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. Fi | 
