Gunsmoke – Season 23
A ruddy drop of manly blood
The surging sea outweighs;
The world uncertain comes and goes,
The lover rooted stays.
Ralph Waldo Emerson
Essays. First Series. Epigraph to Friendship
Episode 705: A Ruddy Drop
Matt Dillon – U.S. Marshal
Kitty Russell Dillon – part-owner of the Long Branch Saloon
Festus Haggen – Deputy U.S. Marshal
Doc Adams –
Bobby Dillon – son of Matt and Kitty
Beth Ann Dillon – daughter of Matt and Kitty
Emily Dillon – daughter of Matt and Kitty
Captain Crandall – Army surgeon
EXTERIOR LONG SHOT (MIDDAY): STAGE CROSSING OVER OPEN COUNTRY.
CUT TO INTERIOR CLOSE SHOT: INSIDE THE STAGE. MATT AND KITTY ARE SITTING TOGETHER. SHE IS SMILING AT HIM. HE SMILES BACK. WE SEE NO OTHER PASSENGERS IN THE STAGE.
KITTY: And you really think the children are –
MATT: They’re fine, Kitty. Emily is with them, and much as I hate to admit it, she’s a young woman, now.
KITTY: I guess you’re right. If she and Quint are gonna have a family of their own –
MATT WINCES AT THE THOUGHT, AND KITTY LAUGHS.
KITTY: Hard to think about, huh?
KITTY: You really think it won’t
take long in
MATT: Judge said no more than a
day and a half, then we’re on our way to
KITTY: (beaming) I can’t
wait. Four days, just the two of us.
(She snuggles up to Matt’s arm.) Good thing we’ve been to
MATT: Why’s that?
KITTY: (She places a hand on his chest and fingers one of the buttons of his shirt.) We don’t have to worry about missing the sights.
MATT: (resting his hand over hers on his chest) Seems to me we didn’t worry too much about missing the sights last time.
KITTY BLUSHES A BIT AND LOOKS AT HIM, HER EXPRESSION BOTH LOVING AND SEDUCTIVE.
MATT: (leaning closer and speaking softly) There is one sight I don’t plan to miss.
KITTY: What’s that?
MATT LEANS IN TO KISS HER. IT’S A GENTLE TOUCH AT FIRST, BUT WHEN HER ARM SLIDES AROUND HIS BACK, HE ALLOWS THE KISS TO DEEPEN. THE EMBRACE QUICKLY BECOMES MORE HEATED AS MATT’S LIPS TRAIL DOWN HER NECK, AND SHE ARCHES, HER EYES CLOSING IN PLEASURE. SUDDENLY, HE PULLS BACK FROM HER AND CLEARS HIS THROAT, LOOKING RATHER SHEEPISH.
KITTY: (a little breathless) You okay, there, Cowboy?
MATT: Yeah. Sorry.
MATT: You just – made me forget where we were for a minute.
KITTY: Maybe you’ll forget again
when we get to
MATT: (smiles) I feel sure I will.
SHE LEANS IN AND GIVES HIM A SOFT, BRIEF KISS. JUST AS SHE STRAIGHTENS, THE SUDDEN SOUND OF GUNFIRE STARTLES THEM.
MATT: (looking out the stage window) Highwaymen.
KITTY FOLLOWS HIS GAZE, HER EYES WORRIED. MATT PULLS KITTY TO THE FLOOR OF THE STAGE, THEN KNEELS HIMSELF, DRAWING HIS GUN.
MATT: Stay down.
WE HEAR MORE GUNFIRE, SEE THE DUST FROM HORSES SWIRLING OUTSIDE THE STAGE WINDOW.
CUT TO EXTERIOR MEDIUM SHOT: THE STAGE DRIVER IS FURIOUSLY TRYING TO OUTRUN THE OUTLAWS. THE SHOTGUN RIDER FIRES AS SEVERAL RIDERS COME UP TOWARD THE STAGE. HE IS HIT AND FALLS FROM THE TOP OF THE STAGE.
CUT TO INTERIOR SHOT: WE SEE THE BODY OF THE SHOTGUN RIDER FALL PAST THE WINDOW. KITTY SCREAMS OUT. MATT FIRES FROM THE WINDOW. BULLETS SPLINTER OFF THE WOOD NEAR HIM, AND HE DUCKS.
EXTERIOR SHOT: ANOTHER
MATT: Kitty! (He stares for a brief moment, then gathers her in his arms.) Kitty!
KITTY IS LIMP, NOT RESPONDING TO HIM. MATT TURNS TO LOOK BACK OUT THE WINDOW, HIS EXPRESSION A PAINFUL MIXTURE OF FURY AND ANGUISH.
CUT TO EXTERIOR MEDIUM SHOT: THERE ARE TWO RIDERS LEFT. MATT FIRES TWICE, TAKING THEM BOTH OUT. ONE OF THE WHEELS OF THE STAGE BREAKS JUST AS THE DRIVER IS MANAGING TO SLOW IT, CLUTCHING HIS CHEST AS HE TRIES WITH ONE HAND TO CONTROL THE TEAM.
CUT TO INTERIOR SHOT: MATT AND KITTY ARE THROWN ABOUT INSIDE. AS SOON AS THE STAGE STOPS, MATT SCRAMBLES BACK TO TAKE HER IN HIS ARMS AGAIN, TEARING AT THE MATERIAL OF HER DRESS TO CHECK HER WOUND. WE SEE FROM HIS EXPRESSION THAT IT ISN’T GOOD. HE SHOVES OPEN THE DOOR OF THE STAGE AND STANDS, GRIMACING AS HE DOES.
CUT TO EXTERIOR MEDIUM SHOT: THE DRIVER IS LYING ACROSS THE SEAT ON TOP OF THE STAGE. WE SEE HE WON’T LAST LONG.
MATT: (yelling up to the driver) Where are we?
DRIVER: (gasping) ‘Tween Lamar – and Las – Animas.
MATT: You okay?
DRIVER: No. Are – you?
MATT: My wife’s been hit.
THE DRIVER DOESN’T RESPOND.
THERE IS STILL NO RESPONSE FROM THE DRIVER.
MATT STEPS CLOSER TO THE FRONT OF THE STAGE SO THAT HE CAN GET A BETTER LOOK AT THE DRIVER. WE SEE THAT THE MAN HAS FALLEN SIDEWAYS IN THE SEAT, HIS EYES STARING UNSEEING. MATT REALIZES THE MAN IS DEAD AND TURNS BACK TO KITTY.
MATT: All right.
(to himself) Lamar and Las
Animas. That means
MATT LOOKS AT THE STAGE WHEEL THAT HAS BROKEN, THEN STEPS TOWARD THE TEAM OF HORSES. WE SEE THAT HE IS LIMPING, MOVING CAREFULLY. HE IS SOMEHOW HURT, BUT WE CAN’T TELL WHERE. HE UNHITCHES THE HORSES AND PULLS ONE OF THE LEAD HORSES WITH HIM. HE TAKES OUT A POCKET KNIFE AND SAWS AT THE LONG REINS UNTIL THEY ARE SHORT ENOUGH TO HANDLE. GATHERING KITTY IN HIS ARMS, HE STANDS NEXT TO THE HORSE, AND WE SEE THAT HE IS TRYING TO FIGURE OUT HOW HE IS GOING TO MOUNT THE HORSE WITH NO SADDLE AND WITH KITTY IN HIS ARMS. AFTER A MOMENT, HE TUGS THE HORSE CLOSER TO THE STAGE AND HAULS HIMSELF UP ONTO THE STAGE FLOOR, KITTY STILL IN HIS ARMS. AWKWARDLY, HE GRABS AT THE MAKE-SHIFT BRIDLE AND SWINGS HIS RIGHT LEG OVER THE HORSE’S BACK, BARELY MANAGING TO RIGHT HIMSELF BEFORE HE GOES OVER. HIS BREATH HEAVING, HE BENDS OVER HER LIMP BODY FOR A LONG MOMENT BEFORE SETTLING HER AGAINST HIM AND TAKING THE SHORTENED REINS IN ONE HAND, CLICKING AT THE HORSE AND RIDING AWAY.
CUT TO EXTERIOR LONG SHOT: MATT AND KITTY RIDING ACROSS THE OPEN COUNTRY.
EXTERIOR LONG SHOT (AFTERNOON): MATT RIDES UP TO AN ENCLOSED STOCKADE.
EXTERIOR SHOT: A SIGN ABOVE THE GATE PROCLAIMS IT TO BE
EXTERIOR MEDIUM SHOT: MATT LOOKS UP AT THE SENTRY.
MATT: I’m a United States Marshal. Need a doctor.
THE SENTRY CALLS DOWN TO SOMEONE BEHIND THE GATE AND THE GATE SLOWLY OPENS FOR MATT. HE RIDES INTO THE MAIN AREA, THE EYES OF SEVERAL SOLDIERS FOLLOWING HIM. TWO SOLDIERS COME UP TO MEET HIM.
SOLDIER ONE: Let me help you, Marshal. (He reaches up for Kitty.)
RELUCTANTLY, MATT ALLOWS THAT SOLDIER AND ONE OTHER TO TAKE KITTY’S LIMP BODY FROM HIS ARMS, KNOWING HE CAN’T DISMOUNT STILL HOLDING HER.
MATT: Be careful with her.
SOLDIER TWO: We will. (He looks at her, then his eyes flicker warily back to Matt.) She don’t look too good, Marshal.
MATT DISMOUNTS STIFFLY, HANGING ON TO THE HORSE’S MANE FOR A LONG MOMENT BEFORE HE LETS HIMSELF STAND UNAIDED. THE FRONT OF HIS COAT IS COVERED IN KITTY’S BLOOD.
MATT: Where’s your doctor?
SOLDIER ONE: Captain Crandall’s in the hospital. (He nods toward a low-porched structure about fifty yards away.) We can take her –
BUT BEFORE HE CAN MOVE, MATT TAKES HER BACK IN HIS ARMS AGAIN AND LIMPS TOWARD THE HOSPITAL, IGNORING THE OFFERS OF HELP FROM THE SOLDIERS. AS HE DUCKS INSIDE, WE SEE A YOUNG ARMY OFFICER WEARING A WHITE COAT TURN TO HIM. HE GLANCES AT MATT, HIS EYES WIDENING WHEN HE SEES KITTY IN THE MARSHAL’S ARMS.
CRANDALL: Who are you?
MATT: (pushing past him to lay Kitty gently on the table) She’s been shot. I need you to look at her.
CRANDALL: You can’t just come in –
BUT ONE LOOK AT MATT’S FACE HALTS HIS PROTEST. HE NODS AND BENDS OVER KITTY, CUTTING AWAY THE BLOOD-SOAKED MATERIAL. AFTER A MOMENT, HE DROPS HIS HANDS, SIGHS, AND TURNS BACK TO MATT.
CRANDALL: I’m sorry. She’s dead.
CUT TO CLOSE SHOT: MATT’S FACE. HE IS STARING AT CRANDALL, HIS MOUTH OPEN IN SHOCK, HIS EYES DISBELIEVING AS WE
DISSOLVE TO MAIN TITLE
MATT: What? (His voice rasps with emotion.)
CRANDALL: Look, I’m sorry, but she’s dead. There’s nothing I can do for her.
MATT: (still not moving) Dead?
CRANDALL: It’s a bad wound. You had to know she wouldn’t make it. I’ll have someone take her body –
MATT: (voice strained) I’d appreciate it if you’d – look at her again.
CRANDALL: (shaking his head) It won’t do any –
MATT: (more urgently this time) Look at her again.
CRANDALL: I told you. She’s dead.
SUDDENLY, MATT GRABS THE DOCTOR BY THE FRONT OF HIS COAT AND SHOVES HIM UP AGAINST THE WALL. THREE SOLDIERS WATCHING TRY TO REACT, BUT THEY AREN’T SURE WHAT TO DO.
MATT: (teeth clenched, looking as close to losing control as we’ve ever seen him) Look at her again.
CRANDALL: Are you crazy?
MATT: I said look at her!
CRANDALL SHAKES HIS HEAD, PULLING HIMSELF AWAY FROM MATT’S GRIP AND TURNS ONCE MORE TO LOOK AT KITTY’S BODY. HE SIGHS AND REACHES DOWN TO LIFT ONE EYELID, THEN PRESSES HIS FINGERS TO HER WRIST. SUDDENLY, HE RAISES UP AND STARES AT MATT BEFORE HE CALLS OUT TO A SOLDIER NEARBY.
CRANDALL: Evans! Go find
CUT TO CLOSE SHOT: MATT’S EYES DART BACK TO KITTY.
CUT TO MEDIUM SHOT: CRANDALL IS BENT OVER KITTY. THERE IS LOTS OF ACTIVITY IN THE BACKGROUND.
CRANDALL: It’s barely there, but I got a pulse. She still might not make it –
MATT: She will. (He says this as if he is trying to convince himself, as if he cannot consider any other possibility.)
CRANDALL: (nods) I’ll do my best. I’ll need you to wait outside.
MATT: No –
CRANDALL: (softer) Please, Marshal. I’ll come get you if –
MATT SWALLOWS AGAIN AND NODS, RELUCTANTLY BACKING OUT THE DOOR ONTO THE NARROW PORCH. HE STARES OFF AT NOTHING FOR A FEW MOMENTS, THEN DROPS HEAVILY ONTO A BENCH AGAINST THE OUTSIDE WALL. TUGGING OFF HIS HAT, HE RUNS A BLOODY HAND THROUGH HIS HAIR, THEN LOWERS HIS HEAD IN BLATANT GRIEF.
CUT TO EXTERIOR MEDIUM SHOT (NIGHT): OUTSIDE OF THE HOSPITAL. IT’S BEEN SEVERAL HOURS SINCE MATT ARRIVED AT THE FORT.
CUT TO CLOSE SHOT: CRANDALL, WEARING A WHITE APRON SMEARED WITH BLOOD STEPS THROUGH THE DOORWAY, LOOKING EXHAUSTED. HE PLACES HIS PALMS AGAINST HIS LOWER BACK AND STRETCHES.
CLOSE SHOT: MATT SEES HIM, STANDS INSTANTLY, AND APPROACHES HIM. MATT STILL WEARS THE BLOOD-STAINED COAT. HE CAN ONLY STARE AT THE DOCTOR, AS IF HE CAN’T BRING HIMSELF TO ASK THE QUESTION AND HEAR TRAGIC NEWS.
CRANDALL: (with a tired smile) Well, I don’t know how, exactly, but I think she might actually make it.
MATT: (He breathes out hard and ducks his head so that Crandall can’t see his reaction. After a moment, he looks up, his jaw tight, and manages to say one word.) Thanks.
MATT TAKES HIS GUN FROM HIS HOLSTER AND TURNS IT IN HIS HAND, OFFERING IT BUTT-FIRST TO CRANDALL.
CRANDALL: What’s this?
MATT: Do what you need to do.
CRANDALL: About what?
MATT: (surprised) What I did could be considered – assault.
CRANDALL: (looks at the gun for a long moment, then shrugs) I don’t know what you’re talking about.
MATT: But –
CRANDALL: One of the men told me you’re a U.S. Marshal.
MATT NODS SLOWLY AND REPLACES THE PISTOL IN HIS HOLSTER.
CRANDALL: (takes a deep breath) Look, we can keep her here for a while, but if you have a room in town, it might be best to move her there in a few days. Quieter. Cleaner, too, probably.
MATT: (still shocked) Captain –
CRANDALL: Marshal, I’m assuming that’s your wife in there, and I got to figuring that if I was in the same position you were, I’d probably do the same thing. (runs a weary hand through his hair) Now, I’m gonna get some sleep.
MATT: Can I see her?
CRANDALL: (hesitates, then nods) Sure.
MATT: (hoarsely) I’m obliged.
CRANDALL: (smiling) Maybe I’ll need a favor from a U.S. Marshal one day.
MATT: I’ll be waiting.
MATT LETS HIS SHOULDERS SLUMP IN OBVIOUS RELIEF AND TAKES A STEP TOWARD THE DOOR, BUT HE SWAYS SUDDENLY AND STARTS TO FALL.
CRANDALL: Hey! (He grabs Matt’s elbow, then shifts his arm around the marshal’s waist when he realizes he can’t support his weight.)
MATT’S COAT GAPES OPEN, AND WE SEE AN ALARMING SPREAD OF BLOOD INSIDE HIS COAT, ACROSS THE RIGHT SIDE OF HIS SHIRT MIDWAY BETWEEN HIS CHEST AND WAIST. WE REALIZE THIS IS MATT’S BLOOD.
CRANDALL: (yelling back into the hospital) I need some help out here!
THREE SOLDIERS RUSH FROM INSIDE THE HOSPITAL AND HELP CRANDALL CATCH MATT BEFORE HE COMPLETELY COLLAPSES. TWO MORE JOIN IN WHEN IT’S APPARENT THAT THEY’LL NEED MORE MUSCLE TO CARRY THE BIG MAN. THEY STRUGGLE WITH HIM THROUGH THE DOOR AND INTO THE LAMP-LIT ROOM.
CRANDALL: (following them) Get him on a table!
INTERIOR MEDIUM SHOT: THE
CRANDALL: (grabbing two soldiers closest to him) Collins, Tucker, get those clothes off him. I need to see what I’m dealing with here.
THE TWO SOLDIERS NOD AND BEGIN PULLING OFF MATT’S COAT.
CLOSE SHOT: CRANDALL WINCES AND WIPES AT HIS WEARY EYES, THEN TURNS AWAY FROM THE TABLE AND REACHES FOR HIS INSTRUMENTS ONCE MORE. SIGHING, HE CALLS OVER HIS SHOULDER.
MEDIUM SHOT: A YOUNG, EAGER-LOOKING SOLDIER HURRIES TOWARD THE DOCTOR, HIS HAIR THE COLOR AND TEXTURE OF HAY.
CRANDALL: (nodding toward the table) I need your help again.
CRANDALL: U.S. Marshal, and her husband, I’m pretty sure.
CRANDALL: Nope. He left himself out there. Didn’t even let on he was hurt until I finished with her. Don’t think he would have then, except –
CRANDALL: Well, I sort of figured it out when he passed out on the porch. (picking up his instruments to move them) Get the chloroform.
CUT TO MEDIUM SHOT: MATT LIES, UNMOVING, ON THE TABLE, A SHEET COVERING HIM TO THE WAIST. HIS UPPER BODY IS BARE AND BLOOD-SPLATTERED. CRANDALL LEANS OVER HIM, FROWNING IN CONCENTRATION AS HE PROBES AT THE MARSHAL’S SIDE.
CUT TO CLOSE SHOT: MATT GRIMACES FIERCELY AND GROANS.
CLOSE SHOT: CRANDALL GLANCES UP AT HIS PATIENT’S FACE.
CRANDALL: Give him more chloroform. He’s coming around again.
CRANDALL: (not looking toward his assistant, but still focused on his work) Not as good as I’d like. He’s taken two hits, but one’s not too bad. This one right here, though – (He leans back a bit so the corporal can see where he’s working.) Bullet’s in there deep and you can already see signs of infection. See?
CRANDALL PAUSES, THEN LOOKS UP OVER MATT’S BODY. HE AND
INTERIOR MEDIUM SHOT: TWO SOLDIERS, BOTH WEARING PRIVATE’S STRIPES, ARE GOING THROUGH CLOTHING. THEY APPEAR TO BE IN THEIR LATE TEENS OR EARLY TWENTIES. WE SEE A FAMILIAR GREY COAT, NOW STAINED WITH BLOOD. ONE OF THE SOLDIERS LIFTS THE WIDE GUNBELT ADMIRINGLY.
TUCKER: Big feller.
COLLINS: (placing the gun belt on the table) Yep.
TUCKER: He really a
COLLINS: That’s whut I heard.
TUCKER: An’ thet’s his wife in th’ other room?
COLLINS: I reckon.
TUCKER: How’s she doin’?
COLLINS: (shakes his head) Doc sez she’ll probably live, but she don’t look too good right now.
TUCKER: Can see she’s purdy though, even roughed up like thet.
COLLINS: Yeah. (He lifts Matt’s big boots from the table and places them on the floor.)
TUCKER: Thet marshal shore is lucky.
COLLINS: If he lives.
TUCKER: Yeah. Wonder whut his name is.
COLLINS: (He lifts Matt’s gray jacket and pulls out a long leather case from the inside pocket.) Sez here Matthew Dillon, United States Marshal.
CUT TO CLOSE SHOT: A PASSING SOLDIER, SHORT AND STOCKY, HEARS THE NAME AND FREEZES, HIS EYES WIDE AND ALMOST WILD. HE LOOKS TO BE SEVERAL YEARS OLDER THAN THE OTHERS. WE SEE SERGEANT’S STRIPES ON HIS SLEEVES. HE STARES AT THE OTHER SOLDIERS.
TUCKER: Dillon? I heard of him.
COLLINS: ‘Course ya have. Who ain’t heard of Matt Dillon? They said he was big as a mountain but I just figured they wuz only stories. Believe ‘em, now.
SERGEANT: (stepping into the scene) Collins. Tucker.
COLLINS: (stands suddenly) Sergeant Wilks!
TUCKER: (standing also) Uh, evenin’, Sergeant.
THEY ARE OBVIOUSLY NERVOUS AROUND THIS MAN.
WILKS: What’d – uh, what’d you say about Matt Dillon?
COLLINS: Doc’s got him in the surgery. (importantly, as if he has exclusive knowledge) Been shot.
TUCKER: Woman, too. His wife, I think.
WILKS: (surprised) His wife?
COLLINS: (squinting at Wilks) You know him, Sergeant?
WILKS: (clearing his throat) Oh, no, no.
TUCKER: (suspiciously) Looks like ya’ do.
WILKS: No. Just – you know – heard of him, that’s all. (scowls) Who ain’t?
COLLINS: Reckon thet’s true.
WILKS: He gonna live?
TUCKER: Don’t know. Lost a lot of blood. Didn’t even tell Doc he wuz hurt. Just made shore the woman got took care of.
WILKS: How’d they get here?
COLLINS: One of the sentries said he just rode up on a team horse carrying her. Looks like maybe a stage wrecked or somethin’.
WILKS: But how’d they get shot?
TUCKER: Reckon somebody wuz shootin’ at ‘em.
COLLINS: (sarcastically) You reckon? (He glances toward the front of the fort.) Major sent a patrol out ta’ check a while back.
WILKS: (to Collins) Listen, you come git me when he wakes up, you understand.
COLLINS: If he wakes up. (He picks up Matt’s torn, bloodied shirt and shakes his head, tossing the ruined garment aside.)
WILKS: (confidently) He will. (to himself) He’d better.
TUCKER: What about th’ woman?
WILKS: I don’t care about – (But he stops, an idea gleaming in his eyes) Yeah. Yeah. Her, too.
CLOSE INTERIOR SHOT (NIGHT): KITTY’S FACE. THE GLOW FROM A KEROSINE LAMP REVEALS HER PALE FACE FRAMED BY HER FIERY HAIR, WHICH IS LOOSE FROM IT USUAL COMBS AND PINS. A GROAN SLIPS FROM HER LIPS AS SHE MOVES HER HEAD SLOWLY FROM SIDE TO SIDE.
PULL BACK TO MEDIUM SHOT: WE SEE THAT SHE IS LYING IN A NARROW BED, THE ARMY-ISSUE BLANKET PULLED UP TO HER CHEST. SOMEONE HAS MANAGED TO DRESS HER IN A SIMPLE ARMY UNION SHIRT. IT SOMEHOW DOESN’T DIMINISH HER FEMININITY. CRANDALL SITS ON A FIELD STOOL NEXT TO HER, HIS EYES BOTH ADMIRING AND SAD AS THEY WATCH HER.
KITTY: (mumbling) Matt –
CRANDALL SIMPLY SHAKES HIS HEAD.
CRANDALL: (He looks up surprised, then laughs humorlessly.) I should have thought of that already.
CRANDALL: Matt Dillon.
CRANDALL: That’s who he is. Matt Dillon.
CRANDALL: Yep. Couple of the soldiers already checked their clothes. Found his identification. (He smiles sadly.) And a photograph of him and her and three kids.
CRANDALL: Can’t believe everything you hear.
CRANDALL: (laughs ruefully) Me neither.
CRANDALL: I suppose.
CRANDALL: (tightly) Yeah.
CRANDALL: Me, too.
CLOSE SHOT: CRANDALL SIGHS AND WINCES, PATTING KITTY GENTLY ON THE HAND BEFORE HE PUSHES TO A STANDING POSTION.
CRANDALL: Me, too.
LINGERING FOR JUST A MOMENT LONGER, HE FINALLY TURNS AND LEAVES.
CLOSE SHOT: KITTY. HER EYES ARE STILL CLOSED, BUT HER BROW IS FURROWED.
KITTY: (another mumble) Matt –
INTERIOR CLOSE SHOT (DAY): WINDOW OF THE SURGERY. THE SUNS SHINE IN BRIGHTLY.
THE CAMERA MOVES FROM THE WINDOW, ACROSS THE ROOM, TO PAN ACROSS A NARROW BED. WE SEE MATT LYING IN THE BED, BARE-CHESTED, A THICK BANDAGE AROUND HIS ABDOMEN. HE IS UNCONSCIOUS AND PALE WITH A STUBBLE OF BEARD DARKENING HIS JAW. PERSPIRATION GLISTENS LIGHTLY ON HIS FOREHEAD AND CHEST, INDICATING A FEVER.
CUT TO CLOSE SHOT: THE DOORWAY OF THE ROOM. SERGEANT WILKS STANDS, LOOKING TOWARD THE BED.
CUT TO MEDIUM SHOT: WILKS STEPS INSIDE, HIS EYES NARROWED AND FULL OF MALICE. HIS HAND SLIDES TO HIS SIDEARM AND LINGERS UNTIL CRANDALL ENTERS FROM ANOTHER DOOR, LOOKING UP TO SEE WILKS. HE STOPS FOR A MOMENT, HIS GAZE STRANGELY UNCERTAIN AND WARY. THEN, HE CLEARS HIS THROAT AND ADDRESSES WILKS.
CRANDALL: Morning, Sergeant. Something I can do for you?
WILKS: (dropping his hand from the gun) Nope. (He says this smoothly with a confidence unusual for an enlisted man addressing an officer.) Just asking after your patient.
CRANDALL: (glances uneasily toward Matt) Any reason?
WILKS: (with more than a touch of sarcasm) Heard we had the great Matt Dillon among us.
CRANDALL: (eyes narrowing) Who told you that?
WILKS: I just heard. Wanted to see for myself.
CRANDALL: You know the Marshal?
WILKS: (He shrugs and doesn’t answer the question directly.) He is kinda famous, you know.
CRANDALL: (carefully) Yes.
WILKS: He gonna live?
CRANDALL: (seems to relax a bit as he moves his attention to his patient’s condition) Not sure yet. If I’d gotten to him sooner – (laughs bitterly) If he’d let me get to him sooner, maybe. But that bullet stayed in long enough to start festering. He’s got a full-blown fever to fight now.
WILKS: So he might die? (His voice is almost eager.)
CRANDALL: (frowning at Wilks) Not if I can help it.
WILKS: Heard there was a – woman with him.
CRANDALL: (hesitating) Yeah.
WILKS: His wife, they said.
CRANDALL: Yes, I believe so. (getting a bit irritated now) Is there anything else you need, Sergeant? I need to tend my patients.
WILKS: Not right now. Might be later, though. You’ll – be around, right? (jerks his chin toward Matt) In case he needs ya’?
CRANDALL NODS, HIS DEMEANOR SUDDENLY NERVOUS. WILKS GIVES HIM A SMILE THAT LOOKS MORE LIKE A SNARL AND LEAVES. CRANDALL WIPES AT HIS FOREHEAD AS HE LOOKS AFTER WILKS FOR A FEW SECONDS BEFORE SHAKING HIS HEAD AND TURNING BACK TO MATT.
CLOSE SHOT: THE MARSHAL IS MORE RESTLESS, NOW, HIS HEAD MOVING BACK AND FORTH AGAINST THE PILLOW.
MATT: (muttering) Kitty – no – not – Kitty –
CLOSE SHOT: CRANDALL LOOKS DOWN AND SIGHS, PRESSING HIS LIPS TOGETHER. WE SEE THE WORRY IN HIS EYES.
MEDIUM SHOT: CORPORAL YORK STEPS UP BESIDE CRANDALL, HIS GAZE FOLLOWING WHERE WILKS HAS WALKED.
CRANDALL: (attempting to be casual) Just checking on the Marshal.
CRANDALL: (quickly, as if he doesn’t want to talk about this) I wouldn’t know. Did you send that telegram?
CUT TO CLOSE SHOT: MATT’S FACE. SWEAT RUNS FREELY DOWN HIS JAW AND NECK. HE GROANS AND BEGINS THRASHING ABOUT MORE, STILL MUTTERING KITTY’S NAME.
MEDIUM SHOT: YORK AND CRANDALL BEND OVER HIM, EACH TRYING TO BRACE HIS BROAD SHOULDERS TO KEEP HIM FROM MOVING AROUND AND DOING MORE DAMAGE TO HIS WOUNDS.
CRANDALL: Keep him as still as you can. I’ll get more laudanum.
HE TURNS TO A TABLE, LIFTS A GLASS CONTAINER, AND POURS THE LIQUID FROM IT INTO A SPOON. CAREFULLY, HE RETURNS TO MATT’S SIDE, EASING THE SPOON TOWARD THE LAWMAN’S LIPS.
CRANDALL: Hold him.
CRANDALL: Just for a minute.
CRANDALL: (shakes his head) No.
CRANDALL: (sighing) No.
CLOSE SHOT: CRANDALL CONTINUES TO STARE AT MATT FOR ANOTHER LONG MOMENT, THEN LIFTS HIS GAZE TO
DISSOLVE TO CREDITS
FADE TO BLACK: END OF PART ONE
Gunsmoke – Season 23
A ruddy drop of manly blood
The surging sea outweighs;
The world uncertain comes and goes,
The lover rooted stays.
Ralph Waldo Emerson
Essays. First Series. Epigraph to Friendship
Episode 706: A Ruddy Drop – Part Two
Matt Dillon – U.S. Marshal
Kitty Russell Dillon – part-owner of the Long Branch Saloon
Festus Haggen – Deputy U.S. Marshal
Doc Adams –
Bobby Dillon – son of Matt and Kitty
Beth Ann Dillon – daughter of Matt and Kitty
Emily Dillon – daughter of Matt and Kitty
Captain Crandall – Army surgeon
EXTERIOR LONG SHOT (DAY):
BETH ANN IS STANDING AT DOC’S DESK, AN ASSORTMENT OF GLASS BOTTLES AND JARS BEFORE HER. SHE RUNS A CLOTH INSIDE EACH BOTTLE, PLACING IT BACK DOWN ON THE DESK WHEN SHE FINISHES. ONCE THE BOTTLES ARE DONE, SHE PICKS UP A SILVER MEDICAL INSTRUMENT AND BEGINS RUBBING IT WITH A CLOTH. AFTER A MOMENT, DOC ENTERS FROM OUTSIDE, SMILING WHEN HE SEES HER.
BETH ANN: How’s Mrs. Cooper doing?
DOC: She’ll be fine.
BETH ANN: (surprised) The way she was caterwallin’, you’d a thought she was dying.
DOC: (laughs) Just ate too many persimmons, that’s all. (He peers over her shoulder to look at what she has been doing.) Well, now. Those look mighty good. Mighty good. Don’t think I could have done better myself.
BETH ANN: (smiling in pleasure) Thank you.
DOC: (absently) How are your folks? Their trip going well?
BETH ANN’S PLEASED EXPRESSION FALTERS. WHEN SHE DOESN’T ANSWER RIGHT AWAY, DOC TURNS QUICKLY TO HER.
DOC: Beth Ann?
BETH ANN: We haven’t heard from them, Doc.
(surprised) You haven’t? Not even when they got to
BETH ANN: (shakes her head) No, and I really thought maybe we’d get a telegram by now. (She blushes a little.) ‘Course they could be – busy. I mean with all of us in the house, they don’t have a lot of privacy, and –
DOC: (brushes over his mustache and clears his throat) What do you know about – privacy?
BETH ANN: (grinning) Oh, Doc, I’m not a kid anymore, you know. I understand about men and women needing – privacy.
DOC: (a little horrified over what she might know) What, uh what do you understand, exactly?
BETH ANN: Well, I know men and women need kissin’ and huggin’ and – stuff. (lowers her voice as if she is sharing a confidence) A few months ago, our teacher got sick at school, and we all got to leave early. I figured I could get home and surprise Mama by helping get supper ready. I was so excited, I guess, that I didn’t notice Buck was tied up outside. I opened the door, and – (She pauses, blushing a bit.)
DOC: (as if he’s almost afraid to ask but can’t help himself) And what?
BETH ANN: Well, they were lying by the fireplace on top of one of Mrs. Ronniger’s quilts she gave us.
DOC: (frowning) Lying?
BETH ANN: And they were huggin’ and kissin’.
DOC: Oh, for Pete’s – (really afraid to ask) Were they, uh, wearin’, uh –
BETH ANN: (looks down at the bottles she is scrubbing and smirks) Mostly.
DOC: What did they do when they saw you?
BETH ANN: (a true grin now on her face) They scrambled up about as fast as they could, considerin’ they were kinda tangled up. Mama’s hair was hanging all around her shoulders, and Daddy was tryin’ to explain somethin’ about takin’ a nap. (She giggles.) But I knew better. (confidently) I know all about romance.
DOC: (his worry transferred now to her) You do?
BETH ANN: Sure. I read this dime novel a while back. It was about this woman from down South who comes out West lookin’ for adventure. She finds a handsome lawman who’s too devoted to his badge to let her get close to him, but she works her way into his heart, and –
DOC: (He’s not believing this.) You’re making that up.
BETH: (holds up her hand) If I’m lyin’, I’m dyin’.
DOC: (snorts) You’ve been spending too much time around Festus.
BETH: (gives him a sidelong glance that lets us know she’s teasing) Besides, I don’t mind when they show affection. I like it when they touch and look at each other and smile. They love each other so much. Makes me feel loved even more myself. (She’s a little teary-eyed now.) I’m awful grateful to have them as my parents.
DOC: (a little teary himself) And they’re grateful to have you as their daughter.
BETH ANN: (Her expression fades to worry.) I’m getting’ worried about them, though, Doc. Even if – even if they took time to – to be alone, they would have sent a telegram lettin’ us know they got there okay. Don’t you think?
DOC: (hedging) Oh, I’m sure they – they just have
been – busy, that’s all. Probably got there just in time for the trial. Then, they had to catch the train to
BETH ANN: You really think so?
(trying to put on a good front) Sure, I do.
You just wait. I’ll bet you get
that telegram tomorrow telling you how grand
BETH ANN: (perking up) Yeah. I’ll bet, too. (She puts up the last instrument.) Well, I’d better head home. Emily’s cooking tonight, and she’s gonna need help. I sure hope Quint knows how to cook, or they might never have a decent meal after they’re married.
DOC: (laughs) I don’t think he cares, judging from how he looks at her.
BETH ANN: Mrs. Ronniger says ‘love is blind.’ I guess it hasn’t got any taste buds, either.
THE DOOR CLOSES ON HER LAUGHTER AS WE
CUT TO CLOSE SHOT: DOC’S SMILE FADES. AS THE CAMERA PANS IN VERY CLOSE, WE SEE THE LINES OF WORRY ETCHED DEEPLY INTO HIS FACE.
MEDIUM INTERIOR SHOT:
CRANDALL: Doesn’t seem to be enough.
CRANDALL: But she wasn’t. If he hadn’t –
CRANDALL: I suppose.
CRANDALL NODS, BUT DOESN’T LOOK CONVINCED. SIGHING AGAIN,
CRANDALL: (to himself) Gotta be something else I can do.
CUT TO MEDIUM SHOT: WILKS APPEARS IN THE DOORWAY, HIS EYES SQUINTING TOWARD THE DOCTOR.
WILKS: Do about what?
CRANDALL LOOKS UP STARTLED FOR A MOMENT. WHEN HE SEES WHO IT IS, HIS EXPRESSION HARDENS.
CRANDALL: What do you need, Sergeant?
WILKS: I came to volunteer for hospital duty.
CRANDALL: The Major makes those assignments.
WILKS: You can fix it with the Major.
WILKS: (glaring) Don’t matter.
CRANDALL: (He stands, and we see that he is taller than Wilks, but the sergeant seems to dominate the scene.) This is about Dillon, isn’t it?
WILKS: I don’t know what you’re talkin’ about.
CRANDALL: What do you want with him?
WILKS: What do you care?
CRANDALL: He’s my patient.
WILKS: Don’t mean nothin’. You care any more about him than you did about Brifford’s kid?
CRANDALL: (flushing) What do you mean by that?
WILKS: Just sayin’ you didn’t seem to care one way or the other when they brought that boy in and you’d –
CRANDALL: (blanches) You said you wouldn’t –
WILKS: (shrugs) Sometimes I talk in my sleep. Hospital detail might keep me quiet.
CRANDALL: The boy would have died even if I hadn’t –
WILKS: Even if you hadn’t been stinkin’ drunk when you dug into his innards? Be a shame for the colonel to know.
CRANDALL: (after a long pause) You won’t – do anything to Dillon?
WILKS: Now, why would I do anything to the good marshal?
CRANDALL: (He grits his teeth, seeing no other choice.) I’ll – arrange it.
WILKS: (nods) Obliged.
WILKS LEAVES, AND CRANDALL DROPS INTO A CHAIR AND LOWERS HIS HEAD TO REST
IN HIS PALMS.
CRANDALL’S HEAD JERKS UP, HIS EYES ANGUISHED.
CRANDALL: (sighing in resignation) I wasn’t – myself. I had gotten a letter from my wife earlier that day. Our – our baby had been sick – a fever. Got too high. He – he died. (He chokes back a sob.) I couldn’t – I needed – the bottle was right there, and I just – (He swallows to regain some control.) It was about empty when they brought in the colonel’s son. He was only ten, and he was howling about his stomach hurting. It was his appendix. By the time I got to it, it had burst – couldn’t have saved him anyway.
CRANDALL: (nods) He knew I’d been drinking. Threatened to tell the colonel unless I helped him get his third stripe back.
CRANDALL: He was a sergeant a long time ago. Got busted down to private for something. I’m not sure what. Had worked back up to corporal. I pulled a few strings after – after it happened and got his rank back.
CRANDALL: Apparently, he doesn’t think so.
CRANDALL: (almost in a snarl) Nothing good.
Don’t have much choice. (He holds
CRANDALL: What about her?
CRANDALL STARES AT HIM, MOUTH OPEN, HIS EYES SUDDENLY WIDE WITH FEAR. HE HAS NOT CONSIDERED THIS.
MEDIUM INTERIOR SHOT (DAY):
DOC: I told Beth Ann everything was fine, but – I don’t know, Festus. I’m – I’m getting a little worried myself.
FESTUS: Oh, fiddle, Doc. Ol’ Matthew and Miz Kitty is jest – (He squints a bit and gives Doc a knowing look.) Wael, they’s jest, you know, havin’ themselves a little private time. (He leans toward Doc, as if he is sharing a confidence.) I figger you done fergot whut it’s like, but us men in our prime –
DOC: (sputtering) Prime! If you think you’re in your prime – and I haven’t forgotten what it’s – why, you thick-headed –
CUT TO MEDIUM SHOT: THE SALOON DOORS. BARNEY, THE TELEGRAPH OPERATOR, PUSHES OPEN THE DOORS AND PEEKS IN. HE LOOKS TOWARD DOC’S AND FESTUS’ TABLE, THEN STEPS TOWARD THEM.
BARNEY: There ya’ are, Festus. I bin lookin’ all over for ya’.
DOC: All over? Where else would he be except right here, mooching off people who can’t remember anything – (He frowns at Festus.) Say, since I’ve forgotten so much, I might just forget that I’m paying for these drinks –
FESTUS: (waving a dismissing hand toward the doctor) Oh, you cain’t tek no joke.
DOC: No, no. You were not joking –
BARNEY: (urgently) I hate ta’ interrupt, Doc, but I got this important telegram.
DOC: (holding out his hand) Oh. Well, give it here.
BARNEY: But it’s for Festus.
DOC: Festus! (disbelieving) Somebody sent Festus a telegram?
BARNEY: It says to the Deputy U.S. Marshal.
FESTUS: An’ thet’s me. (He reaches for the paper.) How come ya’ think nobody’d sent me a telee-gram?
DOC: What good would it do since you can’t –
BARNEY: Festus, I gotta give it to you. Be against the oath I took if I didn’t, but – well, I think maybe Doc oughta read it.
FESTUS: Telee-grams is private, Barney.
DOC: This one’s gonna be extra private since even its recipient isn’t going to know what it says.
FESTUS: Yer jest gruffly ‘cause –
BARNEY: (almost desperate now) Festus, I really think you ought ta’ let Doc read it. (pause) It’s about the Marshal.
SUDDENLY, BOTH DOC AND FESTUS STRAIGHTEN AND LOOK AT BARNEY. FESTUS TAKES THE TELEGRAM FROM THE OPERATOR AND IMMEDIATELY HANDS IT TO DOC, WHO HESITATES ONLY A MOMENT BEFORE OPENING IT.
CUT TO CLOSE SHOT: DOC’S FACE. AS HE READS, HIS EYES DRAW DOWN AND HE FLINCHES. AFTER A MOMENT, HE LOWERS THE PAPER AND LOOKS UP.
CUT TO MEDIUM SHOT: FESTUS AND DOC.
FESTUS: Whut is it, Doc?
DOC: Matt’s been shot.
FESTUS: (stands abruptly) Shot! How?
Doesn’t say. Just that they have him and
a woman in their hospital at
FESTUS: A woman?
DOC: Well, Kitty, of course.
FESTUS: But if they ain’t knowing who she is –
DOC: Then most likely neither Matt nor Kitty is in any condition to tell them.
I’m a goin’ ta’
DOC: Just a minute, now. We don’t know what’s happened or anything.
FESTUS: You mean ta’ say you ain’t goin’?
DOC: Now, I didn’t say that.
FESTUS: Then whut air ya’ waitin’ fer?
DOC: (stares at him a minute, then nods his head and stands) Not a thing. Let’s go.
THEY BOTH HURRY FROM THE LONG BRANCH WITH BARNEY LOOKING AFTER THEM.
INTERIOR MEDIUM SHOT: DAY.
CUT TO CLOSE SHOT: MATT’S FACE. HE IS STILL UNCONSCIOUS, NOT GIVING ANY SIGN OF WAKING. THE DARK SHADOW OF STUBBLE OVER HIS JAW CONTRASTS WITH THE FLUSH OF HIS CHEEKS. PERSPIRATION BEADS ON HIS FOREHEAD AND UPPER LIP.
CUT TO MEDIUM SHOT: WILKS PAUSES TO LOOK AT MATT.
MEDIUM SHOT: WILKS TAKES A DEEP BREATH, THEN LEANS IN, SPEAKING SOFTLY SO NO ONE BUT MATT, IF HE WERE AWAKE, CAN HEAR.
WILKS: Big man, ain’t ya’. Well, ya’ ain’t lookin’ so big, now, Marshal. An’ ya’ won’t be lookin’ so big when I git through with ya’. An’ that pretty woman of yers ain’t gonna be so pretty, neither.
CLOSE SHOT: MATT GROANS AND TURNS HIS HEAD, MUMBLING SOMETHING THAT SOUNDS VAGUELY LIKE “KITTY.”
MEDIUM SHOT: KITTY’S ROOM.
CRANDALL IS SITTING BESIDE HER, JUST WATCHING. WE SEE WORRY AND REGRET ON HIS FACE. AFTER A MOMENT, HE SIGHS AND STANDS TO LEAVE, BUT HER WEAK VOICE STOPS HIM.
KITTY: Where – (Her voice is barely audible.)
CLOSE SHOT: KITTY’S EYES ARE OPEN, NOW, ALTHOUGH TIGHT WITH PAIN AND CONFUSION.
MEDIUM SHOT: CRANDALL LEANS OVER HER BED.
CRANDALL: (the first genuine smile we’ve seen on his face) Well, hello there. How do you feel?
KITTY: (We see from her expression just how she feels, but she doesn’t answer the question.) Matt? Where’s – Matt?
CRANDALL: (hesitantly) Your husband?
KITTY: (She blinks. It’s as close to a nod as she can get.) Yes. Where is –
CRANDALL: He’s been injured, ma’am.
KITTY: (blanches and swallows) No.
CRANDALL: Yes, ma’am. You were both hit hard by those highwaymen. In fact – (He stops suddenly.) Well, I’m just very, very glad to see you’re awake.
KITTY: (She’s very weak, but manages to convey urgency in her voice.) How – bad?
CRANDALL: Your wound is quite serious. I actually thought –
KITTY: (with effort) No. Matt. How – bad is – he?
A SMILE OF COMPREHENSION TOUCHES CRANDALL’S LIPS AS HE SEES THAT SHE IS JUST AS UNSELFISH IN HER WORRY ABOUT HER HUSBAND AS HE WAS ABOUT HER. BUT THE SMILE FADES QUICKLY, AND THE DOCTOR SIGHS.
CRANDALL: He’s still unconscious. Took a couple of bullets. One went through, but the other – it was tough. I was worried about doing more damage trying to get to it.
KITTY: But – but you – got it?
CRANDALL: I did. It’s up to him, now. (He sits back down on the field chair.) The papers he had on him identify him as a U.S. Marshal. Matt Dillon, in fact.
CRANDALL: And you’re –
KITTY: Kitty – Dillon.
CRANDALL: (nods) That’s what we figured. (He winces.) I must say, Mrs. Dillon, judging from the amount of scar tissue your husband’s carrying, marshaling is a rough business.
KITTY MANAGES TO RAISE A BROW IN SARCASTIC ACKNOWLEDGEMENT.
CRANDALL: What happened out there?
KITTY: I don’t – I’m not sure I really – remember. We were – heading to –
CRANDALL: (places a hand on her arm) That’s all right.
KITTY: Where – are we?
KITTY: How’d we – get here?
CRANDALL: Your husband rode barebacked on one of the stage team horses. And you came in his arms.
KITTY: (Doesn’t seemed surprised by this news.) I want to – see him.
CRANDALL: (hesitantly) He’s, uh, still recovering, and you’re not in any condition –
KITTY: (her eyes knowing) He’s – bad?
CRANDALL: (hedging) Well –
KITTY: I’ve had over – twenty years of moments – like this, Doctor. Please – tell me.
CRANDALL: (finally nodding) Yes, ma’am. It’s pretty bad.
KITTY: (swallowing to brace herself) Will he – die?
CRANDALL: (a soft smile touching his lips) Not if I can help it.
KITTY: I’m – grateful. (Her statement is both simple and deep.)
SHE HAS EXHAUSTED HERSELF WITH THIS DISCUSSION AND FALLS BACK ONTO THE BED, EYES CLOSED.
CLOSE SHOT: CRANDALL STARES AT HER, HIS EYES MOIST. WE SEE THAT HE IS TOUCHED BY THE LOVE HE HAS WITNESSED BETWEEN MATT AND KITTY. WE ALSO SEE THE WORRY THAT HE WILL NOT BE ABLE TO FULFILL HIS ASSURANCE.
EXTERIOR LONG SHOT: A STAGE COACH BOUNCES AND JOSTLES ACROSS THE PRAIRIE.
INTERIOR MEDIUM SHOT: DOC AND FESTUS ARE SEATED INSIDE THE STAGE. TWO OTHER PASSENGERS, ONE FEMALE AND ONE MALE SIT ACROSS FROM THEM. THE DUST FROM THE HORSES’ HOOVES KICKS UP OUTSIDE THE STAGE.
FESTUS: An’ somebody’s gonna meet us at th’ stage stop and tek us on to th’ fort?
DOC: I’ve told you that ten times already, haven’t I?
FESTUS: I wuz jest checkin’. We ain’t got no horses, an’ if there ain’t nobody –
DOC: The telegram I got back from
FESTUS: (nods, satisfied) Wael, I ain’t ridin’ double with ya’, if thar ain’t but one pony.
DOC: (shakes his head) I’d rather hitch a ride on a rattlesnake than –
FESTUS: (blowing air through his teeth) Arrite, arrite.
THEY RIDE ON FOR A FEW MOMENTS IN SILENCE. THE LIGHTER MOMENT TENSES AS THEIR WORRY GROWS.
FESTUS: I’m glad Quint wuz thar ta’ be with th’ younguns when we told ‘em.
DOC: (nods, no longer irritated at the deputy) Me, too. I hated to tell Emily and Beth Ann they couldn’t come, but it just wasn’t – advisable. Who knows what we’ll –
FESTUS: They know. They jest wanna be with their ma and pa. (shakes his head) The little feller shore wuz upset.
DOC: Well, they all were, but they’ll – they’ll be okay.
FESTUS: Soon as we git their folks back to ‘em all safe an’ sound.
DOC: (soft smile) Sure.
THEY RIDE ANOTHER FEW MOMENTS IN SILENCE, LOOKING OUT THE WINDOWS AS IF
TRYING TO SEE ALL THE WAY TO
FESTUS: Doc, whut do ya’ reckon’ we’ll find –
DOC: I don’t know, Festus. I just don’t know. The telegram said they were both alive –
FESTUS WINCES FROM HEARING IT SAID, AS IF SAYING IT CREATES A POSSIBILITY THAT THEY MIGHT NOT BE ALIVE.
FESTUS: Wael, shore they air. Ol’ Matthew’s tough as nails, you know that. An’ Miz Kitty’s seen her share o’ trouble, too. They’ll be arright.
CLOSE SHOT: DOC’S FACE. DESPITE HIS AGREEMENT WITH FESTUS, WE SEE THE DEEP CONCERN LINING HIS EXPRESSION.
INTERIOR MEDIUM SHOT: THE HALLWAY BETWEEN KITTY’S AND MATT’S ROOMS. CRANDALL IS HELPING KITTY WALK SLOWLY, ALL THE TIME TELLING HER SHE HAS TO BE CAREFUL AND NOT OVERDO IT.
CRANDALL: Mrs. Dillon, you need to be in bed. I shouldn’t have to remind you that you almost died.
KITTY: But I – didn’t, right? (pauses to take a breath) And now I want to see – my husband.
CRANDALL: He’s still unconscious. He won’t know you’re there.
KITTY: (confidently) Yes, he will.
CRANDALL LOOKS AT HER AND GIVES A SMALL SMILE. WE SEE THAT HE IS CONSIDERING THAT MATT MIGHT ACTUALLY KNOW SHE’S THERE, AT THAT. THEY ENTER MATT’S ROOM.
CLOSE SHOT: KITTY’S FACE. HER EXPRESSION IS A MIXTURE OF RELIEF, REGRET, WORRY, AND LOVE. FOR A MOMENT, SHE JUST WATCHES. THEN, SHE TURNS TO CRANDALL.
KITTY: (suddenly shaky) I think I – need to sit.
CRANDALL: (wrapping an arm gently around her waist) I told you this was too much.
KITTY: No, I’m all right. Just – weak. I can sit – on the edge of – the bed.
CRANDALL LOOKS DUBIOUS, BUT HELPS HER EASE ONTO THE EDGE OF MATT’S BED. SHE GATHER’S HER HUSBAND’S LARGE HAND IN HER OWN SMALL ONES AND BRINGS IT TO HER LIPS, BRUSHING IT LOVINGLY.
CUT TO CLOSE SHOT: CRANDALL WATCHES THIS, HIS EXPRESSION TIGHT.
CUT TO MEDIUM SHOT: MATT AND KITTY. KITTY LOWERS THEIR HANDS TO THE BED AND SHIFTS SLIGHTLY TO TRY TO GET MORE COMFORTABLE.
KITTY: (softly, as if she is speaking only to Matt, although we know Crandall can hear) Hey, Cowboy. You’re a stubborn man, Matt Dillon. (She smiles.) But then I knew that already.
SHE REACHES UP SLOWLY AND BRUSHES A LOCK OF DAMP HAIR FROM HIS FOREHEAD.
KITTY: You should have told them you were hurt. You should have –
BUT SHE BREAKS OFF SUDDENLY, CHOKING BACK A SOB. IT IS ANOTHER MOMENT BEFORE SHE CAN CONTINUE.
KITTY: You did fine, though. Got me here. Got us both here, and I’m awake, now, and the doctor says I’ll be okay. So now it’s your turn.
CUT TO CLOSE SHOT: KITTY. TEARS SPRING TO HER EYES.
KITTY: Please, Matt. Please, don’t leave me. (She clutches his hand to her chest and bends her head down.)
CUT TO MEDIUM SHOT: THEY SIT QUIETLY FOR A FEW MOMENTS, BUT MATT DOESN’T MOVE, DOESN’T MAKE A SOUND. CRANDALL SIGHS AND STARTS TO STAND. AT THAT MOMENT, WE HEAR A LOW GROAN.
MATT: Not – goin’ – anywhere –
KITTY: (She lifts her head, looking intensely at him.) Matt? Matt!
CLOSE SHOT: MATT’S EYES BLINK A COUPLE OF TIMES, THEN SQUINT OPEN. HE SWALLOWS, AND TAKES A DEEP BREATH BEFORE HIS BODY CUTS IT SHORT. GRIMACING, HE RIDES OUT THE PAIN, THEN OPENS HIS EYES A LITTLE WIDER.
SHOT FROM MATT’S POV: KITTY FACE IS BLURRED FOR A FEW MOMENTS, THEN CLEARS UP. AFTER BLURRING ONE MORE TIME, IT CLEARS FOR GOOD.
CLOSE SHOT: MATT. A WEAK SMILE BARELY TUGS AT HIS LIPS AS HE LOOKS AT HER, HIS CHEEKS STILL FLUSHED WITH FEVER, BUT HIS EYES MORE FOCUSED.
MATT: (barely a whisper) Kitty.
KITTY: (moving his hand to her cheek) Oh, Matt.
MATT: (frowning, as if he is trying to remember what happened) You – okay?
KITTY: (nods) I am now. How do you feel?
MATT: (The laugh is hardly more than a slight huff of breath.) I’ve felt – better.
KITTY: (She smiles.) I’ll bet you have.
CUT TO MEDIUM SHOT: CRANDALL STEPS UP BEHIND KITTY, LOOKING DOWN AT MATT.
CRANDALL: Welcome back, Marshal.
MATT: (squinting for a moment, then nodding once) Where –
MATT FROWNS THEN NODS SLIGHTLY AND LOOKS AT KITTY.
MATT: How’s –
CRANDALL: She’s just fine. (more sternly) But you’re not out of the woods, yet. Not by a long shot. You’ll need to stay right here for another few weeks –
MATT: (shakes head weakly) Just a – few days –
CRANDALL: (brow rises) Days!
KITTY: (laughs) Be glad he didn’t say ‘hours.’
CRANDALL: Really, Marshal. You’re a very sick man, and your wife here needs to convalesce, as well.
MATT: (His expression grows serious as he looks toward Kitty.) If she needs to – stay, we’ll stay.
CRANDALL: (pleased with himself) I figured you’d say that. (He smiles down at them.) Well, I’ll leave you two alone for a while. Got other patients, too, you know.
KITTY: (catches his arm before he leaves) Thank you, Doctor. (This is said with deep sincerity and gratitude.)
CRANDALL: (He nods and bites at his lower lip. This simple thank you affects him more than he realized it would.) Ma’am.
CRANDALL LEAVES, AND KITTY LEANS DOWN TO GIVE MATT THE GENTLEST OF KISSES AGAINST HIS LIPS, CRACKED AND PARCHED FROM THE FEVER. HER EXPRESSION IS OVERFLOWING WITH JOY.
KITTY: Oh, Matt, I was so worried.
MATT: (He tries to comfort her by rubbing a hand up and down her arm, but his strength doesn’t allow it for long.) It’s – okay, Kitty. As long as – you’re okay.
KITTY: I am, thanks to you. The doctor told me how you rode a team horse all the way here –
MATT: (shaking his head) I couldn’t – lose you.
FOR A LONG MOMENT, THEY SIMPLY LOOK AT EACH OTHER, REVELING IN EACH OTHER’S SURVIVAL. JUST AS KITTY LEANS DOWN GINGERLY TO KISS HIM AGAIN, WE HEAR THE SHUFFLE OF FEET AT THE DOORWAY.
CUT TO CLOSE SHOT: DOORWAY OF MATT’S ROOM. WILKS STANDS THERE, A DISGUSTED LEER ON HIS FACE.
WILKS: Well, well, well. Big Marshal Matt Dillon.
CUT TO CLOSE SHOT: KITTY PULLS AWAY FROM MATT, HER WINCE LETTING US KNOW SHE STILL HURTS.
CUT TO MEDIUM SHOT: MATT, KITTY, AND WILKS
MATT: (squinting for a long moment) I – know you?
WILKS: (feigning hurt) Oh, now, Marshal, surely you remember me. I certainly remember you. How could I forget the man who ruined my career?
MATT STILL SQUINTS AND WE SEE THAT HE IS NOT SURE.
MATT: I – don’t –
WILKS: Go back ‘bout thirteen years, Marshal. ‘Member a low-life by th’ name of Tony Serpa? Killed yer friend, I believe.
CLOSE SHOT: MATT. A WAVE OF A DIFFERENT KIND OF PAIN SWEEPS ACROSS HIS FACE.
MATT: (whispering to himself) Jim Downey.
MEDIUM SHOT: MATT, KITTY, AND WILKS
WILKS: An’ then you killed Serpa.
MATT: (quickly, before he can think) I didn’t –
WILKS: That’s what you say. You and your almighty righteous badge. You had nerve preachin’ ta’ me about drinkin’ and roughhousing when you got drunk as a coot and took care of Serpa yerself.
MATT GRITS HIS TEETH AND FIGHTS TO PULL HIMSELF UP, SWINGING HIS LEGS OVER THE EDGE OF THE BED. WE SEE HE IS CLOTHED IN ONLY THE BOTTOMS OF A UNION SUIT.
KITTY: Matt! What are you doing? You can’t –
MATT: (comprehension dawning) You’re – Sergeant Wilks.
WILKS: (sarcastically) Again. I was Private Wilks after you shot me and got me court-martialed.
MATT BRACES HIS ARMS AGAINST THE BED AND SOMEHOW MANAGES TO STAND, ALTHOUGH HE CAN’T QUITE STRAIGHTEN. HE BRACES HIS RIGHT HAND AGAINST HIS WOUND. KITTY STARTS TO STAND IN FRONT OF HIM, BUT HE EXTENDS HIS LEFT ARM AND GENTLY EASES HER BEHIND HIM.
MATT: Wilks, I didn’t – shoot you, and – I didn’t kill Serpa.
WILKS: My bleedin’ heart corporal might have believed that –
MATT: Joe Costa was – tried, convicted, and – hanged for that crime.
WILKS: Yeah. Don’t guess I remembered that part, since I was lyin’ on my back in a Army hospital.
MATT: (leaning against the doorframe, barely able to stand) What do – you – want, Wilks?
WILKS: I want you to suffer same as I had to. Layin’ up there in a hospital for a month, getting’ busted back to private, workin’ my hind quarters off to make sergeant again. I shoulda been retired by now.
MATT: (He is working hard, his breath labored.) You brought that on – yourself, Wilks. You were too – bent on getting me that you – wouldn’t listen. I didn’t have – anything to do with – that lynching. If you’d – listened to me –
WILKS: Shut up! I ain’t listenin’ to ya’ now, neither. I figure, though I got me a way ta’ make ya’ feel some of what I did. Since them bandits done took care of the physical hurt for ya’, I’ll just work on the other kind of hurt. (He cuts his eyes toward Kitty.)
MATT NARROWS HIS EYES AT WILKS. WE SEE THE MARSHAL SWAY. HE CATCHES HIMSELF, CLUTCHING AT THE DOORFRAME IN AN EFFORT TO REMAIN ON HIS FEET. KITTY REACHES TO HELP SUPPORT HIM, BUT HE SHAKES HIS HEAD AND GENTLY PUSHES HER BACK.
WILKS: (with a sick leer) Like I said, this lady of yers is mighty pretty. Be a shame if somethin’ happened to her, wouldn’t it?
MATT: (His teeth grit in fury.) You stay away from her, Wilks.
WILKS: (satisfied with Matt’s reaction) Yep. She’s might pretty.
MATT: (almost shaking from the effort to keep himself upright) If you lay one hand on her I’ll rip your head off.
WILKS: (a bit of his cockiness faltering for a moment) You ain’t in any condition ta’ do any kind of rippin’. If it wasn’t fer that wall there, you’d be on the floor right now. (He turns toward Kitty.) Now, lets us get acquainted, missy.
MATT: I said stay away from her!
MEDIUM SHOT: MATT LAUNCHES HIMSELF FROM THE DOORFRAME, HIS BIG BODY SLAMMING INTO WILKS. HE WRAPS HIS ARMS AROUND THE SERGEANT, WHO TRIES TO GO FOR HIS SIDEARM, BUT MATT CATCHES HIS ARM AND HOLDS IT.
CLOSE SHOT: MATT SLAMS A RIGHT JAB INTO WILKS’ JAW. WILKS GOES DOWN, BUT MATT GOES DOWN TO A KNEE, CLUTCHING HIS SIDE WITH HIS LEFT HAND.
MEDIUM SHOT: WILKS CLIMBS BACK TO HIS FEET AND SWINGS AT MATT, WHO GETS BACK JUST IN TIME TO AVOID THE HIT. MATT SWINGS A LEFT HOOK AND SPLITS OPEN WILKS’ CHEEK. DESPERATELY, WILKS DRAWS BACK HIS LEFT HAND AND PUNCHES MATT IN THE SIDE, RIGHT INTO THE RAW WOUND. MATT CRIES OUT IN AGONIZED PAIN AND FALLS BACK.
CLOSE SHOT: WE SEE FRESH BLOOD SPREAD QUICKLY THROUGH THE BANDAGE.
MEDIUM SHOT: MATT TRIES TO RISE, BUT CAN’T QUITE GET TO HIS FEET. WILKS PULLS HIS GUN, POINTING IT AT MATT.
WILKS: (his chest heaving, his face battered and bloody) I’ve had enough of you, Dillon! I’m gonna kill you. Then it won’t matter what I do to yer woman. Just know, she’ll have her a real man –
CUT TO CLOSE SHOT: WILKS’ FINGER SQUEEZES THE TRIGGER. THE SOUND OF A
GUNSHOT CRACKS THE AIR. WILKS STARES
DOWN AT MATT, THE SNEER STILL ON HIS FACE.
SLOWLY, THOUGH, HIS EXPRESSION SLACKENS, AND HIS EYES UNFOCUS. AFTER ANOTHER BEAT, HE DROPS TO HIS KNEES,
CLOSE SHOT: AS
MEDIUM SHOT: KITTY RUSHES, AS BEST SHE CAN, TO MATT’S SIDE. THE MARSHAL’S EYES ARE CLOSED.
KITTY: Doctor! He’s bleeding.
CRANDALL SHAKES HIMSELF FROM THE MOMENT AND MOVES TO MATT. HE PULLS UP THE BLOODY BANDAGES, WORRY TIGHTENING HIS FACE.
CLOSE SHOT: MATT IS LYING ON THE FLOOR, BLOOD FROM HIS RE-OPENED WOUND
SMEARED ACROSS HIS CHEST AND ABDOMEN.
CUT TO MEDIUM SHOT: AT THAT MOMENT, THERE IS A COMMOTION OUTSIDE THE DOOR, AND CORPORAL YORK APPEARS WITH DOC AND FESTUS CLOSE BEHIND HIM. THEY ALL STARE DOWN AT THE SCENE THEY ENCOUNTER.
FESTUS: (seeing Matt on the floor) Matthew!
DOC: (steps around Festus and kneels by Crandall) Matt! (He looks up at the younger doctor.) What happened?
CRANDALL: (He is working on stopping the bleeding, and doesn’t look back.) Long story. Right now, he’s bleeding to death.
CLOSE SHOT: KITTY STARES DOWN AT THEM, AGONY ON HER FACE. WE SEE THAT HER STRENGTH IS ALMOST GONE.
MEDIUM SHOT: FESTUS SEES HER AND IMMEDIATELY STEPS TO HER SIDE, SLIDING HIS ARM AROUND HER WAIST TO SUPPORT HER. SHE GIVES HIM A WEAK SMILE AND LEANS AGAINST HIM.
FESTUS: Let’s git you in a chair, Miz Kitty.
SHE STARTS TO PROTEST, BUT DOESN’T HAVE THE STRENGTH TO CONTINUE. WITH A SLIGHT NOD, SHE ALLOWS FESTUS TO HELP HER STAND AND GUIDE HER INTO A CHAIR BY MATT’S BED.
MEDIUM SHOT: CRANDALL AND DOC ARE ON THE FLOOR WITH MATT. THE MARSHAL IS OUT COLD, NO MOVEMENT AT ALL.
DOC: You gotta tie off the bleeders first.
CRANDALL: (agitated) I know! (He turns to Doc, as if just now noticing him.) Who are you?
DOC: Galen Adams. I’m the doctor in Dodge.
(He looks as if he wants to ask what Doc’s doing there, but realizes it doesn’t
CRANDALL: I’ll need sutures and –
CRANDALL CONTINUES TO PRESS WHITE LINENS AGAINST MATT’S WOUND. THEY TURN CRIMSON ALMOST IMMEDIATELY. THE DOCTOR GRITS HIS TEETH IN FRUSTRATION.
DOC: You got any ice?
DOC: Ice. It’ll slow the blood flow.
The icehouse is all the way across the compound.
CRANDALL: (shakes his head) Can’t waste the time. I’ll do this here. (He looks back at Doc.) And go get a block of ice and bring it back.
CRANDALL UNFOLDS THE KIT, BUT DOC TAKES IT FROM HIM, HANDING THE YOUNGER PHYSICIAN THE CORRECT INSTRUMENT. THEY NOD AT EACH OTHER.
DOC: You’ll have to be careful. There’s a lot of scar tissue already there.
CRANDALL: (gives an ironic laugh) I’ve noticed. Your work?
CRANDALL: He must keep you busy.
DOC: Too busy. (He uses forceps with cotton gauze to absorb the blood without Crandall asking.)
CLOSE SHOT: KITTY AND FESTUS. KITTY SITS IN THE CHAIR, WATCHING ANXIOUSLY. FESTUS STANDS BEHIND HER, HIS HAND ON HER SHOULDER.
FESTUS: Miz Kitty, oughtn’t ya’ be in bed? Matthew’d not want nothin’ ta’ happen to ya’.
KITTY: (her eyes still glued on her husband) I’m not going anywhere, Festus.
FESTUS NODS, AS IF HE HAD ALREADY EXPECTED THAT ANSWER.
INTERIOR MEDIUM SHOT: MATT BACK IN HIS BED, FRESH BANDAGES AROUND HIS TORSO. HE LOOKS PALE, BUT NOT ALARMINGLY SO. HIS EYES ARE CLOSED, HIS BREATHING STEADY. THERE IS ANOTHER BED IN THE ROOM, NOW, RIGHT NEXT TO MATT’S, ALMOST TOUCHING IT. WE SEE THAT KITTY IS IN IT. SHE IS ASLEEP, AS WELL, BUT ONE HAND RESTS ON MATT’S LEFT FOREARM.
DOC STANDS AT THE RIGHT SIDE OF MATT’S BED, HIS FINGERS ON MATT’S WRIST, HIS EYES ON HIS WATCH, CHECKING THE MARSHAL’S PULSE. CRANDALL, LOOKING EXHAUSTED, STANDS BESIDE HIM. AFTER A MOMENT, DOC PLACES THE WATCH BACK IN HIS POCKET AND LOOKS UP.
DOC: Not bad, considering.
CRANDALL: Thank you for the assist. The ice worked. Slowed down the bleeding so I could take more time with the sutures.
DOC: You did good work.
CRANDALL: (pleased) Thank you.
DOC: I’m grateful to you for saving their lives. They – mean an awful lot to me.
CRANDALL: I understand. They seem to have something – pretty special.
DOC: (blinks and nods) They do.
CRANDALL: I’m sorry they had to go through this, especially because of Wilks – (He trails off.) Doctor Adams, there’s something I – something I need to tell you.
DOC: (suddenly worried) About Matt?
CRANDALL: No. No, not about either of them.
DOC STUDIES HIM QUIZZICALLY.
CRANDALL: You ever made a mistake, Doctor Adams?
DOC: (laughs ruefully) Once or twice.
CRANDALL: I mean a big one. Maybe one that – that cost a life.
DOC: (softly) Yes.
CRANDALL: (looks at Doc, surprised for a moment before he continues) Well, I did, too, a few years ago, and it’s eaten away at me ever since.
DOC: That’s not going to help you any.
CRANDALL: I know, but I never told anybody about it. No one else knew, except – except Wilks.
DOC RAISES A BROW IN SURPRISE.
CRANDALL: That’s why he was here. He – blackmailed me into letting him work in the hospital so he could get to the marshal. I should have known – I did know.
DOC: Aren’t you the one who shot Wilks and saved Matt’s life?
CRANDALL: But if I hadn’t let him in here in the first place –
DOC: Matt’s always told me that if someone wanted to get to him bad enough, they’d find a way. (He looks down at the marshal and shakes his head.) Unfortunately, he’s been right about that too many times. (He glances back at Crandall.) Look, I don’t know what you did – I don’t want to know. But I do know this – you saved the lives of these two people, and I’m mighty grateful. And I know three kids back in Dodge that are gonna be mighty grateful, as well. (He smiles.) In fact, I know a whole town of folks who are gonna be mighty grateful to you.
DOC PLACES A COMFORTING
DOC: Doctor Crandall, you are a fine physician. You just keep doing what you think is right, and mostly likely it will be.
CRANDALL STARES AT HIM FOR ANOTHER MOMENT, THEN NODS.
CRANDALL: Thank you.
DOC: (smiles at him) Now, you’d better get yourself ready, because when that big fellow wakes up, he’s gonna give you hell about letting him out of that bed. And all I can tell you is good luck.
CRANDALL: (smiling back) Yes, sir.
EXTERIOR MEDIUM SHOT (NIGHT): THE
KITTY: When we were at the stage depot, didn’t Beth Ann say they’d be spending the night with the Ronnigers?
MATT: I thought so. (He looks to the right and gestures.) That’s Quint’s horse, though. (His brow furrows suddenly.) Kitty, you don’t think he and Emily –
KITTY: Oh, Matt, no. Of course not. (softly, to herself) Not in our house, anyway.
MATT: What was that?
KITTY: Nothing. Maybe they’re just – getting the kids’ clothes together.
MATT THROWS ANOTHER SUSPICIOUS GLARE AT THE HORSE, BUT NODS AND CLIMBS DOWN RATHER GINGERLY BEFORE TURNING TO ASSIST KITTY. WE SEE THAT THEY ARE STILL NOT COMPLETELY RECOVERED AND MOVE A LITTLE STIFFLY.
KITTY: (as Matt helps her down) I missed the children so much.
MATT: I didn’t think Bobby was going to let go of you.
KITTY: You, either. (smiles softly) But I didn’t mind.
KITTY: I kind of wish they weren’t going to be away from us tonight. It’s been so long.
MATT: (stops to look down at her) Yes, it has. (His expression indicates he is not talking about the children.)
KITTY: (She rolls her eyes as she catches his meaning.) Oh, you’re such a man.
MATT: (He grins and hauls another bag from the wagon.) That usually works to my advantage around you.
KITTY: (Hearing the tease, she steps in front of him and slides a hand up his chest.) I have to agree on that.
(He catches her hand and brings it to his lips.) Kitty, I ‘m
awful sorry about not making it to
KITTY: We ought to know by now not to get near a stage.
MATT: (laughs) Not many other choices.
KITTY: Guess you’re right. I’m sorry you missed the trial.
MATT: (shrugs) The judge managed without me. Makes me wonder just how ‘valuable’ my testimony really is in these cases.
KITTY: Sure, who needs the word of the most legendary lawman in the nation?
KITTY: (Her expression turns sultry.) In more ways than one.
MATT LOOKS DOWN AT HER, HIS OWN EXPRESSION HEATED. HE BENDS TO KISS HER SOFTLY, HIS LIPS MOVING SLOWLY ON HERS. WHEN HE PULLS BACK, THEY ARE BOTH BREATHING HARDER. KITTY RESTS HER HEAD AGAINST HIS CHEST.
KITTY: I suppose we should – go inside.
SHE LIFTS HER HEAD, AND THEIR LIPS MEET ONCE MORE, THIS TIME WITH MORE HEAT. THEY CONTINUE THE EMBRACE, NEITHER ONE MAKING A MOVE TOWARD THE DOOR.
INTERIOR MEDIUM SHOT: INSIDE THE
BETH ANN: I thought I heard them.
QUINT: You did.
BETH ANN: Why aren’t they coming in?
QUINT: (turns back to her) They will.
BETH ANN: What are they doing?
QUINT: (looks back out the window) They’re, uh, talkin’,
BETH ANN: Talkin’! (She starts to move toward the door to open it, but Quint stops her.)
QUINT: Give ‘em a minute.
BETH ANN: (comprehending) Oh.
EMILY: (OS voice from the kitchen) Is that them?
EMILY: I think we’re almost ready.
QUINT: (softly, looking out the window again) Yeah. I think they are, too.
MEDIUM SHOT: THE PORCH OF THE
KITTY: Beth Ann! I thought you were at –
BETH ANN: Welcome to the Brown Palace Hotel!
KITTY: (eyes wide) The Brown Palace –
ANN: The best hotel in
MATT: (amusement in his eyes) Bellboy?
QUINT FLASHES A WARNING TO HIM, AND MATT CLOSES HIS MOUTH, BUT CAN’T KEEP THE SMIRK OFF HIS FACE.
BETH ANN: We hope you enjoy your stay. (She grins and lowers her voice slightly.) You have two uninterrupted days in our establishment.
KITTY: Two days –
BETH ANN: (breaking character long enough to frown at her mother) Mama.
KITTY: (sufficiently chastised) Sorry.
MATT: Beth Ann –
BETH ANN: (eyes widened with a purposeful look) Daddy.
MATT: Oh. Well, uh – (He looks around, as if he has never been there before.) This is – this is a – fine place you have here, ma’am.
BETH ANN: (delighted that he’s playing along) Thank you, sir. (She nods toward Kitty.) And madam.
MATT AND KITTY EXCHANGE AMUSED BUT PLEASED LOOKS. QUINT STEPS OUTSIDE TO RETRIEVE THEIR BAGGAGE. BETH ANN PUTS HER SMILE BACK ON.
BETH ANN: Our chef, Emilee, has prepared a lovely meal for you. (She pronounces Emily’s name with a passable French accent.)
KITTY: (a sudden look of doubt in her eyes) Emily?
BETH ANN: (with emphasis) Emilee. (voice lowered) And her – assistants, of course. (With a nod, she indicates herself and Quint.)
KITTY RELAXES, AND MATT LAUGHS ALOUD.
MATT: (to Kitty) Thank goodness.
KITTY NODS HER AGREEMENT.
CLOSE SHOT: THE SURFACE OF THE DINING TABLE. A FAIR AMOUNT OF FOOD HAS BEEN CONSUMED, AND WE FOCUS ON TWO GLASSES OF AMBER LIQUID. KITTY’S HAND WRAPS AROUND ONE; THEN SHE LIFTS THE OTHER.
MEDIUM SHOT: SHE HANDS MATT THE OTHER GLASS, AND THEY STARE INTO EACH OTHER’S EYES FOR A LONG MOMENT.
MATT: (almost a murmur) I have to say the Brown Palace Hotel certainly does have exceptional accommodations.
KITTY: (taking a sip of wine) Hmm. It certainly does.
MATT: I wish we had come here sooner.
KITTY: (her eyes burning into his eyes over her wine glass) So do I.
MATT: Remember you mentioned a while back that it was a good thing we had seen all the sights?
THE REMINDER OF THE INNOCENT MOMENT BEFORE THEIR ORDEAL DRAWS A WINCE TO HER FACE, AND SHE STANDS. MATT IMMEDIATELY SETS DOWN HIS GLASS.
MATT: Kitty, I’m sorry. I didn’t mean to –
KITTY SHAKES HER HEAD AND TUGS ON HIS SHIRT UNTIL HE STANDS WITH HER. HE BENDS DOWN TO KISS HER, THE TOUCH ALMOST INSTANTLY TURNING HEATED AS SHE SLIDES HER ARMS AROUND HIS BACK AND PRESSES AGAINST HIM. WHEN THEIR LIPS FINALLY PART, HE MOVES HIS MOUTH DOWN HER JAW AND TO HER NECK, MUCH LIKE HE DID ON THE STAGE WEEKS BEFORE.
KITTY: (gasping) Uh, Cowboy, you forgetting – where you are again?
MATT: (He pauses from nuzzling her neck.) No, ma’am. I know exactly where I am.
KITTY: (with a sigh of pleasure) Yes, sir, you surely do.
SHE ARCHES HER NECK TO GIVE HIM BETTER ACCESS. WHEN SHE SPEAKS AGAIN, HER VOICE IS LOW AND SENSUOUS.
KITTY: You are wrong about one thing, though.
MATT: (draws back, puzzled) What’s that?
KITTY: (She reaches for his belt buckle.) There are definitely some sights I still want to see.
THE CAMERA PANS TO A HOMEMADE SIGN ABOVE THE DOOR: BROWN PALACE HOTEL. WE HEAR MATT’S LOW GROAN AND KITTY’S SULTRY LAUGH AS WE
DISSOLVE TO CREDITS
FADE TO BLACK: END OF EPISODE