Kid, minus his disguise of wig and Van-Dyke. This 
is GIL WESTRUM, a 'kid' no longer, but a big, jovial, graying 
man in his fifties. Gil possesses a happy-go-lucky quality, 
a friendly warmth instantly sensed by others and reflected 
by the twinkle in his eyes and the half smile almost 
constantly on his lips.

		HECK
	That old man? He don't look like 
	much to me.

		GIL
		(after a moment)
	Son, I wore a star with "that old 
	man" for six years -- I was his deputy 
	most of the time -- once he was mine.
		(he grins at the 
		memory; then roughly)
	Don't ever play him short!

		HECK
	I just don't figure him to be any 
	trouble.

		GIL
	I hope you're right, boy -- I surely 
	hope you're right.
		(then)
	I'll beard the lion -- you demonstrate 
	how impressed you are -- and do it 
	with your mouth shut!

He crosses toward the door, Heck following.

INT. EATING HOUSE - FULL SHOT (NIGHT)

As they enter, DOLLY, the waitress, has a smile for Heck.

		DOLLY
	Hello Heck -- Mr. Westrum.

		GIL
	Evening, honey.

As Dolly walks by, Heck removes his hat and slaps her on the 
fanny.

		DOLLY
	Stop it!

		HECK
	What did I do?

		DOLLY
	Never mind what you did. Don't do it 
	in here!

		HECK
	All righty. How about down at the 
	livery stable in an hour? Can you 
	get away?

		DOLLY
	I think so.

		GIL
	Too bad, because Heck won't be there.

Gil takes him firmly by the arm, steers him away toward Judd's 
table.

		HECK
	Why not?

Gil thinks it over for a minute.

		GIL
	Because if I can't, you won't.

They move past and the CAMERA HOLDS ON A GROUP IN THE b.g. 
Seated at a table in the corner are Hank and Wes. With them 
is a friend. Hank whispers to his friend, indicating Heck 
with a nod of his head.

JUDD'S TABLE

From a coin purse, Judd has counted out the amount of his 
check. Brings out a notebook and a pencil. Leans back to 
bring the notebook into focus. Enters the amount. Gill and 
Heck arrive at the table.

		GIL
	Still keeping records, eh?

		JUDD
	You know me. Creature of habit.

		GIL
	Here's someone else wants to know 
	you. My partner, Heck Longtree. You'd 
	blush to hear the way he admires 
	you.

		JUDD
		(rises, shakes hands)
	How do you do?

		HECK
		(dully)
	Howdy.

		JUDD
		(indicates)
	Have a chair.
		(all sit down. To Gil)
	Kind of showing your age, aren't 
	you?

		GIL
	Huh?

		JUDD
	Interfering with a young man's love 
	life.

FEATURING GIL

		GIL
	He's got more important things on 
	his mind.
		(to Heck)
	Haven't you?
		(before he can answer)
	Yes, sir, and so have I.
		(pauses to light a 
		cheroot)
	Been considering your problem. Think 
	I can solve half of it. Maybe the 
	whole thing. I know a fellow who's 
	got an overwhelming hankering for a 
	little old time activity.

		JUDD
	It seems to me a man would have to 
	be pretty hard up to risk his life 
	for ten dollars a day.

		HECK
	Ten dollars a day --?

		GIL
		(as Judd nods)
	Not hard up. Just fed up.
		(scornfully)
	Out-shooting the rubes for nickels 
	and dimes... takes all the free drinks 
	I can get to put me to sleep at night. 
	My partner here feels the same way.

		JUDD
		(looks at Heck, but 
		speaks to Gil)
	Don't know as I'd want to hire a 
	boy.

		HECK
	Boy? What do you --

		GIL
	Steve, this boy's a good deal less 
	than green.

FEATURING JUDD

		JUDD
	Couldn't have too much behind him.

		GIL
	That's where you're wrong. He's been 
	dogging after me for better than 
	three years.

Judd again studies Heck who is doing a slow burn at Judd's 
questioning, and manner of it. Judd drops his hand below the 
table, comes up with Heck's silver mounted pistol, holds the 
gun to the light.

		JUDD
		(to Gil)
	Pretty. Too bad he don't keep it 
	clean.

Without looking at Heck, Judd puts the gun on the table. 
Heck, getting madder by the minute, holsters it.

		JUDD
		(a sigh)
	Boys nowadays. No pride. No self-
	respect. Plenty of gall, but no sand. 
	Take that race today --

		HECK
	What about those races?

		JUDD
	At that distance, no horse in the 
	world can beat a camel.

		HECK
		(explodes, rises)
	You calling me a cheat?

Wes and Hank and their friend ENTER SCENE, behind Heck.

WIDER ANGLE

		HANK
	If he don't, I surely will.

Heck turns. Hank lashes out, knocks Heck down. Heck struggles 
to his feet. Heck charges with the ferocity of a young bull. 
He floors Hank. Gil nods approvingly. But now Heck is 
assaulted from two sides as Hank's friends join the attack. 
Heck is strong, agile and totally unafraid. But sadly 
outnumbered. He knocks a man down, but another one sends him 
sprawling onto Judd's table which shatters. Heck is groggy. 
Gil, without leaving his chair, hoists him back to his feet.

		GIL
	Go get 'em, tiger, you're doin' fine.

Judd and Gil remain seated. Facing each other across empty 
space. Heck returns to the melee. Knocks the fight out of 
the friend, is holding his own when Hank deals him a wicked 
blow from behind. Down he goes. Hank, Wes and friend leave 
much the worse for wear.

DIFFERENT ANGLE

Dolly arrives with a pitcher of water which Gil tosses in 
his face.

		GIL
		(to Judd)
	What do you think?

		DOLLY
	I think he's wonderful.

		JUDD
	He'll do. He'll do just fine.

Judd looks around at the shattered table, broken chairs.

		JUDD
		(to Dolly)
	Sorry about the damage.

		GIL
	Send the bill to the bank, honey -- 
	Stephen Judd's account.

Out they go, dragging Heck by his heels.

										DISSOLVE TO:

OUT
Sequence omitted from original script.

EXT. FOOTHILL COUNTRY - DAWN

The upper foothill country at sunrise. (STOCK)

EXT. FOOTHILL TRAIL - DAY

Steve Judd's Party rides upgrade. Judd in the lead. One pack 
horse, laden with supplies, bedrolls, a tent, etc., is led 
by Heck. Canteens of water hang from saddle horns. They carry 
standard armament, six-guns, and rifles in saddle boots. 
Gil, hot and saddle sore, pulls up and dismounts, easing his 
sore muscles and taking a drink from the canteen.

		JUDD
		(calling back, enjoying 
		himself)
	What's the trouble, Partner? Have 
	you got the rheumatism?

		GIL
		(yelling back)
	I'm used to working with my brain, 
	not my butt.

Judd laughs and rides to the top of a nearby rise.

		HECK
		(joining Gil)
	You think you can talk him into it?

		GIL
		(nodding)
	One way or another.

They ride to join Judd on top of the hill.

OUT
Sequence omitted from original script.

EXT. FOOTHILL TRAIL - LONG SHOT - JUDD'S P.O.V. - THE 
KNUDSEN FARM - DAY

INT. BARN - DAY

JOSHUA KNUDSEN stands on a wagon pitching hay into the loft. 
Joshua is a heavily muscled farmer, stern and austere. We 
catch glimpses of his daughter, ELSA, as she scatters hay 
about the loft with a pitchfork. Elsa is lovely as the wild 
flowers that would dot the surrounding hills if this were 
spring. And as untamed. She wears jeans, soiled shirt, heavy 
working shoes, and her hair hangs to her shoulders in twin 
braids. Glancing out the door opening, she sees the Judd 
party approaching. Wide-eyed, she watches.

EXT. FARM HOUSE - ELSA'S P.O.V. THROUGH LOFT DOOR

On Judd's party, riding TOWARD CAMERA.

INT. BARN

Elsa jumps from loft to wagon, to floor and runs out barn 
door. Joshua, puzzled, calls:

		JOSHUA
	Elsa!

EXT. FARM HOUSE

Elsa, ignoring her father's call, runs from the barn to the 
house, enters.

INT. BARN - JOSHUA

comes off wagon and crosses to barn door, looks after her. 
Notices the Judd party riding toward him in b.g.

INT. FARM HOUSE

Elsa tears out of her shirt and into a dress.

EXT. FARM - BARN AREA - JUDD PARTY

Nearing barn.

EXT. FARM HOUSE

Elsa bolts out the door. She's donned a 'revealing' dress 
over her other clothes, stops to adjust it as she looks off 
at the barn. Realizes she still has 'brogans' on, kicks them 
off.

ELSA'S POV

The Judd Party are dismounting, talking to Joshua.

BACK TO ELSA

Dress adjusted to her satisfaction, she hurries from the 
house toward the barn.

BARN - WHERE JOSHUA TALKS TO JUDD AND HIS MEN

now dismounted. Joshua is anything but cordial. What 
hospitality he offers comes from a sense of duty.

		JOSHUA
	-- don't have room in the house, but 
	I've no objection if you want to 
	spend the night in the barn.

		JUDD
	Much obliged.
		(notices chicken coop)
	If you could spare us a few fresh 
	eggs, be glad to pay for them.

		JOSHUA
	One you can have as the Lord's bounty 
	is not for sale. Any more are a dollar 
	each.

		HECK
		(astonished)
	A dollar each?
		(as they look at him)
	How in the world do those short-legged 
	chickens lay eggs so high?

		JOSHUA
	Levity in the young --

But Heck is not listening, LOOKS OFF, struck dumb. The others 
turn. ELSA HURRIES toward the men. Then recovers herself, 
approaches with a fair semblance of ladylike poise. The dress 
is quite fetching. Heck eyes Elsa appreciatively. Joshua 
disapprovingly.

		JOSHUA
		(stiffly)
	My daughter, Elsa.

		JUDD
	How do you do?

		GIL
	Pleased to meet you.

		HECK
	Likewise.

Elsa nods, smiling at each. Gives Heck a longer look than 
the others. Noticed by Joshua.

		JOSHUA
	Go start supper. And change that 
	dress.

		ELSA
	Change it? What for?

		JOSHUA
	For the good reason I told you to.
		(before she can speak)
	Did you hear what I said?

She turns and sulks off toward the house.

		HECK
	I think it's a real pretty dress.

		ELSA
		(stops, glances back, 
		smiles)
	Thank you.
		(goes on)

NEW ANGLE

Heck finds himself the target of Joshua's level gaze.

		HECK
		(innocently)
	Shouldn't I have said that?

		GIL
		(to Joshua)
	You'll have to forgive the young 
	man. I've tried to teach him that 
	silence is golden, but he's a slow 
	learner.

		JOSHUA
	'Train up a child in the way he should 
	go and when he is old he will not 
	depart from it.'
		(then)
	Put your horses in the corral yonder. 
	Supper'll be ready in an hour -- no 
	charge -- 'The Lord's bounty --

		GIL
	-- is not for sale.'

		JUDD
	Thank you, sir.

Joshua goes into the barn.

JUDD, GIL, HECK

Heck looks off at Elsa, who is entering the house.

		HECK
	Think of all that going to waste up 
	here.

		GIL
	Like the fellow said, gold is where 
	you find it.

		JUDD
		(to Heck)
	And if it isn't yours don't covet 
	it.

He turns and leads the horses toward the corral. Gil turns 
to Heck who still looks after the girl.

		GIL
	Don't worry, boy, the Lord's bounty 
	may not be for sale -- but the Devil's 
	is -- if you can pay the price.

Heck looks at him blankly as we --

										DISSOLVE TO:

INT. FARM HOUSE - NIGHT - CLOSE ON JOSHUA

with bowed head, saying Grace.

The room is large, including kitchen and Elsa's bed. On the 
wall of the room is a large tintype of Elsa's mother, in her 
wedding dress. Very similar in looks to Elsa. Picture is 
wreathed with black crepe faded and dusty. On the opposite 
wall, a framed religious tract reads: "When Pride Cometh, 
then Cometh Shame, But with the Lowly is Wisdom.' Joshua's 
Bible rests on a stand in the corner.

		JOSHUA
	Heavenly Father, we thank Thee for 
	the food on this table. Teach Thy 
	children to be grateful for Thy 
	goodness, to walk in Thy path, that 
	they may not suffer Thy wrath and 
	Thy vengeance.

WIDEN. Joshua is at the head of the table, Judd at the end. 
On Joshua's left sit Gil and Elsa. She has changed into her 
'plain' dress. Heck sits across from Elsa. All have their 
heads bowed as Joshua continues Grace. However, Heck's eyes 
are raised, peering at Elsa. She glances up, quickly lowers 
her eyes. Heck smiles to himself.

		JOSHUA
	Bless us, Oh Lord, and these our 
	guests, and forgive them the mercenary 
	desires that brought them here. Amen.

Which brings a reaction from Gil and Heck, who exchange 
glances. Joshua serves himself first, passes the platters of 
food on to Gil.

		GIL
	I thank you, Mr. Knudsen, for entering 
	a plea in our behalf. But what's 
	this about mercenary desires?

		JOSHUA
	On your way to Coarse Gold, be'n't 
	you?

		GIL
	Yes.

ANOTHER ANGLE

		JOSHUA
	Those that travel there do so for 
	one reason only. To traffic in gold. 
	Which to possess is to live in fear; 
	to desire, to live in sorrow.

		JUDD
	We're not trafficking, sir. Merely 
	transporting.

		JOSHUA
		(not hearing)
	It says in the Book, 'Gold is a 
	stumbling block unto them that 
	sacrifice to it, and every fool shall 
	be taken therewith.'

		JUDD
		(dryly)
	'A good man is rather to be chosen 
	than great riches and loving favor 
	rather than silver and gold' -- 
	Proverbs, Chapter 22.

		JOSHUA
		(flaring back)
	'Into the land of trouble and anguish 
	come the old lions
		(looking at Heck)
	and they will carry their riches 
	upon the shoulders of young asses to 
	a people that shall not profit them'. 
	Isaiah, Chapter 30, verse 6.

They are silent. Judd can't think of a topper.

		JOSHUA
	That mining camp is a sinkhole of 
	depravity, a place of shame and sin.

		HECK
		(happily)
	Well, like the fellow said, sin is 
	where you find it.

This gets him a cold stare from Joshua, a KICK UNDER THE 
TABLE from Gil.

NEW ANGLE

		ELSA
	According to my father, everyplace 
	outside this farm is a place of sin.

		JOSHUA
		(sternly)
	That will do.

		ELSA
	You don't have to preach at everybody.

		JOSHUA
	That will do!

There's an awkward silence. Elsa burns with resentment. Gil 
breaks the tension.

		GIL
	You cook a lovely ham hock, Miss 
	Knudsen. Just lovely.
		(as Judd looks up)
	Appetite -- Chapter One.

										DISSOLVE:

INT. FARMHOUSE - KITCHEN AREA - NIGHT

Where Elsa washes the dishes. Turning to rinse a platter, 
she sees Heck, at the open window, grinning.

		HECK
	Give me a towel and I'll dry.

		ELSA
		(anxious glance at 
		the door)
	You hadn't better. Thanks all the 
	same.

		HECK
	Must be pretty lonely, living up 
	here.

		ELSA
		(mournfully)
	Sometimes I get to thinking there's 
	no one left in the world but my father 
	and me.

		HECK
	It's a crime, you being stuck here 
	on this old stump ranch. Girl like 
	you, you ought to be living in the 
	city. San Francisco, say.

		ELSA
	You've been there?

		HECK
	Plenty of times.

		ELSA
	I've never been anywhere. He won't 
	even take me to Hornitos when he 
	goes after supplies. Says the men 
	would stare at me.

		HECK
	Supposing, on the way back, I was to 
	pick you up? Take you to San 
	Francisco... Denver... Chicago even.

		JOSHUA'S VOICE
		(from the dining room)
	Elsa! Who you talking to in there?

		ELSA
		(calls)
	To myself.
		(whispers to Heck)
	You'd better go.

		HECK
		(whispers)
	Meet you outside later.

		ELSA
	I can't.

		HECK
	I'll wait by the corral.

He leaves.

										DISSOLVE:

EXT. FARM - CORRAL AREA - NIGHT

Heck leans against a rail, watching the house o.s.

INT. BARN - NIGHT

Judd and Gil have removed coats and shirts, are down to long 
woolen underwear. Gil takes off his boots, climbs into a 
bedroll, using his saddle as a pillow. Carries an unsmoked 
half of a cheroot which he lights at a kerosene lantern on 
the floor. Judd stands at the barn door, looking off at Heck

		JUDD
	That boy you trained personally shows 
	a substantial lack of judgment.

		GIL
	Kind of showing your age, aren't 
	you?
		(at Judd's expression)
	Interfering with a young man's love 
	life?

Judd sits on his bedroll, takes off his boots, massages a 
foot.

		JUDD
	I'm not paying him ten dollars a day 
	to go mooning after a girl whose 
	father is getting ready to hind end 
	him with a load of buckshot.

		GIL
		(smokes, looks at 
		ceiling)
	Know who she reminds me of? Sara 
	Truesdale.

Judd turns his head slowly, peers at Gil

		JUDD
	There's no resemblance at all.

		GIL
	Oh, maybe not in the features. But 
	the way she smiles... And there's 
	the same look in her eyes when you're 
	talking. The kind of look that makes 
	you feel you've said something real 
	important.

Judd examines the hole in his boot.

		JUDD
	Wonder if I can get these fixed in 
	Coarse Gold.

		GIL
	Probably not. You and Sara always 
	looked so right together. Course, 
	can't say I blamed her for not 
	marrying you -- Forgetting the lousy 
	money we made, what woman wants to 
	sit around waitin' for her husband 
	to be brought home with his head 
	shot off?

Judd climbs into his blankets, turns his back.

		JUDD
		(brusquely)
	That was all a long time ago.

Gil knows he has the knife in. Now he twists it.

		GIL
	Guess losing Sara's what you might 
	call a hazard of our profession. 
	That rancher she married -- Stacey? 
	Hear he's doing fine up in Idaho. 
	Got a big ranch there. Raises blooded 
	horses. And children, too, I hear.

		JUDD
	Grandchildren now -- three of them.

		GIL
	That so, Steve?

		JUDD
	Yep, that's right.
		(then)
	If my sleeping bothers you, don't 
	bother to let me know.

		GIL
	Sorry.

Not 'sorry' at all, but quite pleased with himself. Crushes 
out cheroot. Blows lantern out.

EXT. FARM - CORRAL AREA - NIGHT - MED. SHOT - HECK

waiting at the corral. Elsa hurries INTO SCENE.

		HECK
	You surely took your time.

		ELSA
	Shh. I shouldn't be here at all.

		HECK
	Why, the night air bother you? If it 
	does, we can climb up to the hayloft.

		ELSA
	I love the night air. The thing is, 
	I'm what you might call engaged.

		HECK
	Sure you are.

		ELSA
	It's the truth. His name is Billy 
	Hammond. He asked me to marry him. 
	Several times. And I said I probably 
	would. You'll see him in Coarse Gold. 
	He's a miner there. And doing very 
	well.

		HECK
	Well, if he's in Coarse Gold and 
	you're here, I don't see any harm in 
	us --

Breaks off as Joshua walks out of the shadows. Joshua stares 
hard at Heck, then jerks him away from Elsa.

		JOSHUA
	You! Get in the barn and stay there.
		(to Elsa)
	And you -- go to the house!

Elsa, with a cry of anger, runs to the house. Joshua stares 
at Heck, then follows. Heck, muttering, stalks to the barn.

ENTRANCE TO BARN - DARK

Heck enters, stumbles against a pail, kicks it.

		JUDD
	'The mouth of a strange woman is a 
	deep pit; and him that is abhorred 
	by the Lord shall fall therein -- '

Gil begins to laugh quietly. Judd grins, and rolls over.

INT. FARMHOUSE - NIGHT

Elsa runs in, SLAMS the door, goes to a window, stares angrily 
out into the night. The door opens and Joshua enters, 
approaches.

		JOSHUA
		(surveys her coldly)
	Will you never learn any decency?

		ELSA
	We were only going to talk. Talk.

		JOSHUA
	The likes of him don't stop at 
	talking.

		ELSA
		(bitterly)
	The likes of him. Every man I meet 
	becomes 'the likes of him'.

		JOSHUA
	He's no good. I can see it in his 
	face.

		ELSA
	That's all you see in anyone. Billy 
	Hammond came here twice. You said he 
	was evil -- sinful.

		JOSHUA
	I'm your father. I've got to keep 
	the dirt away. Protect you from the 
	wrong kind of men.

		ELSA
	That means everyone, doesn't it? 
	Every single man in the world is the 
	wrong kind of man.
		(beat)
	Except you.

He gives her a stinging SLAP across the mouth. No sign of 
pain. Only fury.

		ELSA
	I promised next time you hit me, 
	you'd be sorry for it.

		JOSHUA
	For my mouth shall speak truth and 
	wickedness is an abomination to my 
	lips. All the words of my mouth are 
	in righteousness.

He falls silent, but she stares at him defiantly.

		JOSHUA
	Go to bed.

She stands unmoving. After a moment he picks up the lamp and 
goes to his bedroom muttering:

		JOSHUA
	'Receive my instruction and not 
	silver, and knowledge rather than 
	choice gold. For wisdom is better 
	than rubies.'

CLOSE ON ELSA

Looking after him, her face expressionless.

										DISSOLVE:

EXT. GRAVE - DAWN - JOSHUA

On the hillside above Joshua's farm house. At the uphill end 
of the grave are a few wild flowers, in a tin can. On a wood 
grave marker is carved:

HESTER

Wife of Joshua Knudsen 1845-85 'Wherefore, O harlot, hear 
the word of the Lord: -- I will judge thee as women that 
break wedlock and shed blood are judged: I will give thee 
blood in fury and in jealousy.'

Behind the grave marker, with his forehead almost touching 
the top, kneels Joshua in silent prayer. WIDEN. In B.G., 
Judd's party rides up the hill.

										DISSOLVE:

EXT. HIGH SIERRA STREAM - DAY

Judd stands in midstream, his pants-legs rolled up as he 
lets the cool water soothe his feet. From Judd's blissful 
expression we PAN TO HECK, who is seated on the other side 
of the stream, watching Judd disgustedly.

		JUDD
	In about thirty years you'll like 
	the feel of it, too.

Heck ignores him, takes out a sandwich, throws the wrapping 
away.

		JUDD
	Pick it up. These mountains don't 
	need your trash.

Heck scowls, picks up the paper, crosses to a pack horse. 
Judd walks to the bank, sits on a rock, carefully dries his 
feet with a bandana. His boots lie flat on a rock, the soles 
exposed. One boot has a hole in it. Gil ENTERS SCENE, picks 
up the boot, peers through the hole at Judd, as through a 
telescope.

		GIL
	Dandy pair of boots you got here.

CLOSER ANGLE

		JUDD
	Juan Fernandez made these for me in 
	San Antone -- made them special -- 
	had a hell of a time convincing him 
	to put that hole in -- fine craftsman, 
	Juan -- But he never understood the 
	principle of ventilation.

		GIL
	I remember Juan -- always felt the 
	boot should cover the foot.

		JUDD
	Short-sighted.

They grin at each other.

		GIL
	Remember old Doc Franklin, the fancy 
	boots he wore? With the flaps over 
	the toes? Had them made, in Boston.
		(reminiscently)
	Old Doc. Know what happened to him?

		JUDD
	Heard he died.

		GIL
	That's right. It would've touched 
	your heart to see the funeral. Old 
	Doc. Gave thirty years of his life 
	to make the West safe for decent 
	people. You'd've wept to see the way 
	they turned out to pay tribute to 
	him. All three of them. The mortician, 
	the grave digger and me.

HECK

Listening intently.

BACK TO GIL AND JUDD

		JUDD
		(laconically)
	When I'm buried, I won't much care 
	who comes to the funeral.

		GIL
	I was commenting on the fairest flower 
	that grows within the human heart... 
	gratitude.

		JUDD
		(donning boots)
	Only gratitude I expect is my 
	paycheck. Twenty dollars worth.

		GIL
	That satisfies you?

		JUDD
	I guess it's all I can hope for.

		GIL
	Is it?

		JUDD
	According to the terms of my contract, 
	it is.
		(rises)
	Let's get moving.

He mounts, rides up the trail. Heck joins Gil.

		HECK
		(sotto, to Gil)
	You're just wasting your breath. He 
	don't even know what you're talking 
	about.

		GIL
		(easily)
	He will. In time.

		HECK
	When we're ready, let's just bend a 
	gun barrel over his head and take 
	off with the gold.

		GIL
	In the first place, boy, you couldn't 
	get close enough to Steve Judd to 
	saddle his horse.

		HECK
	That old man --?
		(then as Gil looks at 
		him disgustedly)
	Well, you could --

Gil thinks about this for a moment.

		GIL
	Yes, I could -- but I won't.
		(Heck turns away)
	Unless I have to.

They mount and, leading the pack horses, follow Judd.

									SLOW DISSOLVE:

EXT. HIGH SIERRA (ROCKY AREA) - GROUP SHOT - DAY

A steep gravel and rock section of trail. Judd, Gil, and 
Heck are afoot, leading the horses. Slipping occasionally on 
the treacherous footing. Gil stumbles, falls to a knee. Rises, 
shakes his head ruefully.

CLOSER ANGLE

		GIL
	I hope Heaven forgives us for earning 
	this easy money.

		JUDD
	I seem to remember a man saying he 
	hankered for some old-time activity.

		GIL
	I'd like to see some old time 
	mountains. As I recall, they were a 
	lot easier to get around in.

		JUDD
	You do a lot of complaining in your 
	old age.

		GIL
	I got something to complain about. 
	You're earning twice as much for the 
	same risk.
		(then)
	Plus possessing all the other rewards 
	you've gathered during your years of 
	loyal service. A bluegrass 
	thoroughbred, silver mounted saddle, 
	magnificent wardrobe. What more could 
	a man expect -- hope for?

		JUDD
	You forgot to mention my two dollar 
	watch.

They reach the top of the incline. Judd mounts, rides on.

		HECK
		(undertone)
	Waste of breath.

They mount, lead the pack horses, catch up with Judd, who 
rides his horse at a walk.

MOVING SHOT - JUDD, GIL, HECK

		JUDD
		(to Gil)
	What more could a man expect?
		(dryly)
	I got to thinkin' about that one 
	time -- well, sir, I keep records. 
	When I became a lawman, the world 
	lost a first-class bookkeeper.
		(as Gil looks at him)
	So, to pass the time one day, I sort 
	of calculated, what it's worth to 
	get shot at. Figured it about a 
	hundred dollars a shot.

		GIL
		(raises his head, 
		peers at Judd. Quietly)
	You would have earned quite a sum by 
	now.

		JUDD
	Getting hit, I figure that's worth 
	anywhere from a thousand on up.

		GIL
		(urging him on)
	That's three thousand I know you got 
	coming.

He glances at Heck, who has his hat pulled down over his 
eyes, shows no reaction to Judd's words.

		JUDD
	Four brings it up to date. Then tally 
	up all the fights, bush-whackings, 
	cold camps and the like... that time 
	in Lincoln County -- five weeks in 
	the hospital, six months out of work. 
	Add it all up, I'd say I was owed 
	about all the gold we could carry 
	out of these mountains... That's 
	something to hope for.

Reaction from Heck as he stares at Gil, who responds with a 
smile. This unseen by Judd, who rides on.

										DISSOLVE TO:

EXT. HIGH SIERRA HORSESHOE LAKE - DAY

The Judd Party rides across the dry lake bed, only to halt 
when there is a CALL FROM BEHIND.

THEIR P.O.V.

as Elsa rides toward them.

OUT
Sequence omitted from original script.

TWO SHOT

		HECK
	My luck has surely turned --

		ELSA
		(as she joins them)
	Do you mind if I keep you company on 
	the trip?

		HECK
	I don't mind.

		JUDD
	I do.

		GIL
	I'll second that. You've run away, 
	haven't you?
		(she doesn't answer)
	Well, my advice to you, honey, is 
	turn that horse around and ride back 
	home where you belong.

		ELSA
		(touching a bruise on 
		her face)
	I'm not going back to my father -- 
	I'm going to Coarse Gold to marry 
	Billy Hammond.

		HECK
		(reversing himself)
	What do you want to do a foolish 
	thing like that for?

		ELSA
	That is my affair.

		JUDD
	She's right, Heck. Our business is 
	transporting gold. Not girls.

		ELSA
		(sarcastic)
	Thank you for paying back our 
	hospitality.
		(to Gil)
	Those lovely ham hocks, and 
	everything.

		GIL
	I'm a strong believer in young love 
	and gratitude, but --

		ELSA
		(interrupts)
	Not strong enough to let me ride 
	with you --? I'll ride by myself.

		JUDD
		(glance at sun, to 
		Gil)
	We can get in another three or four 
	miles before it gets dark.

		GIL
	Right. Got to cover ground.
		(to Elsa)
	Do you have a gun?

		ELSA
	No, I don't have a gun...

OUT
Sequence omitted from original script.

NEW ANGLE

		GIL
	Too bad.
		(to Judd, quietly)
	This is mountain lion country, if 
	I've ever seen any.
		(as Judd nods wisely; 
		to Elsa)
	Well, build a good fire. Chances are 
	it'll scare them off.

		HECK
	You both go on ahead... I couldn't 
	sleep tonight with the thought of 
	Elsa out here all by herself... I'll 
	stay with her and meet you in Coarse 
	Gold... Go ahead.

Judd and Gil exchange glances.

		GIL
	Those mountain lions, some don't 
	scare so easy.

		JUDD
		(after a moment, to 
		Elsa)
	Come along.

They ride out, Elsa all smiles, Heck not at all pleased.

										DISSOLVE TO:

EXT. HIGH SIERRA - GROUP SHOT - LATE AFTERNOON

As they ride by.

										DISSOLVE TO:

EXT. MOUNTAINS (LAKE AREA) - TWO SHOT - NIGHT

as Judd crosses with the coffee pot and pours Gil another 
cup. In the B.G. Elsa kneels, washing tin plates and cups, 
with Heck's help.

		JUDD
	Do you remember Old Man Teaford?

Gil grins at the memory, then begins to laugh.

		JUDD
		(Indian dialect)
	All night, Logan.

		GIL
		(Indian dialect)
	Oh, yeah... Way up, Logan.

They grin at the memory, then fall silent.

		GIL
		(finally)
	That was a long time ago.

TWO SHOT - HECK AND ELSA

		HECK
	You know, the way you do your hair, 
	it looks real nice.

		ELSA
	Think so? -- Pa had me cut it short.

		HECK
	Sort of fits in with the shape of 
	your head when you see it from the 
	side.
		(turns her head so 
		it's in profile)
	Like that... Most girls don't have 
	the first idea how to wear their 
	hair.

		ELSA
	I guess you're an authority on what 
	most girls do.

		HECK
	I've studied the subject. Not just 
	what they do, but why. Take this 
	getting married. You think that's a 
	good idea?

		ELSA
	If I didn't, I wouldn't be here.

		HECK
	My guess is, you're doing it to get 
	away from your Pa. Maybe to get even.

		ELSA
	I guess your guess is as good as 
	anybody's.

		HECK
	If it's wrong, how come you run away?

		ELSA
	Because my father doesn't want me to 
	get married. Oh, he says he does. If 
	I can find a decent young man.
		(bitterly)
	But nobody's decent, according to 
	him.
		(beat)
	You included. Said you were no good. 
	Said the likes of you don't stop at 
	talking.

		HECK
		(moves closer)
	Well, he might have a point there.
		(as Elsa turns her 
		face toward him. 
		Sharply)
	Don't move!

Alarmed, she doesn't. Heck pretends to see something in the 
vicinity of her ear. Moves a hand slowly that way. Which 
brings his face close to hers. She follows his hand with her 
eyes, is suddenly kissed. For a few seconds Elsa doesn't 
resist. Then she fights, bites his lip. Heck yells in pain. 
Elsa rises, runs off. Heck touches his lip with his fingers, 
sees blood. Angry, he grabs her. She struggles, not too hard, 
to get free as Heck tries to kiss her. JUDD'S ARM ENTERS 
FRAME, grabs Heck, jerks him away from Elsa.

OUT
Sequence omitted from original script.

DIFFERENT ANGLE - TO INCLUDE JUDD AND GIL (WITH COFFEE CUP)

Heck tries to break away from Judd's grasp, suddenly lashes 
out with the fist of his free hand, knocking Judd to the 
ground.

		GIL
	Oh my -- oh my.

From his reaction, it's evident he thinks Heck has made a 
big mistake. He leans against a tree, LIGHTS a cheroot, 
watches Judd's preparations for battle.

JUDD AND HECK

The older man rises, removes his coat, carefully folds and 
places it on a log. Advances on Heck, who lunges toward him, 
swinging punches, which Judd avoids, or takes on shoulders 
and elbows.

GIL

smoking, enjoying his coffee, watching Heck's comeuppance.

BACK TO THE FIGHT

Heck throws another series of punches, all skillfully parried 
by Judd. Who waits for the opening, finds it, throws his 
first and last punch, knocking Heck down. He's too groggy to 
rise.

ELSA

watching, sorry for Heck.

FULL SHOT - GROUP

Judd picks up his coat, puts it on, then speaks to Gil.

		JUDD
	When I questioned you about the boy, 
	I should've gone a bit deeper into 
	the subject of character. Hope that's 
	a mistake I won't live to regret.

		GIL
	A bird in the hand --

Then falls silent as Judd turns to him.

		JUDD
		(with strange intensity)
	What are you trying to say, Gil?

		GIL
		(after a long moment)
	Good fight. I enjoyed it.

Judd grunts, leads Elsa toward the fire. Heck is helped to 
his feet by Gil, who brushes off his clothing.

		GIL
	"That old man?"

		HECK
		(barely able to talk)
	That old man is about half rough.

		GIL
	You learned a lesson.

		HECK
	I surely did.

		GIL
	Got room for another?

		HECK
	Let her fly.

Gil belts Heck, knocking him flat. Then picks him up and 
helps him to his feet.

		GIL
		(pleasantly, but firm)
	We're not here for romance -- do you 
	understand me, Son?

		HECK
		(after a moment)
	I understand.

										DISSOLVE:

EXT. MOUNTAIN (LAKE AREA) - TWO SHOT - ELSA AND HECK - NIGHT

Elsa bends over Heck who is bedded down.

		ELSA
		(softly)
	I hope Mr. Judd didn't hurt you too 
	bad.

He turns away. She tries again.

		ELSA
	I guess it's kinda my fault...

		HECK
		(sourly)
	What do you mean, kinda?

		ELSA
	I acted silly. I'm sorry. I do like 
	you...

		HECK
	Save the sugar talk for your Billy-
	boy. I don't need it.

		ELSA
		(angered)
	I guess not. What you need is the 
	kind of a girl who'd go off with you 
	to San Francisco or Denver...

		HECK
	That's right. And there's plenty of 
	them.

		ELSA
	I changed my mind. You got just what 
	you deserve.

Elsa stamps off to her bedroll. Heck rolls over, sees Gil 
grinning at him.

DIFFERENT ANGLE

		HECK
	You got something to say?

		GIL
	No, I think she about covered 
	everything.

										DISSOLVE:

EXT. HIGH SIERRA - DAY

Judd's Party is profiled against the sky, moving up an 
incline.

									SLOW DISSOLVE:

EXT. COARSE GOLD - DAY

A gold-mining camp in the raw Granite High Sierras. Hub of 
the business and social life of some one hundred miners who 
operate penny ante claims in the area. A narrow street wanders 
between a row of tents. The camp boasts one new frame 
building, bearing the legend KATE'S PLACE. Seated on a camp 
stool beneath the sign, taking an occasional drink from a 
bottle is KATE. She is a big woman, full of bourbon 
enthusiasm. With her are two of her Girls.

OUT
Sequence omitted from original script.

KATE'S P.O.V.

Judd's Party rides into camp.

MOVING SHOT THEIR P.O.V.

Judd's Party notes the following activity: an Indian SQUAW, 
trimming the beard of a MINER outside a tent; a MINER, passed 
out and sleeping it off; the slops from a bucket, thrown 
from inside a tent, narrowly missing the Party, draws a dry 
comment from Gil.

MOVING SHOT ON GROUP

		GIL
	Lovely place. A beauty spot of nature -- 
	a garden of Eden for the sore in 
	heart and short of cash.

		JUDD
	We didn't come here to admire the 
	scenery.

Shrill LAUGHTER and GUFFAWS come from Kate's Place.

		GIL
	The High Sierra Crochet and Garden 
	Society seem to be having their weekly 
	meeting.

		JUDD
		(ignores this)
	Pass the word around we're in camp 
	and ready for business.
		(to Heck)
	Find out where the Hammond claim is 
	and take --
		(indicating Elsa)
	-- her there.

		HECK
	Why me?

		GIL
	Because Steve and I are going to be 
	busy weighing gold dust.

		JUDD
		(to Elsa)
	It's not too late to change your 
	mind...

		ELSA
		(angry glance at Heck)
	I came to be married and that's what 
	I'm going to be -- married!

		JUDD
	Good luck, then.

		GIL
	All the happiness in the world.

Judd takes the lead rope on Heck's pack horse and stays with 
Gil while the young people ride on. More SHRIEKS AND LAUGHTER 
from Kate's Place -- draws Gil's attention.

		GIL
		(as they ride O.S.)
	This seems to be the place to find 
	it.

HECK AND ELSA

		HECK
	You might be in for a surprise... 
	How do you know Billy-boy still wants 
	to marry you --?

		ELSA
	What do you care?

		HECK
		(snapping back)
	I don't!

										DISSOLVE:

EXT. HAMMOND CLAIM - DAY

Three tents are pitched in the rocks. Water from a distant 
and unseen stream flows down a wood flume to spill into a 
sluice box, where gravel, transported to the box by wheel-
barrow, is 'panned' in the swiftly flowing water. Beside the 
sluice box is a wash stand, soap, razor, towels, and mirror.

Occupied with various chores are the HAMMOND BROTHERS. 
Clannish Southerners, they share a sardonic attitude toward 
life in general, and a latent appetite for violence.

ELDER HAMMOND, thirty-five, the bearded 'head' of the family, 
also the largest. Powerful physique, impassive countenance, 
his decisions are accepted by his brothers without question.

SYLVUS, next in age, sports a big moustache, lean, wiry, 
smiles often, but only with his lips, not the eyes.

HENRY, mid-twenties, the 'dirty' one of the group, badly in 
need of a haircut, wears filthy clothes, chews tobacco, parts 
his thin beard with thumb and forefinger of a hand when 
spitting, called 'Henery' by the others. At present he is 
not in evidence.

BILLY, twenty-five, dark and handsome in a wild, flamboyant 
way. A smiling, devil-may-care personality. More colorfully 
dressed than his brothers, in a manner calculated to draw 
attention to him. While not the oldest, the unofficial leader 
of the group.

JIMMY, nineteen, gangling and fuzzy-cheeked. What he lacks 
in brains, he makes up for in petty meanness.

Billy is behind a tent, chopping wood. Sylvus stirs a pot on 
an outside cook stove. Elder works beside the sluice box. 
Jimmy wheels a barrow load of gravel to the box, dumps it on 
the ground.

ANOTHER ANGLE

Excepting Billy, the brothers are alerted by the CALLS OF A 
MAGPIE. Sylvus disappears in a tent to reappear with a rifle. 
Presently Heck and Elsa ride out of the granite into the 
clearing. Are regarded with suspicion by the Hammonds.

		HECK
	This the Hammond claim?

		ELDER
	Who wants to know?

		HECK
	Me. I'm looking for Billy Hammond.

Billy appears, carrying a load of wood.

		ELSA
	Billy!

Dismounts, runs toward him. Billy drops the wood, runs to 
embrace her. They kiss.

		JIMMY
		(to Elder)
	Must be the girl he's been going 
	down the mountain to see.

		ELDER
	I'll say one thing, she's sure worth 
	the trip.

		JIMMY
	Wish I'd got there first.
		(spits)
	Looks like a warm one.

		BILLY
	Where's your Pa?

		ELSA
	Back home, where do you think?

		BILLY
	You run away, just to see me?

		ELSA
		(little worried)
	See you? Don't you remember what you 
	said?

		BILLY
	I said a lot of things.

		ELSA
	I mean about us.
		(indicates laundry 
		bag)
	I brought my mother's wedding dress.
		(quickly)
	If you still want to.

ANOTHER ANGLE

		BILLY
		(yelling to brothers)
	Hear that? Prettiest girl in 
	California, and she says, if I want 
	to.

		SYLVUS
		(to Elsa)
	If he don't, you got four others to 
	choose from.

		ELDER
	Girl like you deserves the pick of 
	the litter. So there's no rush about 
	making up your mind.

		BILLY
		(kisses Elsa)
	Don't listen to them. We're getting 
	married tonight.

		ELSA
		(radiant, looks at 
		Heck smugly)
	I guess that'll be all, Mr. Longtree.

		BILLY
	Just who is Mr. Longtree?

		ELSA
	I rode up with him from the farm.

		BILLY
	That's a couple of days on the trail, 
	ain't it?

		HECK
	That's right -- and a coupla nights.

The brothers eye Heck coldly.

		ELSA
	There were two other men with us 
	from the bank, in Hornitos. Besides,
		(faint note of irony)
	Mr. Longtree was a perfect gentleman.

		SYLVUS
	How come? Something wrong with him?

		BILLY
	I don't think I ever met a perfect 
	gentleman before. I am truly honored 
	Mr. Longtree. Truly.

Faint, contemptuous grins from the brothers who nudge each 
other. The grins broaden. Heck, doing a slow burn, turns his 
horse, rides off. Stops when he HEARS DERISIVE LAUGHTER from 
behind. Glares back, then rides on.

CLOSE SHOT - FEATURING BILLY AND ELSA

Billy picks her up and swings her -- she squeals excitedly 
and provocatively. Billy stops -- looking off.

		BILLY
	Sylvus, Jimmy -- come over here. I 
	want you to meet my woman. Elder -- 
	come here.

ANOTHER ANGLE

The three brothers move up to Billy and Elsa -- stop, grinning 
a little.

		BILLY
	That's Jimmy. He's our youngest. 
	Next is Sylvus, he's our cook -- as 
	you can see. And that there's Elder -- 
	he's head of the family.
		(after a moment)
	Well, boys -- say hello to the gal.

		JIMMY
		(after a moment)
	How do...

Sylvus grins. Elder nods and moves away.

		BILLY
	Now I want you to meet my favorite 
	brother. Henry -- you come on down 
	and meet my gal.

HIS POV - CLOSE SHOT - THE MAGPIE

CAMERA PULLS BACK to INCLUDE HENRY talking to the bird on 
his shoulder as he walks into camp.

		HENRY
		(to Elsa)
	What he meant to say was the richest.

		BILLY
	Henry's our banker.

The brothers ROAR with LAUGHTER -- then:

		BILLY
	Come on, Honey. I'll show you my 
	tent.

He and Elsa cross toward the tent. The brothers look after 
Elsa appreciatively.

EXT. COARSE GOLD - FULL SHOT - TENT - DAY

Half a dozen MINERS are in a line entering the tent. And 
more approach from both directions on the street. Each miner 
carries his poke of gold dust, a buckskin or leather pouch. 
Beside the tent entrance a proclamation has been pinned. It 
says:

NOTICE

The Hornitos National Bank has authorized MR. STEVE JUDD to 
accept deposits of gold dust and issue receipts for same. 
The Bank agrees to be liable for such deposits, and to honor 
all receipts in full. LUTHER SAMSON, Pres.

INT. TENT - FULL SHOT - DAY

where Judd, seated at a rickety table, writes out receipts 
for dust weighed by Gil. And tagged with the owner's name. 
Kate takes a receipt from Judd.

		GIL
		(dryly, to Kate)
	Looks like you've got a pretty good 
	claim.

		KATE
		(flouncing out)
	It's a gold mine, honey. Come on 
	over and take a look.

She leaves. Heck, still angry, enters.

		GIL
		(putting weights on 
		the balancing pan)
	Find Billy Hammond?

		HECK
	Yeah.

		JUDD
	What's he like?

		HECK
	What difference does it make? She 
	wanted him, now she's got him.

		GIL
	Count your blessings, brother.
		(has balanced gold. 
		To Judd)
	6 pounds, 8 ounces, 3 pennyweight, 
	14 grains, total.

		JUDD
		(jots this down)
	6 pounds, 8 ounces, 3 pennyweight, 
	14 grains.

										DISSOLVE:

EXT. HAMMOND CLAIM - DAY - CLOSE ON JIMMY HAMMOND

bound and tied protests as Henry and Elder lather his face 
with a shaving brush.

		JIMMY
	Damn the both of you, I don't want 
	to be shaved.

		HENRY
	Well, you're gonna be, whether you 
	like it or not.

		ELDER
	You been running around with peach 
	fuzz long enough. We want that girl 
	to know she's marrying into a family 
	of men.

Henry exchanges brush for razor. Grabs Jimmy's nose, starts 
to shave a sideburn.

		ELDER
	If you don't stop wiggling you'll 
	likely lose an ear.

EXT. TENT - FULL SHOT - SIGN

It reads: HONEYMOON HOUSE.

INT. TENT - FULL SHOT - DAY

Billy gathers up Sylvus' belongings, wraps them in blankets 
taken from one of two cots. Elsa glances around, appalled at 
the filth and litter -- an empty tin can, broken bottles, 
socks and underwear hanging from a string clothes line, etc. 
She starts to pick up litter as Sylvus enters, takes his 
belongings from Billy. Sylvus starts out, then stops. Tosses 
his gear back onto the cot.

		SYLVUS
	Nossir. Don't see no reason to move 
	out, just 'cause you're honeymoonin' 
	in here.

This dismays Elsa.

		BILLY
		(to Sylvus)
	I don't have time to explain it.

		SYLVUS
	Well, I ain't goin'.

Billy smiles and knocks Sylvus out of the tent.

		BILLY
	You just did.

Then he picks up Sylvus' belongings and throws them after 
his brother.

EXT. TENT

as Sylvus rises in time to catch the clothes in his face. 
Discouraged, he wanders over to where his brothers are shaving 
Jimmy, picking up a jug on the way.

		SYLVUS
		(taking a drink)
	You know, I think Billy's getting 
	small minded about that woman.

INT. TENT - TWO SHOT - DAY

Billy embraces Elsa. They kiss. After a moment, Elsa breaks 
out of the embrace.

		ELSA
		(flushed)
	I've got to clean up in here.

		BILLY
		(kissing her)
	Plenty of time for that later.

		ELSA
		(after a moment)
	No, I want to do it now. The place 
	is filthy and --
		(still struggling)
	Let go, Billy.
		(a little angrily)
	Let me go!

Billy releases her. Smiles gently, reassuring Elsa.

		BILLY
	All right. See you later.
		(starts for entrance, 
		pauses)
	If you need any help fastening up 
	your wedding dress, just holler.

		ELSA
	I can manage.

Billy leaves. Elsa glances around, discouraged at the sight.

EXT. HAMMOND CAMP - FULL SHOT - SLUICE BOX - DAY

		HENRY
	Well, now he's had his first shave, 
	let's make a complete man out of 
	him.
		(proffers jug)
	Time for your first drink.

		JIMMY
		(irritably)
	I don't want a drink.

Henry, Elder, Sylvus exchange glances.

		ELDER
	It ain't so much what you want.
		(again seizes Jimmy's 
		arms)
	It's what your brothers tell you to 
	do.

Jimmy struggles as Sylvus forces his mouth open and Henry 
pours whisky down his throat. Then all step back, LAUGHING, 
as the boy chokes and gags to his first taste of hard liquor.

		JIMMY
		(trying to spit out 
		whisky)
	Damn you! Damn you!

DIFFERENT ANGLE

Billy joins the group.

		BILLY
	You plan to bathe, Henry?

		HENRY
	No, sir.

		ELDER
	You won't clean up for Billy's 
	wedding?

		HENRY
	No sirree. Didn't wash when Cousin 
	was wed back home...
		(grins)
	Didn't seem to bother his bride none.

		BILLY
		(removing shirt)
	There'll be none of that.

		HENRY
		(innocently)
	None of what?

NEW ANGLE

Billy ignores the question and getting a bar of soap, starts 
to wash in sluice box. Henry, Sylvus, Elder exchange smiling 
glances.

		HENRY
	You're right. Billy's becomin' small 
	minded about that female.

		SYLVUS
	Small minded and feisty.

		ELDER
	A few drinks under his belt, he'll 
	change his mind. Liquor has a 
	softening effect on Billy.

Billy glances back at his brothers, resumes washing.

		BILLY
		(pointedly -- looking 
		at Henry)
	Hate to get married with one of my 
	brothers smellin' bad enough to gag 
	a dog off a Gut Wagon.

		ELDER
		(nods)
	That's so.
		(to Henry)
	Want that sweet little girl to think 
	we're less than quality?

		HENRY
	After tonight she won't be able to 
	think enough about...

They laugh for a moment -- then jump him. Elder grabs the 
jug as Sylvus pushes Henry into the sluice box. To the 
HILARITY of all but Henry, who emerges, sputtering, from the 
water. Glares at Elder and Billy, then grins slyly. And 
hurries off.

										DISSOLVE:

OUT
Sequence omitted from original script.

EXT. COARSE GOLD - MOVING SHOT - THE WEDDING PARTY

As they ride into town. The brothers are dressed in their 
Sunday best. Elsa wears riding-boots, and the wedding dress, 
old and faded. The horses are held to a walk, as Elsa must 
ride side-saddle on a conventional saddle. The brothers are 
all singing:

		THE BROTHERS
		(singing)
	On that bright and shining morning 
	When the dead Christ shall rise 
	When the morn shall break eternal 
	bright and fair 
	And the saved of earth shall gather 
	Over on the other shore 
	When the roll is called up yonder 
	We'll be there.
	When the roll is called up yonder 
	When the roll is called up yonder 
	When the roll is called up yonder 
	We'll be there.
	Oh, the Hammond Boys are comin'
	With a maiden young and fair 
	And our Billy's got that love-light 
	in his eyes 
	Old Tolliver's awaitin' with a prayer 
	book in his hand 
	To tie the knot that binds them till 
	they die.
		(Repeat chorus)

MED. SHOT - JUDD'S TENT

ILLUMINATED BY A LANTERN. A line of MINERS are at the 
entrance. Heck glances out, sees the wedding procession, 
steps outside, stands beneath the lantern, watching.

HECK'S POV SHOT - WEDDING PARTY

halting at Kate's Place, also ILLUMINATED BY A LANTERN. Elsa, 
lowered to the ground by Billy, sees Heck down the street. 
Looks at him for a few seconds.

CLOSE SHOT - HECK

looking at Elsa.

INT. KATE'S PLACE - FULL SHOT - NIGHT

Garishly furnished, with shabby rococo chairs and divans, a 
plank bar, and a Mexican guitar player -- El Quite. TINKLING 
JAPANESE LANTERNS hang from the ceiling. Seated at a table 
and now well into his cups is JUDGE TOLLIVER, a traveling, 
self-appointed dispenser of justice. The Judge wears "formal", 
if seedy, garb. From a corridor at the rear emerges KATE and 
the four GIRLS, BELLE, ROSE, CANDY and SAM. The Girls lined 
up facing the door have pale faces, dead eyes. All have been 
drinking and are more than a little sentimental. They are 
dressed in the manner of dance-hall girls fancied up for a 
wedding of that period. The room is full of miners, and a 
few squaws all dressed in their finest.

		KATE
		(to Tolliver)
	Stand up, Judge -- here comes the 
	bride.

NEW ANGLE - THE WEDDING PARTY - ENTERING KATE'S PLACE

Billy leads Elsa to the Judge's table.

		BILLY
		(proudly)
	Here she is, my bride-to-be. Elsa, 
	this is Judge Tolliver. And Kate, 
	your bridesmaid.

		KATE
	Welcome to Kate's Place.

		JUDGE
	Pleased to make your acquaintance, 
	my dear.

		BILLY
	I want you to meet Belle, Rose, Candy 
	and Sam.

		BELLE
	We're your flower girls, Honey.

		KATE
		(to the girls -- 
		meaning it)
	You look beautiful -- just beautiful. 
	Aren't they beautiful, Elsa?

Elsa finally nods.

		KATE
		(calling off)
	Let her go, Charlie.

She waves to the piano player and he begins. Kate and her 
girls sing:

		KATE AND GIRLS
	For she's a jolly good fellow 
	She's a jolly good fellow 
	For she's a jolly good fellow 
	Which nobody can deny.

GROUP SHOT

As the miners and brothers begin to sing the second verse:

		MINERS AND BROTHERS
		(singing)
	Which nobody can deny 
	Which nobody can deny 
	For she's a jolly good fellow 
	She's a jolly good fellow 
	Which nobody can deny.

Elsa is silent, numb.

		KATE
		(as the song breaks 
		up in CHEERING)
	All right, girls, take care of your 
	customers.
		(to the crowd)
	Drinks are on the house.
		(to Elsa)
	Now, child, sit down, be easy -- and 
	we'll all of us have a little drinkie 
	before the formalities.

Elsa sits.

		KATE
	Drink up, Honey -- go ahead. Don't 
	be afraid.

Elsa looks at her without speaking, then turns to Billy, who 
takes a long drink from a quart bottle and grins at her.

INT. JUDD'S TENT - FULL SHOT - NIGHT

The last depositor leaves. Gil lights a cheroot, watches 
Heck drop a tagged poke into a pouch.

		GIL
	All in all, I'd say it's been a 
	reasonably productive day.
		(to Judd)
	Although it's a little closer to 
	eleven than 250 thousand.

		JUDD
	Fortunes of war.

		GIL
		(lost in thought, 
		after a moment)
	Hardly worth it.

		JUDD
	It all depends on where you stand.

		GIL
	I guess that's right. To a poor man 
	11 thousand is just as far away as 
	250 thousand.

Heck goes toward the entrance.

		JUDD
	Where you going?

		HECK
	Out for some fresh air. Any objection?
		(leaves)

OUT
Sequence omitted from original script.

EXT. COARSE GOLD - FULL SHOT - TENT

Heck stops outside, looking down the street at Kate's Place.

INT. KATE'S PLACE - NIGHT

Judge Tolliver, somewhat taken with drink, reads the wedding 
service. Faces a wide-eyed apprehensive Elsa, a bleary-eyed 
Billy. Kate stands behind Elsa. Behind the couple are Billy's 
four brothers. Almost everyone is crying.

		JUDGE TOLLIVER
	We are gathered here in the high 
	mountains, and in the presence of 
	this august company, to join together 
	this man and this woman in 
	matrimony... Now matrimony is an 
	honorable estate, instituted, blessed, 
	and commended and commented on by 
	almost everybody.
		(then to Billy and 
		Elsa -- gently, simply)
	I am not a man of the Cloth, and 
	this is not a religious ceremony. It 
	is a Civil marriage. But none-theless, 
	it should not be entered into 
	unadvisedly, but reverently and 
	soberly... You know, a good marriage 
	has a kind of simple glory about it. 
	A good marriage is a rare animal, 
	hard to find -- almost impossible to 
	keep...
		(stumbling, remembering)
	I don't know -- you see... Well, 
	people change. It's important for 
	you to know at the beginning that 
	people change. You see, the real 
	glory of marriage don't come at the 
	beginning. It comes later and it's 
	hard work.

GROUP SHOT - FEATURING SYLVUS

as a miner turns to him.

		MINER
	I wish they'd liven things up a bit. 
	I'm getting awfully dry.

Sylvus turns and with one short punch, knocks the man 
unconscious.

MED. SHOT - JUDGE

He reacts, then hurries on with the ceremony.

		JUDGE TOLLIVER
	Do you take this woman to be your 
	lawful wedded wife? And promise that 
	you will perform unto her all the 
	duties that a husband owes his wife -- 
	until God, by death, shall separate 
	you?

		BILLY
	I do.

		JUDGE TOLLIVER
		(to Elsa)
	And do you --
		(he hesitates)
	What did you say your name was?

		ELSA
	Elsa Knudsen.

		JUDGE
	And do you, Elsa, take this man to 
	be your lawful, wedded husband until 
	death shall separate you?

		ELSA
	I do.

		JUDGE
		(to Billy)
	Do you have a ring?

Billy gets a ring from Kate, places it on Elsa's finger.

		JUDGE TOLLIVER
	Then by the 'thority vested in me I 
	pr'nounce you man and wife.

		KATE
	All right, girls -- change your 
	clothes.

Billy kisses Elsa. Henry SHOUTS THE REBEL YELL. The MUSIC 
starts a fandango and two of the brothers begin to dance 
with two of the girls. The others pull Billy away from Elsa, 
take turns kissing her. Then one dances with her, trying to 
kiss her at the same time. The rest of the crowd breaks up -- 
some dancing with squaws -- others with each other. All 
drinking and all having a hell of a good time.

EXT. COARSE GOLD - MED. SHOT - HECK - NIGHT

Heck has moved to a place near Kate's door. Scowling, watches 
the activity through the open door.

INT. KATE'S PLACE - FEATURING ELSA - NIGHT

Dancing with Sylvus who nuzzles her neck, tries to kiss her. 
Billy pulls Sylvus away, takes no more than two steps with 
Elsa when he in turn is pulled away by Elder and pushed into 
the arms of one of the girls. The other girl leads Henry 
into the corridor. Kate drinks with the Judge, both enjoying 
the action.

EXT. COARSE GOLD - HECK - NIGHT

Judd approaches, stops, sensing his feelings.

		JUDD
	No use standing here tormenting 
	yourself, Son. Come on, I'll buy you 
	a drink.

Heck reluctantly goes back with him.

INT. KATE'S PLACE - FULL SHOT - NIGHT

where the party gets wilder. Elsa, beginning to panic, tries 
to fight free of Elder, whose dancing is confined to a few 
shuffling steps as he tries to kiss her. Sylvus pulls Elder 
away, starts for Elsa, is knocked down by Elder, which gives 
Billy the opportunity to join her.

		BILLY
	Let's get out of here.

She is only too happy to. Billy guides Elsa toward the 
corridor, flattening Sylvus, who makes a grab at her. Sylvus 
gets up and has a drink. Around him, other fights break out. 
Billy stops, watching the fights, drinking. Notices Jimmy 
and one of the girls enjoying themselves.

		BILLY
		(to Elsa)
	Tonight's sure making a man out of 
	Jimmy.

The fight continues and he moves toward it. Elsa grabs him.

		ELSA
	Don't leave me.

He looks at her a moment, then grins and pulls her into the 
corridor.

INT. CORRIDOR - KATE'S PLACE - ELSA AND BILLY - NIGHT

as they hurry the length of the corridor and enter a room 
near its end. The corridor is doorless, a cul-de-sac.

INT. BEDROOM - KATE'S PLACE - NIGHT

Elsa and Billy enter. She is surprised at finding herself in 
a bedroom, starts to protest. Stopped by Billy's embrace and 
kiss. Struggles when his pawing hands try to remove her 
clothing. Fights, crying softly. Billy tears a sleeve of her 
gown, finally pushes her onto the bed. Staggers to the door, 
SLAMS it closed. Steps atop a rickety chair to draw down the 
window shade, but the chair collapses and Billy falls to the 
floor, momentarily unconscious.

The DOOR BURSTS OPEN and Henry stands in the opening -- 
swaying, grinning at the terrified girl.

INT. JUDD'S TENT - FULL SHOT - NIGHT

Judd pours three drinks from a pocket flask. The SOUND OF 
REVELRY from Kate's Place is HEARD.

		JUDD
	I wish I'd known more about those 
	brothers.

		HECK
		(softly)
	Too late now -- she's married.

		GIL
		(happily)
	Glad they didn't invite me to the 
	ceremony. I always cry at weddings.

		HECK
		(flatly)
	You know, Mr. Westrum, the more I am 
	around you the more I can do without 
	your sense of humor.

Gil reacts to Heck's reversed attitude. Above the SOUND OF 
REVELRY WE HEAR ELSA'S SCREAM. Heck, weaponless, is out of 
the tent in a flash. Judd goes after him -- turns to Gil.

		JUDD
	You stay here!

		GIL
	Wild horses couldn't drag me away.

Judd is gone. Gil, beaming, picks up a drink, toasts the 
gold pouches, tosses it down. Picks up another drink.

INT. BEDROOM - KATE'S PLACE - NIGHT

Elsa struggles with Henry, who tears her gown. Finally she 
breaks free, darts out the door, down the corridor, followed 
by Henry.

INT. KATE'S PLACE - GROUP SHOT - NIGHT - BACK TO WEDDING 
CELEBRATION

Elsa BOLTS out of the corridor, tries to get to the front 
door, is stopped by Elder. She fights, scratching him.

NEW ANGLE

Heck RUNS IN from the street, slugs Elder, knocks him down. 
Henry, who emerges from the corridor, hits Heck from behind, 
knocking him sprawling.

Elder rises, again grabs Elsa. When Jimmy tries to kick Heck 
in the face, he rolls over, grabs Jimmy's legs, up-ends him.

NEW ANGLE

Henry dives at Heck, who rolls over again, comes quickly to 
his feet. Elder, behind him at the bar, holds a struggling 
Elsa with one arm, picks up a bottle with his free hand, 
raises it, intending to break it over Heck's head. A SHOT 
comes from the doorway, SHATTERING THE BOTTLE. Judd appears, 
gun in hand. The SOUND OF THE SHOT halts all activity.

		JUDD
		(to Elder)
	Let her go.

Elder does, and Elsa sobbing hurries to Judd's side. As they 
start to leave, BILLY appears at the corridor entrance.

CLOSE GROUP SHOT

		BILLY
	Where you taking my wife?

		JUDD
	She'll stay the night with us, and 
	go back to her father tomorrow.

		BILLY
	Like hell she will.

Lurches toward them, stumbles, falls to the floor, starts to 
get up, Heck drops him again -- Elder slams Heck against the 
wall, turns to Judd.

		ELDER
	You can't take a wife away from her 
	husband.

		JUDGE
		(blotto, to Kate)
	Clear case of breaking and entering.

		ELDER
	Elsa's legally married to Billy. 
	Right, Judge?

		JUDGE
		(half rises from chair)
	I now pr'nounce you man 'n wife -- 
	and, don't you forget it.

		JUDD
	Come along, Elsa.

		ELDER
	You won't leave this camp with her. 
	I can promise you that.

They leave -- Heck follows -- Elder watches silently. After 
a moment, El Quite begins to play the Wedding March.

INT. JUDD'S TENT - FULL SHOT - NIGHT

Judd and Elsa enter.

		JUDD
		(as Gil rises)
	The marriage didn't work out. We'll 
	take her with us -- back to her 
	father.

		GIL
	We've got our hands full already.
		(indicating the gold)

		JUDD
		(as Heck enters)
	I don't like it any better than you 
	do, but we can't leave her here.

Gil thinks this over, then exits. Elsa sits down, looks at 
the two men, then starts to bawl.

										DISSOLVE TO:

EXT. MERCANTILE TENT (COARSE GOLD) - MOVING SHOT - DAWN

Above the entrance a sign reads:

COARSE GOLD GENERAL MERCANTILE

Heck and Elsa exit the tent. Elsa wears brand new jeans and 
a man's shirt, both several sizes too large. She carries her 
wedding dress. They walk toward Judd's tent, with Elsa holding 
her jeans up. Heck is solemn, taciturn. Elsa gives him a 
side-long glance.

		ELSA
	Thanks very much. I'll pay you back.

		HECK
	Forget it.

		ELSA
	I didn't thank you for last night, 
	either.

		HECK
	Forget that, too.
		(notices Elsa's 
		difficulty with jeans)
	Too big, huh?

She nods. They stop. Heck brings out a bandana, slips it 
through the two front belt loops, draws it tight, ties it. 
Now the jeans fit at the waist. Elsa, glancing off at Judd's 
tent, reacts in alarm. Heck notices, also looks that way.

THEIR P.O.V.

Five MINERS are seated on stools, facing Judd's tent. Judd, 
Gil, and Billy Hammond talk to them. Watching, at a distance, 
are the rest of the Hammonds and a group of armed miners, 
and various spectators. Henry, in conversation with Elder, 
leaves his brothers, goes off toward the rear of the tent.

		JUDD
	-- We will abide by the court's 
	decision if you will --

RETURN TO HECK AND ELSA

		ELSA
		(frightened)
	What are they doing there?

		HECK
	Don't know.
		(takes her arm)
	Don't be scared. Everything will be 
	all right.

They walk toward the tent. Gil and Judd see Heck and Elsa, 
go toward them.

REAR OF TENT

The horses of the Judd Party are staked out, and the riding 
horses have been saddled. The men's rifles are in the boots. 
Henry, with a glance at those in front of the tent, walks 
casually toward the horses.

BACK TO HECK AND ELSA

Apprehensive. They are joined by Judd and Gil, OUT OF EARSHOT 
of the others.

		HECK
	What's wrong?

		JUDD
	Billy Hammond wants Elsa. He's called 
	a Miners' Court to decide the issue.

		HECK
	Miners' Court?

		JUDD
	That's the law, places like this --

		HECK
	Who says?

		GIL
	They do. And there's a lot more of 
	them than there are of us.
		(to Elsa)
	Billy's very sorry about last night. 
	Swears nothing like it will ever 
	happen again. I believe him.

		HECK
		(glaring at him)
	I wouldn't believe Billy-boy --

		ELSA
		(badly frightened; 
		interrupting)
	I don't want to go back to him.

		JUDD
	They'll take your wishes into 
	consideration. Problem is, you were 
	legally married by the local Judge, 
	of your own free will.

		ELSA
		(close to tears)
	Please, you can't let them take me 
	back. You can't!

		GIL
	We'll do the best we can. But whatever 
	they decide, that will have to be 
	it.

		HECK
	No, that don't have to be it. She's 
	not going back to him. She's going 
	with us.

		GIL
		(his anger showing)
	She stays here!... We're packin' 
	gold with us, not petticoats.

		HECK
	To hell with the gold! If she stays, 
	I stay.

		JUDD
	Let's hope the Court decides that 
	she can go. Otherwise we're going to 
	be a little short-handed.

He takes Elsa's arm, guides her toward the Court, with Heck 
on the opposite side. Gil stays behind thinking. Finally, 
with a sour, disgusted look, goes off in another direction.

EXT. KATE'S PLACE

Gil approaches, enters. Exits to rear room.

INT. BEDROOM - CLOSE SHOT - GLASS - DAY

As Gil pours a glass of whiskey. Judge Tolliver, badly hung 
over, tries to lift the glass to his mouth, but his hand 
shakes badly. GIL'S ARM ENTERS FRAME, his hand grabs the 
Judge's wrist, escorts the glass to the Judge's lips. Tolliver 
drinks, looks up.

		JUDGE
	Much obliged.

		GIL
	Not at all. Have another?

		JUDGE
	Don't mind if I do.

Gil pours the drink, which the Judge, unassisted, tosses 
down. He feels better.

		JUDGE
	Thank you, sir. What can I do for 
	you?

		GIL
	Clear up a little technicality, if 
	you will. They're holding a Miners' 
	Court. About that marriage last night -- 
	they'll want to know if it was legal.

		JUDGE
	Of course it was legal!

		GIL
	Well, I believe that. But the Court 
	may want proof. In the form of a 
	license. To perform marriages. You 
	got one?

		JUDGE
		(fumbles in a purse, 
		produces a license)
	See for yourself.

NEW ANGLE

Gil reads, finally:

		GIL
	Signed by the Governor of California. 
	Yes sir, there's no question at all 
	about the legality of this document. 
	Now Judge, when you testify at that 
	Miners' Court I'm going to ask you 
	one question: 'Do you possess a 
	license to marry people in 
	California?' And you're going to 
	answer, 'No'. Am I clear?

		JUDGE
	But that's a lie.

		GIL
	No, it isn't. You don't possess it. 
	I do.

With which Gil folds, pockets the license.

		JUDGE
	Now, hold on, Mister --

Breaks off as Gil draws his gun, jabs barrel into the Judge's 
fat belly.

		GIL
		(savagely)
	Listen to me, you fat-gutted soak -- 
	you're going to do as you're told -- 
	understand?
		(the Judge nods)
	Do you recall the question I'm going 
	to ask you?
		(Judge nods again)
	And what do you answer?

		JUDGE
	No.

		GIL
		(pleasantly)
	Very good. Let's go.

The Judge hastily pours another drink, tosses it down. Rises, 
is escorted to the door by Gil.

										DISSOLVE TO:

EXT. STREET - DAY

The Judd Party and Elsa ride out of town, carrying the gold 
on pack horses. The Hammond brothers and members of the Court 
watch them go.

INT. KATE'S PLACE - FULL SHOT - DAY

Business slow and only Kate and two girls are working in a 
corner. The Judge has the shakes again. Tries to pour a drink, 
finally gives up, drinks from the jug. HEARS SOMEONE ENTER.

HIS POV

Billy and Elder enter, cross toward Judge, EXIT SHOT. Henry, 
Jimmy and Sylvus enter and watch. We HEAR THE JUG, CRASHING 
to the ground. Followed by the SOUND OF BLOWS, and the Judge's 
CRY as the brothers beat him.

										DISSOLVE TO:

EXT. HIGH SIERRA - MOVING SHOT - DAY

The Judd Party ride downgrade, Heck and Elsa in front. Heck 
turns in the saddle, speaks to Gil.

		HECK
	How did you come to figure that Judge 
	was a phony?

		GIL
	Might call it a sixth sense. Picked 
	up from years of keeping the peace. 
	A good law enforcement officer can 
	smell a wrong-doer four miles off 
	against a high wind.

Judd smiles faintly, allows Elsa and Heck to ride on as he 
slows his horse beside Gil's.

		JUDD
	Speaking of sixth sense, what did 
	you do with the license?

Gil grins and brings the license from his pocket, tears it 
up, tosses the pieces aside.

		GIL
	What license?

		JUDD
	According to the law, she's still 
	married to Billy Hammond.

		GIL
	You and the law. She can get it 
	nullified. Will that satisfy your 
	ironbound code of ethics?

		JUDD
	My code satisfies pretty easy, 
	partner.
		(looks steadily at 
		Gil)
	Surprise you to know I was once a 
	law-breaker?

		GIL
	Well, bless my stars.

		JUDD
		(after a moment)
	I was about the age of that boy -- 
	skinny as a snake and just about as 
	mean -- ran with the Hole-in-the-
	wall bunch, gunhappy, looking for 
	trouble -- or a pretty ankle. -- Had 
	the world by the tail so to speak.

NEW ANGLE

Gil listens in silence.

		JUDD
	Then one night Paul Staniford picked 
	me up. -- He was Sheriff of Madera 
	County then -- there had been a fight 
	and I was drunk -- sicker than a 
	damn dog. Well sir, he dried me out 
	in jail, then we went out back and 
	he proceeded to kick the bitter hell 
	right out of me.

		GIL
	That took some doin'...

		JUDD
	Not much. You see -- he was right 
	and I was wrong. That makes a 
	difference.

		GIL
	Who says so?

		JUDD
	Why nobody... That's something you 
	just know --
		(then)
	By the time I was able to walk again 
	I found I'd learned a lesson -- the 
	value of self-respect.

		GIL
		(dully)
	What's that worth on the open market?

		JUDD
	Nothing to some people -- but a great 
	deal to me. But I lost it -- These 
	last years the only work I could get 
	was in places like Kate's back 
	there... bartender, stick man, 
	bouncer, what have you... Not much 
	to brag on.

They ride in silence, then:

		JUDD
	Now I've got back a little respect 
	for myself. I hope to keep it... 
	with the help of you... and that boy 
	up ahead.

They ride on, neither one looking at the other, each absorbed 
in his own thoughts. Finally:

		JUDD
	Pretty country, Gil --

		GIL
		(after a moment)
	Yeah.
		(then)
	Partner, you know what's on a poor 
	man's back when he dies?
		(as Judd looks at him)
	The clothes of pride -- And they're 
	not a bit warmer to him dead than 
	they were when he was alive.
		(after a moment)
	What do you want, Steve?

		JUDD
		(finally)
	To enter my House justified.

Gil looks at him. Then wheels his horse, rides back toward 
Heck.

CLOSER ANGLE - HECK AND ELSA

They have stopped. Heck crosses to adjust Elsa's saddle cinch.

		ELSA
	Thank you.
		(watches him for a 
		moment)
	Will you stay in town when you get 
	back?

		HECK
		(glances off at Gil)
	I'm not just certain. Why?

Elsa shrugs. For a moment they are silent, then Heck steps 
back as she rides on ahead. As Heck mounts, Gil joins him. 
In the B.G. Judd and Elsa ride ahead.

MOVING SHOT - GIL AND HECK - DAY

		GIL
	You were right, Kid. I been wasting 
	my breath.
		(beat)
	Tonight we move.

		HECK
	Tonight? Why so soon?

		GIL
	That's the way I see it.

		HECK
		(uneasily)
	I don't know --

		GIL
		(sharply)
	You don't know what?

		HECK
	I started out thinking he was an old 
	mossback. Changed my mind. Kind of 
	hate to turn against him.

		GIL
		(beat)
	Are you with me or not?

		HECK
	I don't know. What'll happen to Elsa?

		GIL
	He'll deliver Elsa to her father.
		(then, softly)
	The thing for you to remember is 
	that we made a deal.

		HECK
	Yes, sir.

Heck, tormented, looks off at Elsa, as Gil grins.

										DISSOLVE TO:

OUT
Sequence omitted from original script.

EXT. CAMP - NIGHT

The men and girl eat supper. Elsa removes a frying-pan of 
beans from the fire.

		ELSA
	Care for more, Mr. Judd?

		JUDD
	Not for me, thanks.

		ELSA
	Heck?

He's in a dark mood, has been picking at his food. Curtly:

		HECK
	No.

Elsa looks at him, a little puzzled.

		ELSA
	I was wondering if I did come to 
	town -- do you think I could find 
	work?

		HECK
		(looks; then)
	No. I don't think so.

Rises, stalks off to his bedroll some distance away. Elsa, 
hurt, watches him. Gil holds out his plate.

NEW ANGLE

		GIL
	I'm a collector of well-cooked beans, 
	honey.
		(then)
	The boy seems to be off his feed 
	tonight.

		JUDD
		(rising)
	I'll stand first guard duty. You 
	take over at midnight. Heck can 
	relieve you at three in the morning.

Leaves, in the opposite direction from that taken by Heck. 
Gil lights a cheroot, watches Judd. Then calls to Heck.

ANOTHER ANGLE

		GIL
	You take guard at three o'clock. 
	I'll wake you.

		HECK
		(calls back)
	You won't have to.

He sits on his bedroll removing boots, watching Elsa as she 
begins to clean up.

										DISSOLVE TO:

EXT. MOUNTAINS (LAKE AREA) - FULL SHOT - CAMP SITE - NIGHT

where Judd, Heck and Elsa sleep in bedrolls. A coffee pot is 
braced on rocks above the coals of the fire. Sure enough, 
Heck is awake, staring up at the stars. Turns to look at 
Elsa, sleeping peacefully. GIL ENTERS SCENE, motions to Heck. 
Heck dons boots, rises. A last look at Elsa, and he walks 
silently away to --

GLADE AMONG THE TREES

Gil has lashed pieces of canvas around the hooves of their 
two riding horses, and one of the pack horses. To act as 
mufflers. The gold pouches are lashed to the pack horse.

HECK ENTERS SCENE. At Gil's beckoned instructions, Heck leads 
the riding horses. Gil leads the pack horse.

They move slowly, silently.

ANOTHER ANGLE

as Gil and Heck lead the horses through the forest. Gil spots 
something O.S., stops. As does Heck.

THEIR POV

Judd stands in the trees, his six-gun in hand. He walks out 
of the shadows, confronts Gil and Heck. In a blind rage, he 
controls his voice with difficulty.

		JUDD
	It all pointed this way. All that 
	talk about old Doc Franklin... 
	grateful citizens... what we've got 
	coming but never got paid...

		GIL
	It's the truth, isn't it? Steve?

		JUDD
	I knew in my bones what you were 
	aiming for, but I wouldn't believe 
	it. I kept telling myself you were a 
	good man -- you were my friend --

		GIL
	This is bank money, not yours.

ANOTHER ANGLE

		JUDD
	And what they don't know won't hurt 
	them?
		(savagely)
	Not them. Only me!
		(to Heck)
	Take off your gun belt. Toss it over 
	here.

Heck unbuckles his belt, tosses it at Judd's feet.

		GIL
	What are you going to do?

Judd swings, backhanding Gil across the face once, twice. 
Gil stumbles back, then straightens, white with anger. Judd 
slaps his gun into its holster.

		JUDD
	You always fancied yourself faster 
	than me. Go ahead, draw --
		(after a moment)
	Draw, you damned tinhorn --

NEW ANGLE

For a moment a shootout is inevitable, both men mad enough 
to kill; then Gil makes his decision. Slowly unbuckles his 
gun belt, tosses it to Judd.

		JUDD
	That was your second mistake tonight 
	and the last chance you'll ever get 
	from me -- I'm going to put you behind 
	bars, Gil -- and you'll die there.

		GIL
	You'll play hell getting it done.

Judd picks up Heck's pistol and motions toward camp.

		JUDD
		(to Gil and Heck)
	Move!

They do, passing Elsa, who stares at Heck, shocked and 
dismayed.

										DISSOLVE TO:

EXT. CAMP - MORNING

Judd sits on horseback, watching Gil mount. Gil has difficulty 
as his wrists are bound tightly with rawhide. As CAMERA PANS 
to Heck and Elsa, the boy mounts his horse.

		HECK
	Guess now you're sorry you ran out 
	on Billy-boy, huh? Guess he looks 
	pretty good alongside of me.
		(no comment from her)
	Why don't you go back to him?

Still no comment. And then --

		ELSA
	How could you do it?

		HECK
	Like your father says, I'm just plain 
	no good. Bad through and through...

		JUDD
	Move along, boy.

They ride out.

										DISSOLVE TO:

EXT. HIGH SIERRAS - DAWN

Judd's Party rides downhill, with Gil and Heck in the lead, 
Elsa just behind. Gil's hands are tied. Judd, in the rear, 
leads the pack horses. Gil's and Heck's guns are lashed to 
one of the packs. Judd is exhausted.

										DISSOLVE TO:

OUT
Sequence omitted from original script.

EXT. HIGH SIERRA CLIFF AREA - DAY

The Judd Party rides TOWARD CAMERA, then halts abruptly.

THEIR P.O.V.

Some distance away, two mounted Hammond brothers, BILLY AND 
HENRY, LOOK TOWARD CAMERA.

RETURN TO SCENE

		GIL
	My, oh, my, would you look at that.

THEIR P.O.V.

PANNING FROM Billy and Henry TO SYLVUS down the slope, on 
horseback -- TO ELDER on a nearby rocky point.

JUDD PARTY

		GIL
	You know, I'm glad it's you who has 
	to protect us, not me... No sir, I 
	wouldn't be in your shoes for 
	anything.
		(the pitch-man again)
	But tell you what I'm gonna do. I'll 
	have a talk with my partner. Maybe 
	we can be persuaded to help. My arm's 
	pretty rusty, so I wouldn't be much 
	good throwing rocks, but --

Starts toward pack horse carrying the weapons. Judd draws 
his gun.

		JUDD
	Keep away from them horses.

Gil does.

HAMMOND BROTHERS

Billy and Henry RIDE TOWARD THE PARTY. The other brothers 
ride off at a slight angle. Behind an out-cropping of rock 
which hides their actions from Judd's Party, they dismount, 
fan out and ahead, as they make their way among boulders in 
a flanking movement.

BILLY AND HENRY

riding toward Judd's Party.

BACK TO JUDD'S PARTY

as Billy and Henry halt their horses nearby.

		BILLY
	Howdy.
		(to Gil)
	You made pure fools out of us -- 
	stealing Tolliver's license. But the 
	Judge says there's a copy of it, on 
	file in Sacramento.

NEW ANGLE

Reaction from Elsa and Heck on learning she is actually 
married.

		BILLY
	Means you're still my wife -- Come 
	along, Honey. Let's go home.

Elsa looks at Judd.

		JUDD
	She stays with us.

		HENRY
	If she does, there'll be a lot of 
	fuss and bother.

		BILLY
	You're breakin' the law, Mr. Judd -- 
	you know that, don't you?

		JUDD
		(after a long moment)
	I know she stays with us.

Henry notices Gil's tied hands.

		HENRY
	Looks to me like you people had a 
	little trouble. Looks to me like 
	somebody got their fingers caught in 
	the cookie jar.

		BILLY
	You're shorthanded, Old Timer -- but 
	she's all we want.
		(looks pointedly at 
		gold)
	All we want, provided you hand her 
	over now.

		JUDD
	You heard me.

Billy and Henry exchange glances.

		BILLY
	We'll get her, sooner or later.

		HECK
	Like hell you will!

		BILLY
		(laughing)
	You better cut a switch, Mr. Longtree -- 
	Don't think you can handle me 
	barehanded --

They turn and ride off. HENRY'S REBEL YELL IS HEARD. Judd 
realizes he's in for real trouble.

		JUDD
	Heck, will you give me your word to 
	return your gun when we're out of 
	this?

NEW ANGLE

		GIL
	What you mean, is when and if.

		JUDD
		(to Heck)
	How about it? Do I have your word?

		HECK
	Yes sir -- I reckon you do.

		GIL
		(to Judd, holding out 
		his wrists)
	I'll go along.

		JUDD
		(bitterly)
	You bet you'll go along. -- Heck, 
	we're movin' into the rocks. Now!

		GIL
	Steve --

		JUDD
		(savagely)
	Shut up and get on your horse.

He tosses Heck his gun belt and the group mounts and spurs 
for the rocks at the base of a small cliff.

OUT
Sequence omitted from original script.

BILLY AND HENRY

riding at a run to flank the Judd Party.

		BILLY
	Where's Jimmy?

They glance around. Henry spots him -- points.

THEIR P.O.V.

Jimmy is crawling up the slope of a high boulder. He's near 
the top, six-gun out.

SYLVUS

watching.

ELDER

watching.

		ELDER
	Crazy kid.

OUT
Sequence omitted from original script.

BACK TO JIMMY

Reaches the top of the boulder.

RETURN TO JUDD'S PARTY

as they ride for cover. In B.G. JIMMY APPEARS at top of 
boulder, takes quick aim at Judd's back. Jimmy FIRES -- 
misses. Heck whirls and FIRES, a split second after Jimmy 
fires. Heck's bullet hits Jimmy.

Judd, drawing his gun and whirling around, sees Jimmy's gun 
arm flop limply over the boulder, with the gun pointing down. 
The dead boy's stiffening trigger finger causes his gun to 
FIRE once more.

OUT
Sequence omitted from original script.

BACK TO ELDER

reacting in murderous rage as he sees Jimmy die. He opens 
FIRE. In the B.G. Sylvus spurs up the mountain to get behind 
the Judd Party. Reaching top of cliff, he dismounts.

BILLY AND HENRY

reacting to Jimmy's death, dismounting, taking cover, opening 
FIRE.

BACK TO JUDD'S PARTY

reaching the base of the cliff, taking cover. Judd quickly 
tosses Heck a rifle. SHOTS ARE HEARD FROM O.S. AND BULLETS 
NICK the surrounding boulders. The men (and Elsa) scatter 
out behind the barricade of boulders, prepare to return the 
fire. Judd takes aim first, pulls the trigger. A CLICK IS 
HEARD.

HECK

gets the same result with his rifle.

FULL SHOT OF GROUP

The men examine the breeches of their rifles -- react.

		GIL
	What was that I said about a 
	predicament?

		ELSA
	What's wrong?

		GIL
	Take your pick of five possible 
	answers, all named Hammond.
		(to Judd; enjoying it)
	You're showing your age, partner... 
	Back in the old days you'd have 
	checked the rifles before leaving 
	camp.

Judd looks at the rifle for a long moment, his face flushed 
with anger; then throws it aside and looks off toward the 
Hammonds.

JUDD'S P.O.V.

PAN SHOT TO ESTABLISH THE PARTY IS SURROUNDED on all sides 
except from the cliff at their back. A SHOT IS FIRED from 
the rocks two hundred yards away. The RICOCHET OF THE BULLET 
IS HEARD CLOSE BY. CAMERA PANS to one of the brothers hurrying 
among the rocks; and yet to another brother, behind a high 
rock, taking aim at the Party.

RETURN TO JUDD'S PARTY

A SHOT IS HEARD, and the bullet HITS NEARBY. Heck elevates 
his six-gun to a forty-five degree angle from the horizontal, 
FIRES at the brother on the rock.

		JUDD
	Don't waste ammunition.

										DISSOLVE:

OUT
Sequence omitted from original script.

EXT. ROCKY AREA - BILLY AND HENRY - DAY

		HENRY
		(calling)
	How much gold do you think he's got?

		BILLY
	Enough.
		(then, as Henry opens 
		FIRE)
	Careful you don't hit Elsa.

THE JUDD PARTY

Crouched among the rocks and underbrush. Judd is thirsty and 
exhausted, but determined not to show it. Elsa jumps as a 
BULLET RICOCHETS off the wall behind. Gil attempts to wipe 
the sweat from his face.

		GIL
	Kid, run down to the corner and get 
	me a bottle of beer. And on the way 
	back, stop at the hardware store and 
	pick up a rifle.
		(indicating Judd)
	For Father Time there.

		ELSA
	How can you keep joking?

		GIL
	I'd gladly cry my heart out, honey, 
	if that would get us a rifle. Because 
	without one, you're looking at three 
	men who aren't going to be around 
	much longer...
		(then his anger 
		breaking through)
	Steve, cut me loose and give me a 
	gun!

Judd ignores him.

NEW ANGLE

Heck sees Elsa's reaction and whirls on Gil.

		HECK
	Why don't you shut up!

		ELSA
		(to Judd)
	Is that true?

A SHOT ZINGS IN.

		JUDD
		(nodding)
	It's just a question of time. We 
	can't do a thing with six-guns. We've 
	got to get a rifle.

Scans cliff at rear.

		GIL
	Why doesn't the mountain go to 
	Mohammed?

Judd thinks about the situation for a moment longer, then 
gives his gun to Elsa.

		JUDD
		(to Heck)
	Start shooting when I go. Maybe the 
	noise will bother them.

		GIL
	If you want to die all that bad, 
	give me a gun and I'll take care of 
	it.

		HECK
	With that leg of yours, you'll never 
	even get started.

		JUDD
	I told you what to do. Now do it.

Starts to run, is tripped by Heck, who sprints for the cliff. 
Judd starts after him, sees it's no use, turns, hurries 
forward among the rocks.

BILLY HAMMOND

rolling a cigarette, does a quick double-take on Heck, scaling 
the cliff. Rises, cocks his rifle, FIRES.

HECK

scrambling in a zig-zag pattern up the cliff. The bullet 
just fired CHIPS ROCK close beside him.

ELSA

watching Heck, terrified.

GIL

trying to break free.

JUDD

hurrying among the boulders toward the Hammonds.

BACK TO BILLY

preparing to fire again at Heck, sees Judd, clearly exposed, 
FIRES at him instead.

JUDD

throwing himself behind a boulder as Billy's BULLET CHIPS 
ROCK near his head.

HENRY

ignoring Heck and Judd fires at Gil, laughing.

SYLVUS

crawling forward toward cliff edge, sees a FLASH OF HECK 
further down the cliff, climbing up. Moves in that direction. 
CAMERA HOLDS ON THE ROCKS BENEATH, as Judd moves into view.

ELDER

FIRING at Judd, then swinging his rifle around to FIRE at 
Heck.

BACK TO HECK

reaching the top of the cliff, being MISSED AGAIN BY INCHES 
as he scrambles and rolls over the top and into the shelter 
of rocks. Rests a few seconds, then, crouching low, hurries 
off among the boulders.

JUDD

working his way back to base of the cliff.

HECK

gun in hand, walks among the timber and rocks.

SYLVUS

moves around a rock behind Heck.

HECK

who does a dive to one side as he SEES SHADOW, landing on 
the ground FACING SYLVUS, who FIRES. His bullet misses. Heck's 
return SHOT doesn't. Sylvus hits the ground, dead. Heck rises, 
looks at him a little shaken, then gets Sylvus' rifle, hurries 
back. CAMERA PANS TO SYLVUS' HORSE, tied to a bush, in B.G.

ELDER

standing, staring off at the high ground.

		ELDER
	Sylvus?... Sylvus!

There is no answer and he rides away.

JUDD PARTY

watching.

BILLY

watching, listening -- HEARS NOISE, swings rifle. Elder 
HURRIES INTO SCENE.

		ELDER
		(raging)
	Looks like he got Sylvus.

		BILLY
	Then we're getting out.

		ELDER
		(yelling)
	Getting out! You've got two brothers 
	dead and you talk about running?

A BULLET RICOCHETS off a tree trunk less than a foot away, 
scattering bark on the two Hammond brothers.

		BILLY
	Come on!

He moves away and Elder follows.

HECK - BEHIND COVER ON THE TOP OF THE CLIFF

levers another shell in the rifle chamber, watches, looking 
for a target. HEARING A DISTANT WHISTLE, he changes his 
position.

HECK'S P.O.V.

Elder and Billy on their horses, riding out.

HECK

He watches a moment, uncocks the rifle, starts down the cliff.

JUDD, GIL AND ELSA

watching, then HEARING ANOTHER HORSE, they turn.

HENRY

riding away.

							BACK TO:

JUDD PARTY

		GIL
		(to Judd)
	Think they mean it?

		JUDD
	Don't know.

Suddenly Elsa is on her feet, running, then she stops abruptly 
as Heck slips down the cliff, grins and walks past her, overly 
casual. Tosses rifle to Judd. Judd grins at him.

		JUDD
	Let's move.

										DISSOLVE TO:

EXT. MOUNTAINS - GROUP SHOT - DAY - (EVENING EFFECT)

Gil sits, back against a tree, eating. His hands are still 
bound. Heck, Elsa and Judd are near the fire. Gil is bitter 
and very much alone.

A COYOTE BARKS and Heck stands.

		HECK
	Wonder where those other three went?

		ELSA
	All I hope is they're not still 
	following us.

		GIL
	Calm your fears, honey. My bet is 
	they gave up and went back to Coarse 
	Gold.

Judd rises.

NEW ANGLE

		JUDD
		(to Heck)
	Assuming that's so, I'll have your 
	gun back.

Gil tenses. Heck pours coffee into his cup, puts down the 
pot, his back to Judd.

		JUDD
		(after a long moment)
	Did you hear me, boy?

Heck wheels and his gun leaps into his hand at full cock, 
leveled at Judd. Gil struggles to his feet, grins. Judd's 
hand has reached his gun butt, no more. Judd stands for a 
long moment. No one moves. Then Heck grins, takes the gun 
off cock, spins it, flips it to Judd. Elsa sighs in relief. 
Gil stares at Heck, his face expressionless, then sinks down 
to the ground. Judd sits and begins to drink his coffee.

		HECK
	I'm sorry -- I was showing off.

Judd doesn't answer.

		GIL
	What happens when we get back to 
	town?

		JUDD
	That's up to the Sheriff.

		HECK
		(to Gil)
	He's turning us in. You know that -- 
	so do I.

NEW ANGLE

		GIL
		(after a moment)
	Ever hear of Folsom Prison, Heck?

		HECK
	No.

		GIL
	Well, it's new -- and solid rock -- 
	and during the years we spend there, 
	we're going to discuss the events of 
	these past few minutes at great length -- 
	And by the time you get out, you 
	won't like them any better than I do 
	now -- which isn't one hell of a 
	lot.
		(to Judd)
	Where do I sleep?

OUT
Sequence omitted from original script.

ANOTHER ANGLE

		JUDD
		(to Elsa)
	Can I count on you to help stand 
	guard duty tonight?

		ELSA
		(surprised)
	...Yes.

		JUDD
		(to Gil and Heck -- 
		indicating)
	Over there. And I don't want to see 
	you till breakfast.

		GIL
		(rising)
	I like my eggs over easy. And bacon 
	just on the crisp side.

He crosses to Judd and holds out his wrists.

		GIL
	Cut me loose, Steve.

		JUDD
	...Why?

		GIL
		(for the last time)
	Because I don't sleep so good anymore 
	with my hands tied.

Judd looks at him for a moment, then cuts the rope. Gil turns 
away without a word. Heck picks up blankets and they start 
off. Heck stops, looks back at Elsa.

		HECK
	Night.

		ELSA
		(gently)
	Night.

Gil and Heck climb a rise, creating a CLATTER OF FALLING 
PEBBLES -- establishing it would be difficult to return 
without being heard.

ELSA AND JUDD

		ELSA
		(watching them)
	My father says there's only right 
	and wrong, good and evil. Nothing in 
	between. It isn't that simple, is 
	it?

		JUDD
	Should be, but isn't.

		ELSA
	What's going to happen to him?

		JUDD
	The boy? -- I'll testify for him. 
	Odds are, they won't be too hard on 
	him.

		ELSA
	Will you testify for Mr. Westrum?

		JUDD
		(comes hard)
	No, I won't.

		ELSA
	Why?

		JUDD
	Because he was my friend.

GIL AND HECK

sitting on their blankets, removing boots.

		HECK
	How come he doesn't tie us down?

		GIL
		(bitterly)
	What for? No place we can go... And 
	he's got the horses -- and he's got 
	the guns. And it wouldn't take long 
	for Steve Judd to find us...
		(breaks off. Long 
		beat)
	Wait a minute, Kid... Just had a 
	thought...

		HECK
		(sharply)
	Keep it to yourself. I'm fed up with 
	you and your ideas.

		GIL
		(pleasantly)
	That's all right. I'm just glad I 
	don't have to live with yours.

He smiles to himself as we --

										DISSOLVE:

EXT. HIGH SIERRAS - JUDD AND ELSA - DAY

Judd shaves as Elsa puts coffee in a pot. In the B.G. Heck 
crosses toward the fire. Elsa and Judd look up AT THE SOUND. 
Heck carries a note.

		ELSA
	Morning.

		JUDD
		(glances at him)
	Where's Gil?

		HECK
	When I woke up he was gone. This was 
	on his blanket.

DIFFERENT ANGLE

		JUDD
	Read it...

		HECK
		(reads)
	'Steve -- not that I don't enjoy 
	your company, it's the smell of sour 
	purity I can't stand. Hard to say 
	which of us is the bigger fool. Me, 
	for thinking you had some ordinary 
	human weaknesses. Or you for proving 
	me wrong.
		(beat)
	Some of that purity smell seems to 
	have rubbed off on Heck. Maybe it's 
	for the best. If the kid had stuck 
	with me he might have become a rich 
	man. And you know what's wrong with 
	having money. You never know who 
	your friends are. So long.'

He hands the note to Judd, who crumples it, throws it in the 
fire.

		ELSA
	Why didn't you go with him?

		HECK
		(off hand)
	Because I didn't see much future in 
	our partnership.

Elsa smiles.

										DISSOLVE:

OUT
Sequence omitted from original script.

EXT. HIGH SIERRA - ROCKY AREA - DAY

Where Heck and Sylvus had their shoot-out. Gil walks INTO 
SCENE, comes to Sylvus' body, removes the dead man's gun 
belt. All business, buckles it around his waist, checks the 
gun, replaces two cartridges in cylinder. Holsters gun, spots 
Sylvus' horse. Walks there, unties the reins, mounts, rides 
swiftly back the way he came.

EXT. ROCKY AREA

as Judd, Heck and Elsa dismount and start down hill.

										DISSOLVE TO:

EXT. MEADOW CAMP

as Gil waters horse.

										DISSOLVE TO:

EXT. STUMP CAMP

as Gil gallops past the lake.

										DISSOLVE TO:

EXT. ROCKY AREA

as Gil dismounts and hurries down.

										DISSOLVE TO:

EXT. HIGH SIERRA - ROLLING FOOTHILLS - DAY

Gil reaches the top of a rise. Stops, looks off.

JUDD'S PARTY - IN THE DISTANCE

riding, at a slower pace, downgrade on the trail.

GIL

He moves forward at a walk, a satisfied look on his face.

										DISSOLVE TO:

EXT. KNUDSEN FARN - LATE AFTERNOON

VIEWED THROUGH TREES, and down the hill. The JUDD PARTY rides 
INTO SHOT. At a signal from Judd, they halt.

		JUDD
	Wait here while I look around.

Hands the pack horses' lead rope to Elsa, rides off, keeping 
to the shelter of the forest. Heck looks at his gun on the 
pack horse, dismounts, crosses to the animal.

		HECK
		(tightens the load on 
		the pack horse; 
		indicates his gun)
	The old gent's taking quite a chance.

		ELSA
	I don't think so. Neither does he.

There is a pause.

		HECK
	I never figured it'd work out this 
	way...
		(then, after a moment)
	If you still want to find a job in 
	town, I think Mr. Judd would help.

		ELSA
	I was hoping he might.

		HECK
	Chances are, I'll be locked up for 
	awhile... I've got no call to bring 
	it up... But... I think -- when I 
	get out...

		ELSA
	I'll be there.

JUDD

Concealed by trees, he is looking down at the farm.

JUDD'S P.O.V. - MOVING SHOT ON THE FARMHOUSE

Nothing stirring at the house, except smoke coming from the 
chimney. CAMERA PANS to the grave, behind the house. Joshua 
Knudsen kneels behind the grave marker, his head bent in 
prayer.

BACK TO JUDD

sees Joshua. Satisfied all is well, returns to the others.

BACK TO HECK AND ELSA

in rapt contemplation of one another. JUDD RIDES INTO SCENE.

		JUDD
		(to Elsa)
	Everything's all right. I saw your 
	father.
		(at her worried 
		expression)
	I'll talk to him.

Takes the lead rope, rides out of the trees, followed by 
Heck and Elsa.

LONG SHOT - JUDD PARTY - RIDING DOWN HILLSIDE, VIEWED THROUGH 
TREES

CAMERA PANS, HOLDS ON GIL. Seated on Sylvus' horse, watching 
Judd's Party.

GIL'S P.O.V.

CAMERA CENTERS ON PACK HORSES carrying gold.

BACK TO GIL

impassively watching. Draws six-gun, checks it, replaces it.

JUDD'S PARTY - RIDE TO THE CORRAL

put the horses inside, walk toward house. At no time has the 
grave been visible to Elsa. Now, it comes into her sight. 
Joshua still leans against the head-stone.

JOSHUA

his head at eye-brow level, rests on the wooden cross. Blood 
drops from his forehead across the face of the marker onto 
the dying wild-flowers scattered over the grave. In the B.G. 
the Judd Party walks toward the house.

MOVING SHOT - JUDD, HECK, ELSA

Elsa, looking anxiously up the hill at her father, is puzzled.

		ELSA
	That's strange.

		JUDD
	What?

		ELSA
	He goes to her grave every day. But 
	always in the morning. Never in the 
	afternoon.

Judd doesn't interrupt the pace of their walk, nor does he 
turn his head. As they approach a small ditch which offers 
partial protection from the house and barn, he motions to 
Heck.

		JUDD
	In the ditch!

He grabs Elsa, flings her into the ditch, dives after her, 
as does Heck. A BULLET ZINGS PAST where Judd had been a split 
second before. Judd, prone, draws his gun, rolls away from 
Heck and Elsa as ANOTHER BULLET digs into the ground beside 
him. SHOOTING FROM THE HOUSE AND BARN BECOMES GENERAL.

GIL - ON HILLTOP

watching. His expression tells us nothing.

INT. BARN LOFT

Henry lies on the hay, shooting out the opening.

INT. KNUDSEN HOUSE

Billy Hammond FIRES through a broken window. A return SHOT 
shatters glass near his face. He jumps back, crouches, 
returns, rests his gun on the sill, and FIRES RAPIDLY SEVERAL 
TIMES until he runs out of ammunition. Moves away from the 
window, starts to reload. In the B.G. Elder, using a rifle 
spaces his shots more deliberately.

BACK TO JUDD PARTY

huddled in the ditch, kept low by Billy's gunfire of a moment 
before. Heck, who is unarmed, looks with longing at the guns 
on the pack horses in the corral.

HIS P.O.V.

The rifle and six-guns on the horse.

BACK TO JUDD PARTY

		JUDD
		(bitterly)
	I walked right into it.

		HECK
	I'm going to try for the corral. 
	Cover me.

		JUDD
		(whirling)
	You can't...

But Heck is out of the ditch and running. Judd snaps off a 
SHOT at the house.

HECK

manages to take three steps before he is hit. He goes down.

JUDD

goes after him, grabs him. And is scurrying back to the ditch 
when Heck is hit again, this time in the leg. As they reach 
the ditch, Judd is hit -- much more seriously, in his side.

GIL

puts spurs to his horse and at a flat out run, rides toward 
the house, gun in hand.

JUDD PARTY - IN DITCH

Elsa bends over Heck. He is hurt (leg and shoulder) bad enough 
to keep him out of the fight, but not bad enough to cause 
any future worry. Judd lies a short distance away, his face 
white with pain.

		HECK
	Fool stunt. I should have known 
	better.

		JUDD
	Amen.

He straightens and FIRES at the house.

INT. HOUSE - BILLY AND ELDER - SHOOTING PAST THEM THROUGH 
THE WINDOW

holding what can be seen of the Judd Party in the ditch in 
the B. G.

		BILLY
	Both down...

		ELDER
	Well, the old man won't get up. I 
	nailed him good -- belt high.

Billy laughs, then falls silent, as GIL APPEARS IN THE FAR 
B.G., riding toward them. He YELLS a shrill, piercing Comanche 
war-cry.

JUDD PARTY - IN DITCH

HEARING the yell, looking behind them.

GIL - MOVING SHOT

as he rides, grim as death, OPENING FIRE at the house.

HENRY - IN BARN LOFT

beginning to fire.

BILLY AND ELDER - IN PARLOR

firing.

JUDD PARTY - IN DITCH

Judd grins. Begins to FIRE at the house and barn.

GIL - NEARING DITCH

When the horse is hit and goes down. Gil is thrown heavily, 
lies motionless.

JUDD PARTY - IN DITCH

reacting.

BILLY AND ELDER - IN PARLOR

		ELDER
		(grinning)
	I got him.

JUDD GROUP - IN DITCH (INCLUDING GIL IN B.G.)

As Gil suddenly makes a crouching run to the ditch. Just as 
quick, Judd FIRES two shots at the house.

BILLY AND ELDER - IN PARLOR

Caught flat-footed, they duck as Judd's SHOTS whistle between 
them.

JUDD GROUP - IN DITCH

as Gil lands among them.

		JUDD
		(after a moment)
	See you picked up a few articles on 
	your way.

		GIL
		(looking at Heck's 
		wounds)
	This boy left Hammonds scattered all 
	over the mountains.

Satisfied the boy is not hurt too badly, he turns to Judd, 
only to duck as a BULLET whistles by.

		GIL
	How did you manage to end up in this 
	enviable position?

		JUDD
		(reloading)
	Main strength and awkwardness.

He grimaces in pain.

		GIL
	...Bad?

		JUDD
	Nearly --

		GIL
	What do you think?

		JUDD
	Let's meet 'em half way -- head on... 
	Same as always.

		GIL
		(grinning at him)
	My sentiments exactly.
		(then YELLING to the 
		house)
	You Hammonds --!

BILLY AND ELDER - IN PARLOR

		ELDER
		(YELLING back)
	What do you want, Old Man?

HENRY - IN BARN LOFT

		HENRY
		(SHOUTING -- laughing)
	He wants a shovel and six feet of 
	soft ground.

		JUDD
		(O.S.)
	I want to know if you red-necked 
	peckerwoods are too chicken-gutted 
	to finish this thing in the open.

Henry reacts and begins to FIRE.

EXT. DITCH - JUDD PARTY

They duck the shots, then Gil YELLS.

		GIL
	Just two old men against all three 
	of you boys...

		JUDD
		(winking at Gil -- 
		SHOUTING)
	And if them odds ain't enough for 
	you damned dry-gulchin', Southern 
	trash -- we'll send out the girl.

INT. HOUSE - ELDER AND BILLY

		ELDER
	We're comin'. You hear me, Henry?

		HENRY (O.S.)
	I hear. And I'm comin' with!

Billy starts for the back door.

		ELDER
	Hold up! We'll get 'em when they 
	stand.

		BILLY
	Ain't you got no sense of family 
	honor!

		ELDER
	I just figured...

But Billy exits. Elder follows, muttering.

EXT. DITCH - JUDD PARTY

watching.

		ELSA
	They're coming.

THEIR P.O.V.

The Hammond brothers, Billy and Elder come out of the house 
and stop. They are joined almost immediately by Henry.

EXT. DITCH - JUDD PARTY

They are silent for a moment, looking at each other. Then 
Gil and Judd rise and start for the Hammonds -- their guns 
are in their hands hanging easy.

SERIES OF ANGLES - COVERING THE GUN FIGHT

The two groups are too far apart for effective six-gun work. 
Judd and Gil walk forward, the brothers waiting for them. 
Elder carries his rifle across his body. Slowly he begins to 
raise it.

		BILLY
	I'll tell you when.

Billy's gun is in its holster. Henry fiddles with his, 
checking the loads, as Gil and Judd walk forward, doing what 
they've done a hundred times before, but will never do again.

		BILLY
		(drawing)
	Start the ball, Old Man.

He begins to FIRE, his shots kicking up dust around Gil and 
Judd, who maintain their pace for a few more steps. Then, 
the distance to their liking, make a quarter turn and raise 
their guns. All the Hammond brothers are now FIRING and Judd 
is hit a second after he shoots Henry. He goes down to one 
knee and continues to fire, wounding Billy, but takes another 
slug from Elder as he does. Elder levels another shell into 
the chamber, swings the rifle to Gil, who SHOOTS him between 
the eyes. Gil is then nicked high in the shoulder by Billy, 
who has reached his feet and started FIRING again. Gil SHOOTS 
almost simultaneously with Judd -- both slugs catching Billy 
high in the chest, slamming him against the ground.

For a moment no one moves, then Henry lifts his gun for the 
last time -- and Gil kills him. The fight is over.

GIL AND JUDD

Gil kneels beside his friend, who still supports himself on 
one knee.

		GIL
	Bad?

		JUDD
		(with difficulty)
	How'd we figure... A thousand dollars 
	a shot?

		GIL
	Yeah.

		JUDD
	Those boys just made me a lot of 
	money.
		(he sinks down a 
		little, holding his 
		mid-section)
	But they put them all in one place.

In the B.G. Heck leaning on Elsa approaches Judd.

		JUDD
	I don't want them to see this. I 
	want to go it alone.

Gil gestures and they stop.

		GIL
		(to Judd)
	Don't worry about -- about anything. 
	I'll take care of it just like you 
	would have.

		JUDD
		(grins a little)
	Hell, I know that. I always did... 
	You just forgot it for awhile, that's 
	all.

He nods and looks away.

		JUDD
		(after a moment)
	So long -- partner.

Gil stands looking at him, then turns.

		GIL
	See you later...

He moves away, Judd looks out over the foothills.

JUDD'S P.O.V.

It is sunset. A rooster quail WHISTLES, gets an answer. Scolds 
his covey into the brush.

JUDD

looking -- wondering.

ELSA AND HECK

as Gil joins them.

		ELSA
	Is he going to be all right?

		GIL
		(having trouble with 
		it)
	Yeah -- he's goin' to be fine...
		(then to Heck)
	Come on. Let's get you in the house.

They move away, CAMERA PANNING to HOLD on Steve Judd for a 
long moment, then PULL BACK as he sinks to the ground. CAMERA 
CONTINUES TO MOVE, PANNING to the sunset.

										FADE OUT:

				THE END


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