Gunsmoke – Season 22
Episode 673: Like Father, Like Son?
WRITER: Amanda
CAST:
Matt Dillon
– U.S. Marshal
Kitty
Russell Dillon – part-owner of the Long Branch Saloon
Doc Adams –
Festus Haggen – Deputy U.S. Marshal
Dillon
Carney – son of Stella Carney
Stella
Carney (from “The Peace Officer,” Season Six)
Carl
Hickman – gunman
Sam Noonan
Wilbur
Jonas
Edsel Pry
Moss Grimmick
Nathan
Burke
Howie –
hotel clerk
TEASER
FADE IN:
INTERIOR SHOT DAY: DOC’S OFFICE
CLOSE SHOT: MATT IS SITTING ON DOC’S
EXAM TABLE, HIS SHIRT OFF. DOC IS
LOOKING AT SOME VISIBLE BRUISES ALONG THE MARSHAL’S RIBS. WE SEE MATT TRY NOT TO REACT TO THE TOUCH,
BUT WHEN DOC RUNS HIS HAND OVER THE LEFT SIDE, MATT FLINCHES AND JERKS AWAY
SLIGHTLY.
DOC: Still
hurts, huh? Well, a few more weeks of
rest and –
MATT: A few
more weeks! Doc, it’s been two weeks
already. I’m going crazy just sitting
around. I don’t need any more rest.
DOC:
(swishing a hand over his mustache) Matt, those highwaymen worked you over real
good. For Pete’s sake, you were
unconscious for almost a week. I didn’t
know if – (He pauses uncomfortably.) I
didn’t know if you were going to wake up at all. And Kitty –
MATT:
(looking even more uncomfortable) I know, Doc.
THEY LOOK AT EACH OTHER FOR A LONG
MOMENT, BEFORE MATT SIGHS AND REACHES FOR HIS SHIRT. GINGERLY, HE EASES OFF THE TABLE, STILL
TRYING NOT TO LET DOC SEE HOW MUCH DISCOMFORT HE IS IN.
DOC:
(mumbling) Stubborn mule.
MATT:
(buttoning up his shirt) What’s that, Doc? (But we can
tell he heard the doctor.)
DOC: I said
you were a stubborn mule. Listen, Matt,
like I figured when I first examined you, I think you probably have a couple of
cracked ribs. That’s gonna take at least
another two weeks in bed. Even after
that, you’re gonna hurt for a good long while.
MATT: Doc –
DOC: You
know, you’re not as young as you used to be.
MATT:
(ironically) Was I ever young, Doc?
DOC:
(remembering) Boy, were you.
MATT:
(laughs slightly and starts to tuck in his shirt)
DOC: You
need more laudanum?
MATT: I
don’t need anything. Haven’t used what
you left before.
DOC: I
know. Kitty’s told me you’re not
sleeping. Said she gets up in the middle
of the night and you’re sitting in a chair.
MATT:
(frowning at being squealed on) That’s just more
comfortable right now. I’ll be fine.
DOC:
(frustrated) Sure. Sure. What do I care? Go ahead and be in pain.
MATT:
(smiling fondly at the well-meaning physician) Kitty’s waiting for me at the
DOC: (still
irritated, but giving a bit) Well, okay.
But only so I can say ‘I told you so’ when you start squirmin’.
MATT: (He
finishes tucking in his shirt and grabs his hat.) See you around noon.
DOC GRUNTS AS MATT OPENS THE DOOR AND
STEPS OUTSIDE.
MEDIUM EXTERIOR SHOT: MATT IS
STANDING AT THE TOP OF DOC’S STAIRS, LOOKING A LITTLE TENTATIVELY DOWN THE LONG
EXPANSE. WITH A GRIMACE, HE BEGINS TO
MAKE HIS WAY CAREFULLY DOWN, CLEARLY FAVORING HIS LEFT SIDE.
XXXX
CUT TO MEDIUM INTERIOR SHOT: THE
LONG BRANCH. KITTY IS BEHIND THE BAR
WITH SAM, LOOKING OVER THE BOOKS.
CLOSE INTERIOR SHOT: MATT STANDS AT
THE LONG BRANCH DOORS, LOOKING OVER INTO THE ROOM. HE SMILES AS HE SEES KITTY.
MEDIUM SHOT: MATT STEPS DOWN INTO
THE ROOM, LIPS PRESSED TIGHTLY TOGETHER FOR A MOMENT BEFORE HE LETS HIMSELF
SMILE AGAIN AT HIS WIFE.
CLOSE SHOT: KITTY CLOSES THE LEDGER
AND COMES OUT FROM BEHIND THE BAR TO GREET HIM.
FROM HER EXPRESSION, WE SEE THAT SHE HASN’T MISSED THE GRIMACE.
KITTY:
Hello, Cowboy. (She places a hand on Matt’s arm, not too obviously, but in a
gentle manner.) What’d Doc say?
MATT:
(shrugging, then stopping the motion abruptly) What I
told you he’d say. I’m fine.
KITTY: (Her
brow rises skeptically.) Uh huh. Did you tell
him about not being able to sleep?
MATT:
(frowning) Seems I didn’t have to. Someone else already did.
KITTY:
(innocently) Really?
MATT: Kitty
–
KITTY: Nevermind. I’ll get
the truth out of Doc later. You look
like you could use a drink.
MATT: (He
starts to protest, then sees the futility in it and nods.) That
I could.
KITTY: (to
Sam) A couple of ryes, if you don’t mind, Sam.
SAM: Don’t
mind a’tall, Miss Kitty.
THEY LEAN ON THE BAR, SIPPING THEIR
DRINKS AND LOOKING AT EACH OTHER, THEIR GAZES TENDER, NOT NEEDING TO SPEAK AT
ALL. AFTER A FEW MOMENTS:
MEDIUM INTERIOR SHOT: THE LONG
BRANCH DOORS. A BOY WALKS IN. HE IS SLIGHTLY OVER MEDIUM HEIGHT, HIS HAIR
BLONDISH-BROWN, HIS EYES BLUE. HE
DOESN’T LOOK MORE THAN SIXTEEN OR SEVENTEEN YEARS OLD. HIS CLOTHES ARE MORE IN THE STYLE OF A
CITY-DWELLER, EXCEPT FOR A LOW-SLUNG GUNBELT AND WIDE-RIMMED HAT. HE WALKS UP TO THE BAR.
BOY: (to all of them in general) Mornin’.
KITTY:
Morning.
MATT AND SAM NOD POLITELY.
BOY:
(trying to act grown up) Gimme a beer.
SAM: (raises
his brow) A beer? You
sure?
BOY: Of
course, I’m sure. (But he doesn’t look
too sure.)
SAM LOOKS OVER AT KITTY, WHO SHRUGS
AND NODS. HE DRAWS A BEER FOR THE BOY,
WHO TAKES A SIP AND GRIMACES.
CUT TO CLOSE SHOT ON KITTY: SHE TRIES TO HIDE A SMILE.
CUT TO MEDIUM SHOT ON SAM AND THE
BOY.
SAM: You
just into town?
BOY: Yessir – I mean, yeah.
SAM: Any
particular reason for your visit?
BOY: I’m lookin’ for a man.
Maybe you can help me.
SAM:
Maybe. What man are ya’
looking for?
BOY:
Marshal Matt Dillon.
SAM GLANCES TOWARD THE MARSHAL, BUT
DOESN’T IDENTIFY HIM.
CLOSE SHOT ON MATT AND KITTY. THEY LOOK UP EXPECTANTLY AND A LITTLE
WARILY. TOO MANY OTHERS HAVE COME TO
TOWN LOOKING FOR MARSHAL MATT DILLON FOR THEM NOT TO BE A LITTLE CAUTIOUS.
CLOSE SHOT ON MATT. HE STRAIGHTENS SLOWLY, WINCING WITH THE
MOVEMENT, BUT MASKING IT ALMOST IMMEDIATELY.
CAREFULLY, HE STEPS AWAY FROM KITTY. WE REALIZE THAT IT’S IN CASE THE BOY
DECIDES TO DRAW.
MATT: I’m
Marshal Dillon. What can I do for you?
BOY: (eyes
widening as his gaze scans up the tall body) You’re Matt Dillon?
MATT: I am.
BOY: (He
has a strange look on his face, something between glee and fear.) Uh, my name’s
Dillon Carney.
MATT AND KITTY EXCHANGE GLANCES AT
THE NAME.
BOY:
(looking around nervously, then focusing directly on Matt) I’m your son.
CLOSE SHOTS ON SAM AND KITTY,
SURPRISE ON THEIR FACES. FINAL CLOSE
SHOT ON MATT. HE IS CLEARLY STUNNED.
DISSOLVE TO MAIN TITLE
FADE OUT
XXXX
FADE IN:
ACT ONE
MEDIUM INTERIOR SHOT: THE LONG
BRANCH. IT IS ONLY MOMENTS AFTER DILLON
CARNEY’S SHOCKING ANNOUNCEMENT. EVERYONE
IS STILL JUST STARING AT THE BOY. AFTER
A LONG MOMENT:
MATT:
You’re what?
CARNEY: I’m
your son. Dillon Carney. My ma named me after you. Wanted me to know who my daddy
was.
MATT:
(still not quite sure he’s heard right) Your ma?
CARNEY:
Stella Carney.
CLOSE SHOT ON MATT. WE SEE RECOGNITION IN HIS EYES. CUT TO CLOSE SHOT ON KITTY. SHE RECOGNIZES THE NAME, AS WELL, A FROWN
DARKENING HER FACE.
MEDIUM SHOT: MATT, KITTY, AND CARNEY
MATT: Son – (He stops and decides to use another
word.) – Boy, your ma might be Stella
Carney, but I’m not your pa. I can tell
you that –
CARNEY: Oh,
I ain’t mad at you.
Don’t worry about that. She told
me you never knew about me. I can’t
fault you for that. I just want to be
around you some. Get to know you. Ma always talks so well about you, always
telling me how strong and brave you are.
And, of course, who hasn’t heard of Matt Dillon? I just wanted to – to meet you.
KITTY:
(stepping around Matt to face Carney) Where is your
mother now?
CARNEY:
Back home. I told her as soon as I was
grown I’d head out looking for my pa.
She expected it.
MATT: I’m
telling you, boy, I’m not your father. Your mother and I never – (He stops, flushing, and looks at Kitty.) We didn’t,
Kitty.
KITTY:
(smiling gently) I know, Cowboy.
CLOSE SHOT ON CARNEY. HE IS NOT SWAYED.
CARNEY: Ma
told me that you and she – uh – got together while you were rescuing her from a
group of evil men in the
MEDIUM SHOT: MATT, KITTY, AND CARNEY
MATT:
(growing more exasperated) It wasn’t the
CARNEY: I don’t expect nothin’ from you, Pa, except just to let me be around you
a while, that’s all.
MATT:
(raising his voice, clearly frustrated now) I’m not your pa. And –
CARNEY: (a
hurt expression on his face) Don’t you just want to
talk to me some? Find out about my
growing up? Teach me to shoot? (He grins and taps his holster.) I’ve been practicing lots, but I know I’m not
nearly as good as the great Matt Dillon, yet.
But if you taught me –
MATT: (His
slow-igniting temper is almost at a flame.) Boy –
MEDIUM SHOT: SEVERAL CUSTOMERS HAVE
BEGUN LOOKING, NOW. KITTY SEES THEM.
KITTY:
(moving in to place a hand on Matt’s arm) Matt, wait. Let’s all sit down and talk about this. Quietly.
MATT: Kitty
–
SHE LOOKS AT HIM, BROW RAISED, HANDS
ON HIPS. MATT SIGHS HEAVILY, THEN
GRIMACES IN REGRET AT THE PAINFUL MOVEMENT.
NODDING, HE COCKS HIS HEAD TOWARD A TABLE.
MATT: Have
a seat, boy.
CARNEY:
(grinning) I’d be obliged if you’d call me ‘Dillon.’
MATT:
(presses his lips together hard, then sighs) Dillon.
THE THREE OF THEM SIT AT A BACK
TABLE. FOR A MOMENT, NO ONE SAYS
ANYTHING. KITTY LOOKS RATHER CURIOUSLY
AT CARNEY.
KITTY:
Well, uh, Dillon, does your mother know you’ve come to find your – father?
MATT: Kitty, I’m not his –
CARNEY: No,
ma’am, that is, not exactly. But she’s
always known I’d do it when I got grown enough.
KITTY: And
you’re grown enough now?
CARNEY: I’m
almost seventeen.
KITTY: My.
MATT:
Stella told you I’m – I’m your father?
CARNEY:
She’s talked about you since I was too young to talk back. Always telling me you were tall as a tree –
she was sure right about that. And that
you were the best lawman in the country.
And how you saved her from a bad man who tried to – well, do things she
couldn’t ever talk about.
MATT: (not
as angry anymore, but still trying to figure out what has happened) And Stella
said that she and I – that we –
CARNEY:
(blushing) Well, I do know how babies get born, so I guess, I guess that had ta’ happen for you and her ta’
have me.
MATT: Look,
boy – uh, Dillon. It didn’t happen. I’m not your father.
CARNEY: Oh,
my ma wouldn’t lie to me, not about that.
She worked too hard to take care of us, to keep me fed and clothed. She took in boarders, washed clothes, baked,
and sewed. Just about anything she
could. I asked her once why we just
didn’t go and live with you, but she said you were so busy with your job that
we’d cause you trouble. Besides, she said you never knew I’d been
born. Guess she didn’t figure it’d be
fair ta’ bring in a young’un
on ya’.
KITTY:
Dillon, is your mother still in
CARNEY:
(uneasily) Yes, ma’am.
MATT: Look
boy – uh, why don’t you stay here with Kitty for a little while? (He looks meaningfully at her.) I have a
couple of things to tend to.
CARNEY:
(Smiles at Kitty. He likes her.) Sure,
MATT: (He
opens his mouth to deny him once more, then sighs and looks at Kitty, who can
only shrug.)
MEDIUM SHOT: MATT SHAKES HIS HEAD,
PUSHES UP FROM THE TABLE, AND WALKS OUT OF THE LONG BRANCH DOORS, MOVING MORE
SLOWLY THAN USUAL. SEVERAL CUSTOMERS
WATCH HIM WITH INTEREST.
MEDIUM SHOT: CARNEY AND KITTY WATCH
AS MATT LEAVES.
CARNEY:
He’s some man, isn’t he?
KITTY: He
sure is.
CARNEY: My
ma said I should be proud to have a pa like him. (He looks toward the door Matt just walked
through.) I’m gonna make him proud of
me, too. No matter what it takes.
CLOSE SHOT: KITTY AND SAM EXCHANGE
UNEASY GLANCES.
FADE OUT
XXXX
FADE IN:
ACT TWO
MEDIUM INTERIOR SHOT DAY: JONAS’
STORE. MR. JONAS IS WRAPPING UP A FEW
YARDS OF CLOTH FOR EDSEL PRY.
JONAS: Will
that be all, Mrs. Pry?
EDSEL: All
for now, Mister Jonas.
JONAS: I
can’t interest you in some lace?
EDSEL:
Frivolous.
JONAS: I
see.
EDSEL:
Mister Jonas, you seem to know a great deal about what goes on in this town.
JONAS:
(preening a bit) Yes, ma’am. I’m usually
pretty well informed about the important things.
EDSEL: Are
the rumors true?
JONAS:
Which ones?
EDSEL:
About Marshal Dillon’s son.
JONAS:
(looks around cautiously and sees no one near) Well, this young feller, can’t
be more’n seventeen, comes in and is askin’ all sorts of things about the marshal. What I know about him. Stories about shootouts and
brawls. Said he was tryin’ ta’ find out more about
his pa.
EDSEL: And
he said the marshal is his father?
JONAS:
That’s what he said.
EDSEL: What
does the marshal’s wife say about this?
KITTY (off
camera): She says it’s nobody’s business but the marshal’s.
JONAS AND EDSEL TURN SUDDENLY TO SEE
KITTY STANDING A FEW FEET AWAY IN THE THRESHOLD OF THE DOORWAY. HER EYES ARE FIERY AND HER STANCE INDICATES
BARELY CONTROLLED IRE. THE TWO GOSSIPS CLEAR
THEIR THROATS.
EDSEL: Miss
Russell.
KITTY: It’s
Mrs. Dillon.
EDSEL: (trying
to put on a haughty air, but not quite succeeding in the face of Kitty’s
intense gaze) Oh, yes, yes, of course.
JONAS: Uh,
Miss Kitty – I mean, Mrs. Dillon – we didn’t mean –
KITTY: Of
course not.
JONAS: Is
there something I can get you?
KITTY:
(hesitates, then decides to take the high road) I need a pound of cornmeal,
please, Mister Jonas.
JONAS:
(relieved) Yes, ma’am.
Coming right up. (He steps to the side to bag
the cornmeal.)
EDSEL: I
don’t believe the rumors, of course.
KITTY:
(holding the older lady’s gaze firmly) But you listen to them.
EDSEL: Well
–
KITTY: The
boy is not Matt’s son, but if he was, that would be between Matt and the boy.
EDSEL: And you, certainly –
JONAS RETURNS WITH THE BAGGED
CORNMEAL.
JONAS: Here
you are, Miss Kitty.
KITTY: (a
little too sweetly) Thank you.
SHE TURNS AND WALKS OUT OF THE
STORE, HEAD HELD HIGH. EDSEL AND JONAS
WATCH HER LEAVE, THEN EXCHANGE KNOWING LOOKS.
XXXX
CUT TO MEDIUM SHOT: THE LONG BRANCH.
BURKE AND FESTUS ARE LEANED OVER THE BAR, DRINKING BEERS. SAM IS WIPING GLASSES.
FESTUS: I’m
jes’ sayin’, Burke, it ain’t none a’ our bidness.
BURKE: And
you’re not the least bit curious, Festus?
FESTUS:
This ‘chere is betwixt Matthew and Miz Kitty. An’ ain’t none a’ your’n nor my
bother.
BURKE: You
think the boy’s tellin’ the truth? You think he’s really the Marshal’s son?
FESTUS:
(irritated now) Ain’t you listenin’ ta’ nothin’
I sed?
BURKE: But
what if it is true? I mean, him an’ Miss
Kitty just getting’ married and all, and adopting them kids? Sure would make things a little tense is all
I’m thinkin’.
FESTUS:
Burke, yer more gossipy than a’
ol’ spinster-woman.
BURKE SHRUGS, FINISHES OFF HIS BEER
AND LEAVES.
CUT TO CLOSE SHOT: FESTUS REMAINS
LEANING AGAINST THE BAR, BUT WE SEE SPECULATION IN HIS EXPRESSION.
XXXX
MEDIUM INTERIOR SHOT: DOC’S
OFFICE. MATT IS SITTING ON THE EXAM
TABLE, SHIRT ON, BUT UNBUTTONED SO THAT DOC CAN CHECK HIS INJURIES.
DOC:
(running his hand across Matt’s ribs) How are they
feeling?
MATT: Fine.
DOC: As if
I expected any other answer.
MATT: I
feel better, Doc. Really.
DOC: How’s
Kitty?
MATT:
(confused) Kitty? She’s fine, too.
DOC: I just
thought maybe, with what’s happened –
MATT: (His
brow gathers in a quick frown as he understands Doc’s question.) It’s all just a mistake, Doc. I wired the boy’s mother in
DOC:
(slightly alarmed) Coming here? You sure that’s a good idea?
MATT: Why
wouldn’t it be?
DOC: Well,
I’ve seen Kitty’s reaction to some of your old girlfriends.
MATT:
(frowning) She’s not an old girlfriend. I barely knew her.
DOC:
(looking doubtful) Uh huh.
MATT: You,
too?
DOC: What?
MATT: The
whole town seems to have no problem believing that boy is mine. I’m just surprised you’re right there with
them.
DOC:
(bristling) Now, I didn’t say that.
MATT: Do
you believe him?
DOC:
(carefully) I believe HE believes you’re his father.
MATT: Well,
I’m not.
DOC: Then
don’t you think you ought to put an end to these ridiculous rumors?
MATT: What
can I tell them, Doc? They already know
I said he’s not mine. If I keep denying
it, that makes it even stronger in their minds.
Besides, you just said it was ridiculous.
DOC: I
don’t want it to hurt Kitty.
MATT: Well,
I don’t either, but Kitty knows I’d never –
DOC: Does
she?
MATT: Of course.
I’ve never – (He frowns with a painful memory and his voice falls.)
DOC: (his
own voice softening) Now, I’m not talking about that. That’s different. I know you’re true to Kitty. But you were a young man when you met
Stella. There were lots of women who
made it clear they wanted you. Come to
think of it, there are still lots of women –
MATT: Doc,
I would never –
DOC: I know
that, but does Kitty?
MATT: Well,
sure she does.
DOC:
Sometimes women need a little reassurance now and then.
MATT: I’ve
told her –
DOC: I’m
talking about – physical reassurance.
MATT:
(gritting his teeth) I’m not going to discuss THAT with you, Doc. (He drops his voice and mumbles with a slight
smile.) Besides, that’s not a problem, at all.
DOC: What’s
that?
MATT:
Nothing.
DOC:
(deciding he’d better not push it further) Well, you’re comin’
along. If you’d stay in bed like I told
you, you’d be almost well by now. As it
is, you’re gonna be hurting a good long while still.
MATT: I’ll
deal with it.
DOC: You
need to deal with this other, Matt. For Kitty’s sake, if nothing else.
CLOSE SHOT: MATT FROWNS AT HIM, BUT
WE SEE THE ACKNOWLEDGEMENT ON HIS FACE.
LIPS PRESSED TIGHTLY TOGETHER, HE BEGINS TO BUTTON HIS SHIRT.
XXXX
CUT TO MEDIUM INTERIOR SHOT, DAY:
THE LONG BRANCH. THE BARROOM IS CROWDED
WITH COWBOYS AND DRIFTERS AND A FEW TOWNSPEOPLE. NATHAN BURKE IS LEANED AGAINST THE BAR,
TALKING WITH MOSS GRIMMICK. FROM BEHIND
THEM, WE SEE ANOTHER MAN ENTER. HE IS
ROUGH AND GRIMY FROM THE TRAIL, HIS GUNBELT A PROMINENT PART OF HIS DRESS. HE GLANCES AROUND THE ROOM, THEN STEPS UP TO
THE BAR NEXT TO BURKE.
SAM: Can I
help you, mister?
MAN: Gimme a beer. (He
digs in his vest pocket and flips a coin onto the counter.)
SAM: Sure
thing.
WE FOCUS ON BURKE AND HIS
CONVERSATION WITH MOSS.
BURKE: I ain’t sayin’ he is, and I ain’t saying he ain’t, but the
boy seems pretty sure.
MOSS: I
just don’t figger the marshal that way. (Lowers his voice.) I mean, we all know he an’ Miss Kitty have
been, uh, close fer a long time. If that’s his boy, it’d mean he – well, he stepped out on her. I just don’t figger
him fer it.
BURKE: A
man can do lots of things out there on the trail. The marshal’s seen some rough times. Maybe he was just tired, and –
MOSS: I
still don’t figger it.
MAN: You
men talkin’ about Marshal Dillon?
BURKE:
(frowning) What’s it to ya,
mister?
MAN:
(coolly) Oh, nothin’.
I was just wonderin’. (He straightens and extends his hand.) Name’s Hickman, Carl Hickman.
BURKE:
(hesitates, then takes his hand) Nathan Burke.
This here’s Moss Grimmick.
HICKMAN:
Say, how about I buy you fellas a drink?
BURKE:
(warming to him quickly) Well, now, that’s mighty
neighborly of ya’.
HICKMAN:
Glad to do it. (Waves
his hand at Sam.) Barkeep!
SAM:
(eyeing them warily) Yes, sir?
HICKMAN:
Another round for me and my friends, here.
SAM: All
right. (He takes their glasses for
refills.)
HICKMAN:
(turning back to Burke and Grimmick) Now, sounded
like you were talking something about the Marshal havin’ a kid –
FADE OUT
XXXX
FADE IN:
ACT THREE
MEDIUM INTERIOR SHOT: THE DILLON
HOUSE. KITTY IS ANSWERING A KNOCK AT THE
DOOR. WE SEE MA SMALLEY, BASKET OVER HER
ARM, STANDING OUTSIDE AS KITTY OPENS THE DOOR.
KITTY:
Well, Ma, what are you doing out here?
MA: Just
bringing a little stew. Had extra, and I thought about you and these young’uns.
Figured maybe you could use a break from cookin’.
KITTY:
(taking the basket from Ma) Well, I sure could.
Won’t you come in?
MA: Thank
you. (looks
around) Children not here?
KITTY:
School. They should be home in another
hour.
MA: That’s
best then. (She grows serious.) Kitty, I
thought maybe you’d like to – to talk.
You know, about – things.
KITTY: (She
places the basket on the kitchen table and turns, her face guarded.) What kinds
of – things, Ma? (We see she knows what
Ma means.)
MA: Look,
Kitty. It must be hard, finding out
something like that. Knowing that your
husband –
KITTY: The
boy is not Matt’s son.
MA: How do
you know?
KITTY: I
know.
MA: Well,
sure, okay. Funny, the boy does look a little like the marshal. Not nearly so tall, but –
KITTY: Ma,
you’ve known Matt for a long time, now.
(She hesitates, then decides to go ahead.) You know, too, I’m sure, that Matt and I have
been – together for a long time. We were
together when he brought Stella Carney back from Tascosa. Do you really think he would –
MA:
(quickly) No, ‘course not. (more slowly, and contradicting what she just said) But that was a long time ago, Kitty. Even if there’s something to it, it’s over
now, and you and Matt are married. Men
have needs, and sometimes young men let those needs lead them astray –
KITTY:
(angry) I know Matt’s needs. I knew them
then, and I know them now. And he’s
never needed anyone else to satisfy him but – (She stops, flushing, realizing
she’s said too much.)
MA:
(flustered) No, no, of course – well, hope you enjoy the stew. (Her voice softens and she smiles at Kitty.) I do know one thing, though. Matt Dillon loves you very much. Whatever has happened before, he’s yours now.
CLOSE SHOT: KITTY LOOKS SUDDENLY
UNCERTAIN. MA’S WORDS, ALTHOUGH
WELL-INTENDED, HAVE GIVEN HER PAUSE.
XXXX
CLOSE INTERIOR SHOT, NIGHT: MATT AND
KITTY ARE IN BED. SHE IS CURLED UP
AGAINST HIM, HER ARM DRAPED OVER HIS CHEST.
HIS HAND CARESSES HER BACK. THEY
BOTH SEEM A LITTLE TENSE, EVEN THOUGH THEY ARE IN AN INTIMATE POSITION.
KITTY: I
remember Stella.
MATT:
(winces) Kitty –
KITTY: She
was awful pretty.
MATT: Kitty
–
KITTY: And
I could tell she liked you just fine.
MATT:
(turning to brace on an elbow and wincing at the strain to his ribs) Kitty, I
told you –
KITTY:
(sitting up with him) Look, Matt. I’ve
been thinking. That was a long time ago,
and things were – well, not quite as certain between us. Things happen. You and she were out on the trail alone. She was injured.
MATT:
(sitting up completely now, his face shocked) Kitty, surely you don’t think
that I –
KITTY: I’m
just saying, I would – understand. (But her face shows she is trying vainly not
to be hurt.) And if that boy really is –
MATT:
(almost angry) Kathleen Dillon, I can’t believe you listened to rumors. And I really can’t believe you would think I
would ever have anyone but you. Or WANT
anyone but you.
KITTY LOOKS UP AT HIM, HER FACE
HOPEFUL.
MATT:
Kitty, since that first day I saw you in the café eating breakfast I was
hooked. It might have taken me a while
to admit it, but I was. And after –
after our first time together, there hasn’t been anyone else. (His face darkens suddenly, guilt sweeping
over it.) Except –
KITTY:
(quickly placing her fingers over his lips to stop him) No. She doesn’t
count. That wasn’t you. It wasn’t my Matt.
MATT:
(relieved, but still guilty) I love you, Kitty.
I don’t need anyone else. I don’t
want anyone else.
KITTY: Oh,
Matt.
MATT: I don’t know why Stella told that boy I was
his father, but maybe when she gets here we can clear it up. In the meantime –
KITTY:
(pushing him gently back down so that he is lying on the bed) In the meantime,
maybe I can show you why you don’t need
anyone else.
MATT: Yeah?
KITTY:
Yeah.
SHE LEANS DOWN AND KISSES HIM. THE KISS IS SLOW AND HOT AND FULL OF LOVE AND
PASSION. WHEN SHE FINALLY PULLS BACK,
BOTH OF THEM ARE BREATHING HARD.
MATT: You,
know, Doc thinks that sometimes women need a little reassurance about – things.
KITTY: He
does?
MATT: Yeah.
KITTY:
Well, what are you waitin’ for? Reassure me, Cowboy.
MATT PULLS HER BACK DOWN AND TURNS
HER IN HIS ARMS AS WE:
FADE OUT
XXXX
FADE IN:
ACT FOUR
MEDIUM EXTERIOR DAY SHOT:
HICKMAN:
Hey, boy!
CARNEY:
(stops as he sees the man) You talkin’
to me?
HICKMAN: I
hear you’re Matt Dillon’s kid.
CARNEY:
(proudly) Yeah.
HICKMAN:
You as good a yer daddy with a gun?
CARNEY:
(bracing as he begins to realize what Hickman is getting at) Maybe – maybe you
should find out.
LONG SHOT: A CROWD BEGINS TO GATHER,
ANTICIPATING A SHOWDOWN.
MEDIUM SHOT: CARNEY AND HICKMAN.
HICKMAN: I
owe yer daddy, boy.
Few years back he got the best of me, but I got me a chance ta’ get even. Let’s
see if he passed on anything to his young’un.
CARNEY:
(squaring nervously and working hard to look calm) Look, mister. I got no beef with you.
HICKMAN: I
got a beef with any Dillon. Right now
that’s you.
CARNEY: (He
figures he’s about to have to draw and lets his hand rest near his gun. We see determination in his eyes.) All right. If you
want a Dillon, you got one.
SEVERAL TOWNSPEOPLE STEP UP ON THE
BOARDWALK. CARNEY STEPS DOWN INTO THE
STREET.
CLOSE SHOT: FESTUS OPENS THE DOOR OF
THE JAIL AND SEES WHAT IS HAPPENING IN THE STREET.
FESTUS:
(flinging the door back open) Matthew!
MATT:
(looking up from his desk) What is it?
FESTUS: You
need ta’ git out chere.
CLOSE SHOT: HICKMAN STARES HARD AT
CARNEY.
CLOSE SHOT: CARNEY STARES BACK.
MEDIUM SHOT: MATT STRIDES FROM THE
JAIL AND SEES THE STAND OFF IN THE STREET.
HE PICKS UP HIS PACE TOWARD THE TWO, FESTUS TRAILING CLOSE BEHIND HIM.
MATT: Hold
it!
HICKMAN AND CARNEY TURN. WE SEE FRUSTRATION ON HICKMAN’S FACE
AND RELIEF ON CARNEY’S FACE. THE TENSION
BREAKS SLIGHTLY.
MATT:
What’s going on here?
HICKMAN:
(trying to act cool) Just seein’ if yer boy here measures up ta his
big daddy.
MATT:
(frowning in recognition) Hickman. Carl
Hickman.
HICKMAN:
(sarcastically) I’m honored you remember me, Marshal.
MATT: You
shouldn’t be. I told you four years ago
to get out of Dodge and stay out.
HICKMAN: A
man changes in four years, Marshal.
MATT: I
doubt you’ve changed.
HICKMAN:
Anyway, this is between me and your boy here.
Don’t you want him to fight his own fights?
MATT: Any
fight you have in Dodge, Hickman, is with me.
Leave the boy alone. (He squares
up, looking quite formidable.)
CLOSE SHOT ON HICKMAN: HE IS
SUDDENLY UNCERTAIN ABOUT HIS ACTIONS.
BITING HIS LIP, HE WEIGHS HIS CHANCES, THEN
DROPS HIS HAND.
HICKMAN:
Hell, Marshal, I wuz only seein’
if he had the gumpshun. You oughtta be
proud. Stood right up.
MATT: Get
out of here, Hickman.
HICKMAN:
(angry, but seeing that he’s at a disadvantage) All right, Marshal.
HE TURNS AND WALKS AWAY. THE CROWD BREATHS SIGHS OF
BOTH RELIEF AND DISAPPOINTMENT.
CARNEY LOOKS AT MATT.
CARNEY:
(angry) I coulda taken him.
MATT: That
man would have killed you, son.
WE SEE REACTIONS FROM THOSE
LISTENING AT MATT’S USE OF THE WORD “SON.”
THE MARSHAL DOESN’T REALIZE IT.
CARNEY: I gotta live up to my pa’s reputation someday. Might as well have been
today.
MATT:
(shaking his head) Look, how many times do I have to –
CARNEY:
I’ll prove myself to you. You’ll see.
HE WALKS OFF.
CLOSE SHOT ON MATT, WHO PRESSES HIS
LIPS TOGETHER AND FROWNS AS HE WATCHES THE BOY WALK AWAY.
XXXX
MEDIUM SHOT: STAGE DEPOT. PASSENGERS ARE DISEMBARKING. TWO PEOPLE GET OFF FIRST, THEN WE SEE A WOMAN
IN HER EARLY FORTIES STEP DOWN. HER BEAUTY IS FADED, BUT STILL
IMPRESSIVE. HER HAIR IS BLONDE, LIGHTLY
STREAKED WITH GRAY. SHE LOOKS UP
APPREHENSIVELY WHEN SHE REACHES THE GROUND.
CLOSE SHOT: MATT IS WAITING ON THE
BOARDWALK, WATCHING THE PEOPLE ARRIVE.
WE SEE RECOGNITION ON HIS FACE, MIXED WITH A SOFT MEMORY THAT HE QUICKLY
WIPES AWAY.
CLOSE SHOT: STELLA CARNEY. SHE SMILES UNEASILY AS SHE SEES MATT, AND
WALKS TOWARD HIM.
STELLA:
Matt.
MATT:
(tipping his hat) Stella. Thanks for coming.
THEY STARE AT EACH OTHER FOR A
MOMENT BEFORE MATT STEPS OVER TO GET HER BAG.
MATT: I got
you a room at the Dodge House.
STELLA: Is
that – where you live now?
MATT: No.
STELLA: I
guess we need to talk, huh?
MATT: I
guess so.
STELLA:
Take me to dinner?
MATT:
(stopping on the boardwalk) Stella, I’m married now.
STELLA:
(Her face falls, but she recovers.) Kitty?
MATT: Yeah.
STELLA:
Well, congratulations. The Dodge House
is fine.
MATT: We do
need to talk, Stella.
STELLA:
(uncomfortably) I know.
AS THEY WALK TOWARD THE DODGE HOUSE,
THE EYES OF THE CITIZENS OF DODGE FOLLOW THEM.
XXXX
MEDIUM SHOT: ROOM IN THE DODGE
HOUSE. STELLA AND MATT ENTER THE ROOM,
AND MATT PLACES HER BAG ON THE BED. SHE
TURNS TOWARD HIM, SMILING SADLY.
STELLA: You
look good, Matt. Still tall as a tree. (nods toward his right leg, indicating the limp) Is that from
anything in particular, or just years of getting beaten up and shot?
MATT:
(ignoring the question) Stella, why did you do it?
STELLA: I
don’t know what you –
MATT: Your
son almost got killed today because he thinks he’s MY son. Do you realize how many people would love to
get at me through my family? I have a
real one, now, Stella. And it scares me
every day what could happen to them. I
don’t need any false family to worry about, too.
STELLA:
(suddenly very scared) Killed?
MATT: He’s
all right, but –
STELLA:
(sighing) I didn’t think it would matter.
I just wanted him to believe that his father was a noble, courageous,
honest man. Not the corrupt, abusive,
two-timing scum that Clegg Rawlins was.
MATT: (nodding
as if he had already figured that) He’s the father?
STELLA:
(nods) He was dead before I even knew I was going to have a baby.
MATT: You
have to tell Dill – your son, Stella.
It’s not fair to him.
STELLA: Or
to you. I know.
SHE STEPS TOWARD HIM, PLACING HER
HAND ON HIS CHEST IN AN INTIMATE TOUCH.
MATT CLENCHES HIS TEETH TOGETHER, BUT DOESN’T MOVE BACK.
STELLA: I
wanted you, Matt. Surely you knew
that. I wanted you to want me, too. (wistfully) You were
so kind, and so good, and so handsome. I
could imagine –
MATT:
Stella, don’t –
SHE RUNS HER HAND UP AROUND HIS NECK
AND INCHES FORWARD TO KISS HIM. JUST
BEFORE THEIR LIPS MEET, MATT CATCHES HER HAND AND TUGS IT DOWN, STEPPING
BACK. STELLA SIGHS SADLY.
STELLA: You
loved her then, too. I guess you still
do.
MATT:
Stella, I’m sorry you thought –
STELLA:
(shaking her head) No.
You never led me on. I just hoped
– (She steps away from him and turns her back.)
I’ll tell him tonight. Is he – is
he okay?
MATT: He’s
a good boy, Stella. You did well. But you need to get him out of here as fast
as you can.
STELLA: I
just wish he didn’t have to know who his real father was.
MATT IS ABOUT TO SAY SOMETHING WHEN
A KNOCK INTERRUPTS THEM. MATT STEPS TO
THE DOOR AND OPENS IT. HOWIE, THE HOTEL
CLERK, LOOKS AT STELLA, THEN BACK TO MATT.
MATT: What
is it, Howie?
HOWIE: Uh,
drifter came in, Marshal, sayin’ that a man was hurt
in the alley behind the Lady Gay. Maybe dead. Wondered
if I knew where you were. (He glances
uneasily at Stella.) I, uh, I didn’t say
you were with – the lady.
MATT: (eyes
narrowing) A drifter?
HOWIE:
(still looking at Stella suspiciously) Yes, sir.
MATT:
Anyone you’ve seen before?
HOWIE:
Couple of times at the Lady Gay.
MATT: Okay,
thanks, Howie.
HOWIE LINGERS, WATCHING STELLA. MATT FROWNS, AND SHUTS THE DOOR, TURNING BACK
TO STELLA.
MATT: I’ll
be back later. You’re going to tell him?
STELLA:
Tonight.
HE NODS AT HER AND STEPS OUT OF THE
ROOM. CLOSE SHOT ON STELLA: TEARS FILL
HER EYES AS SHE WATCHES HIM GO.
XXXX
MEDIUM EXTERIOR SHOT: MATT STEPS
CAUTIOUSLY INTO THE ALLEY BEHIND THE LADY GAY.
WE HEAR A MAN MOANING FURTHER IN.
MATT WALKS DEEPER INTO THE ALLEY.
IN THE SHADOWS, WE SEE SLIGHT MOVEMENT.
MATT:
Anybody back here? You need help?
A FIGURE HOLDING A BOARD STEPS UP
BEHIND MATT AND SWINGS THE BOARD AGAINST HIS LEFT SIDE. WITH A HARSH GRUNT, MATT DROPS TO THE GROUND,
HIS ARMS CRADLING HIS ALREADY-INJURED RIBS.
INCAPACITATED BY THE PAIN, HE IS UNABLE TO MOVE, MUCH LESS FOLLOW HIS
ATTACKER.
CUT TO CLOSE SHOT: WE SEE THAT
HICKMAN IS THE ONE WHO HAS ATTACKED MATT.
HE NODS IN SATISFACTION AND WALKS CALMLY FROM THE ALLEY.
CLOSE SHOT: MATT IS LYING ON THE
GROUND, TEETH CLENCHED AND EYES CLOSED TIGHT AS HE TRIES TO GET CONTROL OVER
THE PAIN.
XXXX
MEDIUM INTERIOR SHOT: THE LONG
BRANCH. SAM IS STANDING BEHIND THE
BAR. KITTY IS SITTING AT A TABLE, GOING
OVER THE BOOKS. AT THE DOOR, STELLA
CARNEY PAUSES, LOOKS IN AND SPOTS KITTY.
WITH A DEEP BREATH, SHE ENTERS.
KITTY LOOKS UP, SURPRISED. SHE DOESN’T RISE, BUT WAITS FOR STELLA TO
COME TO HER. SAM WATCHES A BIT WARILY.
STELLA:
Kitty. It’s been a long time.
KITTY: It
has.
STELLA: You
look wonderful. The years have been
kind.
KITTY:
Thank you.
STELLA: May
I sit?
KITTY:
(throws a hand casually toward a chair) Be my guest.
STELLA: I
wanted to see you, Kitty, and tell you – tell you I’m sorry. I’m sorry for any embarrassment or pain I’ve
caused you.
KITTY DOESN’T RESPOND, BUT WAITS FOR
HER TO CONTINUE.
STELLA:
There was nothing between Matt and me. (smiles wistfully) Not that I didn’t want there to be, but he
wouldn’t let it. When I found out I was
going to have a baby, I was already in
KITTY: I
know.
STELLA:
I’ll tell Dillon, and we’ll go. It’ll be
hard for him to accept.
KITTY:
He’ll be all right.
STELLA: I
have to say, Matt’s still quite a man.
KITTY: I
know that, too.
STELLA:
(smiling sadly) I guess you do.
THEIR CONVERSATION IS INTERRUPTED BY
NOISE FROM THE STREET. KITTY AND STELLA
RISE AND WALK TOWARD THE SWINGING DOORS OF THE LONG BRANCH.
CUT TO MEDIUM EXTERIOR SHOT:
CUT TO CLOSE EXTERIOR SHOT: CARNEY
SEES HIM. HE SWALLOWS, THEN GRITS HIS
TEETH AND STEPS OUT ONTO THE STREET, AS WELL.
HICKMAN: Yer daddy’s not around now ta’
help you none, boy.
CARNEY: I
don’t need anyone’s help.
HICKMAN:
That remains to be seen.
THEY SQUARE OFF, HANDS HOVERING OVER
THEIR GUNS. PEOPLE SCRAMBLE OFF THE
STREET, KEEPING THEIR EYES ON THE TWO MEN.
JUST AS WE THINK ONE OF THEM WILL DRAW, WE HEAR:
STELLA:
Stop! Dillon, please!
CUT TO MEDIUM SHOT: KITTY, SAM, AND
STELLA ARE STANDING, HORRIFIED, OUTSIDE THE LONG BRANCH.
CARNEY: Get
back, Ma. I’ll be all right. It’s in the blood. You told me so.
STELLA: No,
it’s not! It’s not in your blood!
CARNEY:
What are you talking about?
STELLA:
You’re – you’re not Matt Dillon’s son. I
lied!
CARNEY: I
don’t believe you.
STELLA RUSHES OUT INTO THE STREET TO
STAND IN FRONT OF CARNEY.
STELLA:
It’s true. Please don’t do this.
HICKMAN:
Get outta the way, lady. Yer boy’s gonna be
a man today.
STELLA:
(pleading) Dillon, don’t do this. Matt
Dillon is not your father. I wished he
was. I wanted him to be
so much that I started believing it myself.
CARNEY:
(still looking straight at Hickman) If he’s not my pa, then who is?
STELLA:
(hesitates a moment, then decides she must tell him the truth) Your father was a no-account, corrupt small-town sheriff who
never cared anything for me and died before you were born.
CARNEY:
(pained to hear this, but still looking at Hickman) No! I won’t believe that! You’re just trying to keep me from getting
hurt.
STELLA:
(voice softening) I’m sorry, Dillon. I named
you that because I didn’t want you to grow up thinking you were sired by Clegg
Rawlins. I named you after the best man
I’d ever known.
HICKMAN:
She’s lying, kid. Get the hell outta the way, woman, or I’ll kill you, too.
STELLA: I
won’t let you do it.
HICKMAN:
Draw, boy. Or are you too puny to fill
your daddy’s big boots?
CARNEY:
(fury gathering in his eyes) I’ll show you how puny I am!
HIS HAND GOES FOR HIS GUN, BUT WE
HEAR A FAMILIAR VOICE, STRAINED BUT CLEAR.
MATT: Hold
it!
CUT TO CLOSE SHOT: MATT IS STANDING
NEXT TO THE BOARDWALK. HE IS NOT
STANDING COMPLETELY STRAIGHT, AND HE IS SWAYING NOTICABLY. WE ARE NOT QUITE SURE HOW HE IS STAYING ON
HIS FEET.
MEDIUM SHOT: OUTSIDE THE LONG
BRANCH. KITTY STARTS TO MOVE TOWARD HIM, BUT SAM CATCHES HER ARM AND STOPS HER.
HICKMAN:
(not turning) Stay outta this, Marshal. Let your boy fight his own fights.
MATT: Any
fight you have today, Hickman, is with me.
CARNEY: I
can do it, Marshal.
MATT: (a
little breathless) What good will it do you to beat a
boy at the draw, Hickman? Why don’t you
try drawing on a man, instead?
THE TAUNT WORKS. HICKMAN SNARLS AND SWIRLS AROUND, HIS GUN
ALREADY IN HIS HAND AS HE RAISES AND FIRES TOWARD MATT. BUT THE MARSHAL, DESPITE HIS WEAKNESS AND
PAIN, SLIDES THE GUN FROM HIS HOLSTER AND FIRES ALL IN ONE SMOOTH MOTION.
HICKMAN’S GUN FIRES WIDE. THE GUNMAN’S JAW DROPS IN
CUT TO CLOSE SHOT ON CARNEY: HE
BREATHES IN RELIEF AND SHAKILY REPLACES HIS HALF-DRAWN GUN IN HIS HOLSTER.
CUT TO CLOSE SHOT ON STELLA: SHE IS
CRYING IN RELIEF.
CUT TO CLOSE SHOT ON MATT: HE SWAYS
A LITTLE MORE, THEN THE COLOR DRAINS FROM HIS FACE, AND HE DROPS TO HIS KNEES,
HIS STRENGTH GONE.
KITTY:
Matt!
MEDIUM SHOT: KITTY RUSHES TOWARD HIM
FROM THE LONG BRANCH, SAM FOLLOWING HER.
DOC APPEARS FROM HIS OFFICE AND HURRIES DOWN THE STAIRS AS BEST HE CAN.
CUT TO MEDIUM SHOT: STELLA AND
CARNEY IN THE STREET. SHE TRIES TO HUG
HIM, BUT HE STEPS BACK, LOOKING STRICKEN.
CARNEY:
Why? Why did you tell me he was my
father?
STELLA: I
thought – I thought I was doing the right thing. Clegg Rawlins was nothing I wanted my son to
be like. But Matt Dillon –
CUT TO CLOSE SHOT: MATT IS LYING, HEAD IN KITTY’S
KITTY: Doc?
DOC: I
don’t know, Kitty. It’s the same place
he was hurt before. Looks like somebody
slammed a two-by-four against him. I can
feel at least one rib broken.
FESTUS: But
he’s gonna be arrite, ain’t he?
DOC: (looks
up at Kitty, his expression unsure) Let’s get him up
to my office;
SEVERAL MEN GATHER AROUND TO HELP
LIFT MATT CAREFULLY.
CUT TO CLOSE SHOT: STELLA IS
CLUTCHING CARNEY’S ARM.
STELLA:
Matt Dillon is a noble, brave, handsome man.
A man I wanted to be the father of my son.
CARNEY:
But, why –
STELLA: I
tried to raise you right, Dillon, to have pride. I wanted you to have someone to look up to,
to be proud of, to be like.
CARNEY: (He
stares at her for a long moment, then his gaze softens and he smiles.) But, I
do, Ma.
STELLA: You
can’t keep on saying that Matt Dillon is your father.
CARNEY: I’m
not talking about him. I’m talking about
you.
SHE CLOSES HER EYES IN RELIEF AND
HUGS HIM. HE HUGS BACK.
FADE OUT
XXXX
FADE IN:
EPILOGUE
MEDIUM INTERIOR SHOT, DAY: DOC’S
OFFICE. MATT IS ONCE AGAIN PERCHED ON
THE EXAM TABLE, HIS SHIRT DRAPED OVER A CHAIR SO THAT DOC CAN CHECK ON HIS
INJURIES. HIS LEFT SIDE IS DISCOLORED
WITH DEEP BRUISES. KITTY IS WATCHING,
HER EXPRESSION CAUTIOUS, BUT NOT TOO WORRIED.
DOC SHAKES HIS HEAD AND CLUCKS HIS TONGUE.
MATT WINCES AS DOC PUSHES A
LITTLE TOO HARD AGAINST HIS SIDE.
DOC: You’re
not taking it easy, are you?
MATT: I’m
not back at work.
DOC: (He
looks pointedly at Kitty.) That’s not what I’m talking about.
KITTY:
Doc! Matt’s been seriously hurt. Do you think we would – nevermind. Don’t answer that.
DOC: Two
more weeks before you even set one foot in that jailhouse,
and I mean it.
MATT:
(starts to protest, but decides not to) One little broken rib –
DOC: That
could have punched right through your lung, and then you wouldn’t be sitting
here arguing with me at all.
KITTY: (a
pained expression at the thought) Two more weeks, Doc. I’ll make sure he takes it easy.
DOC: Hmph. That’s like puttin’ the bear in charge of the honey.
MATT:
(smirks) Didn’t you say women need a little
reassurance now and then?
DOC:
(blushing) Get outta here, both of you, before I tell
Bobby and Emily you want them to sleep right between the two of you every night
until they grow up and leave home.
MATT:
(wincing) You play dirty, Doc.
HE EASES OFF THE TABLE VERY
GINGERLY. KITTY SLIDES AN ARM AROUND HIS
WAIST, BUT DOESN’T IMPOSE TOO MUCH. WITH
HER HELP HE SHRUGS BACK INTO HIS SHIRT AND TUCKS IT IN.
DOC: I hear
Stella and Dillon are headed back to
KITTY:
That’s right.
DOC: The
boy seems to accept the truth now. Maybe
Stella did do the right thing, after all.
MATT: A boy
can’t run away from his roots, Doc. But
he can overcome them.
KITTY:
Maybe he can move on and be his own man.
DOC: I hope
he can. You headed home?
MATT: Well
–
KITTY:
(firmly) Yes, we are.
(She looks pointedly at Matt.)
MATT:
(giving in easily) Yes, we are.
DOC NODS FONDLY AT THE TWO AND
SWIPES HIS MUSTACHE AS THEY LEAVE.
CLOSE EXTERIOR SHOT: MATT MAKES HIS
WAY SLOWLY DOWN THE STEPS WITH KITTY AT HIS SIDE. WHEN THEY REACH THE BOTTOM WE HEAR:
CARNEY:
(off stage) Marshal!
CUT TO MEDIUM SHOT: CARNEY AND
STELLA ARE WALKING TOWARD MATT AND KITTY.
THEY SEEM HAPPY OR AT LEAST RESOLVED TO THE SITUATION.
KITTY:
Dillon. Stella. (She grasps Matt’s arm harder and a little
possessively.)
STELLA:
You’re looking better, Matt.
MATT:
Feeling better, thanks.
STELLA: I
want to thank you again for – for what you did.
MATT: You
two off on the stage?
STELLA:
Yes. We’re headed back to
KITTY NODS IN ACCEPTANCE.
CARNEY:
(extending his hand) I understand why my ma did it, Marshal, but I have to say
I’m sorry you’re not my pa. I’d be awful
proud if you were.
MATT:
(shaking the boy’s hand) Well, son, I’d be awful proud, too.
CARNEY GRINS IN DELIGHT. STELLA SMILES GRATEFULLY AT
MATT. KITTY LOOKS UP AT HIM
TENDERLY.
STELLA:
We’d better get going.
KITTY: Good luck to you, Dillon.
CARNEY:
(tips his hat) Thank you, ma’am.
KITTY AND MATT WATCH THEM WALK
TOWARD THE STAGE.
KITTY:
(shaking her head) Well, are there any more out there?
MATT:
Anymore what?
KITTY: Any
more of your old girlfriends.
MATT:
(uncomfortably) Kitty –
KITTY:
Because I’m feeling like I just might need some more reassurance.
MATT: (His
brow rises as he catches on, and we see the heat in his gaze.) Well, now. I believe I can provide that. (He tucks her hand into the crook of his arm,
and guides her toward the
KITTY:
(murmuring, but clear enough as they walk away) I know you can, Cowboy. I know
you can.
DISSOLVE TO CREDITS
FADE TO BLACK: END OF EPISODE