DR. QUINN, MEDICINE WOMAN
"Tin Star"
Written
by
Andrew Lipsitz
Directed
by
Jerry Jameson
CBS ENTERTAINMENT PRODUCTIONS Prod. #2244-0414
in association with PRODUCTION DRAFT
THE SULLIVAN COMPANY August 29, 1995
(C) MCMXC Rev. Blue, September 5, 1995
CBS Inc. Rev. Pink, September 9, 1995
All Rights Reserved Rev. Yellow, September 18, 1995
Rev. Green, September 20, 1995
Rev. Goldenrod, September 25, 1995
Rev. Salmon, October 15, 1995
CBS INC. IS THE AUTHOR OF THIS PROGRAM
FOR THE PURPOSE OF COPYRIGHT AND OTHER LAWS
No portion of this material may be copied or distributed without the prior consent of CBS Inc.
DR. QUINN, MEDICINE WOMAN
"Tin Star"
Cast List
MICHAELA QUINN
SULLY
MATTHEW
COLLEEN
BRIAN
LOREN
DOROTHY
REVEREND
JAKE
HANK
PRESTON
HORACE
MYRA
GRACE
ROBERT E
CHARLES*
COWBOY #1
SALOON THIEF
ZACHARY BRETT
FEATURED EXTRAS: THREE BOYS/FOUR GIRLS
SCHOOLKIDS
COWBOYS (2)
PROSTITUTES (2)
GROUP OF MEN
BOYS (2)
SALOON THIEF #2
LARGE MAN
BACKGROUND: TOWNSFOLK
FAMILIES
GIRL #1 OMITTED*
STEVEN'S NAME CHANGED TO CHARLES*
TEASER
FADE IN:
OMITTED (1) 1
EXT. TRAIN PLATFORM - DAY ONE 2
MIKE, SULLY, and MATTHEW walk up to the station, where HORACE looks through his mailbag with dismay.
MIKE
Did my books arrive, Horace?
HORACE
I don't know how this coulda happened.
SULLY
How what coulda happened?
HORACE
(loath to admit it)
I lost yesterday's mail.
PRESTON walks onto the platform and comes over to them.
MIKE
I'm sure you've just misplaced it.
PRESTON
Or someone has stolen it.
MATTHEW
This ain't the kinda place where folks steal the mail.
PRESTON
Perhaps not in the past, but Colorado Springs has twice the number of people it used to.
(off their doubt, look to Horace)
How could you lose anything in an office that small?
A beat; resistance to the thought.
MIKE
Mr. Lodge does have a point.
(CONTINUED)
2.
CONTINUED: 2
PRESTON
(to Horace)
You need to start taking precautions to insure the integrity of this town's postal delivery.
Sully gets distracted as he looks towards town.
HORACE
I s'pose I could put some kinda lock on my mailbag.
+SULLY'S POV 3
Looking down into town, Sully sees ROBERT E talking with three COWBOYS in front of the livery. One of the cowboys saddles his horse, and the other two have started to shove Robert E. Robert E pushes back; a fight imminent.
+ON THE PLATFORM 4
Sully races off, and when the others see what's happening by the livery, they quickly follow.
EXT. LIVERY - CONTINUOUS - DAY ONE 5
Robert E stands his ground.
ROBERT E
(re: the saddle)
I fixed that just the way you asked.
COWBOY #1
You didn't, you lazy...
He doesn't have a chance to finish the sentence because Sully has reached them. Mike, Matthew, Preston and Horace arrive at the same moment as GRACE, who immediately runs to Robert E's side. The two cowboys who were shoving Robert E back off.
SULLY
There a problem, here?
ROBERT E
This cowboy says he ain't gonna pay for that saddle.
(CONTINUED)
3.
CONTINUED: 5
COWBOY #1
I told him to fix the flap... and to gimme new stirrups.
ROBERT E
You only wanted a new flap, and I put it on.
MIKE
Robert E's a man of his word; anyone here will tell you that.
COWBOY #1
I'm sayin' he's a liar.
MATTHEW
Only one here lyin' is you.
Matthew takes a step toward the cowboy, who draws his gun. Everyone takes a step back in fear, except for Mike and Sully, who instinctively move to Matthew's side.
MIKE
He's not armed.
COWBOY #1
Maybe he should be.
The second cowboy has noticed the sheriff sign hanging right next to the livery, and he points it out to the cowboy holding the gun.
COWBOY #1
(looking at the sheriff's office)
You wanna come on out and settle this, Sheriff?
In the silence, we can see everyone back off just that much further. Sully's got his hand near his tomahawk, but the first cowboy shifts his gun to Sully, so that Sully has to slowly move his hand away from his weapon.
MIKE
Please, if you just pay Robert E, you can be on your way.
The cowboys are all waiting for the sheriff, and when they realize he's not there, they start to relax.
COWBOY #1
Looks like the sheriff ain't around, so it's my word against his.
(MORE)
(CONTINUED)
4.
CONTINUED: (2) 5
No one makes a move. The cowboys slowly back away; and then they're on their horses, riding out of town. When they're out of sight, everyone gathers closer together in front of the sheriff's sign.
ROBERT E
Reason the sheriff ain't 'round is 'cause we don't have one.
HORACE
We've gotten along fine without one since Kid Cole left.
MATTHEW
Well, things ain't fine right now, so maybe it's time we thought 'bout gettin' another sheriff.
+ON THE SHERIFF'S OFFICE 6
Everyones' eyes look to the small sheriff's office, which has never looked more empty than it does right now.
FADE OUT.
END OF TEASER
5.
ACT ONE
FADE IN:
EXT. MEADOW - ESTABLISHING - DAY TWO 7
FAMILIES picnic, as the REVEREND speaks with the last people to leave the church. By the bridge, HANK walks into the meadow with TWO PROSTITUTES.
+ON THE FAMILY 8
Mike lays out a picnic for Sully, Matthew, and COLLEEN, but she's distracted by something she sees.
+MIKE'S POV 9
Two of Hank's prostitutes quietly solicit a group of MEN. Hank stands to the side, letting his girls do their thing.
+ON MIKE 10
Who has already started walking towards Hank.
MIKE
Hank.
Hank does his best to ignore her, so she walks right up to him.
MIKE
What are you doing?
HANK
Gettin' a little fresh air.
MIKE
(looking to the prostitutes)
And stirring up some business in the process?
HANK
I'd think a doctor'd approve, 'specially for girls that don't get out much.
MIKE
There's a law against women soliciting outside the saloon.
HANK
They ain't solicitin', they're talkin'.
(CONTINUED)
6.
CONTINUED: 10
And just then one of the prostitutes takes one of the men by the arm, and the two of them start walking towards the saloon. Mike eyes Hank: 'we all know what's going on.'
MIKE
You've never been out here on a Sunday before.
HANK
Train's bringin' new folks in all the time. I'm just makin' sure I meet 'em all.
The second prostitute leaves with another man.
MIKE
You can meet all the new people you want in the saloon.
HANK
I don't know, Michaela, I kinda like it out here on Sundays.
(off her look)
Who knows, maybe I'll even start comin' to church.
Hank smiles at her because he knows there's nothing she can do to him. Mike knows it, too, and she's concerned.
+ANOTHER ANGLE - BRIAN AND OTHER KIDS 10A
By the cemetery, BRIAN watches CHARLES hold court in a group of THREE BOYS and FOUR GIRLS. In his hands, Charles holds a replica of a steam engine: not some wooden carving, but a detailed miniature. Each of the other boys holds a replica parlor car, equally detailed, but not quite as nice as the steam engine.
CHARLES
(re: the train)
I'm gonna head up to Denver so I can show this at the train fair.
BRIAN
You're goin' to Denver by yourself?
CHARLES
(re: the boys)
My pa's takin' all of us. You can ride up for free if you're goin' to the fair.
(CONTINUED)
7.
CONTINUED: 10A
BRIAN
I thought that fair was just for men who work on the railroad.
CHARLES
Not only. They got model trains, too.
Brian moves in closer.
BRIAN
(re: the trains)
Where d'you get these?
CHARLES
Manitou.
Charles offers the train to Brian, who looks it over with reverence.
BRIAN
How much did they cost?
CHARLES
Nothin'.
The boys share a conspiratorial look.
BRIAN
You stole 'em?
CHARLES
It ain't such a big deal.
BRIAN
Yeah, it is.
CHARLES
You ever stolen anythin'?
BRIAN
'Course not.
CHARLES
Well, you oughta.
BRIAN
What're you talkin' about?
CHARLES
It's a part 'a growin' up.
(off Brian's look)
It's how you get folks respectin' ya.
(CONTINUED)
8.
CONTINUED: (2) 10A
BRIAN
Folks respect you for it?
CHARLES
Sure. Grown ups act angry at first, but then they start laughin', talkin' 'bout how they did the exact same thing when they was young. And in the end, they respect ya, 'cause you're more like 'em than ya used to be.
Brian's not sold on this, so Charles puts the train in Brian's hand.
CHARLES
You wanna come to Denver with us?
The girls all turn to Brian, who looks at the train.
CHARLES
All you gotta do is give us one 'a these trains for our display.
BRIAN
I don't have one.
CHARLES
That's all right. Mr. Bray just got a whole new order in.
BRIAN
How much are they?
CHARLES
Three dollars.
BRIAN
I don't have that much.
CHARLES
You don't need it.
The boys share the same conspiratorial look. Brian looks deeply troubled by the implied thought. As we move away from him, we pick up...
+HANK 10B
... moving forward past the kids.
9.
OMITTED (11) 11
+HANK'S POV 12
TWO MEN have walked out of the saloon. One of them carries a sack, and the other looks around to make sure no one watches.
HANK (O.S.)
Hey, you two.
The men both spot Hank at the same time, and in one motion they're on their horses and racing out of town, away from the meadow.
+ON THE MEADOW 13
HANK
(to the crowd)
C'mon, those two just robbed me.
Jake, Loren, and several other men run over to Hank.
HANK
Ten dollars for each bullet that hits the mark.
Led by Hank, the men rush out of the meadow to get their guns and their horses. Colleen stands by Mike. Matthew looks to Sully, who puts a hand on his shoulder: We're not going with them.
INT. HOMESTEAD - NIGHT TWO 14
Mike, Sully, and Matthew sit at the table, having coffee. It's late, and the candle in the center of the table burns low.
MATTHEW
You and me coulda gone with 'em.
SULLY
Wasn't our business.
MATTHEW
Just 'cause we don't own the saloon don't mean we should let 'em get away.
SULLY
I ain't sayin' we should let 'em get away.
MATTHEW
Then how come we're not out there?
(CONTINUED)
10.
CONTINUED: 14
MIKE
Because it's the Marshall's responsibility, and Horace wired for him this afternoon.
MATTHEW
What happens 'til he gets here?
SULLY
Jake and Hank and the rest of 'em are gonna be runnin' around out there, shootin' at everythin' that moves, and that ain't a place I want you to be.
MIKE
We need someone out there who can properly enforce the laws of the territory.
There's an URGENT KNOCK at the door, which is opened by Jake.
JAKE
They shot one 'a them robbers, Dr. Mike. Hank's takin' him to the clinic.
Mike and Sully get up.
(CONTINUED)
11.
CONTINUED: (2) 14
SULLY
I'll ride in with you.
MIKE
(to Matthew)
Would you stay, in case Colleen or Brian wakes up?
Matthew nods, and they leave him at the table, still frustrated.
INT. CLINIC - NIGHT TWO 15
Mike operates on the wounded leg of one of the men who robbed the saloon. Hank, gun in hand, stands watch on the other side of the unconscious man. Sully sits by the desk, keeping an eye on Hank.
MIKE
You can put your gun away. He's not going anywhere.
HANK
Darn right he's not goin' anywhere. He's my prisoner.
MIKE
The Marshall will deal with him when he gets here.
HANK
We're gonna take care 'a this ourselves.
SULLY
You got no authority.
HANK
Don't need any. He robbed me, and he's gonna hang for it.
SULLY
Hang?
HANK
We gotta make an example of him.
MIKE
If you want to hang him, then why did you bring him to me? Why didn't you let him die?
HANK
'Cause there's a right way 'a doin' things, and a wrong way.
(CONTINUED)
12.
CONTINUED: 15
MIKE
Yes, there is. And that means this man should stand trial.
The man starts to come out from under the anesthetic, MOANING slightly.
SALOON THIEF
(very groggy speech)
My brother's comin'... Zachary Brett ain't gonna let you...
Mike places a cloth with anesthetic over his nose, and the man fades out again. Sully gets up and walks over to Hank.
SULLY
Trial sounds like a good idea, to me.
HANK
We'll see 'bout that.
Hank holsters his gun, and Mike returns to her surgery.
INT. STORE - DAY THREE 16
Loren works behind the counter, tallying up an order for a YOUNG COUPLE. Dorothy stands at the far end of the counter, placing her newspaper on a display rack.
LOREN
That'll be two dollars and fifteen cents.
The man puts two dollars down on the counter, but he's short the fifteen cents. His wife is impatient for him to come up with the money, and he has to rifle through his pockets to find it. Loren stands there, watching, with an exasperated look on his face, until the man finally produces the change.
LOREN
Thank you.
The couple leaves, and Dorothy looks over at Loren.
DOROTHY
You coulda put that on account.
LOREN
What account? I never seen 'em before, and who knows if I'm ever gonna see 'em again.
(CONTINUED)
13.
CONTINUED: 16
DOROTHY
I haven't heard you complainin' 'bout all the new business.
LOREN
Aw, I used to know everybody walked in here, by name, and the names 'a all their family, too.
DOROTHY
There's new people to get to know now.
LOREN
(shakes his head)
There's too many of 'em.
Brian and Charles walk in the store.
LOREN
Now here're two faces I know.
Loren and Dorothy smile at the boys. Charles keeps his cool, but Brian looks completely on edge.
CHARLES
Hey, Mr. Bray, Miss Dorothy.
LOREN
What can I do for you?
Brian casts an anxious glance towards Charles.
CHARLES
Just came in for some candy.
LOREN
You know where to find it.
CHARLES
Sure.
We follow the boys as they head back to the candy section, which is located right next to the toy section.
+ON THE SHELVES 17
There's a beautiful replica of a Northern Pacific steam engine sitting right next to the candy jars. The price tag dangling off the smokestack reads "$3."
14.
+ON THE BOYS 18
Neither of them can take their eyes off the train. Brian takes a step back, but Charles blocks his way, keeping him there.
CHARLES
You wanna go to Denver with us, or not?
Brian's torn. He looks at the train, and then back to the counter.
CHARLES
He'll respect you for it.
+BRIAN'S POV 19
Loren talks with Dorothy, and neither one of them pays any attention to the boys.
+ON BRIAN 20
It would be so easy to slip the train into his jacket, but Brian can't bring himself to do it. Charles grows impatient as he senses the moment slipping away.
CHARLES
We're plannin' the trip on Saturday. You wanna be there, you gotta bring that train.
Charles gives Brian a nudge toward the train. Brian gives one last look over toward Loren and Dorothy.
Brian quickly slips the train underneath his jacket. Charles gives Brian a look of approval, but there's no joy in this for Brian.
They begin to walk toward the door, and as they do, Loren and Dorothy turn around.
LOREN
Find anythin' you like?
Brian freezes in terror. He's forgotten they said they were looking for candy, but Charles has kept his cool.
CHARLES
No, we prob'ly shouldn't be eatin' candy before supper.
DOROTHY
That's very grown up of you.
(CONTINUED)
15.
CONTINUED: 20
BRIAN
'Sides, I ain't hungry.
That's an understatement. It's all Brian can do to walk out of the store with Charles.
Loren and Dorothy exchange a brief look, since they both know Brian almost never passes on candy, but neither of them gives it much thought as Dorothy picks up her papers and Loren returns to work at the counter.
OMITTED (20A-20B) 20B
EXT. TOWN - DAY THREE 21
Matthew walks toward the jail with Mike, who has a telegram in her hands.
MATTHEW
A month?
Mike shows him the telegram.
MATTHEW
What are we supposed to do with the guy who robbed the saloon?
MIKE
We'll have to keep him until the Marshall arrives.
MATTHEW
How do we even know he's gonna come at all?
MIKE
I'm sure he'll be here as soon as he can.
MATTHEW
What about as soon as we need him?
They're about to walk into the jail, when the door flies open, knocking down Mike. The saloon thief bursts out, running over Matthew.
The two of them get tangled up, and they fall to the ground. The saloon thief tries to climb over Matthew to get away, but Matthew manages to pin the thief to the ground, twisting his arm behind his back.
(CONTINUED)
16.
CONTINUED: 21
MATTHEW
(to Mike)
You all right?
Mike gets up, and we clearly see she's not hurt.
MIKE
Yes. I'm fine.
Matthew looks to Mike, just to be sure she's all right, and then lifts the saloon thief up, roughly.
MATTHEW
I ain't waitin' for the Marshall anymore. We need a sheriff of our own watchin' this jail, and that sheriff's gonna be me.
Matthew leads the thief into jail, and Mike sits down, stunned more by Matthew than by the fall she just took.
FADE OUT.
END OF ACT ONE
17.
ACT TWO
FADE IN:
EXT. STORE - DAY FOUR 22
Matthew talks with Jake, Loren, Dorothy, Preston, and the Reverend. (Note: Hank walking over in the b.g.)
REVEREND
You sure you want to do this?
MATTHEW
Positive.
JAKE
Somebody's gotta be sheriff.
Hank reaches the group.
HANK
I was just thinkin' the same thing.
PRESTON
Well, since Matthew appears to be our only volunteer...
HANK
No, he ain't.
REVEREND
He isn't?
HANK
I'm volunteerin', too.
There's a beat as everyone waits for the punch line.
HANK
I captured Belle Starr, didn't I? And I got one 'a them guys that tried to rob me last Sunday. I'd say I'm the only one here fit to be sheriff.
MATTHEW
That ain't what everybody else thinks. And Jake's already given me the job.
JAKE
I never said that.
(CONTINUED)
18.
CONTINUED: 22
HANK
That's 'cause he's gonna give the job to me.
JAKE
I never said that, neither.
PRESTON
Then how do you propose we resolve this, Mayor?
Jake looks between Hank and Matthew.
JAKE
Uh... I'm callin' an election. We'll let folks decide for themselves.
Matthew and Hank each sense the challenge, and the others all watch as the two men stare at each other.
INT. SHERIFF'S OFFICE - DAY FOUR 23
Inside the holding cell, Mike finishes changing the bandage on the saloon thief's leg, while Sully and Matthew talk by the front door.
SULLY
You know what it means to be sheriff?
MATTHEW
It means I keep people safe.
SULLY
It means you wear a gun. Every day.
MATTHEW
I'm ready to do what it takes to make folks safe.
SULLY
The minute you put on a gun, you're sayin' you're willin' to use it, and that's just invitin' trouble.
MATTHEW
Trouble's already here.
Mike finishes her new bandage, and she comes out to join Matthew and Sully.
(CONTINUED)
19.
CONTINUED: 23
SULLY
Not the kinda trouble you get when folks start shootin' each other.
MIKE
If you'd been wearing a gun back at the livery, those cowboys would have shot you.
A beat.
MIKE
You've never done anything like this before, Matthew. You're not ready for it.
MATTHEW
No, I am ready for it. It's you two aren't ready for it.
MIKE
There are other things you can do.
MATTHEW
You mean things that ain't gonna make you worry 'bout me?
MIKE
(after a beat)
Is it wrong for me to hate the thought of you wearing a gun?
MATTHEW
I ain't crazy 'bout the idea, either, but if everybody else comin' into town is wearin' a gun, then I'd better have one, too.
SULLY
Wearin' a gun don't make you an expert on usin' one.
MATTHEW
You sat there the other night and said we needed somebody to enforce the laws of the territory. Well, I'm gonna be that somebody.
Matthew walks out of the sheriff's office. As Mike looks to Sully, the prisoner stands up and puts his face right up to the bars.
(CONTINUED)
20.
CONTINUED: (2) 23
He smiles maliciously at them, giving a low laugh as he voices Mike's worst fear.
SALOON THIEF
Somebody?
(a laugh)
That boy 'a yours gets to be sheriff, he's gonna be nobody real fast, 'cause I got folks comin' for me.
This time Sully walks right up to the steel bars, driving the saloon thief deep into the cell. Mike looks out toward the street, and we can see that she's rattled by his threat.
EXT. SCHOOL - DAY FOUR 24
In a tight circle, Charles, the three other boys and four girls from earlier examine Brian's stolen train. (Note: the other kids playing in the b.g.)
CHARLES
And then he put it in his jacket and walked right out.
The boys look at Brian with new admiration, but he's ambivalent about his newfound respect.
CHARLES
Brian coulda taken the other trains, too, if he'd 'a wanted.
BRIAN
I didn't wanna take anythin' else. Fact, I'm gonna pay back Mr. Bray, soon as I can.
CHARLES
Then it ain't stealin'.
BRIAN
All you said I had to do was get the train, and I did, so it don't matter if I pay him later.
CHARLES
How're you gonna pay for the next one?
BRIAN
What next one?
CHARLES
Mr. Bray's gettin' a bunch 'a new trains in by the end 'a the week.
(CONTINUED)
21.
CONTINUED: 24
BRIAN
You said I only needed one train.
CHARLES
We need more if we wanna win the prize for best display.
BRIAN
Why can't we just use what we got?
CHARLES
'Cause first prize is free train tickets to anyplace in the whole country. Mr. Bray finds out 'bout you helpin' us win, he's gonna respect you a whole lot more than if you just pay him back a few dollars.
Charles hands the train back to Brian, who takes it, reluctantly, as he begins to understand what he's gotten himself involved in.
EXT. SALOON - DAY FIVE 24A
+ON A HAND HOLDING THE GAZETTE 25
The editorial headline reads: "Hank for Sheriff."
HANK (O.S.)
Much obliged, Dorothy.
+PULL BACK TO REVEAL -- 26
the saloon is decorated with "Hank for Sheriff" banners. Hank holds the newspaper up for everyone to see. He's surrounded by Dorothy, Preston, Jake, Robert E, Grace, Myra, and Matthew.
MATTHEW
You really believe Hank'd make a better sheriff than me?
DOROTHY
Now, Matthew, I know you wanna help folks, but to be sheriff you need a certain... well, I think you'd make a fine deputy.
MATTHEW
Deputy?
(CONTINUED)
22.
CONTINUED: 26
PRESTON
Dorothy's point is well taken. We need a man like Hank for this position.
GRACE
I think what we need is somebody like Matthew.
HANK
Bein' sheriff's a man's job, Grace.
GRACE
I know, that's why I'm votin' for Matthew.
ROBERT E
You wanna be sheriff, you gotta have a level head. Trouble ever got started, I know I'd want Matthew to keep things from gettin' outta hand.
JAKE
A level head ain't gonna do you no good when you're face-to-face with some criminal. You need a mean streak to keep the law.
MYRA
Then Hank's your man.
JAKE
He's the only choice we got.
MATTHEW
You're just sayin' that 'cause you known me since I was little, and you still think of me like I was a kid.
PRESTON
You are considerably younger than Hank.
MYRA
He's also considerably smarter.
HANK
Thanks for the support, Myra.
(CONTINUED)
23.
CONTINUED: (2) 26
MYRA
Face it, Hank, you got a way a losin' your temper real bad, and that's usually when you do crazy things.
MATTHEW
Only reason Hank wants to be sheriff is so he can hang the man that robbed him.
All eyes go to Hank, who wasn't expecting Matthew's attack.
HANK
That ain't it.
ROBERT E
Why do you wanna be sheriff?
HANK
I wanna be sheriff 'cause... I got a growin' business, and I wanna keep it safe, just like I wanna keep everbody else's business safe, so we can all keep on prosperin'.
JAKE
(look to Matthew)
Why do you wanna be sheriff?
MATTHEW
'Cause there's more to prosperin' than just makin' money, and there's more to bein' sheriff than just lookin' after everybody's business. I wanna look after all the folks in town, not just the ones makin' the most money.
Each man's agenda is set. Hank dismisses Matthew's reason for seeking the position, but standing next to him, Dorothy holds a copy of her newspaper, and we can see that she wishes she'd given her editorial a little more thought.
EXT. SHERIFF'S OFFICE - DAY SIX 27
The office has been turned into a voting precinct. Outside, a crowd gathers, awaiting the result. Crowd includes: Sully, Colleen, Brian, Loren, Preston, Dorothy, the Reverend, Horace, Myra, Robert E, Grace. Mike walks through the crowd to vote.
24.
INT. SHERIFF'S OFFICE - CONTINUOUS - DAY SIX 27A
Jake sits behind the voting table, counting ballots as Hank tries to look over his shoulder. Matthew stands to the side as Mike walks in. The saloon thief remains in his cell.
It's a hard moment, because they both know who she's voting for.
Hank comes over and hands her a ballot.
HANK
Poll's closin', Michaela, so better hurry.
Matthew can't stand to see her vote for Hank, so he walks outside.
EXT. SHERIFF'S OFFICE - CONTINUOUS - DAY SIX 27B
Matthew joins Sully, Colleen, and Brian. Jake and Hank come out of the office.
LOREN
Well?
JAKE
We got ourselves a sheriff.
+ON MATTHEW AND HANK 28
Staring at each other, Hank with a confident smile, Matthew with nervous determination.
+NEW ANGLE 29
JAKE
Matthew Cooper.
Hank can't believe it, and neither can Matthew. The crowd moves to Matthew, offering congratulations.
HANK
I want a recount.
JAKE
I know how to count, Hank. You lost by thirty votes.
Hank leaves, heading back to the saloon.
25.
+ON MIKE 29A
She stands alone in the office doorway, watching the celebration.
+ON MATTHEW, SULLY, COLLEEN AND BRIAN 30
Jake comes over to Matthew and hands him a holster, complete with a shining new gun. Then Jake pins the sheriff's badge on.
JAKE
Here you go.
In contrast to the exuberance of the town, the family is hesitant. Instead of patting Matthew on the back, they exchange anxious looks between each other as Matthew puts on his holster.
+ON MIKE 31
She can't watch, so she leaves, heading for the clinic.
+ON MATTHEW 32
He sees Mike go, and then slowly starts to work his way out of the crowd to follow her.
INT. CLINIC - DAY SIX 33
Mike has her back to the door as Matthew walks in. She turns to face him, doing her best to put on a brave front.
MIKE
Congratulations.
MATTHEW
I don't expect you to be happy 'bout this.
A beat.
MIKE
No, I'm not.
MATTHEW
At least you know I'm doin' this for the right reasons.
(CONTINUED)
26.
CONTINUED: 33
MIKE
(looking at the operating table)
I don't ever want to see you lying there, looking up and telling me you got shot for the right reasons. There are no right reasons to get shot.
MATTHEW
That why you stood in front 'a the Cheyenne that time when Custer's men were gettin' ready to shoot 'em?
MIKE
That was a rash decision.
MATTHEW
No, it wasn't. You were standin' up for what you believed in. And now I'm doin' the same.
Mike nods uncertainly as she touches the sheriff's star that Matthew now wears.
EXT. GRACE'S CAFE - DAY SIX 34
The cafe is full, and the family eats at a table near the cooking area. (Note: the LONE MAN at the table behind them, with his back to Matthew.)
MATTHEW
First thing I'm gonna do is get that office cleaned up.
COLLEEN
I'll help.
MATTHEW
Thanks.
Matthew looks to Brian.
BRIAN
I... I can't.
The lone man gets up and slowly starts to walk away from his table.
Grace walks over to the lone man's table. She begins to clear the plates, but then stops when she realizes the man hasn't left any money.
(CONTINUED)
27.
CONTINUED: 34
GRACE
(calling out to the man)
Excuse me, but you forgot to pay.
The man looks back at Grace and then takes off, running through the tables and out of the cafe. Matthew is up in an instant, chasing after him.
MATTHEW
Hold it.
The man keeps running, but as soon as Matthew clears the last table, he lunges out, tripping the man, who goes tumbling to the ground. Before the man can get up, Matthew has his gun drawn; and when he sees the weapon, the man puts his hands in the air.
MATTHEW
I believe you forgot to pay for your meal.
Mike, Sully, Colleen, Brian, and Grace have caught up with Matthew.
MATTHEW
(to Grace)
How much he owe you?
GRACE
Forty cents.
The man fumbles in his pocket and produces the change, which he gives to Grace.
MATTHEW
Do that again, you're goin' to jail.
The man nods rapidly and then backs away as fast as he can. Everyone in the cafe watches with approving smiles.
GRACE
Thank you, Matthew. It's nice to finally have somebody lookin' after things around here.
Grace heads back to the cafe, and the family can't help but notice the silent feedback from the town: it is nice to finally have someone looking after things.
+ON MATTHEW 34A
Standing tall, he holsters his gun with authority. He could get used to this sort of adulation.
28.
EXT. TRAIN STATION - NIGHT SIX 35
Matthew takes a final look around before he calls it a night. Satisfied that all is well, he starts to head back to his office, but as soon as he steps off the platform, he HEARS a noise.
+MATTHEW'S POV 36
He sees a shadow edging out from behind the station, and as he silently makes his way towards the shadow, he draws his gun.
+ON MATTHEW 37
We can see the tension in his face. It's one thing to make someone pay for a meal in broad daylight with the whole town looking on, but it's another thing to be alone at night facing an unseen adversary. With every step Matthew takes, he grows more and more nervous.
+MATTHEW'S POV 38
From the shadow on the ground, Matthew can see a gun being drawn.
+ON MATTHEW 39
He freezes, momentarily panicked: what should he do? He decides to take the unseen man by surprise, so he slides right next to the train station, inching his way toward the figure with the gun. He's getting closer... closer... and then the gun comes out in plain sight as the unseen man starts to round his own side of the building.
Matthew isn't going to wait. He instantly FIRES off a round, causing the unseen man to drop the gun to the ground. Horace CRIES OUT in pain, and then comes out into the light so the two of them are face-to-face.
MYRA (O.S.)
Horace?
Horace starts to go into shock as he looks at the blood seeping onto his white sleeve.
HORACE
You shot me, Matthew.
(CONTINUED)
29.
CONTINUED: 39
Matthew also looks like he's going into shock. He's still got his gun in his hand, but as he sees the blood covering Horace's arm, he throws his gun away. He goes to Horace and keeps him from falling to the ground.
FADE OUT.
END OF ACT TWO
30.
ACT THREE
FADE IN:
EXT. CLINIC - ESTABLISHING - (STOCK) - NIGHT SIX 40
MATTHEW (V.O.)
I swear, I didn't know who it was.
INT. CLINIC - CONTINUOUS - NIGHT SIX 41
Horace is unconscious on the operating table. Sully stands by Mike, who finishes stitching Horace's wound as Myra and Matthew, both of whom look deeply shaken, watch.
MYRA
He thought you were somebody tryin' to steal the mail again.
MATTHEW
Is he gonna be all right?
MIKE
Yes, he is.
That puts Myra more at ease. She pulls up a chair and sits down next to Horace. Matthew is still wired, however, and Mike and Sully can tell. Mike takes a last look at her work and then she and Sully pull Matthew aside.
MATTHEW
I coulda killed him.
SULLY
But you didn't.
MATTHEW
I didn't even have time to think, I just saw his gun, and I fired.
SULLY
Everythin' happens faster with a gun.
MATTHEW
I don't ever wanna have somethin' like this happen again.
SULLY
You can try an' be more careful, but there's always gonna be a chance...
(CONTINUED)
30A.
CONTINUED: 41
MATTHEW
Not if I don't carry a gun.
(CONTINUED)
31.
CONTINUED: (2) 41
MIKE
(hopeful)
You don't want to be sheriff any longer?
MATTHEW
I still wanna be sheriff, I just don't think folks should be runnin' 'round town with guns, myself included.
Mike and Sully share a look: What does he mean?
SMASH CUT TO:
INT. CHURCH - DAY SEVEN 42
+ON HANK 43
HANK
Outlaw guns?!
+ON THE TOWN MEETING 44
TOWNSFOLK jammed in. The town council at the front: Mike, Loren, Jake, Horace (arm in a sling), and the Reverend. In the crowd: Sully, Matthew, Preston, Dorothy, Myra, Robert E, Grace, and Hank.
MATTHEW
I ain't sayin' you can't own 'em. I'm sayin' I don't think anybody should be wearin' 'em in town.
JAKE
You don't wanna wear a gun, you might as well turn in your badge.
MIKE
There are plenty of places where lawmen operate without guns.
JAKE
Where?
MIKE
England, for one.
LOREN
That's how come we beat 'em in the Revolution, 'cause we knew how to use guns, and they didn't.
(CONTINUED)
32.
CONTINUED: 44
HANK
And just 'cause Matthew's too jumpy to be carryin' a gun is no reason for me to give up mine. I know how to shoot straight, and if you'd 'a made me sheriff...
SULLY
You woulda killed Horace.
PRESTON
If you insist on enacting this legislation, I'll hire my own security force.
GRACE
They won't have guns, either.
PRESTON
I run a bank. Does anyone here understand how much I could lose in a robbery?
LOREN
I do. I'm expandin' my business, and I got more to lose than before, so the person who's protectin' my property better be carryin' a gun.
SULLY
Used to be that folks 'round here were more interested in who they were than in what they owned.
HANK
You let the town pass this law, and who knows what they'll do next. I'm tired 'a all these laws tellin' me how to live my life.
MIKE
We're not telling you how to live your life, we're making sure this is a safe place for you to live.
Jake BANGS his gavel on the table.
JAKE
All right, let's get this over with. I vote "no."
MIKE
And I vote "yes."
(CONTINUED)
33.
CONTINUED: (2) 44
REVEREND
I agree with Dr. Mike.
LOREN
I don't.
All eyes to Horace.
HORACE
I don't know how many 'a you ever been shot, but I can tell you, it hurts, a lot, and I hope I never see a gun again as long as I live.
JAKE
(disgusted by it all)
Motion passes.
REVEREND
From now on, no one carries a gun in Colorado Springs.
Jake BANGS the gavel down.
INT. SHERIFF'S OFFICE - DAY SEVEN 45
Sully helps Matthew move a cabinet into the office, maneuvering it up against the near wall. (The saloon thief lies on his bunk in the cell.)
MATTHEW
That's good.
They gently put the cabinet down.
MATTHEW
Thanks for the help.
SULLY
You're the sheriff, I gotta do somethin' when you ask me.
They share a smile; the first light moment in a week. The moment doesn't last long, because Dorothy comes in, holding a copy of the Denver paper.
DOROTHY
(motions them outside)
Can I see you?
They follow her outside.
DOROTHY
He's gettin' out, Matthew.
(CONTINUED)
34.
CONTINUED: 45
MATTHEW
Who?
DOROTHY
(points to the paper)
Zachary Brett.
SULLY
(reading)
Zachary Brett, sentenced to seven years in prison for armed robbery will be paroled on Saturday.
DOROTHY
I heard about him, years ago. The man's a gunfighter.
MATTHEW
He doesn't know his brother's here.
SULLY
He does if that other man he was ridin' with made it up to Denver and told him what happened.
There's a beat to take that in.
DOROTHY
He could be here tomorrow.
The concern shows on all their faces.
MATTHEW
I can't stop 'im from showin' up.
SULLY
No, but you can be ready for 'im.
(signaling for Matthew to follow)
C'mon.
Sully walks out of the sheriff's office. Dorothy gives a quick look to Matthew: 'What's he talking about?', before Matthew follows Sully outside.
35.
OMITTED (46) 46
INT. SCHOOL - DAY SEVEN 46A
+ON THE BLACKBOARD 46B
Two words, written in large letters: "Manifest Destiny."
REVEREND (O.S.)
Who can tell me what this means?
+PULL BACK TO REVEAL 46C
CHILDREN at their desks. Brian sits next to Charles, with Colleen, hand raised, one row ahead. The Reverend nods towards Colleen.
COLLEEN
It means that the United States has the right to extend from the Atlantic Ocean to the Pacific.
REVEREND
Exactly.
BRIAN
Even if the land don't belong to us?
REVEREND
Well...
CHARLES
If we can take the land, then it belongs to us.
REVEREND
I think...
BRIAN
That ain't fair.
CHARLES
We fought for it, and we won, fair and square.
REVEREND
Would somebody else like to add their thoughts?
No. Half the class is aware of what's been going on, and they're riveted to the discussion.
BRIAN
We could share the land.
(CONTINUED)
36.
CONTINUED: 46C
CHARLES
That ain't how things get done. You want land, you take it. It's the only way.
BRIAN
That don't make it right.
CHARLES
My pa says the west is spreadin' out.
(look to Brian)
And anybody who wastes their time thinkin' "it ain't right" is gonna get left behind.
That's a warning to Brian, but he doesn't back down. He holds firm as he stares at Charles.
EXT. FIELD - DAY SEVEN 47
Sully and Matthew have squared off, facing each other as wrestlers do. Matthew charges Sully, who steps aside, grabbing Matthew's arm and throwing him to the ground. Sully stands over Matthew, and then offers him a hand to stand up.
MATTHEW
I'm not gettin' it.
SULLY
That's 'cause you're fightin' the way you're used to. You gotta start thinkin' 'bout things differently if you're not gonna wear a gun.
Matthew dusts himself off.
MATTHEW
Where'd you learn how to fight like that?
SULLY
Back when I was minin', one 'a the men I worked with could beat anybody in a fair fight.
MATTHEW
Even you?
SULLY
'Specially me. He couldn't 'a been more than half my size, but every time I'd challenge him, he'd be the one left standin'.
(CONTINUED)
37.
CONTINUED: 47
MATTHEW
How'd he manage that?[
Sully holds his hand out.
SULLY
Hit my hand.
Matthew holds for a beat, but as Sully nods for him to go ahead, Matthew swings. Sully moves his hand out of the way, grabbing Matthew's wrist with one hand, and clamping down on Matthew's extended elbow, forcing him to the ground.
SULLY
A little more pressure, I could break your arm.
Sully releases Matthew's arm, and Matthew gets up.
MATTHEW
How's this gonna help me?
SULLY
When I come at you, you're just standin' still. But when you come at me, I'm turnin' your own strength against you].
(off Matthew's look)
That's all it is, keepin' my balance and makin' you lose yours.
(*a beat)
Try it.
Sully rushes at Matthew, who executes a more awkward version of Sully's clean throw, but with the same result: now it's Sully on the ground, and Matthew is left standing. Sully gets up quickly.
(CONTINUED)
38.
CONTINUED: (2) 47
SULLY
Better.
MATTHEW
It's gotta take a lot 'a fightin' to get as good as you.
SULLY
The reason I'm teachin' you this is so you don't have to fight.
MATTHEW
How's that?
SULLY
It ain't the sheriff's job to get in fights; he's gotta stop 'em 'fore they happen.
Sully dusts himself off as Matthew takes in the advice; understanding a little more about what Sully is trying to teach him.
EXT. SCHOOL - DAY SEVEN 48
All the kids have gone home, except for Brian, who sits alone by a tree. The train he's stolen from Loren rests on the ground a few feet away, as if Brian doesn't want it too close to him. Mike walks over, clearly looking for Brian. She pauses a beat when she sees how dejected he's looking, and then sits next to him.
MIKE
Hello.
Brian looks up at her, and instantly knows he's forgotten something.
BRIAN
Cleaning up the clinic... I forgot. I'm sorry, Ma.
MIKE
It looks like you've got a lot on your mind.
(off his nod)
Is there something I could help you with?
Brian looks at the train, and Mike follows his gaze.
BRIAN
I don't think so.
Brian looks down again, but Mike keeps her eye on the train.
(CONTINUED)
39.
CONTINUED: 48
MIKE
That's a beautiful train.
BRIAN
(giving himself away)
It ain't mine. It's somebody else's.
MIKE
Must be a very good friend to trust you with such a special train.
Mike pauses for a beat.
BRIAN
You ever known a group who says you can't join 'em 'less you do somethin' they want you to do?
MIKE
Yes, I remember what that was like.
BRIAN
So you can either do somethin' you don't want to, just so you can be in the group, or you can not do it and be out of the group.
MIKE
What do you think is the right thing to do?
BRIAN
I don't know. It's no fun either way.
MIKE
When I was your age, all the girls formed a secret club, and the way you knew you were in the club was by wearing a certain kind of bonnet. I bought one, too, but I kept forgetting to wear it, because I never really cared about bonnets much, and I always had other things on my mind.
BRIAN
So, they didn't want you to be in their club, did they?
(CONTINUED)
40.
CONTINUED: (2) 48
MIKE
No, they didn't.
BRIAN
Then you didn't have any friends.
MIKE
If the only reason someone likes you is because you do something they want you to do, they're not much of a friend, are they?
She puts her arm around Brian, and he leans against her, considering things.
EXT. STORE - DAY SEVEN 49
Hank looks through the apple bin, searching for just the right one. He's got his gun in his holster, and he's not even wearing a jacket to hide it. He wants everyone to know he's carrying a gun. Loren and Jake watch Hank from the porch. In the b.g., Matthew walks towards the store.
JAKE
You ain't supposed to be wearin' that, Hank.
HANK
Zachary Brett shows up in town, somebody better be wearin' a gun.
Hank doesn't see Matthew coming up behind him.
MATTHEW
Nobody's wearin' a gun here, 'cause it's against the law.
Hank turns to face Matthew, and we can see Loren and Jake back off a step, sensing the confrontation. Dorothy and the Reverend come out of the store to see what's going on.
HANK
How you plannin' on enforcin' that law, "sheriff?"
MATTHEW
I'm askin' for your gun.
HANK
Gonna have to do better than that.
MATTHEW
Gimme the gun, Hank, or I gotta arrest you.
(CONTINUED)
41.
CONTINUED: 49
Hank steps over to Matthew, so that the two are now within touching distance. Loren, Jake, the Reverend, and Dorothy watch from the store porch. No one says anything.
HANK
You want this gun so much, why don't you just get it yourself?
Matthew's not taking that bait. He's calm, sure of himself; not letting Hank dictate the action. He stands there, extending his hand, waiting for Hank to give him the gun. The gesture agitates Hank, who gives Matthew a shove. Matthew takes a step back, moving with the force of the push.
HANK
Go on, try and take it.
Not satisfied, Hank shoves Matthew again, this time with a little more force. Matthew absorbs that blow, but the third time Hank tries to shove him, Matthew turns to the side, using Hank's own momentum to throw Hank over his shoulder, and then pinning him to the ground. Hank is stunned by the speed of the maneuver, as is everyone else.
Matthew takes the gun out of Hank's holster and then stands up. Hank remains on the ground, feeling the pain from his fall.
HANK
Think you're gonna be able to do that to Zachary Brett?
(getting up)
He sees you're the man keepin' his brother in jail, he's gonna shoot you, and anybody else stupid enough to stand in his way.
Hank dusts himself off and walks back to the saloon.
+ON MATTHEW 50
He's still got Hank's gun in his hands, and he's looking at it, giving it thought. Matthew holds the gun, but then he makes his decision, opening the chamber and dropping the bullets into his hands, so that the gun is now empty.
FADE OUT.
END OF ACT THREE
42.
ACT FOUR
FADE IN:
INT. STORE - DAY EIGHT 51
Loren tabulates accounts at Dorothy's desk as Brian walks in the store and comes over to him. Loren's absorbed in his work, so he doesn't see Brian at first.
BRIAN
Mr. Bray.
Loren looks up and stops working, happy to see Brian, who takes the train from his jacket and silently places it on the desk in front of Loren.
+ON LOREN 52
He picks up the train.
LOREN
Where'd you find this? I been lookin' all over for it.
+NEW ANGLE 53
Brian has his head bowed. He can't bring himself to look at Loren, who slowly realizes the purpose of Brian's visit as he puts the train down.
LOREN
Did you..?
Brian nods slowly, looking up to see how much the revelation has hurt Loren.
LOREN
Aw, Brian.
BRIAN
I'm sorry.
LOREN
Why d'you steal this?
BRIAN
I wanted to go to a train fair in Denver with my friends, but they said I couldn't 'less I had one 'a these.
(CONTINUED)
43.
CONTINUED: 53
LOREN
And you wanted to go bad enough to take this from me?
Brian nods.
LOREN
Then how come you brought it back?
BRIAN
'Cause it was wrong to take it.
(a beat)
They ain't real friends. You are.
Loren looks at the train again, touched by Brian's affirmation.
LOREN
Guess if I was your age, I'd wanna go to a train fair in Denver, too.
BRIAN
But you wouldn't steal somethin' just so you could go. You're honest.
LOREN
Well, I try to be, but I done some things with my business that I ain't 'specially proud 'a.
BRIAN
Doesn't feel very good.
LOREN
No, but that's how it is when you take somethin' that ain't yours; you think you're gettin' somethin' for free, but somewhere down the line, you find out it costs you in ways you never thought it would.
(a beat)
I wish I could set a few things right like you're doin' now.
A beat. Brian still sad.
BRIAN
I didn't really wanna go to that train fair, anyway.
(CONTINUED)
44.
CONTINUED: (2) 53
Loren sees through him.
LOREN
You didn't, huh?
Brian shakes his head.
LOREN
'Cause I was thinkin' 'a goin' to that train fair.
BRIAN
You were?
LOREN
But I'd need somebody to go with. Somebody who likes trains.
(a beat)
You know anybody who might think 'bout showin' me around?
Brian knows just the person.
INT. HOMESTEAD - DAY EIGHT 54
Mike stands by the fireplace, looking at the rifle on the wall. She takes it down, and as she holds it, Sully walks in behind her. There's a silent beat as she turns and they look at each other.
MIKE
That man is a professional gunfighter.
SULLY
And Matthew ain't, so he better not challenge him with a rifle, 'less he wants to get shot right off.
MIKE
And what if he decides to shoot Matthew, anyway?
SULLY
You wear that badge, you're acceptin' that your life is gonna have certain risks.
MIKE
What about the risk for you, or for me, or Colleen and Brian?
Sully lets his own frustration show briefly.
(CONTINUED)
45.
CONTINUED: 54
SULLY
You think I don't wanna make sure nothin' bad ever happens to Matthew?
(a beat)
But worryin' 'bout him don't give us the right to tell him how to live his life, and you gotta accept that.
MIKE
I don't want to accept it. I want to keep Matthew safe.
SULLY
You don't raise children so you can keep 'em someway that's gonna put your mind at ease. You raise 'em so they'll know how to look out for themselves when they move on in life and start makin' choices 'bout how they're gonna live.
MIKE
That doesn't mean you stop worrying about them.
SULLY
No, it don't.
Sully takes the rifle and puts it back on the wall.
INT. SHERIFF'S OFFICE - DAY EIGHT 55
Matthew's cleaning off his desk, while the saloon thief watches him from his cell. In the b.g., we HEAR the train whistle, and then the SOUND of the train pulling into town. The saloon thief keeps his eyes locked on Matthew, who gets up and heads for the door.
Matthew doesn't even look at him, he just puts on his hat. He's not showing it to the saloon thief, but we can see the fear in Matthew's eyes before he walks outside.
EXT. TRAIN STATION - DAY EIGHT 56
TWO MEN debark from the train: ZACHARY BRETT, complete with holster and gun, and the other saloon thief we saw earlier. They step over to the one sign on the platform.
46.
+ON THE SIGN 57
It reads: "It is illegal to carry a firearm in Colorado Springs. All weapons must be turned over to the sheriff."
+ON ZACHARY BRETT 58
The sign is his idea of a good joke, so he indulges in as much of a smile as someone like him can.
ZACHARY
Keep an eye out.
The other man remains on the platform as Zachary heads for town.
+ON THE STREET 59
...which is empty, save for Zachary and Matthew. Zachary spots Matthew, and he clears his jacket slightly so he'll have free access to his gun. Matthew sees what Zachary's doing, but he keeps moving forward until Zachary stops.
MATTHEW
Afternoon.
Zachary doesn't know what to make of Matthew. He can see he's wearing a sheriff's badge, but it's also obvious that he's unarmed. Matthew gets to within ten feet of Zachary before he reaches down and puts a hand on his gun, stopping Matthew in his tracks.
MATTHEW
We got a law here 'bout carryin' guns.
ZACHARY
I ain't plannin' on bein' here long. I just came for my brother.
As Matthew holds his ground, people look out from their windows. Jake from his shop, Loren, Dorothy, and the Reverend from the store, Robert E and Grace from the livery, Horace and Myra from the train platform.
+ON THE TOWN SQUARE 60
Mike and Sully come from around the corner, stopping when they see the standoff.
+UP THE STREET 61
Matthew and Zachary remain ten feet apart.
(CONTINUED)
47.
CONTINUED: 61
MATTHEW
Your brother's been arrested for robbin' the saloon, and he's gonna have to stand trial for it.
ZACHARY
No, he's gonna be with me when that train pulls out 'a here.
MATTHEW
He's stayin' here, and you wanna see 'im, you gotta gimme that gun.
Zachary slowly pulls the gun out of his holster and everyone holds their breath.
ZACHARY
I ain't never seen a sheriff without a gun.
MATTHEW
Well, you seen one now.
ZACHARY
You must like takin' chances.
Zachary sizes Matthew up, and then he slowly starts to scan the town, looking for something, or more likely for someone. In the b.g., Mike and Sully get closer to the confrontation. Colleen and Brian remain where they were.
ZACHARY
Or maybe you got somebody else with a gun, someplace I can't see.
MATTHEW
Nobody's got a gun on you.
Zachary doesn't believe it, but he's done this before, so he's got more cards to play.
ZACHARY
'S'pose if I shot you, I'd flush out whoever you got backin' you up.
Mike and Sully are now closer than anyone else.
MIKE
We're the people backing him up.
Mike and Sully walk right up to where Matthew's standing, so that they're side-by-side. This is something that Zachary hasn't seen before, and he's thrown by it.
(CONTINUED)
48.
CONTINUED: (2) 61
He's getting nervous, looking around with greater intensity.
ZACHARY
There's still only three 'a you.
Robert E and Grace step out into the street, walking over to Mike, Matthew, and Sully.
ROBERT E
There's five of us, now.
Slowly, in the b.g., everyone else walks outside and starts to come forward: Loren, Dorothy, the Reverend, Jake, Horace, and Myra, as well as other townsfolk.
+ON COLLEEN AND BRIAN 61A
They run around the corner, passing Hank, who hangs back. Colleen and Brian race ahead, so that Colleen stands next to Mike, and Brian is between Matthew and Sully. Everyone is out on the street; men, women, children.
Zachary's thinking about it now, carefully considering his next move. He looks back to the train platform, but the crowd is so thick he can't see the saloon thief anymore.
LOREN
He's got the whole town backin' 'im up.
We can see Matthew gaining confidence by the way in which the town has chosen to stand with him, and so he takes the final ten steps towards Zachary, coming face-to-face with him as we hear the TRAIN WHISTLE in the b.g. Zachary's got the gun out, aiming it right at Matthew.
MATTHEW
You wanna see your brother, gimme your gun, otherwise, the train's leavin' and you can see your brother when he stands trial.
There's a beat as Zachary holds the gun out, almost as if he's making the only point he can.
ZACHARY
You're a lucky man, sheriff.
Zachary slowly starts to holster his gun.
MATTHEW
Luck's got nothin' to do with it.
(CONTINUED)
49.
CONTINUED: 61A
ZACHARY
We'll see 'bout that the next time I come back, and you ain't got so many 'a your friends around.
MATTHEW
These folks are always gonna be here. This is our home.
Zachary slowly backs away heading for the train. When he disappears, people press forward to offer Matthew their congratulations as Matthew makes his way to the family. (Note: Robert E goes to the livery, returning with a large piece of wood.)
+ON THE FAMILY 62
Matthew embraces them.
Mike holds his hand, looking at him; a new Matthew, who has earned the title of town sheriff.
MIKE
(wistful smile)
I'm proud of you, sheriff.
Everyone falls silent as they watch Mike hug Matthew, and then Robert E steps forward, holding a sign.
+ON THE SIGN 63
It reads: "Matthew Cooper, Sheriff."
+ON THE CROWD 64
Robert E goes over to the sheriff's office, where he takes down the old, anonymous sign, and puts up the new one. Matthew is humble as we see the townsfolk, united beneath the sign bearing the name of their new sheriff, and we FADE OUT...