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TOMBSTONE










TOMBSTONE

An original screenplay
By
Kevin Jarre


























                                           Fourth draft

                                           March 15, 1993




ROLL PROLOGUE OVER MAIN TITLE:  a collage of old photos, 
prints, etc., and silent live-action vignettes, all dark and 
heavily shadowed like a dimly-remembered dream.  The first 
images show the opulence of the Gilded Age, the epic vistas of 
the west, cattle drives and cowtowns with all their 
violence....

                     V.O. NARRATION
          "The economic explosion following
          the Civil War created an
          unprecedented nation-wide market
          for beef.  Previously worthless
          cattle running wild throughout
          Texas were gathered into herds 
          And driven north to the railheads 
          In Kansas.  Fortunes were made as 
          Cowtowns sprang up on the 
          Prairies, wide-open centers of
          Commerce and vice, their streets
          Choked with heavily-armed young
          Men fresh from the cattle drives.
          In those days the correct term
          For a cowhand was 'drover'.
          'Cowboy', like 'cowpoke', was
          originally an insult implying
          deviant sexuality and was rarely
          used.  But these invading drovers
          were a wild breed for soon
          shootings and wholesale drunken
          riots became so frequent that
          ordinary citizens literally could
          not walk down the street.  In fact
          at their height the cowtowns had
          higher murder rates than modern
          New York or Los Angeles and there
          Was no law but that of the gun."

A dashing FIGURE in a Prince Albert coat appears, long locks 
tumbling down his shoulders, twin Navy Colts thrust into a red 
sash at his waist, a tin star on his chest.  Next we see him 
in action, downing 3 barroom opponents at once, pistols 
FLASHING around the room like a strobe light:

                     V.O. NARRATION
          "Straight-up at 75 yards or eye-
          to-eye at point-blank range, the 
          greatest gunman of all time was
          an Illinois abolitionist farm boy
          named James Butler Hickok, better
          known as Wild Bill, the Prince of 
          Pistoleers.  But Wild Bill worked
          His trade on the side of justice
          And as marshal of cowtowns like
          Hays City and Abilene he became a
          Legend, the one man who stood
          Between law and chaos."

Now Hickock sits facing us, playing poker as a shabby-looking 
FIGURE with a gun steals up behind him and FIRES.....

                     V.O. NARRATION
          "Wild Bill's fame spread nation-
          wide but his end came quietly in 
          the spring of '76 when a strange
          cross-eyed little drifter put a
          bullet through the back of his
          head, apparently for no other
          reason than he wanted to kill a 
          celebrity."

Now a group of cowhands carouse a streetcorner, raising hell 
as 2 mustachiod young LAWMEN walk up, trying to quiet them 
down.

                     V.O. NARRATION
          "In Dodge City meanwhile, Wyatt 
          Earp and Bat Masterson were 
          Becoming known as fast-guns.  But
          Their fame had nothing to do with
          Shooting."

Seeing it's hopeless, the lawmen whip out their pistols and 
start clubbing the drover's making them stagger and grimace, 
holding their heads....

                     V.O. NARRATION
          "Earp and Masterson operated more
          like modern policemen, using 
          teamwork and persuasion to keep
          order.  Still, sometimes things 
          got out of hand."

An ARMED DROVER creeps up behind the lawmen, about to fire....

                     V.O. NARRATION
          "But Wyatt had a guardian angel."

A REED-THIN FIGURE with a sawed-off shotgun steps from the 
shadows behind the drover and FIRES.  The huge blast WHITES-
OUT the screen for an instant, making the drover seem to 
disappear.  The lawmen spin around.  The thin man breaks the 
shotgun open then calmly holds out his wrists to be cuffed.  
Earp looks at him in shock, mouthing the word "thanks".

                     V.O. NARRATION
          "John Henry 'Doc' Holliday was
          the son of an aristocratic,
          highly cultured southern family.
          Trained in Philadelphia, he had
          Embarked on a career as a society
          Dentist when he contracted
          Tuberculosis.  Advised to practice
          In the west where it was thought
          The climate and clean air would
          Prolong his life, Doc soon
          Realized it was all only a matter
          Of time and gave up dentistry to
          Become a professional gambler and 
          Gunman..."


The scene shifts to an elegant Victorian home: a stern Jewish 
patriarch orders his darkly beautiful DAUGHTER upstairs as her 
weeping mother looks on.  The girl huffs up the stairs 
followed by her little white dog.  Next, the girl and dog are 
seen escaping through a window to the street below and a 
waiting cab.

                     V.O. NARRATION
          "Others headed east.  Bent on
          becoming an actress.  Josephine
          Marcus defied her wealthy and
          Very proper San Francisco Jewish
          Family to run away with a 
          Traveling theatrical company,
          Braving the perils of the 
          Frontier on her own.  Dangerous as
          This might seem, it was another
          Age and women were so rare, their 
          Presence so cherished that they
          Could travel virtually anywhere
          In the west in perfect safety."

Now we see HORSEMEN silhouetted against the night sky, a hand 
knocking on a door, figures conferring in darkness, then more 
riders, moving west in restless haste toward the rising 
sun....

                     V.O. NARRATION
          "At about this time the Texas
          Rangers, having eliminated the
          Commanche threat, turned their 
          Attention to the outlaw gangs
          Marauding along the Rio Grande,
          Cleaning up the border strip in 4
          Years of hard riding.  Those they
          Could not indict or convict the 
          Rangers put down in their Black
          Book, letting it be known that
          They could either leave Texas or
          Face summary execution.  This
          Resulted in the mass migration of
          The absolute dregs of the Texas
          Underworld to the most dangerous,
          Uncivilized part of the entire
          Country, the southeast corner of 
          The Arizona Territory."

A jagged, moonlit landscape, a lone prospector and his burro 
moving along a ridge, a pick digging into a rocky ledge, an 
ore car emerging from a mine shaft, finally a hilltop cluster 
of tents becoming the skeletal wood-frame beginnings of a 
town....

                     V.O. NARRATION
          "Harsh and inhospitable, savaged
          in turn by the Apache and Mexican
          bandits, this had always been an
          accursed place, a virtual hell on
          earth where it was thought life
          itself could never prosper, much
                     V.O. NARRATION (cont.)
          less civilization.  Then in 1879,
          a prospector named Ed Schiefflin
          set off alone into the Dragoon
          Mountains.  Friends told him he
          Was crazy, that the only thing
          He'd find in this Godforsaken
          Place would be his tombstone.
          Instead he found silver, lots of 
          It, and overnight the town of
          Tombstone sprang up.  Mining
          Taking out millions in ore.  Land
          Value shot sky-high and
          Speculators and gamblers and
          Opportunists of all nations
          Scrambled in by the thousands to
          Make Tombstone queen of the
          Boomtowns, so rich that the
          Latest Paris fashions, hard to 
          Find even in the biggest cities, 
          Were sold there by the wagonload
          From the makeshift storefronts."

An engraving of a stagecoach holdup, herds of cattle moving 
north, a newspaper story of a massacre in Mexico, congressmen 
railing at each other, shaking their fists....

                     V.O. NARRATION
          "Meanwhile, the exile Texans had
          banded together to form the
          nucleaus of an organized gang.
          Seizing controp of the 
          Surrounding countryside they 
          Robbed stagecoaches at will while
          The big absentee business
          Interests employed them as tax
          Collectors and strongarm men.  But
          The backbone of their trade
          Remained border rustling,
          Periodic raids into Mexico to
          Steal cattle while engaging in
          What was described as a virtual
          Orgy of murder and violence.  The 
          Raids became so frequent and so
          Bloody that the Mexican
          Government formally protested to
          U.S. President Chester A. Arthur,
          Prompting heated debate in 
          Congress.  General Sherman
          Declared that the only possible 
          Way of bringing order was to send
          In the army but in the wake of
          Civil War Reconstruction federal
          Intervention in civilian affairs
          Was politically impossible."


Pounding hooves, flowing manes, a pack of night-riding 
HORSEMEN kicking hell-for-leather across the desert 
moonscape....

                     V.O. NARRATION
          "With only some 100 members, the 
          gang was an elite body of gunmen,
          known by the red silk sashes they
          wore around their waists.
          Fiercely proud of their
          Terrifying reputation and
          Answerable to no one, they were a
          Law unto themselves, finally 
          Emerging as one of the earliest 
          Examples in American history of
          Full-scale organized crime."

END MAIN TITLE as the screen fades to an ominous black and....

                     V.O. NARRATION
          "They called themselves the
          Cowboys."

EXT - SONORA DESERT/CANYON ENTRANCE - DAY

Burning daylight, hard reality.  A squad of uniformed MEXICAN 
RURALES rides through the Sonora desert, sabres glinting in 
the sun.  Approaching the mouth of a rocky canyon their hard-
bitten CAPTAIN signals them to stop, leaning down to study a 
jumble of hoofprints on the ground.  He turns to the anxious-
looking YOUNG RURALE on his right, speaking in Spanish via 
subtitle:

                     CAPTAIN
          It's them, only an hour north.

                     YOUNG RURALE
          But this is the border.

                     CAPTAIN
          You saw what those animals did at 
          That rancho.  You think a border
          Is going to stop me?  No, I'm 
          Going to see them suffer for what 
          They did!  I swear it on my soul!

The Captain spurs his horse and they ride on at a gallop, 
plunging into the canyon....

DELETED

EXT - SKELETON CANYON - NIGHT

The full moon throws fantastic shadows across the high walls 
of the canyon as the Rurales ride through.  At the bend the 
Captain halts them.  The young one starts to speak but the 
Captain shushes him, peering into the darkness.  A few beats 
then:

                     CAPTAIN
          Turn around!  Fast!  Now!

But suddenly GUNFIRE erupts from the shadows all around them, 
blasting them from the saddle, each powder flash lighting up 
the canyon for an instant, freezing each victim in the moment 
of his death.  Then, just as abruptly the firing stops, 
leaving only the Captain, the young Rurale, and a 3rd Rurale 
alive.  Dazed and bloody, they struggle to their feet as 6 
armed FIGURES emerge from the shadows, walking into the 
moonlight toward them.  With broad-brim hats swept up in 
front, silk scarves and red sashes, high boots and silver-
studded gunleather, they look like 17th century pirates.  
These are the Cowboys:  OLD MAN CLANTON, the ageless, white-
bearded leader;  CURLY BILL BROCIUS, 2nd-in-command, smiling, 
bull-necked;  IKE and BILLY CLANTON, the old man's sons;  
FLORENTINO, a Mexican half-breed;  and JOHNNY RINGO, dark, 
Byronic, with an air of something very strange.  The Old Man 
nods to Florentino:

                     OLD MAN CLANTON
          Tell 'em to get on their knees.

Florentino does so in Spanish.  The others kneel but the 
Captain remains on his feet, steely-eyed, defiant.

                     FLORENTINO
          He will not kneel.  He is proud.

                     CURLY BILL
          So how'd you like our little
          Carry-on over at that rancho?
          Kinda hit the spot didn't it?

                     CAPTAIN
          Animals!  Butchers!

                     OLD MAN CLANTON
          Hey, somebody get that stick on 
          His knees.

Curly Bill casually FIRES his shotgun into the Captain's legs, 
dropping him into a splayed lotus position.  Curly Bill knods.

                     CURLY BILL
          Gracias.

                     OLD MAN CLANTON
          They call me Old Man Clanton.  I'm
          What you might call the founder
          Of the feast.  Now maybe you ain't 
          Heard, but we skylark through
          Your dingy little country just
          About any time we damn well
          Please and big-hat, crummy-
          Lookin' free-holes stumblin'
          Around in the dark ain't allowed.
          Messican po-lice, huh?  Think
          You're bad medicine, don't you?  
          Hell, I've let stronger stuff run
          Down my leg.  So next time we come
          Better step aside.  Get in our
          Hair again, we'll saw your prods
          Off with butter knives and stuff
          'em in your gobs.  Ain't kiddin'
          neither.  You been told.  Now git.



The others rise and dash away but Curly Bill stops the 
Captain:

                     CURLY BILL
          Hold up, jefe.  Got a joke I wanna 
          Tell you.

The Captain speaks grimly in Spanish.  Florentino smiles.

                     FLORENTINO
          He say he know you killing him.

                     CURLY BILL
          Now how'd he figure that out?

                     FLORENTINO
          He say he is no' afraid, someone
          Will revenge for him.  A sick 
          Horse.

                     CURLY BILL
          A sick horse?  What the hell...

Scattered chuckles from the others but we notice Ringo frown 
and draw his pistol as the Captain repeats the words.

                     FLORENTINO
          Something, I don't know, he talk
          Fancy, you know, like a priest.
          Is like, "a sick horse who sits---"

                     RINGO
          That's not what he said, you
          Ignorant wretch.  Your spanish is
          Worse than your English.  Come on,
          Let's get it over with.

Ringo takes aim.  The Captain sneers, suddenly in English:

                     RURALE CAPTAIN
          You go to hell!

                     RINGO
          You first.

EXT - ARIZONA DESERT - DAWN

GUNSHOTS as the Cowboys fire their pistols and shout, running 
their stolen herd out of a draw into a clearing where the 
McLaury brothers wait:  FRANK, older, edgy; and TOM, younger, 
easy-going.

                     TOM
          Looks like you had a party!

                     CURLY BILL
          Oh, we had a big time!
          The Old Man, Curly Bill, and Ringo rein up and look out at the 
          sun rising magnificently from the desert floor.  The Old man 
          stretches his legs in the stirrups, taking out a whiskey 
          flask.

                     OLD MAN CLANTON
          Ain't that sweet?  That's why I 
          Stay out here.  Thank you, God.

He raises the flask and drinks.  Curly Bill turns to Ringo:

                     CURLY BILL
          What'd the Messican mean, a sick 
          Horse's gonna get us?  Didn't make
          No sense.

                     RINGO
          He was quoting the bible,
          Revelations: "Behold a pale horse
          And the one that sat on him was
          Death and Hell followed with him."

                     CURLY BILL
          Well now that's a little more 
          Like it.

EXT - TRAIN STATION PLATFORM/TELEGRAPH OFFICE - DAY

A BLACK HORSE, a fabulous thoroughbred stallion, rears and 
neighs on an open flat-car where it's tethered with 4 near-
identical geldings.  A small boy tries to pet it as a strong-
featured, fair-haired MAN appears, quieting the horse.  Tall 
and slim in a black frock coat and black flat-brim hat, he 
moves with assurance and grace, a man in control.  This is 
WYATT EARP.

                     DAKE
          "Dear Governor Gosper-in re
          yours directing action against
          Cowboys, stop.  Beg to inform have
          Twice sent deputies to serve
          Warrants on Cowboy suspects,
          Stop.  Nothing to show for it but
          2 dead deputies, stop.  Short of
          deputizing U.S. Army am at loss-

                     DEPUTY
               (points at Wyatt)
          The tall man over there, Marshal.
          I'm not sure but I think that's
          Wyatt Earp.

                     DAKE
          Wyatt Earp?  Oh, right, Dodge City.

Back down the platform Wyatt strokes the stallion gently, 
looking up as Dake approaches.

                     DAKE
          Mr. Earp?  My name's Dake, Crawley Dake.  I'm the U.S. Marshal 
          for-


                     WYATT
          Forget it.

                     DAKE
          Excuse me?

                     WYATT
          I said forget it, answer's no, I 
          Don't want the job and that's
          Final.  I'm going to Tombstone and
          Nothin' short of dyin's gonn
          Stop me.  Good day.

                     DAKE
          But wait, you don't understand-

                     WYATT
          No Marshal, you don't understand. 
          I'm through with lawing, I'm
          Through with the whole
          Proposition.  Forever.  I did my
          Duty, now I'd like to get on with
          My life.  That is if you don't 
          Mind.  Jesus.  Good day now.

                     DAKE
          I see, off to strike it rich,
          Huh.  All right, fine, wish you
          Luck.  Tell you this though, never
          Was a rich man yet didn't wind up
          With a guilty conscience.

                     WYATT
          Already got a guilty conscience,
          Might as well have the money too.

Dake retreats.  Wyatt turns back to his horse testily.  
Suddenly:

                     O.S. VOICE
          Boy, I'd know that sour face
          Anywhere.

Wyatt turns.  His brothers stand behind him, smiling.  Though 
VIRGIL is a little older and heavier.  MORGAN a little younger 
and slimmer, they're otherwise identical to Wyatt, right down 
to their style of dress.  Wyatt breaks into a grin, hugging 
them both, his cool replaced with an almost boyish enthusiasm.

                     MORGAN
          Well how do we look?

                     WYATT
          Hey!  Virgil!  My God!  Morgan!  Hey, 
          Boy!  You look great!  Both of you!

Virgil's blonde wife ALLIE, small, fierce, and Irish, steps up 
with Morgan's fair, cameo-lovely young LOUISA in tow.

                     VIRGIL
          Wyatt, you remember Allie

                     ALLIE
          Good God, well he better.

                     WYATT 
               (hugs her, laughing)
          Allie-girl...And Louisa!  You're
          So lovely.  I'm at your feet,
          Darlin'.  Just at your feet.
               (turns to Morgan)
          Guess it's only right.  Ma always
          Said you were the prettiest.

                     VIRGIL
          But she doted on the frowner

Wyatt's handsome blonde wife MATTIE enters from the street:

                     MATTIE
          Wyatt, I couldn't find a single
          Store that had laudanum any-

                     WYATT
          Mattie, they're here!  Folks this 
          Is Celia Ann but you can call her
          Mattie.  Or even Mrs.  Earp if you 
          Prefer.

                     VIRGIL
          Mrs. Earp?  Land O' love, it finally happened!  Mattie it's a 
          Pleasure!

All exchange greetings and hugs.  Wyatt positively beams:

                     WYATT
          Boy, I sure been dreamin' about 
          This.  God!  Since forever!  Wait!

He turns them toward the stationhouse window, arranging them 
in a group and pointing to their reflection.

                     WYATT
          There, look at that!  God
          Almighty

Wyatt smiles, shaking his head. Morgan's starts to speak, but:

                     WYATT
          Don't talk, just...yeah.

They stand silently, studying themselves, together as a 
family.  Wyatt still shaking his head happily, drinking it in.  
Finally:

                     WYATT
          All right, now let's go make our fortune.
          DELETED

EXT - WAGON - MAGIC HOUR

A large woman, Wyatt's black horses tied to the rear, crosses 
the majestic, forbidding Arizona desert with its red volcanic 
rocks and the giant saguaro cactus dotting the landscape so 
mysteriously, like huge, spiny hieroglyphics....

EXT - CAMP BY RIVER - NIGHT

A camp by the river under a clear night sky dripping with 
stars.  After dinner.  The women, Virgil, and Morgan sit by 
the fire.  Morgan petting his dog, a sweet little foxhound.  
Louisa sits behind him, twirling his silky blonde hair, 
turning to Mattie:

                     LOUISA
          Don't you love their hair?  They
          All have the same hair.

Just then Wyatt appears on his stallion, galloping across the 
moonlit plain toward them, sitting his horse like a centaur.  
It's clear he's a magnificent horseman.  Virgil smiles:

                     VIRGIL
          Look at him go, will ya?  I tell 
          You, that's the real Wyatt, born
          In the saddle.

                     MATTIE
          Oh, he can go all right.

                     ALLIE
          Can he then?

                     MATTIE
          Rather ride than eat.

The women cackle lasciviously.  Virgil groans at Allie:

                     VIRGIL
          Try to be a lady, will you?

Wyatt rides up and dismounts, unsaddling the horse.

                     MORGAN
          Give him some good exercise?  Sure
          Some stud.  Some string in fact.
          What're you gonna do, race 'em?

                     WYATT
          Hope so.  Clean up with this boy.

Louisa turns to Mattie, fishing in her bag:

                     LOUISA
          Mattie hon', did you say you
          Needed some laudanum?  I have a 
          Bottle right here.  Just be 
          Careful.  It's full of hop.

                     MATTIE
          You're a lifesaver!  Don't worry,
          I just get headaches sometimes.

As Wyatt leads the horse away the women get up, Allie and 
Louisa going to the river with dishes, Mattie crossing to the 
wagon.  Virgil and Morgan watch her appreciatively:

                     VIRGIL
          Mighty fine.  Wonder where he
          Found her.  Same place we found
          Ours probably

At the other end of camp Mattie climbs into the wagon and lies 
down.  Wyatt appears and starts to stroke her head.

                     WYATT
          Come up to the fire, honey.

                     MATTIE
          I think I'll just lie down awhile

A coyote starts HOWLING from the far darkness.  Mattie 
shudders:

                     MATTIE
          Long as I live I'll never
          Get used to that sound.

                     WYATT
          They're just lonely is all.  Hell,
          I howl myself sometimes.

                     MATTIE
          You get lonely?

She seems genuinely surprised.  Wyatt looks genuinely 
confused.  Over at the fire, Morgan hugs and mashes Louisa 
playfully.

                     MORGAN
          Come up, Lou.  Come up here, girl.

                     LOUISA
          Stop...

She fights loose.  Wyatt walks up, sits, shaking his gold 
watch.

                     WYATT
          Look at that.  Busted.  Brand new 
          Money Ward, too.  33 years old 
          And I don't even have a decent
          Watch.  'Bout time I started
          Lookin' out for myself.

                     VIRGIL
          Well here we are a family again.
          Been so long plain forgot how
          Good it feels.  Want to thank you
          For that, Wyatt.  All your doin'.

                     WYATT
          We're gonna do it, boys.  Gonna
          Get ours.  Feel it in my bones.
          All we have to do is keep our
          Eyes on that brass ring.

                     MORGAN
               (lies back)
          Boy, look at all those stars.  Bet 
          You can see every star there is.
          Practical touch 'em.  Kinda makes
          You think, you know?  I mean you
          Look up and you think God made 
          All that but he still remembered
          To make a little speck like me.
          Kinda flattering really.  Hey,
          Wyatt, you believe in God?  No,
          Come on, really, do you?

                     WYATT
          Maybe, yeah.  Hell, I don't know.

                     MORGAN
          Well what do you think happens
          When you die?

                     WYATT
          Got me.  Somethin'.  Nothin'.  I
          Don't know.

                     MORGAN
          I read this book, book on
          Spiritualism...

                     VIRGIL
          Oh, God, here he goes...

                     MORGAN
          ...said a lot of people, when 
          they're dyin', they see this
          light, like in a tunnel.  They say
          it's the light leading you to
          heaven.

                     WYATT
          Really?  What about hell?  They got
          A sign or what?

                     MORGAN
          Hey, Wyatt, God damn it, I'm serious!


                     WYATT
          Well that's your problem.  Hey 
          Virge, see anything of Doc while
          You were in Prescott?

                     VIRGIL
          Hit a streak when we left.  Him
          And Kate.

                     ALLIE
               (from the stream)
          Uh, that woman.

                     WYATT
          I miss Doc.  I miss that ol' rip.

                     VIRGIL
          I don't 

                     ALLIE
          Neither do I.

                     WYATT
          He makes me laugh.

INT - PRESCOTT SALOON - NIGHT

A handsomely appointed saloon.  At a corner table, the pot is 
so rich 2 players have folded leaving ED BAILEY, a big, 
sullen, tough-looking gambler, facing gaunt, elegant DOC 
HOLLIDAY.  Full of southern refinement and languid, almost 
feline grace.  Doc has such unerring style and aplomb that he 
makes his constant tubercular coughing sound as if he's merely 
clearing his throat.  Bailey leans forward, seething with 
impatience:

                     BAILEY
          I said that's 500 to you,
          Holliday.  In or out?

                     DOC
          500? Sly boots, must be a peach
          of a hand.

KATE HORONY, Doc's voluptuous Hungarian consort enters, 
refilling his engraved silver stirrup cup.  She has a faint 
accent:

                     KATE
          Here, Doc.

                     DOC
          Bless you, darling
               (puts arm around her)
          Darling!  Are you mad?  You're not
          Wearing a bustle.  How lewd!

                     BAILEY
          Oh, for Christ's sake!

                     DOC
          Ed Bailey, you look like you're
          Just ready to burst.  Well call me
          A fool but I guess I'll just have
          To call.  Cover your ears, darling.

Doc covers the bet and shows his hand.  Bailey pounds the 
table.

                     BAILEY
          God damn son of a...

                     DOC
          Isn't that a daisy?

                     BAILEY
          Just pick up your money and go.
          Sick of listening to you simper.

                     DOC
          Now Ed, are we cross?

Doc leans forward, revealing an ivory gun-butt under his coat.

                     BAILEY
          Skinny lunger, your guns don't 
          Impress me.  Wasn't for those guns
          You'd be nothin'.

                     DOC
          Why Ed, what an ugly thing to
          Say!  Does this mean you're not my
          Friend anymore?  You know, Ed, if
          I thought you weren't my friend I
          Don't think I could bear it.

Now a Cheshire cat smile we will soon come to know very well 
steals over Doc's face as he takes out his nickel-plated .38 
Colt Lightning and .45 Peacemaker and lays them on the table.

                     DOC
          There, now we can be friends
          Again.  But remember, Ed,
          Friendship is trust-so please
          Don't hurt me.

Doc bats his eyelashes.  Bailey jumps up, boiling.  A long, 
sweaty moment, then Bailey LUNGES.  Doc spring up, grabbing 
him by the hair and jabbing his fist into Bailey's armpit.  
Bailey screams and doubles over.  Doc gives him two more 
blows, so light they hardly seem capable of the effect they're 
having.  But as he turns to give him another we suddenly SEE 
that there's a KNIFE in Doc's hand.  The bartender reaches for 
the shotgun under the bar.  Kate pulls a Derringer from her 
muff and puts it to his ear.

                     KATE
          Touch that gun, I burn you down!

He backs off.  Kate covers the room.  Bailey drops to his 
knees.


                     BAILEY
          Oh, my God...

                     DOC
          Does it hurt?  A lot?  Good.

Eyes gleaming cruelly, Doc blows his cigarette smoke into 
Bailey's face.  Bailey sinks to the floor in a fetal position.  
Kate gathers up the pot as Doc retrieves his guns, looking 
around the room.  Then both back up to the door.

                     DOC
          Well, good evening then.

They exit.  The others look down at the groaning Bailey lying 
in a pool of his own blood.  A GAMBLER shakes his head:

                     1ST GAMBLER
          Judas...

EXT - STREET OUTSIDE - NIGHT

Doc and Kate stride quickly down the board sidewalk to the 
hotel.

                     DOC
          I calculate that's the end of 
          This town.  And let's don't bother
          About the luggage, darling.

                     KATE
          I been having the boy at the
          Hotel pack us up every night
          Since your streak started

Kate points to 2 horses saddled and packed outside the hotel.

                     DOC
          My sweet clever Magyar, so that's
          Why you're not wearing a bustle.

Doc gives Kate a peck on the cheek as they mount and ride 
off...

EXT - TOMBSTONE OUTSKIRTS/COTTAGES - DAY

A small cottage at the edge of town.  As the Earps drive up we 
SEE a sobbing woman sitting splay-legged in the middle of the 
street while her husband tries to comfort her.  3 small 
children stand alongside them, watching in stunned silence as 
Cowboys FRANK STILLWELL, cocky, arrogant, and PETE SPENCE, 
lean, dark, heave their furniture and belongings out of the 
cottage into the street while snarling things like, "shut 
up...deadbeats...move it!"  The Earps stop, staring at this 
scene in shock, Allie looking ready to fight.  Virgil 
restrains her, Stillwell looks up:

                     STILLWELL
          What're you lookin' at?

Virgil looks at Wyatt who shakes his head.  They drive on 
as....


EXT - ALLEN STRESS, TOMBSTONE - DAY

Unlike the dreary, weather-beaten western towns in movies, 
Tombstone is new and colorful, part town, part mining camp, a 
wild mixture of brightly painted wooden storefronts and half-
finished stone buildings rimmed by clusters of tents and 
shanties, all perched atop a hill with a magnificent view of 
the desert and the purple Dragoon mountains beyond.  We HEAR 
the vibrant din of hammers and saws, player pianos, hurdy-
gurdys, clip-clopping horses' hooves, and pealing laughter as 
the Earps drive up Allen Street, the main drag, lined with 
saloon after saloon, sidewalks bustling with drovers, miners, 
Chinamen, and sullen gun-toting hard-cases.  They pull up in 
front of the Grand Hotel and step down.  JOHNNY BEHAN, 
handsome, well-dressed, wearing an ornate crescent-shaped gold 
sheriff's badge and a ready smile walks up and shakes hands:

                     BEHAN
          Newcomers, eh?  Names John Behan,
          I'm Cochise County Sheriff.  Just
          Hit town?

                     WYATT
          Just this minute.  I'm Wyatt Earp,
          These're my brothers-

                     BEHAN
          Wyatt Earp...Dodge City, right?

                     WYATT
          Gave all that up.  Going into business.

                     BEHAN
          Well I'm the man to see.  Besides
          Sheriff I'm also tax collector, 
          Captain of the Fire Brigade, and
          Chairman of the Non-partisan Anti-
          Chinese league.  A man of many
          Parts.  Got a place to stay yet?  I
          Also sit on the Townlot
          Commission.  Got a couple of
          Lovely cottages coming up for
          Rent.  Here, let me show you...

EXT - TOMBSTONE OUTSKIRTS/COTTAGE - DAY

The Earps and Behan stand on the porch of the very same 
cottage we saw the Cowboys evict the family from.

                     BEHAN
          The one next door and the one
          Across the street are vacant too.
          Same rent and I'll throw in a 
          Good cleaning.  Believe me, you
          Won't find a better deal within
          Town limits.

Wyatt looks enquiringly at his brothers.  They shrug.  He's 
calling the shots.  Wyatt shrugs back.  Finally:

                     WYATT
          Guess we'll take all three.

EXT - O.K. CORRAL/ALLEN ST. - DAY

A large stable and corral backing up into a vacant lot.  
Wyatt's big horses feed in their stalls while Wyatt faces the 
stableboy:

                     WYATT
          ...and easy on the grain, I don't
          want 'em too fidgety.

Morgan and Virgil enter with FRED WHITE, the jovial old town 
marshal.  Shaking hands, all 4 go up Allen, taking in the 
town.

                     MORGAN
          Wyatt, meet Fred White, he's town marshal.

                     WYATT
          Lotta law around here.  Just met the Sheriff.

                     WHITE
          Who, Behan?  He ain't no law, only
          Real law here's the Cowboys.

                     VIRGIL
          The Cowboys, yeah.  I heard of 'em.

                     WHITE
          Nobody does nothin' without 'em.
          They're it.  Hell, even the 
          Apache're scared of 'em.  There's
          A couple right there: Sherman
          McMasters and Pony Deal.  Can
          Always spot a Cowboy, they all
          Wear those red sashes.

White points to SHERMAN MCMASTERS and PONY DEAL, a half-breed, 
standing over by the hotel, joking in sign language.

                     VIRGIL
          Look pretty rough.

                     WYATT
          Just like any other hard cases.
          Gotta know how to handle 'em.

                     WHITE
          Well I'm no Wild Bill.  Way I
          Handle 'em's just mainly live and
          Let live.  That usually answers 
          But even so, gets kinda spooky
          Sometimes.  Still somebody's gotta
          Do it, I mean how the hell else 
          You gonna walk down the street?

                     VIRGIL
          Doesn't anybody raise a stink?
          The hell kinda town is this?

                     WHITE
          Boomtown.  Wide open.  People
          Grabbin' with both hands ain't 
          Got time for any law and order.
          In fact the less law the more
          Opportunities there are for
          Makin' money.  Plain fact is the
          Cowboys're good for business.

                     WYATT
          What about all these saloons?

                     WHITE
          Ah, now that's the real mother-
          Lode in Tombstone.  Up and down
          Allen Street, full-blast 24 hours
          A day, liquor, hostesses,
          Gamblin', makin' money hand over
          Fist.  All except the Oriental.  On
          Account of the element.  Have a 
          Man for breakfast in there most
          Days.  Regular slaughter house.
          High-rollers won't go near it.
          Too bad, nice place.

Wyatt nods, suddenly very interested as they walk on and....

EXT - ORIENTAL SALOON - DAY

We feel the sensual delight of going from hot sun into cool 
dark as Wyatt enters, going up to the ornate mahogany bar.  
Though a large, handsome saloon complete with gaming tables, 
it has only a few patrons on hand.  "The Lilly and the Rose" 
is on the player piano as bartender MILT JOYCE appears:

                     JOYCE
          What can I get you?

                     WYATT
          Let me have one of those cigars.
               (lights up, looks around)
          Kinda nice in here.  You run it?

                     JOYCE
          Milt Joyce, owner-operator.

                     WYATT
          Well, excuse me for askin', Milt,
          But isn't it kinda dead in here?

Joyce points to the faro table in the corner where JOHNNY 
TYLER, an unshaven plug-ugly with a big D.A. Colt .45 carried 
ostentatiously in a shoulder holster, deals to a couple of 
scruffy-looking drifters.

                     JOYCE
          You see that bird at the faro
          Table?  That's Johnny Tyler.  He
          Barged in here one day, said he
          Was takin' over the game, started
          Slappin' customer, wavin' his 
          Gun around, scarin' off all the
          High-class play.  Only trade comes
          In here now's just bummers and
          Drovers, just the dregs.

                     WYATT
          Why don't you get rid of him and
          Get yourself straight dealer?

                     JOYCE
          Well sure, neighbor, easy to say.

INT - FARO TABLE - DAY

As Wyatt walks up Tyler starts snarling at one of the players:

                     TYLER
          You back that Queen again, you
          Son of a bitch, I'll blow you 
          Right out of that chair!
               (looks up, sees Wyatt)
          Somethin' on your mind?

                     WYATT
          Just wanted to let you know
          You're sitting in my chair.

                     TYLER
          That a fact?

                     WYATT
          Yeah.  It's a fact.

Tyler looks Wyatt over, noting he is unarmed.  He stands, 
sneering:

                     TYLER
          For a man that don't go heeled
          You run your mouth kinda reckless.

                     WYATT
          Don't need to go heeled to get
          The bulge on a dub like you.

                     TYLER
          That a fact?

                     WYATT
          Yeah.  It's a fact.

                     TYLER
          Well I'm real scared.


                     WYATT
          Damn right you're scared.  I can 
          See it in your eyes.

Wyatt steps forward suddenly, eyes cold and hard like a shark.  
Suddenly realizing he's in way over his head.  Tyler shrinks 
back reflexively, his hand moving toward his gun.  The other 
players scatter.  Wyatt nods, his voice calm and steady:

                     WYATT
          Go ahead.  Skin it.  Skin that
          Smoke wagon and see what happens.

                     TYLER
          Listen Mister, I'm getting' tired-

Wyatt abruptly SLAPS his face, making his teeth clack 
together.

                     WYATT
          I'm getting tired of your gas.
          Jerk that pistol and go to work.

Tyler goes pale, all pretense of courage gone.  Wyatt slaps 
him again.

                     WYATT
          I said throw down, boy.

Another slap.  Tyler stays frozen, blood dripping down his 
chin.

                     WYATT
          You gonna do something or just
          Stand there and bleed?

Tyler's done.  Wyatt plucks his gun away, handing it to Joyce.

                     WYATT
          No, I didn't think so.  Here,
          Milt.  Keepsake, hang it over the
          Bar.  All right, youngster.  Out
          You go...

Wyatt takes Tyler by the ear, dragging him across the room 
like an unruly child.  At the door he gives the ear a twist.

                     WYATT
          And don't come back.  Ever.

Tyler winces.  Wyatt shoves him out into the street then turns 
to Joyce casually:

                     WYATT
          See how easy that was?

EXT - CORNER OF ALLEN & 5TH STREET (STAGECOACH) - DAY

Later.  Wyatt walks up to his brothers at the corner.


                     WYATT
          Well we're off and running.  Just 
          Acquired us a quarter-interest in
          The game at the Oriental.

                     VIRGIL
          Acquired?

                     WYATT
          So to speak.

Down the block, unseen by the Earps, a wild-eyed Tyler is 
advancing on them with a sawed-off shotgun.  He is within 20 
feet when suddenly:

                     O.S. VOICE
          Why Johnny Tyler, you madcap,
          Where are you going with that
          Shotgun?

Tyler spins around to see Doc standing in a doorway, smiling.  
Tyler freezes.

                     TYLER
          Doc.  I didn't know you were in town.

Wyatt spots Doc and walks up, brothers in tow.  Though they 
don't so much as shake hands, we sense a strong bond between 
the 2 men.

                     WYATT
          Doc!  How the hell are you?

                     DOC
          Perfect, Wyatt.  Simply perfect.

                     TYLER
          Wyatt?  Wyatt Earp?

                     MORGAN
          Going into business for
          Ourselves.  Wyatt just got us a 
          Faro game.

                     DOC
          Since when is faro a business?

                     WYATT
          Didn't you always say gambling's 
          An honest trade?

                     DOC
          I said poker's an honest trade.
          Only suckers buck the tiger.  The
          Odds are all with the house.

                     WYATT
          Depends how you look at it.  I
          Mean it's not like anybody's
          Holding a gun to their heads.

                     DOC
          That's what I love about Wyatt.
          He can talk himself into anything.

They laugh.  Frozen there.  Tyler begins to tremble.  Finally:

                     DOC
          Oh sorry, Johnny, I forgot all
          About you.  You can go now.  Just 
          Leave the shotgun.

                     TYLER
          Thank you.

Tyler scuttles off as Behan approaches affably.  Doc sniffs.

                     WYATT
          Sheriff Behan, Doc Holliday.

                     DOC
          Forgive me if I don't shake hands.

                     BEHAN
          So how's Tombstone treating you?

                     WYATT
          Fine, fine.  But I was thinkin',
          You know what this town really
          Needs is a race track.

                     BEHAN
          Actually, you know, that's not a 
          Bad idea, send a signal we're
          Growing up.

                     DOC
          Little ahead of yourselves,
          Aren't you?  This is just a mining
          Camp.

                     BEHAN
          See how everyone dresses?  Awfully
          Toney for a mining camp.  No, the
          Die's cast, we're growing, be as
          Big as San Francisco in a few 
          Years.  And just as sophisticated.

                     DOC
          I can hardly wait.

As if on cue, a bullet WHIZZES past Behan's head.  Everyone 
ducks.  More GUNFIRE as a man holding a bloody hand to his 
throat reels out the door of the nearby Crystal Palace, his 
gun firing wildly like a sputtering engine before he pitches 
face first onto the sidewalk, dead.  Immediately 2 more men 
appear: a staggering DRUNK with a bullet hole in his shoulder; 
and TURKEY CREEK JACK JOHNSON, a leathery plainsman with his 
gun at the ready.  A crowd forms as the drunk raises his 
pistol, bellowing.

                     DRUNK
          You son of a bitch!

                     JOHNSON
          That's right, keep comin', keep comin'...

                     DOC
               (turns to Behan)
          Very cosmopolitan.

                     WYATT
          I know him.  That's Creek Johnson.

Suddenly a 3rd man, TEXAS JACK VERMILLION, long-haired, hawk-
nosed, appears, pistol at the ready, keeping bystanders at 
bay.

                     VERMILLION
          Easy, gents. Private affair...
               (spots Wyatt)
          Wyatt! Doc! Hey!

                     WYATT
          Jack...

                     DRUNK
          You bastard!

The drunk now has raised his gun to where it's almost level 
and:

                     JOHNSON
          Yeah, good.  Right about there.

Johnson FIRES.  The drunk drops in a heap.  Johnson spots 
Wyatt:

                     JOHNSON
          Hello, Wyatt!  Hiya Doc!

                     WYATT
          What was that all about?

                     VERMILLION
          Drunks.  Crawfished a bet, called 
          Him a liar.  I saw the whole thing.

                     DOC
               (turns to Behan)
          Sheriff, may I present a pair of
          Fellow sophisticates, Turkey
          Creek Jack Johnson and Texas Jack
          Vermillion?  Watch your ear, Creek.

Doc points to his bloody ear.  Johnson touches it, sees the 
blood, gives a silent start.  Just then White arrives, looking 
weary, facing Johnson and Vermillion.

                     WHITE
          'Fraid I'll have to have those guns.

                     JOHNSON
          Fair fight.  We were legal.

                     WHITE
          Sorry, boys.  Gotta take you 
          Before Judge Spicer.

                     VERMILLION
          Well law and order every time,
          That's us.

They hand over their guns while Virgil looks at the 2 dead men 
lying in the street, shaking his head:

                     VIRGIL
          What kinda town is this?

                     VERMILLION
          Nice scenery.

They look.  A stagecoach stops in the street.  JOSEPHINE 
MARCUS looks out the window, her little white dog under her 
chin.  She and Wyatt spot each other instantly, both 
impressed.

                     BEHAN
          That must be the theatrical 
          Troupe.  There's a show tonight at
          Schieffelin Hall.

                     JOHNSON
          Hey, Wyatt, you goin' to the
          Show?  Maybe we'll see you there.
               (turns to White)
          Won't we.

                     WHITE
          Yeah, probably.

White leads them off to jail.  Wyatt and Josephine hold each 
other's gaze as the coach drives on.  Doc smiles:

                     DOC
          Well, an enchanted moment

EXT - GRAND HOTEL (STAGECOACH) - DAY

Pony Deal and McMasters watch as the actors exit the coach for 
the hotel.  Josephine turns to the pretty 1st actress:

                     JOSEPHINE
          Interesting little scene.  I 
          Wonder who that tall man was.


                     1ST ACTRESS
          Typical frontier type.  Long and
          Lean.  And those gray eyes.  Like a 
          Wild hawk.  You see quite a few of
          His type out here.

                     JOSEPHINE
          Oh, I want one.

INT - LOBBY, GRAND HOTEL - DAY

The actors enter, going to the desk while Josephine looks for 
a place to sit.  A fat, well-dressed easterner with a 
newspaper sits nearby, ignoring her.  Seeing this from 
outside, McMasters instantly barges into the lobby, hoists the 
easterner out of his chair, and hurls him bodily out into the 
street.  Josephine nods her surprised thanks.  McMasters tips 
his hat shyly, exits as the 1st actress returns with her key.  
They exchange looks....

INT - SHIEFFELIN HALL - NIGHT

A full house, pandemonium.  Curly Bill, Ringo and their Cowboy 
entourage form a block in the center 
Rows while BILLY BREKENRIDGE, Behan's bespectacled, slightly 
effeminate little Deputy makes his timid way down the aisle, 
looking for a seat midst the off fist-fight and yelling match.  
2 cocky young Cowboys, BILLY GROUNDS and ZWING HUNT, call out 
to him:

                     HUNT
          Hey, Sister Boy!

                     CURLY BILL
          Shut up, Zwing.  Sit here, Billy.

Curly Bill beckons.  Happy as a lark, Breakenridge takes the 
seat next to him.  Up above, the Earps sit in a box, the women 
thrilled:

                     ALLIE
          This is so much fun!  We haven't
          Been to a show since years.

                     MATTIE
          I hope they're good.

                     STILLWELL
               (shouting from below)
          Lady, they better be good.

Doc enters, Kate on his arm.  The  women exchange uneasy nods.

                     DOC
          Kate, you know the Earps.

They sit as White enters with Mayor JOHN CLUM and wife.

                     WHITE
          Wyatt, this is Mayor Clum and his wife.



                     CLUM
          Your reputation precedes you.  I wonder -

                     WYATT
          Not a prayer.  Nice meetin' you.

While the orchestra tunes up and the crowd's excitement rises, 
White sits next to Wyatt, pointing out the different Cowboys 
and giving a thumbnail sketch of each as we PAN over them:

                     WHITE
          Well everybody's here except the
          Old Man.  Got the blade, Billy
          Grounds, Zwing Hunt, Billy
          Claiborne, Wes Fuller, Tom and
          Frank McLaury, Billy Clanton's 
          The youngest.  Wild one.  Then the
          Breeds, Hank Swilling, Pony Deal.
          Florentino's Mex-breed.  They all
          Hate Mex, but he hates 'em
          Special.  Johnny Barnes, Frank 
          Stillwell.  That's Behan's little
          Deputy, Billy Breakenridge.
          Follows the Cowboys around like a 
          Puppy.  And the big boys: Curly
          Bill Brocius, he's the Old Man's
          Rimrod; the one looks like an
          Actor, that's Johnny Ringo.  Best
          Gun alive they say.  He's kinda
          Different.  Curly Bill's the only
          One he talks to.  I mean they're 
          All rough boys, but Ringo... I
          Don't know.  I really don't

Music.  The house lights dim.  The audience hushes.  A 
spotlight hits easel at the end of the stage: "Professor 
Gillman and His Ballet of Gravity."  Out in the audience, 
Barnes groans:

                     BARNES
          Professor Gilllman?  Oh hell, I
          Seen him in Bisbee.  He catches stuff.

The curtain goes up.  PROFESSOR GILLMAN, a 3rd rate juggler in 
white tie, tailcoat, and black tights steps out and starts 
tossing Indian clubs in the air.  The audience starts groaning 
but the Professor's rictus-like smile never changes.  Having 
seen enough, Frank Stillwell stands up and shouts:

                     STILLWELL
          Hey profesor!  Catch this!

Stillwell raises his pistol and FIRES.  An Indian club 
explodes in the Professor's hand.  Screams and scattered 
laughter in the audience.  The Professor is frozen in utter 
shock, staring at the bullet graze on his hand and saying out 
loud:

                     GILLMAN
          They shot me!  I don't believe it!

A chord of music and the curtain drops like stone.  
Applause....

EXT - BACKSTAGE - NIGHT

The other acotrs hustle the Professor off the stage, appalled.  
The 1st Actress turns to MR. FABIAN, a handsome, slightly 
raffish classical tragedian.

                     1ST ACTRESS
          My God, they're shooting at us!
          They're actually shooting at us!
          What'll we do?

                     FABIAN
          Only thing we can do, dear-be
          Good.  In any event, at least we
          Won't have to wait for our 
          Notices.  Exciting, isn't it?  Now 
          This is theater!

INT - SHIEFFELIN HALL - NIGHT

More music and another card reads: "Selections From the Bard 
of Mr. Romulus Fabian, Tragedian in Excelsis."  The curtain 
rises and Fabian steps out, a purple velvet cloak wrapped 
resplendently about him like a toga.  In the audience, Curly 
Bill's mouth drops:

                     CURLY BILL
          Prettiest man I ever saw

Fabian throws open his cloak, revealing his lithe form in 
doublet and tights.  The whores in the gallery hoot and cheer.  
Fabian bows.

                     STILLWELL
          How come he ain't wearin' no pants?

                     BARNES
               (points to whores)
          That's how come.

                     FABIAN
          Ladies and gentlemen, the St
          Crispin's Day Speech from Henry V.
          To set the Scene, England is
          Now at war with France. 
          Everything rests upon the battle
          About to begin.  Henry, the young
          King of England, addresses his men
          Thusly: "My cousin Westmorland?
          No, my fair cousin-"

Another GUNSHOT and a bullet SPANGS into the column next to 
Fabian with a shower of plaster.  Without missing a beat, 
Fabian casually flicks a chunk off his shoulder and continues:

                     FABIAN
          "If we are marked to die, we are
          enow/ To do our country loss; and
          if to live./ The fewer me, the
          greater the share of honour..."

In the audience Barnes holsters his smoke pistol reflectively.

                     BARNES
          He's got nerve, I'll say that.
          What do you think, Billy?

Starry-eyed, Breakenridge answers without thinking:

                     BREAKENRIDGE
          Oh, he wonderful!

                     GROUNDS
          Uh-oh, looks like somebody's in love.

Raw laughter from the others.  Breakenridge sinks in his seat.

                     CURLY BILL
          Let him alone.

On stage Fabian is in full cry, giving the local a slice of 
the ripest ham:

                     FABIAN
          "We few, we happy few, we band of
          brothers;/ For he today that
          sheds his blood with me/ Shall be
          my brother; be he ne'er so vile./
          This day shall gentle his 
          Condition;/ And gentlemen in
          England now a-bed/ Shall think
          Themselves accurs'd they were no
          Here./ And hold their manhood
          Cheap whiles any speaks/ That
          Fought with us upon Saint
          Crispin's day!"

Wild applause and cheering.  Fabian bows with elaborate 
modesty.

                     CURLY BILL
          That's great!  That's our kinda stuff!

The curtain falls.  Another card: "Faust - or the Devil's 
Bargain" and the orchestra whirls into "Danse Macabre" by 
Saint-Saens, the rising curtain revealing a wild pained 
backdrop, all black and red, covered with weird, Beardsley-
esque designs and images of death and damnation.  A light 
comes up, revealing an ancient white-bearded scholar sitting 
alone with his books.  Then a hooded Satan dances across the 
stage, slender and lissome in paned black doublet and breeches 
and black hose, tempting the old man with images of wealth and 
youth in the form of a shimmering blonde ballerina.  The old 
man succumbs, signing Satan's contract.  The audience watches 
in rapt attention, especially the Cowboys:

                     STILLWELL
          He's gonna some up short on that one.

                     CURLY BILL
          Know what I'd do?  I'd take the
          Deal then crawfish and drill that
          Ol' Devil in the ass.  How 'bout 
          You, Johnny?  What would you do?

                     RINGO
          I already did it.

Satan makes a flourish.  A flash-pad EXPLOSION transforms the 
old scholar into a young student.  The ballerina flits by.  
The student offers her gold.  They dance, swirling about the 
stage in a mad waltz with Satan hovering behind them, 
mirroring their every move like a puppet master.  Finally, 
having gotten all his gold, the Ballerina drifts away leaving 
the young student alone, lost in bitterness as he changes back 
into the old scholar sitting with his books.  Satan appears 
over him, exultant and triumphant, ready to collect the debt 
as the curtain falls with a final crashing chord.  Thunderous 
cheering and applause.  The curtain rises again and the 
performers come out for bows, all except Satan.

                     DOC
          Very instructive

                     WYATT
          But who was the Devil?

Suddenly Satan bounds out, removing the hood.  It's Josephine.

                     MORGAN
          It's that woman from the coach!

                     WYATT
          I'll be damned...

Josephine spots Wyatt's box and smiles.  Doc raises an 
eyebrow:

                     DOC
          You may indeed.  If you get lucky.

EXT - ALLEN STREET - NIGHT

After the show and theatergoers, including the Earps, stroll 
homeward arm-in-arm down Allen, all looking up at the clear 
night sky above.  At the Oriental Wyatt stops, turning to 
Virgil:

                     WYATT
          Comin' to the Oriental, Virge?

                     ALLIE
          Not tonight! Tonight me and my
          Old man're gonna have some fun.
          Get moving, old man!

She laughs, shoving Virgil down the street.  He looks at 
Wyatt:

                     VIRGIL
          Her maiden name was Sullivan.

                     WYATT
               (kisses Mattie)
          Better go with 'em, honey.  Here's
          Where I leave you.

                     MATTIE
               (grabs his hand)
          No, stay.  Please stay with me.

                     WYATT
          Honey, I gotta start makin' money.

                     MATTIE
          Oh, all right.

                     WYATT
          Well I guess I don't have to go 
          Right now.  I guess I could stay a little while.

                     MATTIE
          No, no, I don't want to keep you.

                     WYATT
          No really, I can stay a while.

                     MATTIE
          Just go.  It's all right.  Wyatt, 
          Really.  Work well.

                     WYATT
          All right, well, good night.

Another kiss and he heads for the Oriental with Morgan.  
Mattie walks on after the others, fishing through her bag for 
her bottle of laudanum....

DELETED

INT - ORIENTAL - NIGHT

The saloon is packed.  TRACK along the bar at floor level past 
a wild array of high-button shoes, patent leather pumps, and 
stack-heeled boots with jingling silver spurs.  Track again at 
shoulder level past an equally wild array of slouch hats, 
pork-pies, derbys, and wide-brim sombreros.  Wyatt sits 
against the wall, dealing faro with Doc at his side, Morgan on 
lookout while a sweaty overdressed HIGH ROLLER makes bets, 
gnashing his teeth and drumming his fingers n a fever of 
impatient greed:


                     HIGH ROLLER
          All right, I'm on fire!  Black
          Seven, seven stickin' spades.
          Let's go!

                     WYATT
          I'm your man...
               (deals card)
          You win again.  Well played, sir.
          You are on fire.

                     HIGH ROLLER
          Told you.  I'm red hot, I'm
          Blazin'!  Now, red seven.  Seven
          Stinkin' diamonds.  Look out!  Five
          Thousand!  Let's go!

                     WYATT
          Awful lot of money.

                     HIGH ROLLER
          Can't take the heat, get outta
          The kitchen.

                     WYATT
          You're the doctor.
               (deals card)
          sad news, friend.

                     HIGH ROLLER
          Damn!  All right, wait a minute...

The high roller lays a set of deeds out on the table as....

INT - ORIENTAL - NIGHT

A break in the game.  Wyatt studies the deeds as Morgan and 
Doc look on.  Kate sits to one side, blowing smoke rings 
contentedly.

                     WYATT
          So now we're in the mining 
          Business.  Turning into regular
          Tycoons.  Gonna call this one the
          Mattie Blaylock.  Mattie'll get a 
          Kick out of that, it's her maiden
          Name.

                     DOC
          And what a maiden, pure as the
          Driven snow, I'm sure.

                     MORGAN
          Hey Doc!  Come on now.

                     WYATT
          Just his style, Morg.  Doesn't
          Mean anything.

                     DOC
          So tell me, Wyatt.  I'm curious.
          Do you actually consider youself
          A married man?  Forsaking all
          Others?

                     WYATT
          Well yeah.  Pretty much.  I mean I
          Was no angel when we met but
          People change Doc.  I mean sooner
          Or later you gotta grow up.

                     DOC
          I see.  And what would you do if
          "she" walked in her right now?
                     WYATT
          "She"?

                     DOC
          You know damn well who I mean.
          That dusky-hued lady Satan.

                     WYATT
          I don't know.  Probably ignore her.

                     DOC
          Ignore her?

                     WYATT
          I'd ignore her.  People can 
          Change, Doc.

                     DOC
          I'll remember you said that.

Doc point.  Josephine has just walked in with the other 
actors.

                     WYATT
          Oh, hell...

She spots Wyatt and starts toward him but he looks away, as if 
ignoring her.  She stops.  Behan steps up to her, tipping his 
hat, very gallant.  They move toward the bar.  Wyatt turns to 
Doc.

                     WYATT
          Satisfied?

                     DOC
          I stand corrected.  Wyatt.  You're
          An oak.

Josephine and Behan chat at the bar.  White nudges Joyce:

                     WHITE
          Since when'd you start servin'
          Ladies in here?

                     JOYCE
          Actresses.  It's different.

Mr Fabian enters, dramatically gotten-up like Lord Byron.  The 
whole bar bursts into applause.  He bows.  Breakenridge jumps 
up from his table, excited:

                     BREAKENRIDGE
          Here, Mr Fabian, have this table.

He seats Fabian near the faro game, gets him some champagne.

                     FABIAN
          Oh, thank you.  You're very kind.


                     BREAKENRIDGE
          Mr. Fabian, I've got to tell you, 
          That's the most wonderful thing I 
          Ever saw.  What was that?

                     FABIAN
          Henry's all right but he's no
          Match for the Melancholy Dane.
               (sees his confusion)
          Hamlet, dear friend, the supreme
          Role of any actor worth his salt.

                     DOC
               (leans in, points to Wyatt)
          Here's a man you should meet, Mr.
          Fabian.  Excellent character study
          For you, the real-life actual
          Melancholy Dane.

                     FABIAN
          Indeed, sir?  How so?

                     DOC
          Well he hems, he haws, he talks
          Out of both sides of his
          Mouth-but all on a very high
          Plane, just like Hamlet.

                     WYATT
          Getting drunk, Doc.

Doc chuckles.  Suddenly Curly Bill looms over the faro table 
with Ringo and a drunken Ike Clanton.

                     CURLY BILL
          Wyatt Earp, huh?  I heard of you.

                     IKE
          Listen, Mr. Kansas Law-dog.  Law
          Don't go around her.  Savvy?

                     WYATT
          I'm retired.

                     CURLY BILL
          Good.  That's real good.

                     IKE
          Yeah, that's good, Mr. Law-dog, 
          'cause law don't go around here.

                     WYATT
          I heard you the first time.

                     CURLY BILL
          Shut up, Ike.

                     RINGO
               (steps up to Doc)
          And you must be Doc Holliday.

                     DOC
          That's the rumor.

                     RINGO
          You retired, too?

                     DOC
          Not me.  I'm in my prime.

                     RINGO
          Yeah, you look it.

                     DOC
          And you must be Ringo.  Look,
          Darling, Johnny Ringo.  The
          Deadliest pistoleer since Wild
          Bill, they say.  What do you 
          Think, darling?  Should I hate him?

                     KATE
          You don't even know him.

                     DOC
          Yes, but there's just something
          About him.  Something around
          The eyes, I don't know, reminds me
          Of... me.  No.  I'm sure of it, I
          Hate him.

                     WYATT
               (to Ringo)
          He's drunk.

                     DOC
          In vino veritas.

                     RINGO
          Age quod agis.

                     DOC
          Credat Judaeus Apella.

                     RINGO
               (pats gun)
          Ecentus stultorum magister.

                     DOC
               (Cheshire cat smile)
          In pace requiescat.

                     WHITE
               (enters, appeasing)
          Come on now.  We don't want any
          Trouble in here.  Not in any language.

                     DOC
          Evidently Mr. Ringo's an educated
          Man.  Now I really hate him.

Ringo looks at Doc, holding his gaze while suddenly whipping 
out his .45.  Everyone but Doc flinches.  Ringo does a 
dazzling series of twirls and tricks, his nickel-plated pistol 
flashing like a blaze of silver fire, finally slapping it back 
into his holster with a flourish.  Cheers and hoots.  Doc 
rolls his eyes, hooks a finger through the handle of his 
silver cup, then launches into an exact duplication of Ringo's 
routine using a cup instead of a gun.  The room bursts into 
laughter.  Doc shrugs.  Ringo lets a strange little hint of a 
smile cross his face then exits with the others.  White 
exhales, turns to Wyatt:

                     WHITE
          See what I mean about it getting
          Spooky?

                     WYATT
          Curly Bill, huh?  Who was that 
          Other idiot?

                     WHITE
          Ike Clanton, Old Man's eldest
          Son.  Know he ain't got the stuff,
          Makes him miserable.

                     WYATT
          Yeah, and dangerous.

Sitting up on the bar to see the show, Josephine turns to 
Behan:

                     JOSEPHINE
          The man dealing faro.  Who is he?

                     BEHAN
          That's Wyatt Earp.  Made quite a 
          Name for himself as a peace
          Officer in Kansas.

                     JOSEPHINE
          A peace officer... Impressive man

                     BEHAN
          Yes, very.  And very married.

                     JOSEPHINE
          Oh, so that's it...

EXT - ALLEN STREET/ORIENTAL - NIGHT

Curly Bill steps out with Ike and Ringo.  He looks around.

                     CURLY BILL
          I feel like doin' somethin'.
          Getting woolly.
               (looks up)
          Hey, Chinky!  Come here a minute...

An old Chinaman minces by.  Curly Bill dashes after him...

BACK & FORTH INT/EXT - ORIENTAL / ALLEN STREET - NIGHT

Later.  Doc is at the piano, drunk as a lord but playing 
Chopin flawlessly.  Kate pours him another drink.

                     KATE
          That's my lovin' man.  Just can't
          Get enough.

                     DOC
          Enough?  Never.

Now the High-Roller comes reeling up, loud and gratingly 
drunk.

                     HIGH ROLLER
          Hey, is that "Old Dog Tray"?
          Sounds like "Old Dog Tray".

                     DOC
          What?

                     HIGH ROLLER
          You know, Stephen Foster.  "Oh, 
          Susanna".  "Camptown Races",
          Stephen-stinkin'-Foster!

                     DOC
          I see, well this happens to be a 
          Nocturne.

                     HIGH ROLLER
          A which?

                     DOC
          You know, Frederic-fucking-Chopin.

Doc plays on.  Josephine leaves with Behan.  Morgan sighs:

                     MORGAN
          Now that wounds me.  Little tin
          Swain walkin' off with that black
          Beauty.  I mean I'm a married man
          And all but still, it ain't right.

Wyatt grunts and nods, perturbed.  Outside the others mount up 
but Curly Bill stands drugged-up in the middle of the street, 
arms out, head back, eyes closed, luxuriating in the 
moonlight.

                     CURLY BILL
          Boy, I feel great!  Full of that
          Hop I got from Chinky.  I feel 
          Just capitol!  You boys go ahead.
          I'm gonna stick around awhile,
          Howl at the moon.

The others shrug and ride off.  Curly Bill pulls his pistol, 
spinning it.  Back inside the Oriental it's late, few patrons 
remain.  A few beats then suddenly everyone jumps as GUNSHOTS 
echo from outside.  White goes to the window, looks outside:

                     WHITE
          Curly Bill.  He's over across the
          Street shootin' out the lights.

                     CLUM
          This is great, this is just great.

Just then Behan dashes in, white as a sheet, Josephine in tow:

                     BEHAN
          Have you been out in the street?
          Somebody's got to do something.

                     CLUM
          You're the Sheriff.

                     BEHAN
          It's not County business, it's a 
          Town matter.

Outside Curly Bill starts taking potshots at a passerby's 
feet, making him dance down the street and scurry for cover.  
Curly Bill cackles.  Inside White turns uneasily to Wyatt:

                     WYATT
          Why don't you just leave it alone?

                     WHITE
          No, I gotta do something.  I don't 
          Suppose you'd card-

                     WYATT
          None of my business, Fred.

Wyatt keeps dealing, Doc keeps playing.  White draws himself 
up and exits.  Outside, Curly Bill reloads and keeps shooting.  
White steps out into the street.  We feel a sense of inverted 
terror as he draws his gun and we SEE that his hand is 
trembling.  He crosses the street, coming up behind Curly 
Bill:

                     WHITE
          Hey, Curly?  Come on now, boy...

Curly Bill spins around.  White's gun stares him in the face.

                     CURLY BILL
          Well, howdy, Fred!

Back in the bar, Wyatt puts his cards down, looks over at Doc.

                     WYATT
          Maybe I ought to go out there.

                     DOC
          You will or you won't.  Don't look
          To me.  I'm going to sleep.

Doc lays his head down on the keys, passes out.  Wyatt frowns 
for a moment.  Finally he stands, turning to Morgan:

                     WYATT
          Go wake up Virgil.
               (turns to Joyce)
          Hey Milt, lend me a sidearm, will you?

Joyce hands him a Colt from under the bar.  Outside White 
covers Curly Bill, trembling harder now.  An adrenaline rush 
in a man White's age is hard to look at, he seems so frail, so 
vulnerable.  Even his voice has a quavering edge to it:

                     WHITE
          Hand that over.  Come on now.

                     CURLY BILL
          Why sure, dad.  I'm only in fun.
          Here she is.

With a reassuring smile, Curly Bill holds his pistol out butt-
first.  White reaches for it, visibly relieved.  But quick as 
a snake's tongue Curly Bill spins it around and FIRES POINT 
BLANK into White's chest, blowing him over backward, the blast 
so close it sets his clothes on fire.   Curly Bill turns just 
as Wyatt flashes into frame and SLAMS him over the head with 
his pistol barrel, laying him out in a groaning heap.  Wyatt 
glances at White lying semi-conscious in the street, chest 
heaving, eyelids fluttering, making weak little bird-like 
sounds, smoke rising from his smoldering shirt and vest.  Clum 
runs up:

                     WYATT
          Put his clothes out.

Clum pats the embers out in White's clothes but as Wyatt 
starts to haul Curly Bill up he suddenly finds himself 
surrounded by Ike, Billy Clanton, and six other Cowboys.

                     IKE
          Turn loose of him.

                     WYATT
          He just killed a man.

                     BILLY
          He said to turn loose of him.

                     WYATT
          Well I'm not so go home.

                     IKE
          Swear to God, Mister, step aside
          Or we'll tear you apart.

The Cowboys tense up, ready for action.  Wyatt holds his 
ground, his hard, steady gaze zeroing in on Ike:

                     WYATT
          You.  Come here a second.

Ike steps up, full of brass.  Without warning Wyatt jabs the 
muzzle of his pistol into his forehead, snapping his head 
back.  Wyatt cocks the pistol.  The other Cowboys hush.  Ike 
freezes.  Wyatt's eyes bore into him.

                     WYATT
          You die first, get it?  The others 
          Might get me in a rush but before
          That I'm gonna make your head
          Into a canoe.  Understand?

Ike stands stock still.  Billy steps forward, undaunted:

                     BILLY
          He's bluffin'!  Let's rush him!

This is it.  The Cowboys poise themselves, ready to start, 
but:

                     O.S. VOICE
          And you, you simpleton, you're next.

Again a hush.  Doc stands behind Wyatt, still drunk, but with 
his .38 trained on Billy.  Billy sneers:

                     BILLY
          Hell, he can't hit nothin'.  He's 
          So drunk he's probably seein'
          Double.

Doc pulls out his .45, training it, too, on Billy:

                     DOC
          I have two guns.  One for each of you.

Billy pauses, chastened.  Suddenly there's another commotion 
as Virgil and Morgan bull their way through the crowd from 
behind with shotguns.

                     VIRGIL
          All right, look out!  Break it up.
          Go home, all of you, go home now...

This breads the group's will and things suddenly calm down 
dramatically as the Cowboys disperse.  Wyatt lowers his 
pistol, heaving a sigh of relief as he pulls the still-groggy 
Curly Bill to his feet and hauls him reeling toward the jail.

                     WYATT
          Come on, you...

                     CURLY BILL
          Crack me back of the head like
          Some stinkin' bull.  Hell, you
          Ain't no fightin' man, you're
          Just a cop.

DELETED

EXT - JAIL/ALLEN STREET/HOTEL - NIGHT

Later.  As the Earps and Doc step out on the sidewalk we can 
see the semi-conscious Curly Bill through the front door of 
the jail laying in one of the cells, holding a bloody kerchief 
to his head.  Wyatt closes the door, locks it, gives Clum the 
keys.

                     WYATT
          There.  He'll keep till morning

The street is quiet as they start back toward the Oriental.  
Virgil and Morgan following at a discreet distance, smirking:

                     VIRGIL
          Keep your eye on that brass ring.
          Don't let anything side-track you.

                     WYATT
          I know, I need a keeper.

Meanwhile across the street at the hotel Josephine turns to 
Behan.

                     BEHAN
          Well I guess you can see, never a 
          Dull moment.  Maybe you should
          Stay around to see what happens
          Next.  Who know?  You might find a
          Future here.

                     JOSEPHINE
          Maybe even my destiny.

DELETED

DELETED

INT - ORIENTAL - DAY

Morgan's hound sleeps in the corner while Virgil and Morgan 
shoot pool.  Wyatt looking on.

                     WYATT
          ...but he says did I actually see
          it happen and I said, no, when I
          arrived Fred'd already been shot.
          So the judge said, can't have a
          Murder without a witness-case
          Dismissed.  Can you beat it?  After
          All that.  Oh hell, who cares,
          None of my business anyways.

Clum enters, frowning and anxious, just as Morgan sinks a 
shot.

                     MORGAN
          Boy, I love this game.  When we're
          Finally set we gotta each have a
          Billiard room in our houses.

                     CLUM
          Excuse me, Wyatt, just a moment,
          Please, I wanted to try and 
          Reason with you.  We still haven't
          Found a Marshal and-

                     VIRGIL
          Come on Mayor, he already told
          You no.

                     CLUM
          What about you?  You were a lawman.

                     VIRGIL
          I'm busy.  We're all busy.  Sorry,
          Mayor, but you're really barkin'
          Up the wrong tree.

                     WYATT
          You tell 'em, Virge.

Clum exits shaking his head.  They keep playing.  After a 
beat:

                     WYATT
          You know, I was thinkin', maybe
          We ought to open our own place.
          That's the real money.  Build it
          Up, milk it for all it's worth,
          Then sell it off for a bundle and
          Breeze out of this burg with more
          Money than Croesus and ready to
          Live like kings.  Let's you and me
          Take a walk around town, Virge,
          See if we can scout us out a 
          Couple of nice lots.

                     VIRGIL
          I can't hardly believe it.  It's 
          Working out just like you said,
          Wyatt.  We're lootin' this burg
          Six ways through Sunday.

                     WYATT
          Pretty fun too, isn't it?

                     VIRGIL
          Kinda, actually, yeah.  I gotta admit.

EXT - COTTAGE ON EDGE OF TOWN - DAY

Virgil and Wyatt walk down a quiet, tree-shaded lane on the 
outskirts of town.  Suddenly a rubber ball rolls into their 
path.  A small BOY plays in the front yard of a nearby 
cottage.  Virgil and Wyatt approach, Virgil returning the 
ball:

                     VIRGIL
          What're you up to today, son?

The boy stands stock still, staring at the men in silence.

                     WYATT
          Cat got your tongue?

He turns and walks back to the street without another word.

                     WYATT
          Wait a minute, Virgil!  Where you goin'?

Virgil keeps going.  Wyatt starts after him, leaving mother 
and child in confusion as....

DELETED

INT - VIRGIL'S PARLOR - DAY

In tight on a gleaming silver shield, "Town Marshal, 
Tombstone, A.T."  PULL BACK to reveal it pinned to Virgil's 
breast.  He sits by his parlor hearth with Morgan at his side.  
Wyatt sits opposite with his head in his hands.

                     VIRGIL
          I couldn't help it, Wyatt.  I 
          Looked at that woman and it was
          Just like somebody slapping me in
          The face.  I mean these people're
          Afraid to even walk down the 
          Street and I'm trying to make
          Money off it like some kind of
          God damn vulture.  That's not me,
          That's somebody I don't even know.

                     WYATT
          Virgil, please.  Don't do this to me.

                     VIRGIL
          It's got nothin' to do with you, 
          Wyatt.  It's-

                     WYATT
          Nothing to do with me?  I'm your 
          Brother for Christ's sake.  God, I
          Don't believe this.
               (turns to Morgan)
          Talk to him, will you?  Or hit him.
               (no answer, pauses)
          Oh no, don't tell me...

Morgan looks down in sheepish silence.  Then he pulls back his 
coat, revealing the Deputy's badge on this vest.  Wyatt 
groans.

                     MORGAN
          Like you said, Wyatt.  We're
          Brothers.  Gotta back your
          Brother's play.  Just did like I
          Figured you would.


                     WYATT
          Listen to me, both of you.  This 
          Is no good.  This is trouble we
          Don't need.  For the first time in
          Our lives we got a chance to stop
          Wandering and finally be a
          Family.  Do this and you throw it
          All away.  You saw what happened
          To Fred White.

                     MORGAN
          Come on, we're not about pickin'
          Fights.  Just gonna keep a little
          Order, that's all.

                     WYATT
          Yeah?

                     MORGAN
          Like you said, just gotta know
          How to handle 'em.  Old Fred
          Wasn't up to it.  We know that
          We're doin', Wyatt.

                     WYATT
          All right, say you're right, say
          You don't get yourself killed.
          There's something else.
               (turns to Morgan)
          It's too late for Virge, he
          Already rolled his bone.  But it's 
          Not too late for you, Morg.

                     MORGAN
          What're you talkin' about?

Wyatt exhales wearily then crouches down in front of his baby 
brother, looking deep in his eyes, his voice soft, plaintive:

                     WYATT
          All the years I worked the
          Cowtowns, I was only ever mixed 
          Up in one shooting.  Just one.  A
          Man got killed.  Wasn't my fault,
          Just doin' my job.  I don't even 
          Know if it was my bullet that
          Dropped him, but... I don't kno,
          It's sort of hard to explain.  At
          First I just felt funny, you
          Know, kind of clammy inside.  But
          When it finally sunk in what I'd 
          Done... Believe me, boy, you
          Don't ever want to feel that way.
          Not ever.
               (pauses)
          Didn't even make a dent, did I?
               (stands, exits)
          You're both makin' a big mistake.

EXT - DESERT, HOOKER RANCH - DAY

Armed with a borrowed pistol and carbine, Wyatt gallops 
through the desert on one of his other big blacks, eyes 
scanning the tracks beneath him.  He rides up and stops at a 
well near a large ranch house.  He dismounts, studying tracks 
as rancher HENRY HOOKER rides up, strong, noble-looking, like 
something from a Frederic Remington canvas.  Wyatt nods.  
Hooker nods back.

                     WYATT
          This Hooker's ranch?

                     HOOKER
          That's right.  And I'm Hooker.

                     WYATT
          You seen anything of a man on
          Horseback leading a black
          Stallion?

Hooker suddenly falls silent, looking at the ground nervously.

                     WYATT
          Well you must've seen somethin',
          The trail runs right by your 
          Waterhole.
               (no answer)
          Oh, I see.  So it must've been a
          Cowboy, right?  Really got you
          People treed, don't they?

                     HOOKER
          Look, Mister, it's fine for you
          Boomers to court trouble, you're
          Just passin' through.  Us
          Cattlemen gotta live here.  Best I
          Can do's point you up to the cut.
          That's their roost.

Wyatt nods his thanks.  Hooker looks down, ashamed.  Wyatt 
stares at him a moment.  There's something genuinely troubling 
about so strong a man living in fear.  Wyatt rides on, shaking 
his head....

INT - DESERT CAMP - DAY

A small camp near a clump of trees.  Pony Deal brews coffee 
while McMasters leans against a fallen oak log feeding an 
eager pack of mongrel pups from a block of jerky as Wyatt 
rides up.

                     MCMASTERS
          Run for your lives, boys!  It's
          That great two-gun dog-catcher
          From Kansas!

                     WYATT
          McMasters, isn't it?  Listen, you
          Seen a black stallion with-

                     MCMASTERS
          Look, I got a rule.  I don't talk
          To lawmen.  Dog-catchers neither.

                     WYATT
          I'm not a lawman, I'm just a 
          Private citizen getting' my 
          Property back

                     MCMASTERS
          Well in that case, I saw your
          Horse.  Billy Clanton was takin'
          Him up to the Cut to show him 
          Off.  The boys're all up there
          Right now, branding.  And in a 
          Mood.  Still want your property
          Back, Mr. Private Citizen?

EXT - MOUNTAIN ROAD - DAY

Wyatt and McMasters ride along side-by-side through the hills.

                     WYATT
          So what about you Cowboys anyway?

                     MCMASTERS
          If I had to explain it you
          Wouldn't understand.  Just say
          We're brothers to the bone.

                     WYATT
          Yeah, but some of the things they
          Say your brothers've done...

                     MCMASTERS
          There's all kinds of horses,
          Ain't there?  Same with Cowboys.
          What they do's their affair.  I
          Don't preach and I don't judge.  I
          Ain't no dog-catcher.

EXT - RUSTLER'S PARK - DAY

A wide plateau in the mountains dotted with tents, water and 
fee troughs, rope corrals, etc.  Cowboys cut out steers while 
others crouch around fires, cooking, looking up with naked 
hostility as Wyatt rides up.  McMasters points to the edge of 
camp where Billy Clanton is currying Wyatt's stallion.

                     MCMASTERS
          You seem like a nice fella.  Like
          To've know you better.  Had you lived.

Wyatt rides on, making for Billy.  Ike steps up with INDIAN 
HAWK SWILLING, the giant half-breed.  They walk alongside 
Wyatt.


                     IKE
          Hey, law-dog.  The hell you doin' here?

                     SWILLING
          How 'bout I just drag you off
          That horse and eat you blood raw?

Wyatt ignores them, riding up to within 20 feet of Billy and 
dismounting.  Billy looks up, supremely confident and 
unconcerned.

                     WYATT
          Where'd you get that horse?

                     BILLY
          Beauty, ain't he?

                     WYATT
          I asked where you got him.

                     BILLY
          Where do you think?  I stole him.

Everyone laughs.  More cowboys gather, jeering.  Wyatt steps 
closer.

                     WYATT
          Look, I don't want any trouble
          With you but that's my horse and
          I mean to have him back.  One way
          Or another.

                     BILLY
          Come and get him.

                     WYATT
          Look kid, I know what it's like, 
          I was a kid, too.  Even stole a
          Horse once.  But you can't--

                     IKE
          Don't sweet-talk him, make a move.

                     SWILLING
          Yeah, go ahead, Mister.  Make a move.

Billy steps back, poised.  Ike and Swilling do the same.  3 
more Cowboys move up behind him.  The scene seems on the brink 
of explosion when Curly Bill suddenly STREAKS into frame on 
his buckskin mare, majestic and 10 times life size as he pulls 
back and SKIDS to a stop in front of Wyatt, raising a giant 
roostertail of dust, making everyone but Wyatt recoil.

                     CURLY BILL
          Give him his horse, Billy.

                     IKE
          Come on, Curly!  Don't let him-


                     CURLY BILL
          Shut up.
          Give him his horse, Billy.

Billy reluctantly hands over the leadline.  Wyatt mounts and 
rides off with Dick Nailor in tow, Curly Bill riding 
alongside.

                     CURLY BILL
          Feel bad about ol' Fred.  Just
          Can't hold back when I'm feelin'
          Woolly.  Still, feel kinda bad.
          But now we're square.  Anyway no
          Use for holdin' a grudge.  I
          Deserved a rap in the head.

                     WYATT
          Make you a deal.  My brother took
          Over the Marshal's office in
          Tombstone.  Got it in his head
          He's gonna make the place safe
          For widows and orphans.  You and
          Your boys stay out of his way,
          I'll make sure he stays out of yours.

                     CURLY BILL
          Fair enough.  You know I got to 
          Admit, you got a lot of bark on
          You comin' up here like this.

                     WYATT
          They were all gonna jump me back
          There.  What ever happened to one
          Against one?

                     CURLY BILL
          Ain't our way.  We go all on one,
          One on all.  Fight one of us, you
          Fight us all.  That's the Cowboy way.

                     WYATT
          And how come you call yourselves
          Cowboys?  Cowhands ride for the brand.

                     CURLY BILL
          Oh, we ride for a brand all right.
               (gives Wyatt the finger)
          This brand.  How 'bout you?

                     WYATT
               (points thumb at self)
          This brand.

                     CURLY BILL
          We're gonna get along just fine.

EXT - ALLEN STREET - DAY

A lazy afternoon.  The Earps and Clum lounge in front of the 
hotel.

                     CLUM
          I can't thank you enough.  Since
          You took over there hasn't been a 
          Single problem.  We're finally
          Becoming a civilized town.

                     VIRGIL
          Nothin' to it.

                     WYATT
          Maybe I jumped the gun.  Maybe
          Those Cowboys aren't near as bad
          As they're painted.  You know I
          Was thinkin', there's a lot of
          Money in the cattle business...

                     VIRGIL
          Wait a minute, you thinkin' of
          Getting in bed with the Cowboys?

                     WYATT
          Business is business.  Don't have
          To love 'em to work with 'em.  Not
          If there's money in it.

                     VIRGIL
          You are the one, Wyatt.  You sure are.

EXT - GUADALOUPE CANYON - MAGIC HOUR

Old Man Clanton leads 4 other Cowboys with a herd through the 
rocky canyon, slipping a flask and singing as the first shot 
RINGS OUT from the rocks above, becoming a FUSILLADE.  When 
the dust settles, all are dead except the Old Man who lies 
pinned under his horse, semi-conscious.  FIGURES emerge from 
the shadows.  It's the Rurales led by the same Young Rurale 
from before.  He bends down to the dazed Old Man, speaking 
carefully:

                     YOUNG RURALE
          The old one you kill.  This was my father.

                     OLD MAN CLANTON
               (sits up suddenly)
          What, and I'm supposed to
          Tremble?  Kiss my ass, Messican.

Hissing gleefully, he jams a derringer under the Young 
Rurale's chin and FIRES, blowing off his sombrero as he falls.  
The other Rurales fire, emptying their guns into the Old Man 
as if he were some monstrous rattlesnake that might bite 
them....

EXT - RUSTLER'S PARK - NIGHT

Curly Bill, Ringo, and the others are by the fire, passing a 
bottle, as Frank Still well gallops up and dismounts, 
breathless:

                     STILLWELL
          Old Man Clanton's dead!  Ambushed 
          In Guadaloupe Canyon.  Messican's
          Got him.

In tight on Curly Bill as the news sinks in.  He clenches his 
fist in rage, then bites a knuckle, getting his control back.

                     CURLY BILL
          All right, first thing's first:
          It's my outfit now, I'm runnin'
          The show.  Ringo's number two man.

                     IKE
          Your outfit?  I'm next in line.

                     CURLY BILL
          You ain't got enough in your
          Britches.  Think you can prove
          Otherwise, go ahead.

Seething with humiliation, Ike mounts up and rides off.

                     CURLY BILL
          Anybody else?

No takers.  Curly Bill turns back to business:

                     CURLY BILL
          All right.  Billy, go after Ike
          And cool him off then go find the
          McLaurys, tell 'em what happened
          And keep an eye on things.  Wes
          Fuller and Bill Claiborne, too.
          Rest of you come with me.  We're
          Goin' to Mexico.

They mount in a bunch and take off south like the wind....

EXT - DESERT - DAY

Wyatt is up on his stallion, riding along the foot of a high 
hill.  Coming to a cut, he suddenly stops.  Josephine is 100 
yards up ahead, gorgeously impressive in a black velvet riding 
habit, riding side-saddle through the cut on a pretty mare.

                     WYATT
          Oh, hell...

Looking for an escape, Wyatt turns up a narrow trail on the 
side of the cut.  He follows it as it winds around the hill 
then abruptly drops back down and comes out on the other side 
of the cut right in front of Josephine.  She waves.  He 
groans:

                     JOSEPHINE
          Well, hello.


                     WYATT
          We've never actually met.  My
          Name's-

                     JOSEPHINE
          Wyatt Earp, I know.  I was
          Beginning to think we'd never
          Meet.  This is fortuitous.  That
          Means lucky.

                     WYATT
          I know what it means.

Suddenly Wyatt's stallion groans nervously, throwing its head, 
aroused by the presence of the mare.

                     JOSEPHINE
          What is it?

                     WYATT
          Easy now... That mare's in season.

                     JOSEPHINE
          Oh...
               (calms her horse)
          Now she's starting.  How do they know?

                     WYATT
          They know.  It's the scent.  We 
          Better split 'em up.

                     JOSEPHINE
          I have a better idea, let's run
          It out of them!

Before Wyatt can stop her she's off at a full gallop.  Wyatt 
pauses, debating with himself.  Finally:

                     WYATT
          Yeah, I'm an oak all right.

He takes off at a dead run.  Catching up, the horses find 
their rhythm, breaking into a smooth gallop, flying over a jet 
black plain of volcanic ash into a rolling meadow carpeted 
with yellow desert poppies, so bright it almost hurts your 
eyes to look at them.  Coming off a rise the desert floor 
shears off into a wide crevice.  Josephine heads right at it.

                     WYATT
          You're not that crazy, are you?

                     JOSPEHINE
          Oh, yes I am!

A crack of her crop and she streaks toward it.  Wyatt grits 
his teeth and follows suit.  The sound of their hoofbeats 
stops for a long instant as they take the jump together, 
sailing through the air side-by-side, Josephine giggling like 
a little girl.  They light on the other side and gallop on....

EXT - DESERT - MAGIC HOUR

They pull up at a huge desert stone formation, a canopy of 
white sandstone with vermillion streaks swirling through it 
looming over them like a giant oyster shell.  Wyatt dismounts, 
helping Josephine.  He takes his long duster from his saddle 
and lays it on a wide, table-shaped rock for them to sit on.

                     JOSEPHINE
          That was lovely!

                     WYATT
          You know you almost got us both
          Killed back there?

                     JOSEPHINE
          Fun though, wasn't it?

                     WYATT
          You'd die for fun?

                     JOSEPHINE
          Wouldn't you?  You're laughing!  I
          Was sure you never laughed.

                     WYATT
          I laugh sometimes

                     JOSEPHINE
          Yes, but how often?  Tell me, are 
          You happy?

                     WYATT
          Am I happy?  I don't know.  Happy 
          As the next man, I guess.  I don't
          Laugh all day long like an idiot,
          If that's what you mean.

                     JOSEPHINE
          You're a little touchy about it.

                     WYATT
          I'm not touchy, I just, it's a
          Silly question, that's all.  Am I
          Happy?  Are you happy?

                     JOSEPHINE
          Of course, I'm always happy.
          Unless I'm bored.  That blonde
          Woman, is that your wife?

                     WYATT
          What about her?

                     JOSEPHINE
          Nothing... Tell me, what do you
          Want out of life?

                     WYATT
          Where do you get these questions?

                     JOSEPHINE
          Just answer.

                     WYATT
          I don't know, make some money,
          Have some kids, you know.

                     JOSEPHINE
          Doesn't suit you.

                     WYATT
          How would you know?

                     JOSEPHINE
          Just doesn't, that's all.

                     WYATT
          Well I ought to know my own mind
          And I'm tellin' you what suits me
          Is a family and kids.  That suits
          Me right down to the ground.  In
          Fact, that's my idea of heaven.
               (pauses)
          All right, what's your idea of heaven?

                     JOSEPHINE
          Room service.

Wyatt laughs, almost in spite of himself.  Josephine beams.

                     JOSEPHINE
          See?  You're laughing again.  But
          That's what I want.  Go places and
          Move and never look back and just
          Have fun.  Forever.  That's my idea
          Of heaven.  Need someone to share
          It with, though.

                     WYATT
          You mean Behan?
               (sees her shrug)
          Then why are you with him?

                     JOSEPHINE
          Well he's handsome and he's
          Charming.  He's all right.  For
          Now.  Don't say it, I know, I'm 
          Rotten.  I can't help it.  I've
          Tried to be good but it's too
          Boring.

                     WYATT
          The way you talk.  Never heard a
          Woman talk like that.

                     JOSEPHINE
          Oh look, I haven't got time to be
          Proper, I want to live.  I'm a 
          woman, I like men.  If that's 
          Unladylike then I guess I'm not a
          Lady.  At least I'm honest.

                     WYATT
          Well you're different, no arguing
          That.  But you're a lady all right.
          I'll take my oath on it.

He looks at her, enchanted, but suddenly his face clouds.

                     JOSEPHINE
          What's wrong?

                     WYATT
          I don't know, doesn't make any
          Sense.  I almost can't look at
          You.  Like it hurts.

                     JOSEPHINE
          I know, me too.  What should we do
          About it?

He takes her in his arms and kisses her.  She sinks in his 
arms.  He kisses her again then falls to her knees, throwing 
his arms around her legs and pressing his face into the folds 
of her skirts.

                     WYATT
          God...

She runs a hand through his hair.  He stands, lifting her with 
him until they are face-to-face and she can feel him pressing 
into her.  After a beat:

                     JOSEPHINE
          You know this is adultery.  You
          Burn in hell for that.

                     WYATT
          Then let's make sure we get our
          Money's worth

EXT - DESERT - MAGIC HOUR

They loll on the rock, facing each other, clothes in disarray.

                     JOSEPHINE
          I must say this certainly has
          Been an unexpected little
          Windfall.

                     WYATT
          Fortuitous even.


                     JOSEPHINE
          And I don't even know your full name.

                     WYATT
          Easy to fix.  Wyatt Berry Stapp Earp.

                     JOSEPHINE
          And I'm Josephine Sarah Marcus.
          My friends call me Josie.

                     WYATT
          Josie... No, I'm gonna call you
          Sadie.

                     JOSEPHINE
          I hate Sadie.

                     WYATT
          Well you'll always be Sadie to me.

                     JOSEPHINE
          Always?

                     WYATT
          Getting late.  We better get back.

He looks away and stands, helping her up.  They go to their 
horses.  He lifts her up into her saddle and stands awhile, 
arranging the folds of her skirt.  After a beat:

                     JOSEPHINE
          So I assume we're regarding this
          As just a kind of interlude.

                     WYATT
          Look, it's too much of a tangle.
          I already cast my lot.  I can't go
          Back and I can't sneak, feel back
          Enough as it is.

                     JOSEPHINE
          You feel bad about this?  About me?

                     WYATT
          I didn't mean it that way.

                     JOSEPHINE
          You know you don't have to sneak.
          You could stay with me.  I know
          Things, Wyatt.  Sweet things.  I
          Could make you so happy.

                     WYATT
          I can't, I'm sorry.  Forgive me.

He mounts and rides off with a wave.  She watches him 
awhile....

INT - FLY'S PHOTOGRAPHIC GALLERY - DAY

A Victorian photographer's studio behind the O.K. Corral.  A 
large skylight overhead illuminates the backdrop as CAMMILIUS 
S. FLY, the prosperous-looking owner prepares his camera.  
Josephine is o.s. in the dressing room on the left:

                     FLY
          What mood would you like for this
          Picture, Miss Marcus?  Any
          Particular occasion you're 
          Commemorating?

                     JOSEPHINE O.S.
          I want to remember exactly how I
          Looked on this day so I want you
          To take a picture of me...

She steps out wearing a diaphonous veil shrouding her from 
head to toe.  Though it partially obscures her form, we can 
see that she's completely nude underneath.  Fly gasps.

                     JOSEPHINE
          ...all of me.

Fly fumbles with his camera, his composure gone.  She turns to 
a nearby mirror, studying herself-black tresses, rounded lips, 
maddening curves, and smokey eyes-a dark angel.  She smiles:

                     JOSEPHINE
          Because I'm wonderful.

INT - WYATT'S HOUSE - NIGHT

Mattie lies in bed, lost in an opium dream.  She snaps out of 
it and sits up as Wyatt enters and gives her a kiss, glancing 
at the half-empty laudanum bottle on the nightstand.

                     WYATT
          That the bottle Lou gave you?
          Better go easy on that stuff.

                     MATTIE
          I know what I'm doing.  Where have
          You been?

                     WYATT
          Out ridin'.  So... how you doin'?

                     MATTIE
          I don't know.  I'm all right.

                     WYATT
          Really?  You sure?

                     MATTIE
          Sure I'm sure.  What is this?

Wyatt sits down on the bed, suddenly intent, his face alight:

                     WYATT
          Well, I was thinking, we've
          Already made a pile of money.
          Maybe we should just pull up
          Stakes and move on.  And we could
          Stay on the move, you know?  Just
          Keep going, see the world.  Live
          On room service the rest of our 
          Lives.  How'd that be?

                     MATTIE
          Wyatt, what're you talkin' about?

                     WYATT
          Just thinkin' out loud.  Forget it.

INT - ORIENTAL - NIGHT

Dark circles under his eyes, looking dreadful, Doc is at the 
corner table with Virgil, Behan, Ike Clanton, and the 
McLaurys.  Josephine lounges by the piano, luscious in a white 
gown, singing "Frankie and Johnny" in a torchy voice.  Wyatt 
enters, blanching at the sight of Josephine.  Joyce appears at 
his elbow:

                     JOYCE
          New singer.  Ain't she somehin'?

Wyatt nods weakly.  Josephine gives him a half-smile.  Wyatt 
blushes.  Morgan approaches.

                     MORGAN
          Doc won't quit, been up 36 hours.
          Clanton came in an hour ago, they
          Switched over to poker.  Tried to
          Get him to bed but he just won't 
          Let go.

                     WYATT
          I know.  And nobody can make him.

They go over to Doc's table and sit down.  Doc beams 
drunkenly:

                     DOC
          Wyatt!  Just in time.  Pull up a chair.

                     WYATT
          Been hittin' it awful hard, Doc.

                     DOC
          Nonsense, I have not yet begun to
          Defile myself.

                     WYATT
               (touches his shoulder)
          But Doc-

                     DOC
          I won't be pawed at, thank you
          Very much

                     WYATT
          Sorry, sorry...

                     KATE
               (puts arm around Doc)
          That's right.  Doc can go all day
          And all night and then some.
          Doc's my man.  Doc's my lovin'
          Man.  Have another one, lovin' man.

She kisses Doc.  Behan nudges Wyatt:

                     BEHAN
          What d'you think of the singer?

                     WYATT
          Nice voice.

                     BEHAN
          That's not what I meant.

Behan gives him a wink.  Wyatt shifts uneasily in his seat.  
This hand is down to Doc and Ike and the pot is huge.  Doc 
shows his hand.  Ike throws his cards down in a drunken rage:

                     IKE
          Son of a bitch!  That's twelve
          Straight hands!  Nobody's that lucky.

The Earps stiffen as the Cheshire cat smile comes over Doc:

                     DOC
          Why, Ike, whatever do you mean?

                     VIRGIL
          Come on, boys, take it easy.

                     DOC
          Maybe poker's not your game, Ike.
          I know, let's have a spelling
          Contest!

                     IKE
               (stands)
          I'll wring your scrawny neck for you!

                     VIRGIL 
               (grabs him)
          That's enough, Clanton.

                     IKE
          You takin' his part?  I'm the one
          Was cheated. God damn pimps,
          You're all in it together.


                     VIRGIL
          Nobody's in anything, Clanton,
          You're drunk.  Go home and sleep
          It off.

                     IKE
          Get your God damn hands off me!
          Don't you ever put your hands on
          One of us!  Don't you ever try to
          Man-handle a Cowboy!  We'll out
          Your God damn pimp's heart out!
          Understand, pimp?

                     VIRGIL
          Don't you threaten me, you
          Little-

Violence seems imminent.  Wyatt jumps in, separating them.  
Behan notices as Josephine gasps, a look of alarm crossing her 
face.

                     WYATT
          Virgil, don't!  Take it easy!  Ike, 
          Just go home and forget it, will you?

                     IKE
          I ain't forgettin' nothin.

Ike lurches to the bar.  Behan takes Josephine aside, 
whispering:

                     BEHAN
          I saw that look on your face just now.
          What's between you and Wyatt?

                     JOSEPHINE
          Absolutely nothing.

                     DOC
          Well that certainly was a bust.  I
          Want my money back.  Come,
          Darling, let's seek our 
          Entertainment elsewhere.

Doc stands up, taking Kate's arm to leave.  But he falls back 
down dizzily, suddenly breaking out in a sweat and coughing.

                     KATE
          What's wrong, Doc?

                     DOC
          Nothing.  Not a thing.  I'm right
          As the mail.

Again he tries to stand.  This time he keels over onto the 
floor and starts coughing up blood.  Wyatt rushes to him.



                     WYATT
          Get a doctor!  Virgil, give me a hand.

They lift the unconscious Doc off the floor.  Ike turns to 
Joyce.

                     IKE
          What's wrong with him?

                     JOYCE
          Lunger.

DELETED

INT- DOC'S ROOM - NIGHT

Later.  Doc sits up in bed, revived but looking like death 
warmed over, mouth gaping open, eyes swimming with every 
breath.  DR. GOODFELLOW stands by the bed, putting on his 
jacket.

                     DR. GOODFELLOW
          Your condition is quite advanced.
          I'd say you've lost some 60 percent
          Of your lung tissue.  Maybe more.

                     DOC
          So what does that mean?

                     DR. GOODFELLOW
          Two years, two days, hard to say.
          If you have any chance, it's to 
          Stop now-smoking, drinking,
          Gambling, night-life.  You must
          Have a healthy diet and most
          Importantly, you must have
          Complete rest-meaning you must
          Attempt to deny your marital impulse.

                     DOC
          Well, that sounds inviting.

                     DR. GOODFELLOW
          Sorry but I'm afraid you've no choice.

He takes his bag and exits, leaving Doc alone with the abyss.  
Kate enters, going to his bedside, and starts rolling him a 
cigarette.

                     KATE
          How you feeling, Doc?

                     DOC
          Better.

                     KATE
          That's good.  I knew it wasn't nothin'.


                     DOC
          We must talk, darling.  It appears
          We have to... redefine the nature
          Of our association.

                     KATE
          What's that mean, Doc?  You know I
          Don't understand when you talk up
          High like that.  You mean you
          Don't want to be my lovin' man no more?

                     DOC
          Not exactly...

                     KATE
          I'm a good woman to you, Doc.
          Don't I always take care of you?
          Nobody cares for you like me.  I'm 
          A good woman.

                     DOC
          Yes, I know.  You are a good woman.

Kate smiles, licking the cigarette.  She puts it in his mouth 
and leans over to light it so her ample bosom bulges over her 
bodice.  As Doc stares at her chest something behind his eyes 
seems to shut down.  He takes a long drag from the cigarette.

                     DOC
          Then again, you may be the 
          Antichrist.

DELETED

INT - ORIENTAL - DAWN

The cold blue light of dawn peeks through the windows.  Ike 
drinks at the bar, brooding.  He reaches behind the bar for 
his guns, leaning his rifle against the brass rail.

                     IKE
          Bastards think they can cheat me?

                     JOYCE
          Nobody cheated you, Ike.  Go home.

Ike reaches across the bar and slaps him.  Joyce scowls, more 
irritated than hurt and too tired to make anything of it.  The 
few other patrons left look up drowsily.  Ike nods in drunken 
satisfaction, picking up his rifle:

                     IKE
          And I don't take no mouth from
          Any bartenders neither.  There,
          See?  Give somebody a rap on the 
          beezer, get some God damn respect 
          Around here.  Now you tell the
          Earps and Doc Holliday if I see
          'em on the street, I'm gonna send
          'em all to hell on a shutter.  You
          tell 'em that.

Ike and the McLaurys storm off as Virgil and Morgan step out 
onto the street.  Wyatt turns to them in disbelief:

                     WYATT
          What the hell's going on?

EXT - ALLEN ST/TELEGRAPH OFFICE - DAY

Walking down Allen, Ike stops the group at the telegraph 
office:

                     IKE
          I want to send a telegram.

EXT - ALLEN STREET - DAY

We start to feel a growing sense of dread as 3 grim HORSEMEN 
come galloping out of the desert toward us.  Billy Clanton, 
Wes Fuller, and Billy Claiborne ride into town, trotting by 
the jail with the Earps looking on.

                     VIRGIL
          Billy Clanton, Wes Fuller, and 
          Billy Claiborne.  Now there's six
          Of 'em.  This is like a bad dream.

                     WYATT
          Just stay calm, use your head.
          It'll be all right.  Just the
          Same, though...
               (pauses, sighs)
          Guess you better swear me in.

INT - WYATT'S HOUSE - DAY

In tight on a brass-mounted wooden case.  It opens to reveal a 
gleaming Colt .45 with an extra long barrel, the gold shield 
inlaid on the burr walnut grips engraved with, "To Wyatt Earp, 
Peacemaker..."  This is the Buntline Special, Wyatt Earp's 
legendary sidearm.  Wyatt takes it from the case and puts it 
in his coat pocket as Mattie looks on.

                     MATTIE
          Thought you swore you'd never
          Carry that thing again.

                     WYATT
          Yeah, well, I swore a lot of things.

EXT - ALLEN STREET - DAY

Behan and Jospehine watch from the hotel as the 6 Cowboys, all 
but Ike armed with pistols, walk side-by-side down the middle 
of Allen.

                     BEHAN
          I'm terribly afraid this looks 
          Like the end of the Earp brothers.

Josephine goes pale...

EXT - ALLEN ST/JAIL - DAY

The Cowboys swagger by defiantly, giving the Earps sidelong 
glances.  Meanwhile, the street starts to BUZZ, townspeople 
beginning to notice that something is happening.

                     VIRGIL
          Here they are again.  Look at 'em.

                     WYATT
          Easy, Virge, they're just tryin'
          To egg us on.

Suddenly Doc appears from around a corner, a little the worse 
for wear in a long, dark Inverness cloak and carrying a big 
gold-headed walking stick.

                     MORGAN
          What're you doin' out of bed, Doc?

                     DOC
          What the hell's going on?  I've
          Had five people walk up to me
          Saying the Clantons and McLaurys
          Are gunning for me.

EXT - LOT BEHIND O.K. CORRAL - DAY

A vacant lot behind the OK Corral with Fly's Gallery on the 
left and the Harwood house on the right.  The Cowboys stand in 
a knot near their horses, passing a bottle around.

                     FRANK
          Like to teach those bastards a lesson.

                     BILLY
          Probably already scared them to death.

                     TOM
          You call it, Ike.  What're we gonna do?

                     IKE
               (grabs bottle)
          Gimme that.

EXT - ALLEN ST/JAIL - DAY

Virgil comes out of the nearby Wells Fargo office with a huge 
Stevens 10 gauge shotgun just as Joyce runs up.

                     JOYCE
          Those Cowboys're tellin'
          Everybody in town they're gonna
          Clean you out.  They're down in
          That lot right now behind the OK
          Corral.

                     WYATT
          Don't worry, Doc, it's not your problem.  
          You don't have to mix up in this.

Doc turns on Wyatt, genuinely shocked and hurt.

                     DOC
          That's a hell of a thing for you
          To say to me.

                     VIRGIL
          What the hell're we gonna do?

                     WYATT
          Wait till the liquor wears off.
          Once they start getting headaches
          They'll lose interest.

                     VIRGIL
          Wyatt, they're threatening our lives.

                     WYATT
          You'll never make that stick.

                     VIRGIL
          They're carrying guns in town.

                     WYATT
          Virge, that's a misdemeanor.  You
          Go down there to arrest 'em,
          Something goes wrong, maybe this
          Time somebody gets his head
          Broke, suddenly it's a mess and
          It won't end there, you'll have 
          Cowboys comin' around lookin' for
          Trouble from here to Christmas.
          You gonna risk all that over a
          Misdemeanor?

                     VIRGIL
               (pauses, thinking)
          No, damn it, it's wrong, they're
          Breakin' the law.

                     WYATT
               (pauses)
          All right, Virge, your call.  But
          Give Doc the shotgun.  They'll be
          Less apt to get nervy if they see
          Him on the street howitzer.

Virgil trades the shotgun for Doc's cane.  Doc folds the 
shotgun under his cloak.  They get set, waiting for Wyatt's 
cue.  Finally:


                     WYATT
          Well... Come on, boys.

They start down Allen, footsteps pounding the board sidewalk, 
Virgil and Wyatt in front, Morgan and Doc in the rear.  
Bystanders step aside, trading whispers as they pass, turning 
onto 4th St...

EXT - LOT BEHIND O.K. CORRAL - DAY

Behan dashes around the corner into the lot, facing the 
Cowboys.

                     BEHAN
          They're on their way over here.

EXT - FREMONT STREET/OK CORRAL - DAY

The Earps and Doc turn off 4th onto Fremont St. Creek Johnson 
and Texas Jack Vermillion watch as they pass the grocer's.

                     JOHNSON
          There they go.  Look kinda like preachers.

                     VERMILLION
          Yeah.  Or undertakers.

The vacant lot starts to come into view and the Earps are 
fighting nerves now.  Fists clenched, gritting their teeth, 
eyes darting all over the street, they look all too human and 
nothing like their legend.  It's only Doc, bringing up the 
rear, who couldn't care less.  Wyatt narrows his eyes:

                     WYATT
          Virge, you're makin' the arrest.
          You make contact, I'll back you
          Up.  Morgan'll back me up, Doc'll
          Keep an eye out for trouble.  And
          Keep your hands on your guns.
          They even look like they're gonna
          Start something, buffalo 'em.
          Right over the head.

                     VIRGIL
          Wyatt, I know what I'm doin'.

                     WYATT
               (sees onlookers)
          Look at 'em all.  They love it.
          How in the hell'd we get
          Ourselves into this?

Just then Behan walks up holding up his hands, reassuring:

                     BEHAN
          You don't have to worry about a
          Thing.  I just went down there and
          Disarmed them.

                     VIRGIL
          You did?  Great, thanks.  Come on, boys.

The Earps quicken their step as Behan enters Fly's gallery.  
Seeing the approaching Earp party, the Cowboys glance around 
at each other, setting themselves.  Now at the end of the 
sidealk, the Earps can see that the Cowboys are still armed 
and their relief evaporates.  Wyatt mutters under his breath:

                     WYATT
          Oh, great.  Disarmed my ass...

The Earps slow their step, gathering themselves.  This is it, 
no turning back now.  The Cowboys spread out.  As the Earps 
get closer and closer, it seems as if the very air is electric 
with tension.  But as they step into the street and fan out 
for their final approach, they suddenly do look like their 
legend, 4 tall figures in long black coats advancing in a 
line, grim and unstoppable, a fleeting moment in time frozen 
forever in our minds.  Finally they stop.  The 2 groups are 
facing each other, perhaps 20 feet apart.  Doc raises the 
shotgun, the Cheshire cat smile spreading over his face.  
Virgil steps forward, his face set, holding up Doc's cane:

                     VIRGIL
          We've come to arrest you.  Throw
          Up your arms!

A weird moment of confusion where nobody seems to know what to 
do.  Then Billy Clanton and Frank McLaury SLAP their hands to 
their guns.  The Earps instantly tense up, hands on their 
pistols.  Virgil waves his hands frantically, afraid they've 
misunderstood:

                     VIRGIL
          Hold!  I don't want that!

Suddenly realizing what's happening, Fuller and Claiborne bolt 
and dash into Fly's gallery.  Everyone else stands frozen, 
breath short, pulses pounding, each staring into the other's 
wide-open eyes.  Then something in Billy Clanton's eyes seems 
to go dead and Wyatt groans under his breath as the awful 
realization hits him:

                     WYATT
          Oh, my God...

Billy and Frank jerk their pistols and the scene EXPLODES, 
everything happening in SPLIT SECONDS as Wyatt draws and 
FIRES, knocking Frank down with a gutshot.  Morgan FIRES, 
blowing Billy back against the wall of the Harwood house.  Tom 
darts for the cover behind his horse as Ike dives onto Wyatt 
shrieking like a woman:

                     IKE
          No, no, please!  I don't have a gun!

                     WYATT
          This fight's commenced.  Get to
          Fightin' or get away!

Wyatt hurls him aside.  Ike sprints for the gallery.  Tom 
FIRES over his saddle at Doc who tries for a shot but is 
blocked by the horse.  Billly bounces back up, howling, and 
FIRES, the bullet piercing Virgil's calf.  He drops to one 
knee.  Tom FIRES again.  Doc FIRES one barrel into the air, 
the BLAST making the horse rear up, exposing Tom for a split 
second.  Doc FIRES again.  Tom's side EXPLODES into red mist, 
the full charge of red mist, the full charge of buckshot 
SLAMMING him into the Harwood house.  Tom drops his gun and 
teeters into the street, talking eerie little mincing steps, 
already dead but still moving, like a chicken with its head 
cut off.  Billy FIRES again, dropping Morgan with a hole in 
his shoulder.


                     MORGAN
          I'm hit.

Doc pull his Lightning and FIRES DOUBLE ACTION 1-2-3 times, 
hitting Billy in the abdomen while Frank bounds back into the 
fight, FIRING wildly.  Virgil gets up, FIRING BACK.  The whole 
scene now bathed in thick smoke, the fight starts swirling 
into the street, each man jockeying for position.  Inside the 
gallery, Behan and Fuller watch at the window as Ike dives in.  
He snatches Fuller's pistol and FIRES through the window.  
Ike's bullets WHIZ past Wyatt's ear.  He spins around, calling 
to Doc:

                     WYATT
          Behind us!

In a flashing move taking less than a heartbeat, Doc pivots, 
replacing the .38 in this right hand with his big .45, then 
with one pass of his left hand RAPID FIRES quick as a machine 
gun burst 1-2-3-4-5 times, the bullets RIPPING through the 
gallery, showering Ike and the rest with splinters and broken 
glass.

                     BEHAN
          Come on!

Behan hauls Ike up and they dash out the back door, Fuller and 
Claiborne right behind, all frantically running for their 
lives.  Outside Billy gets to his knees, seemingly 
indestructible, and FIRES at Wyatt,  Wyatt RETURNS FIRE.  Eyes 
wild and bulging, a bloody hand clutching his wounds, Frank 
staggers across the lot, bearing down on Doc through the 
smoke:

                     FRANK
          I got you now, you son of a bitch!

                     DOC
          You're a daisy if you do!

Doc opens his arms, giving Frank a clear shot at his chest.  
Frank FIRES.  The bullet grazes Doc's holster.  Frank trudges 
closer, about to fire again but Doc DRILLS him through the 
heart while in the next millisecond Morgan FIRES from his 
prone position on the ground, the big .45 BLAST carrying away 
the top of Frank's head.  As the last shot echoes through the 
hills, Frank flops limply to the ground like a rag doll while 
out in the street his brother Tom finally runs out of steam 
and pitches face first in the dirt, leaving only Billy, 
leaning against the Harwood house, legs splayed out in front 
of him, absolutely shot to pieces, clicking his empty gun and 
wailing piteously as the smoke clears:

                     BILLY
          More cartridges!  Somebody load my gun...

He keeps repeating it with sinking volume as townspeople step 
timidly into the street.  Fly bends down and takes Bill's gun 
from his hand and the fight is officially over, having lasted 
only some 20 seconds.  Wyatt helps Morgan to his feet as Behan 
strides briskly onto the scene, addressing Wyatt:

                     BEHAN
          All right.  You're all under
          Arrest.

Wyatt looks at him in utter disbelief.  Finally:

                     WYATT
          I don't think I'll let you arrest
          Us today, Behan.  Maybe tomorrow.

More bystanders arrive, a crowd scene rapidly developing.  The 
Earp women run up from the west end of Fremont.  Josephine 
fights her way through the crowd from the east.  She and Wyatt 
catch sight of each other.  She grins, tears in her eyes.  He 
nods, smiling.  Seeing the whole thing, Behan fumes.  And so 
does MATTIE who turns and walks away while Allie and Lou run 
to their men, hugging them.  Meanwhile Doc stands over Frank's 
body, fingering the graze over his thigh, jeering under his 
breath:

                     DOC
          You call that shooting?

                     FLY
               (comes up to Wyatt)
          The McLaurys are both dead.  Billy
          Clanton's just about gone.

Wyatt nods, pocketing his gun, sadly surveying the bloody 
scene.

                     WYATT
          Guess we did our good deed for today.

DELETED

EXT - BOOT HILL - SUNSET

Fireworks EXPLODE in the darkening sky as a cortege of 50 
Cowboys in their finest parade down the street toward Boot 
Hill, the crude little grave yard, Curly Bill and Ringo in the 
lead, Ike right behind with the 3 coffins and a banner saying: 
"Murdered On The Streets Of Tombstone".  As they take places 
at the gravesite Wyatt approaches Curly Bill.

                     WYATT
          I'm sorry.  If there was any other-

                     CURLY BILL
          I know.  Just did what you had to.
          That banner and stuff, that's
          Just Ike.  Don't worry about it.

Wyatt nods, tips his hat, walks off.  Looking after him, Curly 
Bill whispers:

                     CURLY BILL
          Don't worry about a thing

DELETED

INT- MORGAN'S BEDROOM - NIGHT

Morgan lies in bed, his shoulder in bandages.  Wyatt sits by 
him

                     WYATT
          How you doin', boy?

                     MORGAN
          Fine.  Better.

Morgan looks out the window, staring at nothing.  He looks 
tired, older, all the fun and youthful zest gone from his 
face.

                     MORGAN
          You were right.  It's nothin' like
          I thought.  I almost wish...

                     WYATT
          I know, kid.  I know.  Me too.

Wyatt touches his arm, a look of unutterable sadness in his 
eyes.  This is the one thing he didn't want for his little 
brother....

EXT - RUSTLER'S PARK - NIGHT

The Cowboys are gathered around a huge bonfire, sparks 
drifting up toward the heavens, faces vivid in the firelight 
like an ancient warrior host.  Curly Bill faces them, bottle 
in hand:

                     CURLY BILL
          Here's to the memory of Billy
          Clanton and Tom and Frank
          McLaury.  They went out real
          Cowboys, dead game right up to 
          Their last kick.  They won their
          Places at the big table with Davy
          Crockett and Wild Bill and Old
          Man Clanton.  They're up there
          Right now tradin' shots with 'em.
          And they'll never be forgot.  Not
          Ever.  Hundred years from now
          There'll be men settin' around a
          Campfire, passin' a bottle,
          Tellin' stories about those boys.
          They're what you call immortal.
          And I say God bless 'em.

They all drink, long and deep, Ringo wiping away tears.  Then:

                     CURLY BILL
          All right, first we hang back,
          Just bide away till everybody
          Thinks this's blown over.  Then...

INT - DRESSING ROOM/BEDROOM, WYATT'S HOUSE - NIGHT

Mattie irons shirts in the adjoining bedroom while Wyatt 
finishes shaving in the dressing room, wiping foam from his 
face, looking in the cabinet for a towel.  Opening the bottom 
drawer, a nest of small brown bottles clatters onto the floor.  
Laudanum bottles, all empty.  Mattie looks up as Wyatt comes 
out, bottle in hand:

                     WYATT
          Mattie.  What about this?

                     MATTIE
               (looks up, keeps ironing)
          I need it.

                     WYATT
          'Least you admit it.

                     MATTIE
          Admit what, I'm an opium fiend?
          No, Wyatt, I just said I need it.
          I need something to keep me warm
          At night.

                     WYATT
          Look, Mattie, I know you're-

                     MATTIE
          You know nothing.  What you don't
          Know would fill a book.  Jesus, I 
          Feel like it's when you're around
          I need it most.  You're never
          Yourself, you never relax.  Never.
          Everything's so stiff and dead.
          You always have to keep a rein on
          Everything, ever yourself.  Oh,
          You smile sometimes, I've even
          Seen you laugh.  But there's no
          Light in your smile for me,
          Wyatt, nothing to keep me warm.
          And I get cold, Wyatt.  I get so cold.
               (pauses)
          What's between you and that Jew woman?

This catches Wyatt off-guard.  He looks at her.  She sneers.  
Then:

                     WYATT
          All right, look.  I can make it 
          Right, I can make this up to you,
          Mattie.  I can, I swear.

                     MATTIE
          Will you go to her and tell her
          Right in front of me she's
          Nothing to you?  Right out loud so
          I can hear?  Tell her she's
          Nothing, tell her she's nobody,
          Just dirt?  Will you do that?

Wyatt falls silent.  Mattie stands, staring at him a moment, 
then:

                     MATTIE
          Until you can do that we've got
          Nothing to talk about, Wyatt.
          Nothing.  Now leave me alone.

She keeps ironing.  Wyatt looks as if a building fell on 
him....

EXT - TOUGHNUT STREET - DAY

Behan comes out of Nellie Cashman's, spots Josephine going 
down Toughnut.  He catches up to her, pacing her.  She keeps 
walking.

                     BEHAN
          Listen, I want to talk to you.

                     JOSEPHINE
          Not now.  I don't have time.

                     BEHAN
               (grabs her)
          I saw that look pass between you
          And Wyatt at the fight.  Listen to
          Me!  You're mine!  Understand?
          You're my woman and I'm your man.

                     JOSEPHINE
          My man?  You told Wyatt you'd 
          Disarmed those men.  Do you
          Actually believe after that I
          Could see you as my man?  You're
          Just a dirty little fixer.

                     BEHAN
          You whore!  You filthy whore!

A HAND reaches into frame, spinning Behan around.  Morgan 
stands there, arm in a sling, red in his eye:

                     MORGAN
          You don't talk that way to a
          Female human being!  Not ever!

                     BEHAN
          Look, I don't want to take
          Advantage of an injured man but
          You better-

With his good arm Morgan SLUGS Behan in the mouth.  Behan 
drops like a leaf, as much to avoid a further injury as from 
the blow.  Morgan turns to Josephine, leading her away.  
Across the street Curly Bill and Ringo share a flask, 
watching, Ringo looking even odder than usual.  Curly Bill 
chuckles:

                     CURLY BILL
          So she's Wyatt's slice now.  Looks
          Like we got another name for the
          Tally book.

EXT - ALLEN STREET/ORIENTAL - LATE DAY

Later.  The Earp brothers stand in front of the Oriental.

                     MORGAN
          Dropped him, that was it.  Sorry
          If I made a worse mess for you.

                     WYATT
          I'm the one made a mess.  Made a
          Right fair mess of the whole thing.

Wyatt looks down, miserable.  Virgil looks up at the sky:

                     VIRGIL
          Getting warmer.  Guess spring's comin'.

Just then Morgan sees Breakenridge passing by in silence.

                     MORGAN
          Hello, Billy.  I say hello, Deputy.

                     BREAKENRIDGE
               (turns to them)
          I don't want to talk to you.  Those
          Men you killed were my friends.
          I'm just a nothing, but if I 
          Wasn't I'd fight you, I'd fight
          You right now.  So I don't wanna
          Talk to you.

He hurries away, eyes tearing up.  The Earps look on in 
amazement.

                     WYATT
          All they ever did was make fun of him.

                     O.S. VOICE
          Sister Boy should've stuck around.

They turn.  A liquored-up RINGO stands behind them on the 
sidewalk like an apparition, murder in his eyes, hands thrust 
into the pockets of a long black buffalo coat, ivory gunbutts 
peeking out.

                     VIRGIL
          What d'you want, Ringo?

                     RINGO
          I want your blood and I want you
          Souls and I want them both right now.

                     WYATT
          Don't want any more trouble, Ringo.

                     RINGO
               (steps up to Wyatt)
          Well you got trouble and it
          Starts with you.

                     WYATT
          I'm not gonna fight you, there's 
          No money in it.  Sober up.  Come
          On, boys.

Wyatt turns into the Oriental.  His brothers follow.  Ringo 
howls:

                     RINGO
          Wretched slugs, don't any of you
          Have the guts to play for blood?


                     O.S. VOICE
          I'm your huckleberry.

Ringo turns.  Doc stands there, smiling that Cheshire cat 
smile.

                     DOC
          That's just my game.

                     RINGO
          All right, lunger.  Have at it.

They face each other, eyes blazing, about to reach critical 
mass.

                     DOC
          On three?  You call it.

                     RINGO
          Here it come: one-two-

At the last possible instant, Curly Bill flashes into frame 
along with Stillwell and Spence, grabbing Ringo from behind 
while the Earps step in front of Doc.

                     CURLY BILL
          Johnny, don't, Jesus!  Come on,
          Son...
               (turns to Earps)
          Never mind.  He's drunk.

They haul Ringo up the street, out of earshot.  Ringo is 
boiling:

                     RINGO
          I want them spitting blood!

                     CURLY BILL
          Easy, Johnny.  Now ain't the time.
               (turns to others)
          I tell you, boys, even I'm
          Worried what'll happen once Ringo
          Runs this outfit!  God have mercy!

He pulls Ringo into a doorway, away from the others.  Tears in 
his eyes, clawing the air, Ringo is beside himself.

                     RINGO
          There's no God, there's no devil,
          I hate the God damn world!  I want 
          To die!

                     CURLY BILL
          Easy, son.  You just need to get
          Your feet back under you, that's
          All.  Come on, boy, let's kick
          South.  Down to the old playground.

INT - ADOBE HOUSE - NIGHT

An adobe rancho in the Sonora desert, small, humbly furnished.  
Inside a Mexican family, 3 children, a husband and young wife 
eat dinner.  Suddenly Curly Bill and Ringo BURST IN, guns 
drawn, shouting in Spanish.  Everyone freezes and as the 
children start crying we feel the family's sense of inner 
terror.  Curly Bill looks the trembling young wife over, 
nodding at Ringo:

                     CURLY BILL
          See son, there is a God after all!

EXT - ALLEN STREET/ORIENTAL - DUSK

Nightfall and the wind HOWLS down the street, kicking up dust 
in swirling columns.  A FLASH of lightning streaks down from 
the purple clouds and a THUNDERCLAP crashes in our ears, 
echoing through town into the hills, making the horses neigh 
and fidget...

INT- ORIENTAL - DUSK

But inside it's bright and warm.  Florentino is alone at the 
bar, nursing a drink while Wyatt deals for Morgan and a few 
others.  Virgil looks out at the storm, shaking his head:

                     VIRGIL
          Gonna be one of those nights.

EXT- RUSTLER'S PARK - DUSK

The Cowboys are gathered on a rise.  Curly Bill stands before 
them, silhouetted against the boiling sky, arms outstretched, 
exulting in the storm's fury.   He turns to his men, eyes 
ablaze:

                     CURLY BILL
          All right, boys.  Now's the time
          To get woolly.

INT - JOSEPHINE'S HOTEL ROOM - NIGHT

Josephine sits by the window, reading Swinburne.  A KNOCK at 
the door.  She answers it.  Behan enters.  She bristles, but:

                     BEHAN
          Easy.  I just wanted to tell you
          Things're about to start changing
          Around here.  Lots of so-called
          Hard cases and tough-nuts swagger
          Around this town but none of
          'em's got a clue about the real
          play.  None of 'em.

                     JOSEPHINE
          I don't understand.

                     BEHAN
          You will after tonight.  Bet on it.

INT - PARLOR, VIRGIL'S HOUSE - NIGHT

Allie and Louisa sip tea by a blazing fire in the hearth, 
warming themselves against the storm's cold.  Mattie sits 
nearby, sewing.  

                     ALLIE
          God, it's a cold night.  Come up
          To the fire, Mattie.

Suddenly there's a KNOCK at the door.  Louisa looks out the 
window.  Outside is the tall silhouette of a WOMAN in a dark 
cloak.

                     LOUISA
          It looks like a woman.

Allie opens the door.  Josephine enter, breathless, comes into 
the parlor.  Mattie sits up in shock.  The others gather 
round.  

                     JOSEPHINE
          Please, I know it's awful me
          Coming here, but listen, I can't 
          Say why, but I think something is-

Another KNOCK.  Allie goes to the window.  There's a weird 
sense of déjà vu as outside we again see a cloaked woman's 
SILHOUETTE.

                     ALLIE
          Now who in... It's another woman.

Allie starts to open the door but Josephine suddenly leaps up 
and:

                     JOSEPHINE
          No!  Look out!

With her dancer's quickness she dashes across the parlor, 
grabbing Allie and pulling her to the floor just as a 
tremendous SHOTGUN BLAST rips through the open doorway.  The 
chandelier overhead explodes, showering the screaming women 
with broken glass and a harsh MALE VOICE cuts through the air 
as the shrouded figure dashes into the darkness:

                     MAN'S VOICE
          Everybody dies!

INT- ORIENTAL - NIGHT

The sound of the gunshots are lost in the wind and thunder as 
Virgil gets up, yawning:

                     VIRGIL
          Getting late.  Guess I'll turn in.

                     WYATT
          Bundle up, Virge.  Cold out there.

Virgil nods, exiting with a wave.  Wyatt and Morgan keep 
playing, hardly noticing as moments later, Florentino walks 
out....

EXT - CORNER OF ALLEN & 5TH STREET - NIGHT

Virgil turns off Allen onto 5th, the wind whipping his 
coattails.  He glances up as Florentino walks by, crossing 5th 
and ducking into a doorway.  Virgil stops.  SOMETHING seems to 
be moving in the shadows of an unfinished building on the 
opposite side of 5th....

INT - ORIENTAL - NIGHT

A BOOMING SOUND echoes outside, muffled by wind.  Morgan looks 
up:

                     MORGAN
          That thunder's sure somethin'.

                     WYATT
          That didn't sound like thunder.

Moments later Virgil walks back in, pale, hatless, a blank 
look on his face.  He moves with odd, shuffling steps, holding 
himself sideways.  Wyatt and Morgan exchange puzzled glances, 
then:

                     WYATT
          Virgil?

                     VIRGIL
          Wyatt...

Virgil does an unsteady stutter-step, his face taking on a 
pleading, almost childlike look of panic.  But as he turns his 
body toward Wyatt we suddenly see that his whole left side is 
in bloody shreds, his left arm dangling unnaturally by a few 
gory ribbons of flesh.  His voice is a frightened sob:

                     VIRGIL
          Wyatt!

He starts to swoon.  Wyatt rushes over and grabs him as....

INT- HOTEL ROOM (VIRGIL) - NIGHT

The hotel room where they've taken Virgil.  He's on the bed, 
wrapped in bandages, semi-conscious.  Wyatt and Morgan stand 
in the doorway with Doc and the women.  Allie is at Virgil's 
side, hands over her mouth as Dr. Goodfellow speaks in somber 
tones:

                     DR. GOODFELLOW
          I'm afraid your husband's been
          Very badly hurt.  I had to remove
          The entire left elbow joint.  What
          That means is, well I'm afraid-

                     ALLIE 
          Oh, no, no, no, NO!

She starts wailing.  Suddenly alert, Virgil sits up, taking 
her in his big right arm, pulling her close, his voice calm, 
reassuring:

                     VIRGIL
          No, no, don't worry, honey.  I
          Still got one arm left to hug you with.

She buries her face in his chest and sobs.  He holds her, 
rocking her back and forth.  Wyatt turns away, shutting his 
eyes.  

INT- HOTEL ROOM (VIRGIL) - DAY

Virgil lies in bed, staring blankly into space.  Wyatt sits at 
his side, hands over his face while Allie hovers in the b.g.

                     WYATT
          It's all my fault.  If I hadn't been
          So damn smart, if I'd just... Oh
          God, Virge, I'm so sorry.

                     ALLIE
          Look, Wyatt, I don't want to talk
          Right now.

                     WYATT
          Virgil, what am I going to do?

                     VIRGIL
          For God's sake, just leave me alone.

Virgil grimaces in hopeless agony.  Allie touches Wyatt's arm.

                     ALLIE
          He doesn't want to talk now.

Wyatt stands, backing away.  He turns pleadingly to Mattie 
standing in the doorway.  She looks away.  He walks out....

INT - HOTEL LOBBY - DAY

Wyatt comes into the lobby and freezes as McMasters 
approaches.  Wyatt starts to walk by him, but McMasters steps 
into his path:

                     MCMASTERS
          No, wait.  Please.  I know nothin'
          I say'll fix things but I want 
          You to know it wasn't me.

                     WYATT
          No?  Brothers to the bone, right?

                     MCMASTERS
          Not anymore, not after this.

Wyatt looks into McMasters' eyes and we can see he means 
it....

INT - ORIENTAL - NIGHT

Morgan is by himself in the empty saloon, calmly shooting 
pool, his dog jumping enthusiastically at every shot as Wyatt 
enters.

                     MORGAN
          Get down, boy.

                     WYATT
          Morgan, are you crazy?  They're
          Out gunning for us!  What the
          Hell're you doin'?

                     MORGAN
          What's it look like?  They want a
          Piece of me they can come and get
          It, I'm not crawlin' into my hole.

                     WYATT
          Morg, use your head.

                     MORGAN
          I am usin' it, Wyatt.  Been
          Wonderin' how the hell we got in
          This tangle.  You know they hit
          Clum's house, too?  Shot up his wife.
          His wife.  Who ever heard of 
          That?  Men sneakin' around in the
          Dark, back-shootin', scarin' 
          Women?  They're bugs, Wyatt.  You
          Know all your smart talk about
          Live and let live?  Ain't no live 
          And let live with bugs.

                     WYATT
          I know, I was wrong.  But Morg,
          Look, we got to get out.

                     MORGAN
          Listen to yourself, Wyatt.  Lie
          Down and crawl or you might get
          Hurt?  What kinda talk is that?
          That's Virgil lyin' over there,
          Wyatt.  Our own brother.  Ruined
          For life.  No sir, I ain't going
          No place.  You want to go, fine.
          I'm stayin' right here and have
          It out with those bastards.

Morgan pulls back his vest, revealing Virgil's badge.  Wyatt 
drops into a corner chair, defeated.  Morgan makes a shot, 
leaving only the 8 ball.  A few beats.  Seeing Wyatt's misery, 
Morgan softens, poking him with the cue.  Wyatt looks up.  
Morgan taps the middle pocket.  Wyatt shakes his head.

                     MORGAN
          How much you wanna bet?

Wyatt holds up his watch.  Morgan frowns.  Wyatt raises his 
brows:

                     WYATT
          I just got it fixed.

                     MORGAN
          You're on.

Morgan has to lean over the table but he sinks the 8 ball, 
looking over at Wyatt in triumph.  Wyatt applauds, rolling his 
eyes just as a BULLET SPANGS into the wall by his head.  Wyatt 
dives for the floor as ANOTHER SHOT pierces the window.  Wyatt 
jumps up, bounding to the door to see several FIGURES cash 
into the darkness.  Wyatt turns back and freezed.  Morgan lies 
across the table with one leg dangling over the edge, jerking 
and shuddering involuntarily.  Wyatt rushes to him.  The dog 
whines as Doc rushes in with Kate and McMasters.  Wyatt is 
trembling.

                     WYATT
          No, no!  Get the doctor!  Jesus Christ!

INTO - ORIENTAL - NIGHT

The curious crowd outside, watching through the windows.  
Morgan is on the pool table, lying on his side with his shirt 
pulled up.  The dog cowers in the corner, whining while Dr. 
Goodfellow digs into the wound with a steel probe, making 
Morgan writhe in perfect agony.  The doctor turns to Wyatt:

                     DR. GOODFELLOW
          Hold him.

Wyatt takes Morgan in his arms.  The doctor probes.  Morgan 
jerks violently.  Suddenly we hear a blood-curdling SCREAM.  
Louisa is in the doorway, tearing her hair, lost in utter 
hysterics.

                     WYATT
          Oh, no, get her out of her!  Jesus!

And now the whole scene sinks into hellish confusion with the 
dog whimpering, Louisa shrieking as others restrain her, and 
Morgan gives a violet jerk, breaking Wyatt's grip.  The doctor 
snarls, about at the end of his rope.

                     DR. GOODFELLOW
          I said hold him, God damn it!

                     WYATT
          Somebody shut that dog up!

Morgan takes Wyatt's arm, his voice like a child's.

                     MORGAN
          You were right, Wyatt.  They got
          Me good.  Don't let 'em get you
          Too.

                     WYATT
          Will somebody get the damn dog out-

                     MORGAN
          Remember about the light you're 
          Supposed to see when you're dyin'?

                     WYATT
          Easy Morg, don't think about that now.

                     MORGAN
          Isn't true.  I can't see a damn thing.

Tears well up in Wyatt's eyes.  He touches his brother's face.  
Morgan's eyelids start fluttering.  Wyatt squeezes his hand.

                     WYATT
          Morgan?  Morgan!

The dog starts howling, long and loud and pitiful-and in the 
next moment the air is FILLED with howls as every dog and 
coyote for miles joins in the mourning.  Wyatt backs away from 
his dead brother and trudges out onto the sidewalk, staring at 
the blood on his hands.  Standing in the crowd across the 
street, Josephine sees Wyatt and starts for him.  Behan grabs 
her.  She wrenches free and with the whole town watching, 
starts running toward Wyatt.  Seeing her, Wyatt backs away in 
horror, shaking his head:

                     WYATT
          No, no, get away, get away from me...

                     JOSEPHINE
          Wyatt...

She keeps coming.  Wyatt panics.  Finally, in desperation:

                     WYATT
          Whore!  Filthy whore!  Get away
          From me!

She pauses, unable to believe her ears, then runs away crying.  
Fuming with rage, Kate starts after Wyatt.  Doc pulls her 
back:

                     DOC
          Can't you see why he did it?

The howls continue as Wyatt trudges down the street alone.  
Suddenly he doubles over, clutching his abdomen in agony, 
staring at his bloody hands....

EXT - ALLEN STREET - DAY

The wagon bearing Morgan's pine coffin waits in the street, 
hitched and ready.  Virgil is up front with the women, arm in 
a sling, pale.  Doc and Kate wait on horses nearby.  Finished 
loading, Wyatt looks around.  People line the street, watching 
in silence.  Clum and his wounded wife turn away from the 
window of their lodgings next door, unable to meet his gaze.  
The very air feels charged with paranoia and recrimination, as 
if the whole town has suddenly become morally radio-active.  
Bystanders gape as Josephine steps out of the hotel, regal and 
impervious as a queen, wearing a gawking scorn like a mink 
coat, her little white dog scampering after her.  Passing 
Behan, he gives her nasty look and spits.  She doesn't even 
break stride.  Lounging in front of the Crystal Palace with 
the other Cowboys, Stillwell gives Curly Bill an enquiring 
look.

                     CURLY BILL
          Naw, she's nobody.  Wyatt junked her.

Passing Wyatt, she doesn't even glance at him.  Doc sighs:

                     DOC
          And so she walked out of our 
          Lives forever.

Without a word Wyatt climbs onto the wagon and shakes the 
reins, driving off.  He pulls up in front of the Cowboys.  
They make a show of pretending to hide their guns.  Wyatt 
looks straight ahead:

                     WYATT
          I want you to know it's over.
          We're leaving and we're not
          Coming back.

                     CURLY BILL
          Well... 'bye.

                     RINGO
               (sniffs)
          Hey, you smell that?  Smells like
          Something died.

                     CURLY BILL 
               (stifling a laugh)
          Oh, Jesus, Johnny...

Allie's eyes flare, Louisa stifles a sob.  The Cowboys 
snicker. Wyatt clenches his teeth, still staring straight 
ahead, and drives on.  A few beats then Curly Bill turns to 
Ike:

                     CURLY BILL
          Take Frank and finish it.

EXT - TRAIN STATION, TUCSON - NIGHT

A train pours steam onto the platform in puffs and clouds 
while 2 porters load Morgan's coffin into a boxcar.  Up ahead, 
Mattie and Louisa fumble with luggage while Allie boosts 
Virgil into a passenger car.  As we HEAR the conductor's voice 
shouting, " 'Board!", Ike and Stillwell emerge from the 
shadows near the scales, crouched behind shotguns.  They 
exchange nods and start forward, cocking their weapons, 
squinting through the steam:

                     STILLWELL
          That's Virgil with the women.  But 
          Where the hell's Wyatt?

                     O.S. VOICE
          Right behind you, Stillwell.

They spin around.  Wyatt stands behind them, looking down the 
barrels of Virgil's big 10 gauge.  Stillwell raises his 
shotgun, Wyatt FIRES.  Stillwell hits the floor in a crumpled 
heap, his torso a smoking bundle of bloody rags.  Screams 
??????????
Page 87 cut off right side
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                     WAGONMASTER
          Rest of us're 3 months out of
          Independece but we're from
          Carthage, Illinois originally.

                     WYATT
          Carthage, really?  I'm from Monmouth.

                     WAGONMASTER
          Another Illinois man!  Practical
          Neighbors!  Step down, Marshal.
          Have a feed.

EXT - WAGON TRAIN CAMP - NIGHT

Lucinda's ever-silent son sits at a nearby wagon, staring at 
Wyatt while Lucinda rolls dough, lovely as ever.  Just 
finished telling his story, Wyatt sits by the fire with the 
wagonmaster and several others.  They shaker their head:

                     WAGONMASTER
          Ain't got law, ain't got nothin'.
          Only thing between us and the
          Animals.  Always the way it goes,
          Though.  Only way to down an
          Illinois man's from behind, the
          Dogs don't dare face 'em.  Mr.
          Lincoln, Wild Bill, now your 
          Brothers:  Illinois men all and
          All downed from behind by dirty
          Dogs and Democrats.  Guess an
          Ordinary man'd be out for
          Vengeance but I don't figure
          That'll answer here.  It's a 
          Reckoning you're after.

                     WYATT
          If the Lord is my friend.

                     WAGONMASTER
          Let not your heart be faint, let
          Your arm be steel-that's all you
          Need of the Lord.

Wyatt pauses, nodding, suddenly understanding the truth of it.  
Looking up, his eyes meet those of Lucinda.  She smiles, 
wiping flour from her hands.  Wyatt smiles thoughtfully, moved 
by this unexpected encounter....

EXT - WAGON TRAIN CAMP - MORNING

Next morning.  Doc gallops into camp with McMasters, Texas 
Jack Vermillion, and Turkey Creek Jack Johnson, exchanging 
greetings with Wyatt who leads him over to the center of the 
camp, then:

                     WYATT
          Know why you're here?


                     VERMILLION
          Way ahead of you, Wyatt.  You want 
          Us to help you get Ike Clanton
          And Johnny Behan.  Everybody knows
          They're the ones to blame for
          Your brothers.

                     WYATT
          They're nothing.  They're nobody.
          I want the Cowboys.  All of 'em.  I
          Mean to break 'em up, drive 'em
          Out of the territory.

                     JOHNSON
          Are you out of your mind?  What on 
          Earth'd make us-

                     WYATT
               (takes out wad of bills)
          I'll pay you 500 each in advance
          And I'll mount you on those.

He points to his 5 magnificent blacks tied nearby.  They look 
them over as Wyatt takes out a stack of warrants.

                     WYATT
          Got a sheaf of federal warrants.
          Being in the Territories it's up
          To our discretion how they're
          Served.  That means we got the
          Cowboys without quarter.  The
          Black flag, brother.  No
          Prisoners, no mercy, amen.

                     VERMILLION
               (to Johnson)
          500... Year's wages.  And I never
          even saw a horse like that.

                     JOHNSON
          You crazy?  It can't be done.

                     MCMASTERS
          It might be done.  If we hit the
          Waterholes through the southern
          Dragoons, the Whetstones and 
          Huachucas, we could take 'em on
          In pieces, run off their herds.
               (faces Wyatt)
          Keep your money, I'll show you 
          Where those waterholes are.  Just
          Promise me you'll finish it.  No
          Matter what happens you'll see it
          Through to the end.  I'll have 
          Your hand on that.

They shake.   Vermillion and Johnson confer in whispers, then:

                     VERMILLION
          We come through this in one
          Piece, can we keep the horses?

Wyatt nods.  Vermillion nods to Johnson who crouches down with 
a pair of dice.  He makes one pass, two passes... Finally:

                     JOHNSON
          Crapped out.  Okay, we're in.

EXP - WAGON TRAIN CAMP/DESERT - DAY

The thoroughbreds are saddled and waiting, each with a rifle 
in a scabbard and a double-barreled shotgun across the saddle 
fork.  Lucinda's son looks on with gathering awe as Wyatt's 
men, each carrying 2 pistols, face their boss.

                     WYATT
          The minute we start we'll be
          Going against local and county
          Law.  If we fail the U.S.
          Government won't be able to lift
          A finger to help us.  Nevertheless
          I want you to understand we carry
          The full force and authority of
          The law of this land.

They exchange glances, each man feeling a little shiver at the 
magnitude of what they're about to attempt.  Wyatt faces them:

                     WYATT
          Raise your right hands.  Do you
          Solemnly swear to uphold the laws
          And constitution of the United
          States of America and to protect
          her citizens to the best of your
          Ability, even at the cost of your
          Own life?

All chorus, "I do", except for Doc who rolls his eyes.  
Finally:

                     DOC
          Oh... All right.

Wyatt hands each a Federal Deputy's badges.  Doc waves his 
away:

                     DOC
          You know why I'm here.  My
          Hypocrisy only goes so far.

Wyatt shrugs.  They mount up, about to begin, but suddenly:

                     LUCINDA
          Wait!

Lucinda runs up to Wyatt, reaching up and tying a blue and 
gold silk scarf around his neck.

                     LUCINDA
          Your colors.

Wyatt nods his surprised thanks as the wagonmaster steps up:

                     WAGONMASTER
          Good luck, boys.  And give 'em hell!

They shake hands then Wyatt motions to his men.  They take off 
at a graceful lope, riding through camp toward the deadfall 
and the desert beyond.  Unable to contain himself any longer, 
Lucinda's son bounds up onto a wagon, waving and shouting, 
spurring them on with a spontaneous frontier toast:

                     LUCINDA'S SON
          Wyatt Earp, the two-gun man,
          Whistling death and bloody
          Murder!  Wyatt the widow-maker,
          Avenging and bright, purple
          Poison on horseback with
          Lightning in his eye and thunder
          In his heart!  Wyatt and his he-
          Devils, holy terrors and true,
          Five black centaurs blowin' fire
          And quicksilver!  Ride out and 
          Charge and shoot and strike and
          Cleave and hack and thrust home!
          Don't let up and give no rest and 
          Never call retreat till the last
          One's smashed and smote and
          Runnin' for cover.  Best 'em all
          And break 'em up and bang their
          Heads together in a bunch and
          Give no quarter though they be
          Ten times ten thousand!

Wyatt turns in the saddle, sweeping off his hat with a 
cavalier's flourish as he and his men take the deadfall in a 
single bound and pass into the desert.  An immigrant FATHER 
grabs his infant son, lifting him up.

                     ILLINOIS MOTHER
          What're you doing?

                     ILLINOIS FATHER
          Someday he'll be able to say he
          Was there when Wyatt Earp rode 
          Out to bring the law.

Music up, avenging and bright, as Wyatt and his men ride 
through the desert, 5 abreast on their giant chargers, glossy 
black coats shimmering in the sunlight, hoofbeats pounding in 
unison.

                     WYATT
          All right, let's wring 'em out!

They break into a dead run, streaking across the frame.  As 
they crest a rise the ground seems to drop from under them and 
for a single perfect moment it appears as if they're airborne, 
flying across the skyline like the winged horsemen of myth.  
Johnson turns to Vermillion, laughing at the sheer joy of 
being alive:

                     JOHNSON
          Like flyin', son.  Just like flyin'.

EXT - RUSTLERS PARK - LATE DAY

The sun just starts to dip behind the near end of the ridge 
overlooking the camp where on one side Florentino and several 
Cowboys sit in a circle, playing poker while others recline on 
bedrolls, laughing and drinking.  On the other side, at the 
foot of the ridge, Spence, Pony Deal, and 2 others crouch over 
a fire, cooking.  Suddenly the cattle nestled under the far 
end of the ridge start bleating.  Spence turns to Pony Deal 
who shrugs:

                     PONY DEAL
          Maybe they smell a wolf.

SPENCE
               (turns to other Cowboy)
          Go up there and take a look.

The Cowboy mount a pinto pony and lopes up and over the far 
side of the ridge.  Spence and the others continue cooking.  
Moments later a CRASHING SOUND comes echoing over the ridge 
like thunder.  The Cowboys look up, startled.  Pony Deal 
points:

                     PONY DEAL
          Look!

The pinto gallops riderless back over the ridge.  The Cowboys 
exchange confused glances, all attention focused on the far 
end of the ridge.  Then the five black horsemen ride out of 
the sun, gliding like apparitions up and over the near end of 
the ridge and bearing down on the unsuspecting camp with the 
speed of a flame.  They are within a few yards of the fire 
when Johnny Barnes suddenly spots them and:

                     BARNES
          Look out!

Spence and the others turn and just have time to gasp before 
Wyatt and his horsemen SLAM into them with terrifying impact, 
the bodies disappearing under their horses' hooves.  The 
Cowboys recoil in total shock, jumping up from bedrolls, 
stumbling in confusion, scrambling to get out of the way as 
the possemen plow through the fire and roar into camp, pistols 
BLAZING in air, horses rearing and snorting.

                     WYATT
          United States Marshals!  Reach!

Everyone freezes.  A worried-looking Florentino shrinks back 
behind the others, trying not to be spotted.  Meanwhile Doc 
leans down and pokes his pistol into a nearby Cowboy's 
forehead.

                     DOC
          Say something witty.

They herd the Cowboys over to one side of camp, shouting, "Get 
over there!",  "Move it!", etc.  But Barnes brazens up to 
Wyatt:

                     BARNES
          Hey, you can't come-

A loud crack as Wyatt's quirt lays his face open to the bone.

                     WYATT
          One more word and I'll blind you.
          Get over there!

                     PONY DEAL 
               (to McMasters)
          Hey brother, what're you doin'-

                     MCMASTERS
          I ain't your brother, I ain't
          None of your damn brothers.  Move!

                     WYATT
          All right, run 'em off.

Doc and Wyatt cover the Cowboys while the others scatter their 
herd with pistol shots.  Indignant, Swilling sneers at Wyatt:

                     SWILLING
          Bastard!  Stinkin' bastard!  Like
          To eat you blood raw!

A queer look in his eye, Wyatt dismounts and faces Swilling.

                     WYATT
          All right, breed.  Dig in.

And then Wyatt DRILLS him in the jaw with a straight right 
hand.  Swilling drops like a stone.  Wyatt hauls him up by the 
hair and hammers him left-right-left, steps around, digs down, 
and pile-drives a left hook to his gut.  Swilling topples back 
into a seated position then rolls over with a moan and passes 
out.  Meanwhile, seeing his chance, Florentino ducks down and 
makes for the remuda as Doc looks down at Swilling.

                     DOC
          It appears he missed an excellent 
          Chance to keep his mouth shut.

                     WYATT
               (faces Cowboys)
          Felt his liver go on that last
          One.  Get him to a doctor or he'll
          Be dead in a couple hours.

At the remuda Florentino leaps on a horse and gallops off 
bareback.  McMasters point, pulling his rifle from its 
scabbard:

                     MCMASTERS
          Florentino!  He's getting away!

                     WYATT
          Drop his horse.

McMasters draws a bead on the retreating form with his '76 
Winchester and FIRES.  100 yards away, the bullet hits 
Florentino's horse in the shoulder with a "thunk".  It drops, 
tumbling end over end and plunging Florentino face-first into 
the ground.  He jumps up, spitting out a mouthful, and starts 
running.  Wyatt leaps on this black and it streaks forward, 
closing the distance in seconds.  Florentino gasps and runs 
faster, pulling a bellygun from his sash, Wyatt almost on top 
of him.  He turns and FIRES on the run.  A branch next to 
Wyatt's head EXPLODES.  Wyatt keeps coming, drawing his 
Buntline, impervious, unstoppable.  Florentino turns for 
another shot just as the black PILES into him, sending him 
flying and tumbling him down an embankment.  He scrambles to 
his feet as Wyatt dismounts, starting toward him with 
deliberate step, eyes blazing, long-barreled pistol held in 
front of him.  Florentino backs up in terror, gun at his side, 
shaking his head:

                     FLORENTINO
          I don't kill your brother!  I 
          Don't even know him.  I was only
          Lookout.  It was money, they give
          Me twelve dollars!  It was money!

                     WYATT
          A human life.  Twelve dollars.

Wyatt nods, still coming, cold-blooded murder in his eye.  
Florentino screams, raising his gun:

                     FLORENTINO
          No!

Wyatt FIRES, blasting Florentino to the ground.  He advances, 
FIRING over and over, emptying his gun into him....

EXT - RUSTLER'S PARK - LATE DAY

The Cowboys watch as Wyatt gallops up, dragging Florentino's 
bullet-riddled body behind him.  He reins up, un-dallying the 
rope.  The corpse flops at their feet.  They jump back, 
horrified.

                     WYATT
          Look at him.  That's how you'll
          All end up if you don't get it
          Through your head: it's over,
          The Cowboys're finished.  Forever.
          So tell the others and get out of
          The Territory 'cause next time I
          Leave no one alive.  Understand?
          No one.  You been warned.
               (to his men)
          All right, burn it!  Everything!

As his men prepare to fire the camp, several Cowboys move to 
pick up Floretino's body, but:

                     WYATT
          Leave that trash where it lays.

EXT - RUSTLER'S PARK - DUSK

Wyatt and his men ride through the blazing camp, the flames 
lighting up his eyes like a demon's....

EXT - DESERT CAMP - NIGHT

The possemen crouch by their fire.  Doc sits shivering 
miserably by himself as Vermillion turns to Johnson.

                     VERMILLION
          You know, we might just pull this off.

                     JOHNSON
          Not so sure.  Somethin' tells me
          It gets harder from here in.
               (pauses)
          Should've held out for more money.

Meanwhile Wyatt and McMasters confer over a map.  Wyatt points 
to a specific point on the map, very interested:

                     WYATT
          I know that cut.  You mean there's
          A waterhole near there?

                     MCMASTERS
          But this time they'll be ready.

                     WYATT
          We'll see about that.

EXT - DESERT/MOUNTAIN CUT - DAY

Now we see what so interested Wyatt-it's the same mountain cut 
where he and Josephine met.  Pony Deal and a party of 10 
Cowboys ride through the desert 300 yards from the cut, 
pushing a herd.

                     PONY DEAL
          Keep your eyes open for Earp's 
          Bunch.  Swear to God, ain't gonna
          Get the drop on us this time.

                     1ST COWBOY
          Riders up ahead!  ...four, five.
          It's them all right!

They look.  Wyatt and his horsemen stand waiting at the mouth 
of the cut.  They tense, the 1st Cowboy squinting against the 
sun.  At the cut, Wyatt and his men poise themselves, Doc 
nodding:

                     DOC
          They saw us.  Here they come.

The Cowboys charge forward, outnumbering them better than 2 to 
1 and only 100 yards away.  The possemen choke up on their 
reins, alerting their horses for action as:

                     WYATT
          Wait... wait... steady...

75 yards and the first shots RING out, richochetting off the 
walls of the cut.  The others blanch but Wyatt stays cool, 
waiting, 50 yards... 40 yards... till we can see their eyes 
and:

                     WYATT
          Now!

They whirl around and disappear into the cut.  The Cowboys 
keep coming.  Wyatt's group reaches the little trail leading 
up the wall of the cut he used to avoid Josephine.  They 
clamber up the side of the cut at a bounding gallop, unseen, 
as moments later the Cowboys gallop by and continue through 
into the desert on the other side.  Wyatt's group careens up 
and around the high mountain wall as if on a roller-coaster, 
following the tiny, narrow path at a breathtaking clip, the 
trail finally plunging them back into the draw behind the 
Cowboys.  They speed up to the opposite mouth of the cut, 
drawing their pistols as the Cowboys gallop into the desert 
before them, unaware.

                     WYATT
          Lay on!

They CHARGE forward.  Seeing the empty desert ahead, the 
Cowboys pull up, looking around in confusion.  Suddenly a 
VOLLEY of GUNFIRE hits them from behind, knocking several from 
the saddle.  They spin around just as Wyatt's group SLAMS into 
them HEAD-ON, guns BLAZING, Cowboys tumbling from the saddle 
left and right, horses rearing and toppling over backwards.

                     PONY DEAL
          Run!

The remaining Cowboys turn and dash into the desert.  Wyatt 
shouts:

                     WYATT
          Come on!

Wyatt's group CHARGES, the thoroughbreds closing the distance 
in seconds.  Vermillion stands in his stirrups, roaring like 
an animal as he PLUNGES into them, swinging his quirt like a 
saber and LASHING a Cowboy across the face, making him tumble 
to the earth and bounce over the rocks like a rag doll.  
McMasters closes with another, throwing an arm around him and 
JERKING him from the saddle, SNAPPING his neck.  Doc overtakes 
a 3rd, jams his pistol into his face and FIRES point-blank, 
blackening his face with soot and BLOWING out the back of his 
head as he falls.  Reins in his teeth, shotgun at his 
shoulder, Johnson comes up behind a 4th and FIRES.  The 
Cowboy's head DISAPPEARS in a cloud of pink vapor, the body 
dropping like a stone....

Wyatt bears down on Pony Deal at a dead run.  Pony Deal turns 
in the saddle and FIRES at him.  We feel a surge of breathless 
exhilaration as Wyatt swings out of the saddle like a 
Commanche and ducks his body down against the side of his 
horse, hiding in its lee.  Pony Deal turns for another shot 
only to see an apparently riderless horse overtake him.  But 
in the next instant Wyatt darts around under his horse's neck 
and FIRES, blowing Pony Deal head-over-heels off the back of 
his horse.  Wyatt bounds back into the saddle as McMasters 
rides by, drawing a bead with his rifle on the lone survivor, 
the 1st Cowboy.  Only a few yards in front of them, he whips 
his horse frantically, trying to get away.  McMasters is about 
to fire when Wyatt rides up, deflecting the shot.  The Cowboy 
makes it over a rise and disappears.

                     MCMASTERS
          What'd you do that for?

                     WYATT
          So he can tell the story.

EXT - COWBOY CAMP - NIGHT

Curly Bill studies a map drawn in the dirt, listening with 
Ringo, Ike, etc. while the 1st Cowboy describes the battle:

                     1ST COWBOY
          Didn't make any sense.  One minute
          We're chasin' 'em, next they're
          Right on top of us.  We couldn't 
          Stop 'em, they got everybody.
          Just everybody!

                     CURLY BILL
          Easy now, it's only five men.
          Been havin' it their way 'cause
          They been surprising you.  Hittin'
          The waterholes and that Judas
          McMasters is showin' 'em right 
          Where they are.  Pretty damn cute.
          But nobody's cute as me.
               (points to dirt map)
          Next up's Black Draw.  But that
          Smart Wyatt'll say no, that's 
          Where they'll expect us to hit,
          We'll hit the one after.  Iron
          Springs.  That's where they show 
          Next.  Only I'm gonna be there
          First.  And throw a little party.

Curly Bill grins, his coarse face radiant in the firelight...

EXT - WYATT'S CAMP - NIGHT

Doc sits by the fire, shaking and shivering and sweating.  
Vermillion comes up and tries to cover him with a blanket, 
but:

                     DOC
          Don't touch me!

                     VERMILLION
          Sorry...

He pulls back.  Doc wraps himself in the blanket.  After a 
beat:

                     VERMILLION
          You really look awful.

                     DOC
          Not half as bad as I feel.

                     VERMILLION
          Then why in hell're you doin'
          This?  You ought to be in bed.

                     DOC
          Wyatt Earp is my friend.

                     VERMILLION
          Hell, I got lot's of friends.

                     DOC
               (turns, glares at him)
          I don't.

Meanwhile at the other side of the camp, Wyatt and McMasters 
huddle over the map, Johnson walks up:

                     JOHNSON
          Maybe you ought to have a talk
          With Doc, Wyatt.  I don't know if
          He's gonna make it.

                     WYATT
          There's no reasoning with him.

                     MCMASTERS
               (points to map)
          Next waterhole's Black Draw.  We
          Could be there by mid-morning.

                     WYATT
          They're wise by now.  Which is
          Next, Iron Springs?  Yeah, let's
          Try there, Iron Springs.

EXT - IRON SPRINGS - DAWN

A camp near a waterhole with 2 Cowboys crouched by a fire, 
sipping coffee.  Wyatt's men ride up to the rocks overlooking 
it and dismount, unseen.

                     MCMASTERS
          There they are.  No herd though.

                     WYATT
          We'll go around that way, come up on foot.

They pull shotguns from their saddles and start down over the 
rocks on foot, creeping up on the camp, seemingly undetected.  
But suddenly the Cowboys by the fire dive behind a log and:

                     MCMASTERS
          Ambush!  Get down!

And suddenly the deadfall on the opposite side EXPLODES IN 
GUNFIRE.  Vermillion takes a graze and drops with the others, 
hugging the rocks.  A bullet RICHOCHETS into a rock at 
Johnson's head, biting his face with fragments, making him 
wince:

                     JOHNSON
          Christ!

Hunched behind the logs on the opposite side with 15 more 
Cowboys, Curly Bill raises his head, grinning and shouting:

                     CURLY BILL
          Hey, Wyatt!  How the hell are you?

Wyatt and his men react to his voice.  The fire continues.  
Suddenly there's MOVEMENT in the rocks above them.  Doc 
points:

                     DOC
          Look!

                     CURLY BILL
          Got some boys workin' around
          Those rocks behind you.  Another
          Minute or two, gonna have you in 
          A crossfire!  How do you like that?

Seeing the spot they're in, McMasters turns to the silent 
Wyatt:

                     MCMASTERS
          He's right.  They get set up in
          Them rocks it's the end for us.

And now for the first time we see fear in these men, actual 
naked fear.  But Curly Bill laughs, having the time of his 
life.

                     CURLY BILL
          'Course you could give yourselves
          up and we could have a party!
          Then what larks!

Crouched by Curly Bill, Barnes chuckles.  A confident ripple 
of laughter goes through the Cowboy line-they know they've got 
them.  On the other side, Vermillion shakes his head grimly.

                     VERMILLION
          Ain't takin' me alive, damn it!

McMasters looks at the still silent Wyatt, shrugging 
helplessly:

                     MCMASTERS
          Think of somethin' fast or we're cooked.

They really are at the end of their rope, all looking to Wyatt 
for a solution.  He remains silent.  Then suddenly, in this 
supreme moment, a strange, almost supernatural calm seems to 
come over him and he says simply:

                     WYATT
          No.

                     JOHNSON
          What?

                     WYATT
          No.

And now we can almost hear the ether RINGING in our ears as 
Wyatt takes his shotgun and, while the others look on in 
horror, rises to his feet.

                     DOC
          Wyatt!

Bullets WHIZ around him.  Doc jumps up to grab him but a 
RICOCHET drives him back down.  Wyatt advances quickly across 
the clearing, walking right into the teeth of their guns, 
repeating:

                     WYATT
          No...

Wyatt's clothes jerk and ripple as bullets pass through, but 
he just keeps coming.  Seeing this, Curly Bill also stands, a 
weird, manic elation coming over him.  He hoots and howls:


                     CURLY BILL
          Look at that!  Yeah!  Come and get
          Some, boy!

                     WYATT
          No...

Curly Bill waves away his men's fire and walks toward Wyatt, 
12 gauge shotgun in one hand, .45 in the other, BLASTING away.

                     CURLY BILL
          Let me, let me, yeah!  Die, you 
          Bastard...

                     WYATT
          No...

Curly Bill FIRES again.  Wyatt's hat flies off.  He FIRES 
again, digging a gash in Wyatt's boot-heel.  Now Curly Bill 
takes dead aim with his .45 and-CLICK-it's empty.  He tosses 
it aside.  Suddenly a sharp wind gusts up, making the tails of 
Wyatt's duster swirl around him like a halo as he advances.  
Eyes wild with battle rage, Curly Bill quickly raises his 
shotgun.

                     CURLY BILL
          Die!  Son of a bitch!  Die!

He FIRES.  Wyatt's coattails EVAPORATE into swirling shreds as 
he takes deliberate aim with his mighty 10 gauge, hissing 
through clenched teeth:

                     WYATT
          No!

And with that, Wyatt lets go with BOTH BARRELS.  Curly Bill's 
mid-section VAPORIZES, the huge double-charge of buckshot 
RIPPING HIM COMPLETELY IN HALF.  The other Cowboys flinch as 
they're sprayed with flecks of blood and gore.  Barnes 
screams:

                     BARNES
          Jesus Christ!

                     WYATT
          No!

Eyes burning like two twin hells, Wyatt pulls his Buntline and 
FIRES.  Barnes doubles over.  Wyatt FIRES again.  Barnes 
drops.  The others recoil, their faces looking as if they are 
living in a waking nightmare as Wyatt advances on them, STILL 
FIRING.  Another goes down.  Doc leaps from the rocks, gun in 
hand, and:

                     DOC
          Come on!

Now they all rise and OPEN FIRE, advancing 4 abreast, a WALL 
OF GUNFIRE driving the remaining Cowboys off, running for 
their horses.  Wyatt keeps snapping his empty gun as the 
others run up.

                     WYATT
          No...

Beside himself, Doc helps Wyatt to a nearby rock, sitting him 
down and examining him, running his hands all over his body.  
The others FIRE at the Cowboys retreating on horseback.

                     DOC
          Wyatt, my God!  You're shot to pieces!

                     WYATT
          No...

                     VERMILLION
          Yeah, better run, you bastards!

                     JOHNSON
               (turn to Doc)
          How is he?

                     DOC
               (looks up, amazed)
          I don't believe it.  He's clean!

                     VERMILLION
          What?  But I saw 'em-

                     DOC
          I'm telling you, there isn't a
          Mark on him.

They look.  Meanwhile Wyatt starts to tremble....

EXT - CAMP - NIGHT

They're camped by a running stream.  Wyatt stares into the 
fire.  Doc crouches opposite him, shaking his head:

                     DOC
          I'm a man without fear, Wyatt.  I
          Literally don't care if I live or
          Die.  But even I can't fight human
          Instinct.  Somebody suddenly
          Starts shooting at me, I duck.
          But you... what on earth were
          You thinking about?

                     WYATT
          I don't know.  It all happened so
          Fast.  If I'd had a chance to
          Think about it I guess I probably
          Would've been scared but... Swear
          To God, Doc, I just don't know.

At the other end of camp, Vermillion and Johnson sit together.  
After a beat:

                     VERMILLION
          Hey Creek, you ever see anything
          Like that before?

                     JOHNSON
          Never even heard of anything like it.

Vermillion nods.  Both look shaken to the very core of their 
beings.  Finally:

                     VERMILLION
          I just thought of somethin' I 
          Never thought about before.
               (pauses, looks at him)
          I don't want to go to hell.

EXT - CAMP - MORNING

Wyatt sits by the fire, sipping coffee.  Vermillion and 
Johnson approach.  Johnson drops a wad of money on Wyatt's 
bedroll.  Wyatt looks up in surprise:

                     VERMILLION
          Talked it over.  We decided we
          Don't need the money.  Took out 13
          Dollars each, though.  Federal
          Posseman's fee.  That all right?

                     WYATT
          Sure...

                     JOHNSON
          One thing.  We come through this
          Alive, can we keep the badges?

Wyatt nods, picks up the money and quietly moves off toward 
the stream by himself.  Moments later, McMasters approaches:

                     MCMASTERS
          Where's Wyatt?

                     DOC
          Down at the creek.  Walking on water.

EXT - COWBOY CAMP - NIGHT

Ringo crouches by the fire with the other Cowboys, his face a 
deeply shadowed mask.  2 Iron Springs survivors stand before 
him:

                     1ST COWBOY
          We hit him half a dozen times but
          He just kept comin', walked right
          Up to Curly Bill with that 10
          Gauge and blew him up!

                     RINGO
          Curly Bill?  He killed Curly Bill?

Ringo starts making strange little inarticulate sounds, 
inhaling and exhaling like an animal, eyes swimming in 
panic....


                     2ND COWBOY
          He didn't just kill him, he
          Burned him down!  Blew him in
          Half!  I mean all the way in half,
          Like a melon!  Then he turned 
          Around with that big Colt and 
          Killed Johnny Barnes, shot up a
          Couple more 'fore we got out of 
          there.  But it was his face, you 
          should've seen his face.

                     RINGO
          He's just a man.

                     1ST COWBOY
          You didn't see his face

Ringo looks up at them, suddenly dead calm, his face a blank.

                     RINGO
          You see my face, don't you?

Out of nowhere, Ringo draws and FIRES 2 shots so quickly they 
sound like one.  The 2 survivors drop with bullets through 
their brains.  The others jump, transfixed by the insane 
brutality of what he's just done.  Ringo draws himself up, in 
full possession of the situation, the new leader, fearsome, 
matchless:

                     RINGO
          Everybody get this through their
          Heads.  Wyatt Earp dies.  I'm 
          Running the show now and I'm 
          Telling you, Earp dies.  His men
          Too.  They all die.  Understand?
          We're gonna kill 'em.  For what
          They did to Curly Bill we're
          Gonna ride 'em into the ground
          And slaughter 'em like rabbits.
          'Cause this is my time, children.
          This is where I get woolly.

EXT - COWBOY CAMP - NIGHT

Later.  Most of the others are asleep or talking among 
themselves as Billy Grounds turns to Zwing Hunt, whispering:

                     GROUNDS
          What d'you think?  I didn't think
          Curly Bill could be killed.  I'm 
          Tellin' you, this whole thing's
          Gone sour.  We got hands droppin'
          Like flies and Ringo's flat out
          Of his mind.  I mean, hell
          Brother, you feel like ridin'
          Against Wyatt Earp?

                     HUNT
          Hell no, brother.

                     GROUNDS
          Then brother let's you and me cut out.

                     HUNT
          Right with you, brother.

They steal away toward the horses as....

INT - ALLEN STREET - DAY

Ringo faces Behan, grim, intent, while Behan sputters, holding 
up a San Francisco newspaper:

                     BEHAN
          Are you crazy?  It's front page
          News all over the country.  It's
          Getting out of hand, Ringo.  If
          Things don't settle down soon-

                     RINGO
          You heard me, Behan.

                     BEHAN
          Ringo, you don't understand-

Ringo glares at Behan, his eyes burning, implacable:

                     RINGO
          No, you don't understand.

EXT - COWBOY CAMP - DAY

Ringo rides up with Behan and dismounts.  A 3rd Cowboy steps 
up:

                     3RD COWBOY
          Billy Grounds and Zwing Hunt ran
          Out.  Four, five others, too.

                     RINGO
          Who cares?  Separate the wheat
          From the chaff.

Behan looks worried as Ike and the other Cowboys gather 
around.  Just then Breakenridge rides up.

                     BEHAN
          What're you doing here, Billy?

                     BREAKENRIDGE
          Curly Bill was my friend.  I'd 
          Like to come with you.

                     RINGO
          Sure, why not?

Ringo slaps the little deputy on the back and turns to his 
men.  His unaccustomed good humor is very troubling.

                     RINGO
          I told you it was time to get
          Woolly.  Now gather 'round,
          Children, gather 'round.  And
          Raise your right hands.

EXT - DESERT - DAY

Now we've come full circle as Ringo rides across the desert at 
the head of his men 30 strong, armed to the teeth, full of 
fight-and all wearing Deputy Sheriff's BADGES, a posse of 
outlaws, a miserable Behan bringing up the rear....

EXT - DESERT PLATEAU - DAY

Wyatt and his men watch from a plateau as far out on the 
horizon, the Cowboy Posse rides out of the sun, drawing 
closer:

                     MCMASTERS
          That's Ringo out front.  And
          There's Behan.  Must be 30 of 'em.
          What the hell... they're wearin'
          Badges.

They all exchange looks of disbelief, then:

                     WYATT
          Mounts're getting jaded.  We're 
          Gonna have to find a place to
          Rest 'em up.

Suddenly looking very sick, Doc sways dizzily in the saddle.  
Wyatt dismounts, reaching for him.  The others do the same:

                     WYATT
          Doc...

                     DOC
          Don't touch me, God damn it!  Just
          Don't touch me!  Come on...

Doc turns his horse, as if to ride on, then faints dead away.

                     WYATT
          Grab him.

They all catch him, easing him to the ground as....

EXT - HOOKER'S RANCH - DAY

Wyatt's group rides over the hill overlooking the ranch house 
Vermillion keeping Doc in the saddle.  Hooker and 3 of his 
hands rides out to them:

                     WYATT
          Horse're pretty well fagged and
          We got a sick man with us.

                     HOOKER
          You can put up at my ranch if you want.

Wyatt nods.  Hooker motions down the hill toward his house....

INT- BEDROOM, HOOKER'S RANCH - LATE DAY

Doc lies in bed, semi-conscious, white as a sheet, drenched in 
sweat.  The others look on, worried.  Hooker shakes his head:

                     HOOKER
          I'm no doctor but he looks pretty bad.

His face creased with worry, Wyatt sits down next to Doc.  
McMasters motions to the others.  They file out, leaving Wyatt 
alone with his friend....

EXT - HILL OVERLOOKING CROSSROADS - SUNSET

Grounds and Hunt ride up and stop on the top of a hill 
overlooking a mountain crossroads somewhere in the Whetstones.

                     HUNT
          What's it gonna be, brother?

                     GROUNDS
          I don't care.  Colorado, New 
          Mexico, 'long as we're out of the 
          Territory.

Suddenly a STAGECOACH comes into view, making its winding way 
through the crossroads below.  Hunt points, grinning:

                     HUNT
          Just what we need.  Travelin' money.

They spur their horses down the hill, drawing their guns....

EXT - COWBOY CAMP # 2 - NIGHT

The Cowboy posse is camped in a draw up in the Whetstones.  
They look up as the stage rolls up and stops.  Shouting and 
commotion as Behan and Breakenridge approach and confer with 
the driver, then Behan turns to Ringo:

                     BEHAN
          Robbery.  2 men stuck 'em up and
          Killed a passenger.  One of 'em
          Rode a Mexican saddle, the other 
          Had a Mother Hubbard.  Billy
          Grounds and Zwing Hunt.

Behan opens the door.  Mr. Fabian lies inside cradled in 
Josephine's arms, surrounded by the other actors in the 
troupe.  Reclined at full length, head back, he looks like the 
dying Hamlet, even more beautiful than in life.  Breakenridge 
gasps:


                     BREAKENRIDGE
          Oh, no...

                     JOSEPHINE
          We're headed for a booking in
          Denver.  They tried to take my
          Watch.  He cursed them for cowards
          And they shot him.  He may've been
          Vain and an actor but he was
          Better than all of you.  And
          Gentler and braver.  I don't
          Understand any of this, I only
          Know it's ugly.  You're all ugly
          And he was beautiful, he tried to
          Put something fine into your ugly
          World and you killed him for it.
          Anyway the ones who did it are 
          headed north.  Not that you care.

Ringo shrugs.  His soft face suddenly turning resolute.  
Breakenridge goes to his horse and mounts.

                     BEHAN
          Where're you going?  Get back here!

The little deputy straightens his spectacles, turning to 
Behan:

                     BILLY
          I'm sorry, sir, but we got to 
          Have some law.

And he rides off alone into the Whetstones.  Behan sputters, 
but:

                     RINGO
          Let him go.  Who cares?

EXT - HOOKER'S RANCH - NIGHT

The stage is stopped out front.  The driver waters the horses 
and the actors mill around silently.  Wyatt and Hooker walk 
out:

                     HOOKER
          Had a holdup.  Came her to water
          Their horses before pushin' on.

Seeing each other, Wyatt and Josephine freeze.  Wyatt 
approaches:

                     WYATT
          Sorry about your friend.
               (pauses)
          And I'm sorry about...

                     JOSEPHINE
          I forgave you the moment you said it.

                     WYATT
          You did.  Well... thank you.

The driver jumps back onto the stage, motioning to the others.

                     JOSEPHINE
          I have to go.

                     WYATT
          Wait!

She stops.  Wyatt falters.  There's so much he wants to say, 
but... Finally:

                     WYATT
          Goodbye.

Wyatt opens the coach door for her.  She gets in.  It pulls 
out with a crack of the driver's whip.  She and Wyatt hold 
each other's gaze as the stage recedes into the distance.  
Then:

                     WYATT
          Damn... Damn!

Creek Johnson steps up next to him.  Wyatt looks at him:

                     WYATT
          See how she breezed out of here.
          Like she had wings.  Funny thing
          But I can't really remember how
          She looked.  I can remember parts
          Of her clear as crystal, her
          Mouth, her walk, how she shut her
          Eyes when she laughed, little
          Bits and pieces, but not the
          Whole package.  Can't put it
          Together for some reason.

                     JOHNSON
          Good God, you're really-

                     WYATT
          Cards in spades.  I'm in love with
          Every second of her life.  Hell,
          I'll probably love her when I'm dust.

EXT - COLD CAMP - NIGHT

A cold camp in the hollow of a mountain.  Wrapped n blankets, 
Grounds and Hunt sip cold coffee.  Grounds shivers.  Hunts 
pats him:

                     HUNT
          No fire tonight, son.  Too many 
          Riders out.


Grounds grunts.  Suddenly there's an O.S. SOUND.  Both jump 
up.

                     HUNT
          Who's that?

Breakenridge steps from the shadows, Winchester at his 
shoulder, squinting through the dark with his spectacles.

                     BREAKENRIDGE
          It's Deputy Breakenridge.

They relax and lower their pistols, heaving sighs of relief.

                     HUNT
          Sister Boy!  Thank God, we was afraid-

                     BREAKENRIDGE
          You shouldn't've killed Mr.
          Fabian.  You shouldn't've done
          That.  It was wrong.  I'm takin'
          You both in for it.

                     HUNT
          What?  You gotta be kiddin'.  Look,
          Just go home 'fore you get hurt.

                     BREAKENRIDGE
          Don't want to kill you but I will
          If I have to.  I'm warning you.

                     GROUNDS
          No, I'm warning you, Sister Boy!

Grounds steps forward menancingly.  Breakenridge tenses:

                     BREAKENRIDGE
          Don't try it!

                     GROUNDS
          Sister Boy, just go to hell!

Grounds raises his pistol.  Breakenridge recoils in fright, 
stumbling backward in the dark, and his rifle accidentally 
FIRES.  Grounds drops like a stone, a look of utter disbelief 
on his dying face.  Hunt looks at him in shock then turns on 
Breakenridge, raising his gun and snarling.  Breakenridge 
FIRES again.  Hunt grabs his midsection, dropping his gun and 
falling to his knees.  He looks up at Breakenridge who shrugs 
timidly:

                     BREAKENRIDGE
          Sorry.

Hunt falls over, dead.  Breakenridge stares at the bodies, 
hardly believing it himself....

EXT - FRONT PORCH, HOOKER'S RANCH - MORNING

Wyatt and his men are on the porch, listening to Hooker:

                     HOOKER
          ...brought 'em in draped over
          their saddles.  Little Billy
          Breakenridge.  Sister Boy.  He done
          It.  So I guess the law's finally
          Arrived in southeast Arizona.

Wyatt shakes his head, hardly comprehending what he 
started....

EXT - COWBOY CAMP #3 - DAY

The Cowboys are camped on a mountaintop overlooking Hooker's 
ranch in the valley below.  A messenger rides up with a letter 
for Behan as Ringo paces, studying the set up with Ike.

                     RINGO
          Hooker's got around 15 or 16 
          Hands.  We could take 'em right
          Enough but it might be a mess.
          Keep the place bottled up for 
          Now, see if we can figure a way
          To flush 'em.

Behan suddenly steps up, beside himself, holding up his 
message:

                     BEHAN
          It's too much!  It's completely
          Out of hand!  Governor Gosper's 
          Talking about asking the 
          President to send in the Army!  
          Listen Ringo, you've got to get 
          This over with and you've got to
          Do it now.  One way or another.

EXT - FRONT PORCH, HOOKER'S RANCH - LATE DAY

Wyatt stands on the front porch, looking through the front 
door to the back bedroom where Doc lies unconscious while 
Hooker and the others look on:

                     WYATT
          We should get moving.

                     VERMILLION
          Doc's just in no kinda shape.

                     HOOKER
          Don't have to bother about that.
          Took a vote.  Cowboys or not, you
          Can stay here as long as you want.
          Anyway maybe you done enough.  I
          Mean you whittled 'em down
          Considerable, now there's talk of
          Sendin' the Army in here.  Ask me,
          You done enough.

                     RANCH HAND 
               (rides up, points)
          Rider comin' in under a white flag

They look up as the 3rd Cowboy rides up with a white kerchief.

                     3RD COWBOY
          Got a message.  Ringo wants 
          McMaster to come over to our 
          Camp for a parley.

                     MCMASTERS
          He didn't figure on all the stink
          This is causin'.  Might be he's 
          lookin' to strike a bargain.  If
          So, he probably figures he needs
          Somebody like me who talks his
          Language.  Could be we got him.

                     WYATT
          I don't like it.

                     MCMASTERS
          Might as well hear him out.
          Anyways, what choice we got?
               (Mounts horse, whispers)
          But no matter what happens, see
          It through to the end.  If you 
          don't I'll curse the day I ever
          laid eyes on you.

Before Wyatt can answer, McMasters rides off with the 
Cowboy....

EXT - HOOKER HILL COWBOY CAMP #3 - LATE DAY

McMasters rides up with the 3rd Cowboy.  Riding through camp, 
all his former comrades flares at him with pure hate.  Only 
Ringo smiles, stepping up as McMasters dismounts.

                     RINGO
          Well hello, Sherm.

                     MCMASTERS
          You wanted to talk?

                     RINGO
          Yeah, kinda, wanted to see if 
          you'd join back up with us.

                     MCMASTERS
          That what you got me up here for?

                     RINGO
          You're a Cowboy, you're a 
          Brother.  Come back, no hard
          Feelings.

                     MCMASTERS
          Forget it, Ringo.

                     RINGO
          Isn't there anything I can say
          That'll change your mind?  You're
          Gonna stay with your new friends?

                     MCMASTERS
          'Least they don't scare women.

                     RINGO
          You're the boss.  One thing, though.

Ringo moves closer, looking him in the eye and smiling:

                     RINGO
          How you gonna get back to 'em?

EXT - HOOKER'S RANCH - LATE DAY

The 3rd Cowboy rides up to the ranch house, dumps a large 
SOMETHING in front, and gallops back to just within earshot as 
Wyatt and his men run up.  The object is a human corpse and 
though we can't see what was done to it, the expressions on 
their faces are plain enough. 

                     VERMILLION
          Why couldn't they've jus killed him?

                     3RD COWBOY
               (shouts)
          Ringo wanted to be sure he got
          Your attention, Marshal.  He wants
          A straight-up fight, just you and
          Him, settle this thing once and
          For all.  You win, we quit the
          Territory; Ringo wins, your
          Deputies get safe conduct to the 
          Colorado line.  Sundown today in
          The oak grove at the mouth of
          Sulphur Springs Canyon.  Ride out
          With your escort, we'll meet you.

                     WYATT
          You tell Ringo... just tell him
          I'll be there.

                     JOHNSON
          Wyatt, are you crazy?

                     WYATT
          I made a promise.

                     VERMILLION
          Wyatt, listen, you can't beat
          Him.  You're good and God knows 
          You got the courage, but you
          Ain't in Ringo's class.  Hell,
          He's the best that's ever been.
          'Cept maybe for Wild Bill.

                     JOHNSON
          He's right, Wyatt.  Ringo could
          Put five into you before you
          Could even get one into him.

                     WYATT
          But I'd do it, I'd get that one
          Into him.  So help me God, I would.

                     JOHNSON
          All right Wyatt, maybe you can.
          But you gotta die to do it.
          Understand?  You gotta die!

In tight on Wyatt as these words sink in and....

INT - BEDROOM, HOOKER RANCH - LATE DAY

It's late and the last rays of the sun come through the 
window, falling on the bed where Doc lies, awake but looking 
like hell.  Wyatt sits next to him, staring at the floor.  
After a moment:

                     WYATT
          What makes a man like Ringo, Doc?
          What makes him do the things he does?

                     DOC
          A man like Ringo's got a great
          Empty hole right through the
          Middle of him and no matter what
          He does he can't ever fill it.  He
          Can't kill enough or steal enough
          Or inflict enough pain to ever
          Fill it.  And it drives him mad.
          Sick mad.  Cold and dirty.

                     WYATT
          So what does he want?

                     DOC
          What does he want?  He wants revenge.

                     WYATT
          Revenge?  For what?

Doc looks at him, a look of purest sadness in his sunken eyes.

                     DOC
          Being born.

Wyatt looks down again and it's a long time before he speaks:

                     WYATT
          Remember how I said it all
          Happened so fast with Curly Bill
          I didn't have time to think about it?
          Well I've had plenty of time
          To think about this.  I spent most
          Of my life since I was born not
          Knowing what I want out of life,
          Just chasin' my tail.  But now,
          For the first time I know exactly
          What I want.  And who.  And that's
          The damnable misery of it.
               (pauses, looks at Doc)
          I can't beat him, can I?

Doc shakes his head.  Wyatt nods then stands, ready to exit, 
but:

                     DOC
          No, wait, I'll go with you...

Doc struggles to sit up, sweating and trembling, finally 
falling back down, almost passing out.  Wyatt puts a hand on 
his forehead.

                     DOC
          I'm sorry.  I'm sorry, Wyatt.  God,
          I'm so sorry.

                     WYATT
          That's all right, Doc.  Don't worry.

                     DOC
          Never got to wear one of those.

Doc points to Wyatt's badge.  He takes it off, pressing it 
into Doc's hand.  Doc smiles then does pass out.  Wyatt 
exits....

EXT - FRONT PORCH, HOOKER RANCH - LATE DAY

It's late, almost sunset.  Wyatt steps onto the porch where 
Hooker and the others wait.  He glances back into the house, 
looking at the unconscious Doc through the open bedroom door.

                     HOOKER
          Don't worry.  They want him
          They'll have to go over us first.

Wyatt nods gratefully, offering his hand.  Hooker takes it, 
abashed.  Wyatt mounts up with Johnson and Vermillion.  They 
ride off at a slow gallop, 3 figures against the twilight 
sky....

EXT - HOOKER HILL/COWBOY CAMP #3 - LATE DAY

Ringo waits atop the hill with Ike and the 3rd Cowboy watching 
as Wyatt's group rides out:

                     RINGO
          Only three.  They left somebody
          Behind.  Let's go take a look.

EXT - HOOKER RANCH - LATE DAY

Ringo and the others ride up.  Hooker steps up with several 
hands.

                     HOOKER
          What're you doin' here?

                     RINGO
          Who's in there?

                     HOOKER
          It's Holliday.  He's sick.  Imagine
          He's dyin'.

Ringo squints through the front door of the house to the open 
bedroom where Doc lies unconscious, chest heaving, sweating.

                     RINGO
          Drag him out here, let's have a look.

                     HOOKER
          I looked the other way when you
          Did a lot of foul things but I
          Ain't lettin' you torment a dyin'
          Man.  Not as long as he's under my
          Roof.  I draw the line there.

Hooker and his men look resolute.  Ringo smiles, nodding:

                     RINGO
          All right, Hooker.  I'll be back
          In about an hour.  We'll see how
          Brave you are then.

                     HOOKER
          I'll be here.

Ringo and his men ride off.  At the crossroads they stop, Ike 
peeling off.

                     RINGO
          Soon as I'm through with Wyatt,
          Swarm down with the whole bunch
          And finish off Creek Johnson and
          Texas Jack.

And they gallop off in opposite directions as....

EXT - SULPHUR SPRINGS CANYON - LATE DAY

2 Cowboys, Ringo's seconds, ride up to where Wyatt and his men 
stand dismounted, waiting.  One points to a thicket nearby:

                     3RD COWBOY
          He's waitin' for you by the big
          Oak, quarter mile up that trail.

EXT - NORTH ROAD - LATE DAY

Behan and the other Cowboys wait at the road above the canyon.  
30 strong, mounted and ready.  Ike rides up, full of 
anticipation:

                     IKE
          Get ready.  Soon as Ringo's done
          We're gonna take care of the others.

                     BEHAN
          Aren't we giving them safe conduct?

                     IKE
          Sure we are.  All the way to hell.

EXT - SULPHUR SPRINGS CANYON - SUNSET

Sunset.  Ringo's seconds wait nearby as Wyatt whispers to his 
men:

                     WYATT
          They're not givin' you any safe
          Conduct.  Soon as the shooting
          Starts kick east for the New
          Mexico line.  Well...

Wyatt shakes hands with Vermillion who turns away with 
emotion, hiding his face.  Wyatt turns to Johnson.

                     JOHNSON
          Wyatt, I... I ain't got the words.

                     WYATT
          I know.  Me neither.

Wyatt pats his shoulder and walks off alone into the thicket, 
the only sound the musical clinking and chiming of his 
spurs....

EXT - THICKET - SUNSET

A gorgeous sunset, yellow and red and magenta.  Making his way 
down the trail, Wyatt looks up at the sky.  A flock of wild 
geese fly overhead in V-formation, oblivious to the human 
drama below.  Wyatt stops, drinking it all in, as if trying to 
grab all he can in the time left.  Suddenly he closes his 
eyes, falling to his knees, trembling, afraid for the first 
time.  He clasps his hands:

                     WYATT
          Dear God, this is the last 
          Battle.  I worked it out in my
          Head every which way and I know 
          There's no way I'm comin' through
          This alive.  You've preserved me
          This far so I only ask one more
          Favor: just let me live long
          Enough to kill that man.  Thy will
          Be done and there's an amen to it.

Wyatt stands back up, his fear gone, replaced by calm, his 
face luminous, almost angelic.  He walks on, spurs still 
chiming as....

EXT - OAK GROVE - SUNSET

A clearing by a creek with a cluster of small oaks.  Ringo  
leans against a tree, sipping from a hip flask, smoking a slim 
cheroot.  We HEAR the CHIMING spurs approach.  Ringo looks up 
as the tall silhouette of his enemy emerges from the shadows 
of the thicket.

                     RINGO
          Well, didn't think you had it in you.
               (smiles, sets himself)
          Shall we?

                     DARK SILHOUETTE
          I'm your huckleberry.

Ringo stiffens as the silhouette steps into the waning light.  
It's DOC, pale and drawn, looking like death itself, but awake 
and ready just the same:

                     DOC
          Why Johnny Ringo, you look like
          Somebody just walked over your grave.
               (sees his shock)
          Oh, I wasn't quite as sick as I 
          Made out.

                     RINGO
          My fight's not with you, Holliday.

                     DOC
          I beg to differ.  We started a
          Fight we never got to finish.
          Play for blood, remember?

                     RINGO
          I was kidding about that.

For the last time, that Cheshire cat smile comes over Doc's 
face:

                     DOC
          I wasn't.
               (pins on Wyatt's badge)
          And this time it's legal.

Ringo nods, his hock replaced by a growing malice.  As they 
set themselves, once again their eyes begin to blaze, boring 
into each other, their concentrated rage focusing on each 
other, about to reach critical mass....

                     RINGO
          All right, lunger.  Let's do it.

                     DOC
          Say when.

A long tense moment then both grunt in unison.  Blurred 
movement, the FLASH of a GUNSHOT.  Doc slaps his gun back in 
it's holster as Ringo stumbles, a bullet hole in the side of 
his head....

EXT - THICKET - SUNSET

Back in the thicket, Wyatt HEARS the gunshot and starts 
running...

EXT - OAK GROVE - SUNSET

Blood coursing from the hole in his head, frenzied messages 
flickering all through his shattered brain, going only on pure 
hate, Ringo stumbles and jerks, struggling to raise his 
pistol.  Doc dances in front of him, urging him on:

                     DOC
          Come on!  Come on!

But finally Ringo falls over into the crook of the oak tree, 
his pistol firing into the air harmlessly.  Doc looks down at 
him, shaking his head:

                     DOC
          Oh Johnny.  You're no daisy, no
          Daisy at all.

Just then Wyatt appears, looking at Doc in total shock.

                     WYATT
          What happened?

Doc looks at him like he's a fool then points to Ringo:

                     DOC
          Poor soul, he was so high-strung.
          Afraid the strain was more than 
          He could bear.

Suddenly we hear HORSES crashing through the brush toward 
them.

                     DOC
          Let's go!  My horse is over here.

They dash off into the thicket.  Moments later Ringo's seconds 
ride out into the grove.  Seeing Ringo's body, their jaws 
drop....

EXT - CANYON MOUTH - SUNSET

Vermillion and Johnson practically jump for joy as Wyatt and 
Doc emerge from the thicket, Doc leading his horse.

                     VERMILLION
          Praise Jesus!

                     JOHNSON
          I'll be dipped in shit.  I will, too.

EXT - NORTH ROAD - SUNSET

Alert by the shots, Ike turns to Behan and the others.

                     IKE
          All right, get ready...

EXT - CANYON MOUTH - SUNSET

Vermillion and Johnson are mounted, watching while Doc tries 
to climb up into the saddle with excruciating slowness.  
Though on his feet, it's clear Doc is as sick as ever, 
sweating and panting, running on sheer animal courage.  Wyatt 
stands behind him, his hands poised to help, trying to will 
him into the saddle, jerking his hands behind him every time 
Doc looks back.  Finally, with a last grunt, Doc throws a leg 
over his horse and drops into the saddle.  Wyatt mounts, turns 
to his men, pointing:

                     WYATT
          All right, what's it to be?  New
          Mexico's that way.

                     JOHNSON
          Colorado's closer

                     WYATT
          So're the Cowboys.  They're up
          That road right now, waiting to
          Jump us.

                     VERMILLION
          We're the law, ain't we?  Well the
          Law don't ride around vermin-

                     JOHNSON
          It rides right at 'em.  Like
          McMasters said, see it through to
          The end.

Wyatt looks at Doc, who shrugs.  Wyatt swings his horse 
alongside, suddenly noticing his badge on Doc's chest.  Doc 
smiles wanly:

                     DOC
          I just wanted to see what it felt
          Like.  Here...

He starts unpinning it but Wyatt stops him, pressing his palm 
onto the badge over Doc's heart.   A last look around each 
other then Wyatt signals and they start up the north road at 
the lope, four abreast, the last charge of Wyatt Earp and his 
immortals....

EXT - NORTH ROAD - SUNSET

From a lookout position above, a COWBOY calls down to the 
others:

                     4TH COWBOY
          Riders comin'.

Behan heaves a sigh of relief, glancing around at the others.

                     BEHAN
          Well I guess Ringo did it.

But suddenly Ringo's seconds gallop up from the flank:

                     3RD COWBOY
          Ringo's dead

                     BEHAN
          What?

Straining to see in the falling light, the cowboy on the rock 
shouts excitedly:

                     4TH COWBOY
          That's Wyatt Earp's bunch!

The word starts to spread, the crowd of horsemen BUZZING.  
Suddenly, off in the distance, the 4 horsemen come into view, 
coming straight at them at a lope.

                     3RD COWBOY
          They're comin' right at us!

Down the road, Wyatt asnd his men pull their shotguns, holding 
them at the ready as they break into a gallop.  The Cowboy on 
the rock jumps down, mounting his horse.

                     4TH COWBOY
          Here they come!  Get ready...

The Cowboys line-up on a rise, blocking the road.  They draw 
their guns.  Wyatt and his men keep coming, now 200 yards 
away.  Behan groans, panic sinking sour and heavy, churning 
his bowels:

                     BEHAN
          Oh, no...

Now Wyatt's men break into a dead run, hurtling toward them at 
top speed, their thoroughbreds eating up the distance, now 
only 100 yards away.  The Cowboys tense up more and more, 
biting lips, grinding teeth.  The 4th Cowboy turns to the 
nearby 3rd Cowboy:

                     4TH COWBOY
          What d'you think?

                     3RD COWBOY
          I think it's time to start
          Workin' for a livin'.

                     BEHAN
          Me too!

They break and run.  So does another.  Suddenly the whole mass 
of them EXPLODES in panic with horsemen riding in all 
directions, scurrying away like cockroaches from a light.  Ike 
looks around, screaming at them, beside himself as the 4th 
Cowboy rides by:

                     IKE
          Kill 'em!  Kill 'em!  It's only
          Four men!  Why don't you kill 'em?

                     4TH COWBOY
          Why don't you?

The others keep going, leaving him behind.  But seeing Wyatt 
bearing down on him, Ike finally bolts himself, pounding off 
hell-for-leather into the hills.  Wyatt and his men keep 
coming at a full gallop and as they crest the rise, suddenly, 
as before, the ground seems to fall out from under them and 
for another burning moment they once again appear airborne, 
grim-faced avenging angels on winged horses, now even more 
majestic in the twilight, like a myth made flesh, awesome, 
superb, and unutterably beautiful.  As they approach, only 
Breakenridge remains, giving them a tentative wave.  Wyatt 
points a finger at him as they ride by in a flash, cresting 
another rise and passing into legend....

INT - HOSPITAL ROOM - DAY

The CLOCK on the wall of this private DENVER hospital room 
ticks gently but inexorably as Doc lies in bed with FATHER 
FEENEY, a Catholic priest, sitting at his side.  Painfully 
emaciated, his breathing shallow and labored, Doc is so weak 
it's all he can do to even move his eyes.  But he brightens as 
Wyatt enters:

                     DOC
          Well hell, Wyatt.  Wyatt, I want
          You to meet Father Feeney.  Father
          Feeney's just been initiating me
          Into the mysteries of the great
          And ancient Church of Rome.  You
          See, it appears my hypocrisy
          Knows no bounds.

                     WYATT
          How you feelin', Doc?

                     DOC
          Rather an obvious question under
          The circumstances, don't you
          Agree?  A better one might be how
          Do you feel?

                     WYATT
               (sits down, sighs)
          Hurts.  Hurts pretty bad.

                     DOC
          I imagine it would, yes.  So now
          We can add self-pity to your list
          Of frailties.

                     WYATT
          All right, Doc...

                     DOC
          You think I'm kidding.  You're the
          Most fallible, wrong-headed, self-
          Deluding, just generally
          Benighted jackass I've ever
          Known.  Yet, withal, even at your
          Worst, you're the only human
          Being in my entire life who ever
          Gave me hope.

                     WYATT
          All I ever wanted was to live a 
          Normal life.

                     DOC
          When will you wake up?  You
          Wouldn't know a normal life if it 
          Bit you in the ass.

                     WYATT
          That's great coming from you.

                     DOC
          I played the cards I was dealt, 
          Wyatt.  Your problem is you're 
          Always trying to play someone
          Else's.  Allow me to tell you the
          Truth and thus set you free:
          There is no happiness, Wyatt
          There is no normal life.  There's
          Only life, that's all.  Just life.
          The rest is relative.

                     WYATT
          Then what do I do?

                     DOC
          First you can grab that black-
          Haired woman and make her your own.

                     WYATT
          All right.  Then what?

                     DOC
          Run.  Take that girl and start
          Running.  Run and don't look back.
          All your life you been running
          And looking back and just barely
          Existing and calling it getting
          By.  This time run and don't look
          Back and call it living.  Live
          Every second, live it right up to
          The hilt.  Live, Wyatt...
               (pauses, takes his hand)
          Live for me.

Wyatt stares into his eyes, letting this sink in.  Just then, 
Doc looks up, as if something were pressing on him.  Then:

                     DOC
          Wyatt, please, if you were ever
          My friend, if you ever had even
          The smallest feeling for me, 
          Leave.  Leave now.  Please.

They look at each other and something passes between them, 
something so personal and powerful it transcends emotion.  
Wyatt starts to speak, but:

                     DOC
          Never mind, Wyatt.  I know.  Just go.

Doc turns away.  Wyatt exits.  Doc looks over at Father 
Feeney:

                     DOC
          Now let's see, Father.  What was
          That monkey show you were talking about?

                     FATHER FEENEY
          You mean Extreme Unction?

                     DOC
          That's it.  Better start that ball rolling.

Father Feeney nods, picking up his Missal.  As he starts to 
intone the Last Rites, Doc looks down at the end of the bed 
and sees his feet poking through the sheets.  They are bare.  
Doc smiles:

                     DOC
          I'll be damned...
               (looks at Feeney)
          This is funny.

INT - DENVER THEATER STAGE - NIGHT

A lively road company production of "H.M.S. Pinafore".  
Josephine and 3 chorus girls, all adorable in out-size sailor 
suits do the seamen's hornpipe to the resounding applause of 
the audience....

INT - DRESSING ROOM - NIGHT

Josephine and her fellow chorines, including the 1st Actress 
from before, all in various stages of undress, sit at the long 
mirror, removing their make-up and chatting:

                     1ST ACTRESS
          I can't get used to this thin air
          Here in Denver.  I thought I was 
          Going to faint on that last buck-
          And-wing.

                     JOSEPHINE
          I know, it's-

Suddenly the door bursts open.  Screams and stunned reaction.  
Wyatt rushes in and goes to Josephine who sits in stunned 
silence.  He falls to his knees and grabs the hem of her robe.

                     JOSEPHINE
          Wyatt!  My God...

                     WYATT
          Did you ever see the sun come up 
          Over the Rockies?  It hits all of
          A sudden and below there's
          California and you swear you're 
          Looking at heaven.

Wyatt stands, pulling her close, clasping her hands in his:

                     WYATT
          I have nothing left.  I have
          Nothing to give you.  I have no
          Pride, no dignity, no money.  I
          Don't even know how we'll make a
          Living.  But I promise I'll love
          You every second of your life.

                     JOSEPHINE
          Don't worry, Wyatt.  My family's rich.

INT/EXT - TRAIN - DAY

Brilliant sunlight, clean, crisp air as a train hurtles 
through a pass high up in the Rocky Mountains, blowing its 
whistle and sending a giant plume of steam billowing up over 
the sheer, towering, snow-topped mountain walls into the 
crystal-clear sky above.  Wyatt leads Josephine by the hand 
through the parlor car, both hardly able to contain 
themselves, brimming over with excitement and anticipation, 
like children waiting for Christmas morning and trying to 
ignore the group of REPORTERS dogging their footsteps, 
swarming around them, calling out to Wyatt:



                     1ST REPORTER
          Mr Earp!  One minute, please!  You
          And your four men have just
          Accomplished in one week what it
          Took the Texas Rangers four years
          To do.  Please, do you have any comment?

Wyatt and Josephine hunch down and duck through a knot of 
porters into the next car.  Only the 1st Reporter gives chase.  
Moving into the passenger car furthest forward, Wyatt leads 
her through the door to the platform over the coupling between 
cars.  Chugging up a steep grade toward a high crest, the 
train is immersed in shadows.  Wyatt points ahead to the 
approaching crest:

                     WYATT
          There.  It'll come up over that ridge.

Inside meanwhile, the 1st Reporter comes through the car and 
spots them up.  A business-type PASSENGER tugs on his sleeve:

PASSENGER
What's the commotion?  Who are they?

                     1ST REPORTER
          Don't you know?  That's Wyatt
          Earp, the Lion of Tombstone, and
          His lady fair.

Outside, still bathed in shadows, Wyatt and Josephine hang 
onto the railing and lean out, watching in as the train nears 
the top.

                     WYATT
          Get ready, here it comes!  Here it comes!

Then, as if on cue, they crest the mountain and are suddenly 
bathed in golden sunlight, their heads leaning from the train, 
Wyatt's blonde hair and Josephine's black tresses flowing in 
the breeze, their faces luminous, looking straight ahead 
toward their future.  Hold on this image as the sun gets 
brighter and brighter, finally making the frame white-out as 
we....

                                           FADE OUT:

EPILOG/DESERT : an OLD MAN and WOMAN walk arm-in-arm through 
the Mojave, tiny figures in a vast landscape, Sierras looming 
in the distance.

                     V.O. NARRATION
          "Wyatt and Josephine embarked on
          a series of adventures throughout
          the west, making and losing
          several fortunes, always living
          the high life, spending every
          winter, just the two of them,
          prospecting for gold in the
          desert foothills of southeastern
          California.  Up or down, thin or
          Flush, in 47 years they never
          Left each other's side."

The figures of the old man and woman fade away, leaving only 
the desert and the mountains which are eternal....

                     V.O. NARRATION
          "Wyatt Earp died in Los Angeles
          in 1929.  Among the pallbearers at
          his funeral were early western 
          movie stars William S. Hart and
          Tom Mix."

Flickering images from early Hollywood silent films split the 
frame: on one side the grim but impassioned figure of William 
S. Hart, the original western good-badman crouched menacingly 
behind a pair of sixguns, his costume dusty and severe; and on 
the other side Tom Mix, the original western fantasy hero, so 
light-hearted and optimistic with his sunny grin and fancy 
white outfit....

                     V.O. NARRATION
          "Tom Mix wept."


HOLD on these two images as the music swells and we....

                                           FADE TO BLACK.
THE END



Tombstone



Writers :   Kevin Jarre
Genres :   Action  Drama  Western


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