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
WRITER: Amanda
CAST:
Matt Dillon – U.S. Marshal
Kitty Russell Dillon – part-owner of the Long Branch Saloon
Festus Haggen – Deputy U.S.
Marshal
Doc Adams –
Barney –
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
Sergeant Wilks
Corporal York
Private Collins
Private Tucker
Stage Driver
TEASER
FADE IN:
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?
MATT: Yeah.
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.
KITTY: 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.
KITTY: Matt?
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.
CUT TO
EXTERIOR SHOT: ANOTHER
CUT TO
INTERIOR SHOT:
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.
MATT: Mister?
THERE IS STILL NO RESPONSE FROM THE DRIVER.
MATT: Mister?
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.
XXXX
EXTERIOR
LONG SHOT (AFTERNOON): MATT RIDES UP TO AN ENCLOSED STOCKADE.
CLOSE
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
FADE OUT
XXXXX
FADE IN
ACT ONE
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.
XXXX
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.
CRANDALL:
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
FADE OUT
XXXX
FADE IN
ACT TWO
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 –
FADE OUT
XXXX
FADE IN
ACT THREE
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
~MK~
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
WRITER: Amanda
CAST:
Matt Dillon – U.S. Marshal
Kitty Russell Dillon – part-owner of the Long Branch Saloon
Festus Haggen – Deputy U.S.
Marshal
Doc Adams –
Barney –
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
Sergeant Wilks
Corporal York
Private Collins
Private Tucker
ACT ONE
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.
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?
DOC:
(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.
XXXX
MEDIUM INTERIOR SHOT:
CRANDALL:
Doesn’t seem to be enough.
CRANDALL:
But she wasn’t. If he hadn’t –
CRANDALL:
I suppose.
CRANDALL:
Good.
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.
CRANDALL:
Why?
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.
CRANDALL:
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.
FADE OUT
XXXX
FADE IN
ACT TWO
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?
DOC:
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.
FESTUS:
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.
XXXX
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.
CLOSE SHOT:
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.”
XXXX
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.
KITTY NODS.
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?
CRANDALL:
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.
FADE OUT
XXXX
ACT THREE
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.
DOC: Sure.
CLOSE SHOT: DOC’S FACE. DESPITE HIS AGREEMENT WITH FESTUS, WE SEE THE DEEP CONCERN LINING HIS EXPRESSION.
XXXX
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 –
CRANDALL:
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.
FADE OUT
XXXX
FADE IN
ACT FOUR
CLOSE SHOT: MATT IS LYING ON THE FLOOR, BLOOD FROM HIS RE-OPENED WOUND
SMEARED ACROSS HIS CHEST AND ABDOMEN.
THERE IS
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.
CRANDALL:
(He looks as if he wants to ask what Doc’s doing there, but realizes it doesn’t
matter.)
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?
CRANDALL:
What?
DOC:
Ice. It’ll slow the blood flow.
CRANDALL:
The icehouse is all the way across the compound.
ON CUE,
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.
CRANDALL:
Thanks.
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?
DOC:
Mostly.
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.
XXXX
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.
CRANDALL:
Well?
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.
FADE OUT
XXXX
FADE IN
EPILOGUE
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.
MATT:
Neither did
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.
MATT:
(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?
MATT:
Legendary?
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.
MATT:
Yeah.
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.
XXXX
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?
QUINT:
Yeah.
EMILY:
I think we’re almost ready.
QUINT:
(softly, looking out the window again) Yeah.
I think they are, too.
XXXX
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 –
BETH
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.
XXXX
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
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