"STATION WEST" Screenplay by Frank Fenton & Winston Miller Based on a novel by Luke Short SHOOTING DRAFT JULY 22, 1947 EXT. OPEN COUNTRY - DAY FADE IN The sky is pure blue, exquisitely blemished by huge cumulus clouds, floating lazily. A single bird sails past. From the sky the CAMERA MOVES TO earth. Here, too, all is tranquil. The trees, bright green in the sunlight, move only to the slight but constant breeze. Now the CAMERA MOVES DOWN, revealing a wagon to which is hitched a team of horses beside the road. The wagon is at an awkward angle, but upright. It is wedged between two rocks where the horses have pulled it as they tried to reach some forage. Its seat is empty. In the bed of the wagon several sacks lie, bearing the legend: From: Argus Mine - Rock Pass To: U.S. Assay Office San Francisco The sacks are empty and slashed as by a knife. The ropes that bound them are cleanly severed. The disorder in the wagon indicates haste. Two horses are hitched to it, munching grass or the high leaves of a tree overhead. All that is odd or unnatural is that the reins have fallen askew and trail the ground. Now the CAMERA MOVES AWAY and ALONG tracks made by the wagon when it left the road. ON THE ROAD two horses stand. These are saddled, but riderless. The rifle holsters are empty. CAMERA MOVES TO the ground. There on the road lies the rifle. The dust is slightly blowing across it, moved by the persistent summery little breeze. From the rifle, the CAMERA MOVES ON A LITTLE and STOPS ABRUPTLY ON the sprawled dead figure of a soldier, then another, face down in the road. CLOSE SHOT of the dead soldiers, as the CAMERA HOLDS ON them. Near the hand of one a revolver lies, the fine dust coating it. Dust blowing over the uniforms, as though seeking to hide the shame of a murder. As it blows over their still figures, the SOUND of BIRDS coming over: FADE OUT FADE IN ROCK PASS - NIGHT This is a western mining town of the Eighties that has mushroomed up around a gold strike. On the streets prospectors and miners mingle with merchants. As the CAMERA PICKS UP the scene, a lumber wagon passes, bearing logs, a ten team wagon, its trailer filled with ore from the stamp mills and bearing the legend: ARGUS MINE. A stage coach comes in as we: DISSOLVE INT. HOTEL - NIGHT On the hotel clerk, as he sits behind the desk, playing a guitar and singing pensively the ballad of the story. As he sings, JOHN HAVEN, newly arrived on the stagecoach, walks in, gazes at the clerk with a slight smile, finding the clerk completely indifferent to the arrival of anybody, at last leaves the bag and saunters out. DISSOLVE EXT. SALOON - NIGHT As Haven leaves the hotel and has reached the saloon, a well- lighted, plush-looking spot, illumined by kerosene flares. Sticking a pipe in his mouth, Haven saunters in. INT. CHARLIE'S SALOON - EVENING It is a huge elaborate room, lit by overhead chandeliers. A long mahogany bar runs the length of it. To one side there is a big stove and the gambling tables. Beyond can be seen pool tables in an alcove. To another side, a man grinds away at a piano. A stairway near the end of the bar leads to an upper floor. The place is crowded and noisy with people. Haven saunters towards the dice table, pauses, watches; he is looking the crowd over carefully -- missing no detail of the place or the people in it. When his turn comes, he picks up the dice, bets all over the place -- on the line, on the odds, on the seven, then on the come, the hard way, etc. His point is eight. STICKMAN Eight the hard way! Pay the line! Haven bets again, doubling all over the table. STICKMAN Seven a winner. Players glance at the newcomer. Prince appears from nowhere, standing behind the stickman, watching. Prince is slender, black-haired, handsome and impassive. Haven throws again. Stellman, an Army officer, watches curiously. There is a little rising murmur as Haven tosses another natural. He does it without enthusiasm or any lost movement. The bettors get down on him. Prince touches the stickman's arm; the man stands aside and Prince takes his place with the stick. Prince tosses the dice back to Haven. Haven's eyes are fixed on him. With a little smile, Haven throws the dice to the next man, picks up his winnings. HAVEN No, thanks... His eyes meet Prince's again and then he turns away, Prince's gaze following him curiously, Stellman looks at Prince. STELLMAN Know him? PRINCE No. Why? STELLMAN He just seems kind of free with that money. CAMERA FOLLOWS Haven, as still smiling slightly, he heads towards the bar, searching the faces of the crowd as he goes. Two miners are squared off for a fight and Haven, going his way, walks between them, very indifferent, not even glancing back at the SOUND of scuffle behind him. AT THE BAR - Haven alone is not watching the fight. All the others have turned to see it; even the barman is busy watching. But Haven's eyes are resting on the figure of a woman now at the piano, singing. Softly, as if to herself and for her own enjoyment. He is near the end of the bar and near the piano, and since no one else listens to her at this moment, she sings, half smiling, directly for him, and then, self-consciously, she stops and turns to sit at a table, as Haven watches her. Behind them the fight is being stopped and Charlie's eyes follow the huge bouncer, Mick Marion, as he drags the offenders out to the door and the street. All is as usual. The bartender is back at work. As Haven turns, he finds that the place beside him is now occupied by the young Lieutenant (Phil Stellman). Haven glances at the uniform, then at the pleasant face of the officer, as the barman comes up. HAVEN (to barman) Whiskey -- like you'd pour it for yourself. A girl sidles up to him, blonde, brash and pretty. BLONDE Don't you know it's no fun to drink alone? HAVEN Not till after the first one. He turns his back to her; she gives him a look and saunters off. The barman produces the drinks -- a beer for Stellman, the young officer. The barman folds his arms. Stellman looks at Haven. STELLMAN You a stranger here? HAVEN (to barman, after gulping it in one gulp) What kind of whiskey was that? BARMAN On the bottle it says Rye -- but the way you take it, I don't see what difference it makes. Haven smiles at him. HAVEN Another Rye. The barman turns to get it. Stellman is still looking at Haven. STELLMAN (easily) You didn't answer my question. HAVEN I'm a stranger everywhere. STELLMAN Got a job? The barman gives Haven another Rye. HAVEN Listen, soldier. I know that one, too. Got a job, stranger? No? Why don't you join the Army? Three meals a day, a place to sleep, a nice warm uniform -- STELLMAN It has a little more than that. HAVEN (deliberately) Yeah, it has one thing more, and that's what I could never take -- (looking at Stellman's stripes) It's got Second-Lieutenants. The barman, listening, senses trouble and signals with his eyes to a big bouncer down the bar. The bouncer moves up quietly. STELLMAN If you want to make it a personal matter -- HAVEN (coldly) I don't make it anything, soldier. You tried to sell something and I didn't buy it -- so why don't you just beat it? They stare at each other for a long second, then Stellman speaks icily: STELLMAN If I weren't in uniform, I might teach you some manners. HAVEN If you could teach me anything, you wouldn't be in a uniform. Stellman's jaw tightens; then he turns and exits abruptly. The barman sighs with relief; the bouncer turns away. BARMAN You couldn't be looking for trouble, could you? HAVEN I could, but I'm not. BARMAN That's fine, because this is one of the best places West of the Atlantic Ocean to find it. HAVEN That was my first impression. BARMAN (as Haven looks at him) That Lieutenant's a nice young boy. HAVEN I don't doubt it, but his mouth is too big -- like your ears. He turns away from the bar, after flipping a coin on to it, while the barman stands there not knowing whether to be angry or philosophical. CAMERA FOLLOWS Haven, as he threads his way through the tables towards the door. His eyes catch sight of the girl who sang at the piano, Charlie. She is sitting at a table with Prince. Prince murmurs to her and she glances at Haven, then looks away again. Haven notes it. As he comes near the table, the blonde who spoke to him at the bar, accosts him again. BLONDE How is it now? HAVEN What? BLONDE Drinking alone? HAVEN (flipping her a coin) It's all right -- try it. Haven is looking at Charlie. She is checking a stack of coins the blonde has turned in to her. She glances up with a fleeting smile at Haven. CHARLIE It's not a good habit if it makes you pick fights. HAVEN Only with Second Lieutenants. CHARLIE We like Second Lieutenants here. Their gazes meet and Prince notes it with narrowing eyes. The gaze holds like a spell, and then Charlie's smile comes back, from nowhere. CHARLIE You see -- here everybody fights, except the Army. Haven looks at her, fascinated. She can feel a fascination herself. Now Haven smiles a little. HAVEN I wouldn't know -- CHARLIE (still smiling) So anyone who doesn't like the Army -- HAVEN I know what you mean, but I'm afraid I'll have to come back. I like the way you sing. She looks at him in a second's silence. Haven turns and leaves. She watches him go. Prince studies her face, his own grim. A croupier comes up and places a paper before her. She hardly notices it. CROUPIER Okay, Charlie? Charlie snaps out of it long enough to initial the paper. CHARLIE That's his limit. CROUPIER There's a sucker getting hot with the dice at Ed's table. He turns away. Prince sits still, his eyes on Charlie, his slim fingers at an habitual trick, that of idly stacking dice in a little pillar and then picking the pillar aloft by holding the lowest dice pinched between the thumb and forefinger, NOT by the edges, but by the sides. Now he does it as he watches Charlie's face. Her eyes glance again at the disappearing back of Haven. The sense of fascination seems to have gotten her, too. Then she realizes the presence of Prince and his shrewd gaze. She looks at him coolly. CHARLIE Well -- cool him off. Prince flips the dice into his palm and rises... EXT. OUTSKIRTS OF TOWN - NIGHT The board sidewalk has given way to a rutty dirt road. Now the racket of the saloon street is just a ghost of noise, the road dark and silent. Haven has emerged from the saloon. He glances up the street. Fifty yards ahead, Stellman is walking slowly. Stellman pauses, shoots a quick glance backwards, then goes on. Haven follows, going leisurely up the street after Stellman. ANGLE on a corner as Stellman turns it, pauses and waits. When Haven reaches it, Stellman goes on in silence. EXT. MRS. CASLON'S MINE-CABIN - NIGHT As Stellman reaches it, pauses and glances behind him. Then he rings a bell. Haven comes up and waits in silence, glancing at the dark interior. A woman's face now peers through the door window and then the door opens. Stellman enters quickly and Haven follows. INT. MRS. CASLON'S MINE-CABIN - NIGHT As Stellman and Haven follow Mrs. Caslon to a rear door. Looking around, Haven notes in the shadows a desk and in a corner the big safe. (This room is described in a subsequent scene.) So as to emit the least light, Mrs. Caslon lets Stellman and Haven go through, then quickly follows them and quickly shuts the door. INT. MRS. CASLON'S LIVING ROOM - NIGHT It is remarkably neat and elegant inside. As Haven, glancing around, pauses inside, he finds himself facing a burly uniformed cavalry officer, captain's bars gleaming on the side of his collar. The captain is big and broad and scowling. He is standing by the fireplace and his eyes are boring into Haven's with curiosity and perhaps, suspicion. Stellman steps forward as Haven and the captain are measuring each other. STELLMAN Captain Iles -- the Commanding Officer of the Post. Haven gives a casual nod. STELLMAN Mr. Haven -- sir. Iles looks him up and down. Haven hands him an envelope which he slips into his tunic without removing his gaze from Haven. ILES I see you finally got here. HAVEN (pleasantly) I seem to finally get everywhere. They eye each other, Iles scowling, Haven thinly smiling. The sense of conflict is already between them. ILES (introducing) Mrs. Caslon, -- Mr. Haven. She nods and smiles warmly. ILES You've met Mr. Stellman. Haven nods. STELLMAN It came off beautifully. He picks a very good fight. In fact, I think I'm still a little sore at him. ILES (grunting) Sit down, Mr. Haven. HAVEN Thank you, Captain. He sits down. Iles is still studying Haven. ILES So you're operating under sealed orders. Haven nods agreeably. ILES (disgruntled) All this mumbo jumbo is characteristic of the Military Information Department. HAVEN We use it as sparingly as possible. Iles pulls out a cigar, lights it, sizing Haven up. ILES I've been in this territory for a number of years -- and I think it might be a little rougher here than a suburb of Washington, D.C. HAVEN Very possibly. ILES Then why is M.I.D. sending you out here? HAVEN Because two soldiers have been murdered. ILES And they think I can't handle that? HAVEN They merely know you haven't. There is a tight little silence, while Iles formulates his dislike for this newcomer. ILES I have only ninety-four men on the post, with Indian trouble up north. The War Department has refused to send reinforcements, or am I boring you? HAVEN (looking bored) I'm not the War Department. ILES (explaining) The two soldiers were killed while escorting one of the gold stages. HAVEN (quietly) Is escorting gold a function of your command? ILES Young man, the functions of my command look very pretty on paper, but they're not very practical in a territory like this. Do you have any illusions about that? HAVEN I have no illusions about anything. Haven takes out his pipe and fills it. HAVEN What's happening to the gold? ILES I've permitted it to be stored in a warehouse on the post. Now everybody is waiting to see what I do next. HAVEN What do you do next? ILES (with sarcasm) Aren't you here to tell me? HAVEN (lighting the pipe) Captain, you're in a bad way. (going over to discard the match) Wells Fargo won't convoy gold. You tried and failed and two men are dead. The gold is piling up on the post and you can't move it. Your post is under-manned. You want the Quartermaster at Platte to replace seventy uniforms sent to the freight office at West Rim City -- ILES The freight building burned down with the uniforms! I'm not operating a fire department -- and if I was, West Rim City is sixty miles away! HAVEN That doesn't concern me either. ILES What does? HAVEN The killing of two soldiers. ILES They were my men, Haven, and I'm trying every way I know to find out who murdered them. HAVEN So will I. For the first time Iles looks amicably at him, as though realizing that after all the man isn't there to criticize him. ILES You'll find it harder than you think. I don't know how you operate, but it's a dangerous job that can get you killed. He smiles slightly at Iles, who gives him a slight smile in return, somehow intrigued by this nonchalance. Haven rises from the chair, lighting the dead pipe in vain. HAVEN Perhaps I can get some help from the Sheriff. ILES You can forget him. He's a miserable man that somebody is using to keep the law a joke. HAVEN You make it sound very difficult. Why don't you just wrap up your flag and take it back East with you? ILES (smarting) Tell me, how will I know what you're doing? HAVEN I'll let you know from time to time. ILES (coldly) That's very obliging of you. HAVEN But I don't want to visit the Army post. ILES Then report to me through Mrs. Caslon here. You can be a friend of her husband's. He owned the Argus mine and died last year. If that meets your approval. Haven glances at Mrs. Caslon, smiles back at Iles. HAVEN Only if it meets with hers. MRS. CASLON I'd be delighted to help. (she smiles at Haven) ILES (grim at the smile) Is that all? HAVEN I think so. Iles marches out abruptly, followed by Stellman. The door shuts. Haven smiles after him, then at Mrs. Caslon. MRS. CASLON He really isn't that abrupt -- he -- The door opens again, smartly, Iles marches back in, kisses Mrs. Caslon on the cheek. ILES Goodnight, Mary. MRS. CASLON (warmly) Goodnight, George. Then he marches out again, shutting the door after him. MRS. CASLON You see? HAVEN I see. MRS. CASLON I think he secretly likes you. HAVEN He's a man who can sure keep a secret. MRS. CASLON (smiles) Would you like a little sherry? HAVEN Only if you have some too. She goes over to a sideboard and pours a little from a decanter into two wine glasses. Haven watches her. For the first time he realizes she is a very attractive woman. She smiles as she brings him the wine. HAVEN Thank you. MRS. CASLON To your good luck. Haven nods and they sip. HAVEN What mine did the two soldiers try to convoy the gold from? MRS. CASLON My mine -- The Argus. HAVEN (smiling a little) That brings me to a question I decided not to ask. MRS. CASLON (smiling back at him) Then I'll answer it first. Captain Iles has asked me to marry him. HAVEN I can understand that. MRS. CASLON (quietly) But you can't understand why Captain Iles should be involved in the gold business. HAVEN (smiling) I do now. MRS. CASLON It isn't just mine. You must realize there's a lot of gold from all over the territory stored at the post warehouse. HAVEN How much. MRS. CASLON Perhaps as much as half a million. (worried now) In fact, I have about fifty thousand in my safe now. HAVEN Who is doing all this? MRS. CASLON I don't know... that's the worst part of it... not knowing. HAVEN (puts down the glass, pats her shoulder with casual reassurance) I might find out. He starts for the door and she follows him. At the open door he pauses. MRS. CASLON Don't get into trouble -- HAVEN That's why I'm here. MRS. CASLON I know, but -- HAVEN Don't worry about it. Trouble and I are old enemies. We understand each other. (he grins at her) Goodnight. MRS. CASLON (smiling again) Good luck. Haven walks out and she closes the door thoughtfully and turns away. In a moment the door opens and Haven reenters and crosses to her much in the manner that we have seen Captain Iles do so. Haven stops. HAVEN You didn't tell me your husband's name. MRS. CASLON Ben. HAVEN (repeating it) Ben. He turns and goes out the door. Mrs. Caslon stands smiling after him. The smile fades for a moment -- then she dismisses it with a shrug. DISSOLVE EXT. MAIN STREET - NIGHT As Haven saunters along. He pauses, glances up at a sign that reads: HOTEL. Then he enters the dingy building. INT. HOTEL - NIGHT As Haven enters the small dismal lobby, and goes over to the desk, where a little man, Orville Weekly sits, singing to himself softly and strumming an accompaniment on a battered guitar. As Haven stands there the clerk finishes the verse about the stranger. Haven nods approval. The clerk looks at him shrewdly. ORVILLE Evenin' stranger. HAVEN You must know everybody in town. ORVILLE Everybody but one. I don't know you. HAVEN What's your name? You seem to be a pretty clever fellow. ORVILLE Orville Weekly, and I can't be a total blank. I been here six years and I ain't dead yet. HAVEN Have you got a vacant room? ORVILLE Day, week, month? HAVEN I don't always know. And the way you talk a man couldn't be very sure. ORVILLE Then it's eight bucks, cash in advance. Haven puts down the money; the clerk spins the registry to him, watches as Haven signs it. And he can read that way. ORVILLE From Arizona, huh? HAVEN No -- I always put down where I'm going next -- so I won't forget. The clerk spits, hands him a key. ORVILLE Room ten -- end of the hall. Make your own bed. Furnish your own towels. Your bag's over there. HAVEN (picking up the key) Thanks a lot for the key. I'll be back later. Haven crosses to exit into the street. DISSOLVE INT. CHARLIE'S SALOON - NIGHT As Haven enters. It is crowded. Haven pauses by a table. He sees Charlie at the piano singing. He sees Mick cross to Prince and say something, then Prince gazes in his direction. Haven's eyes meet those of Prince suddenly turned to him, cold as glass. Charlie, seeing that Haven is watching and listening to her impromptu singing, stops and makes her way through the crowd towards a booth off the dance floor. Haven's eyes follow her. MED. SHOT - of booth as Charlie sits down. A sandwich is waiting for her. She takes a bite of it, then glances up to see Haven standing beside the table. HAVEN How about eating alone? Is that a bad habit too? CHARLIE Just when you have to pay for it. HAVEN It's only money. (sitting down) I've changed my mind since I left here awhile ago. I don't want to pick a fight -- or break the bank -- or -- CHARLIE (evenly) What changed your mind? HAVEN (grins) That's what I came back to find out. Charlie glances at him, then at the crowd where Mick Marion stands beside Prince. Both are looking coldly towards the booth. Haven's gaze follows hers towards Mick, as Prince leaves the big man. CHARLIE Maybe it would be better if you found another girl. HAVEN (smiling) No, it wouldn't... I looked. She smiles slightly back at him, glances away towards Mick. Haven looks too, curiously. Mick is still watching, coldly. Others glance too, as though this were an unexpected thing. Mick takes a drink from a passing waiter; kills it in one gulp. Haven looks back at Charlie's face and smiles. HAVEN That man in ape's clothing -- could he be Charlie? CHARLIE No. HAVEN His eyes follow you around like a couple of flies. CHARLIE They follow me to see that strangers don't annoy me. HAVEN Only strangers? CHARLIE No one else would be so foolish. HAVEN First, you're beautiful. Then I like the way you sing -- and now you're a woman of mystery. (to a passing waiter) Champagne? The waiter nods and leaves. Charlie is still gazing at Haven with that slight provocative smile. HAVEN I don't want to be a stranger, so I'll have to be foolish. CHARLIE You like to take chances, don't you? HAVEN If I feel lucky. CHARLIE Then I'd advise you to try the dice table. HAVEN I'd rather get lucky here. CHARLIE (shrugging) Every man has a right to go to his own funeral. HAVEN (as the waiter sets down the champagne and glasses) I could be your cousin from Waxahatchio. I could be cousin John, a missionary on his way to China. The waiter leaves, as Charlie still regards Haven with a curious interest. Haven is glancing again toward Mick, just as that animal barrels down another whiskey. HAVEN He seems to be a lot of man. CHARLIE The most in town. At this moment Prince comes into scene and sits at the table. Haven looks at him but Charlie offers no introduction. HAVEN It's a very small town. (he sips and gazes around) You could get it all in this saloon. CHARLIE We usually do. HAVEN So Charlie probably runs the town. PRINCE (toying with his dice) Why do you care? HAVEN I'm going to spend some time here. I want to know who winds the clock. He glances up and a slow smile comes over his face as Mick Marion is seen approaching deliberately and with cold menace. Her eyes follow his, then back to his face. CHARLIE It's been a nice conversation. I hate to have it end. Blank-faced and big, Mick arrives at the booth. He stares from Charlie to Haven. Haven looks at him then at Charlie. Charlie watches Haven's face, but the smile remains. It seems to sway her, this little test of expression. MICK Who's this? CHARLIE (after a taut pause) Mick -- this is -- cousin John. HAVEN (relieved) From Waxahatchie. Mick is not quite sure. MICK What's keeping him? PRINCE I think he's wondering if he couldn't do more good here. Haven senses now it is a little game they're playing together on him. His smile remains. He reaches for the bottle, his hand grasping the base of it, just as Mick reaches for it too, clenching the top. Mick lifts at it; Haven's hand holds. They look at each other as this little game of strength goes on. MICK You aren't very friendly, are you, mister? HAVEN (quoting) A friend to all is a friend to none. PRINCE You ought to learn not to pick 'em so easy, like you do your cousins. HAVEN (indicating Charlie) Ask her? CHARLIE (coolly) I never saw him before in my life. That does it. Mick wrenches at the bottle, and as he does so, Haven releases his grip. The bottle shoots up. The wine spills over Mick's face and clothes. Infuriated, Mick flings the bottle at Haven, but Haven ducks as he comes out of the chair. The bottle crashes against the wall, and Haven's fist crashes against Mick. The big man grunts and staggers back, but he doesn't drop. As Haven sets himself, he is suddenly pinned from behind by two bouncers. Mick stands still, staring at him, his cut lip bleeding. MICK (icily) You're too little to make that big a mistake. HAVEN You want to correct me or just bleed at the mouth? There is a dead silence. At the crap table the dice read seven but no one looks at them, all turning toward the scene. A minor rises and the girl on his lap hits the floor. A drunk steals a drink and no one sees him. (Business with glass) Prince looks on coldly. Mark Bristow, moving up from the dice table, pauses and stares. MICK (coldly) Bring him outside. The two bouncers start with Haven toward the door, Mick following. A rear rises and men begin following in their silent wake. Only the guy at the piano keeps on playing: he never stops. ANGLE on Charlie as she rises. Bristow and Prince have sauntered over to her as the place empties, leaving only the piano player. BRISTOW What happened? CHARLIE (casually) A misunderstanding. PRINCE Did you find out what he wants? CHARLIE (starting out) He wanted to be my cousin. (they follow her) Only I haven't any aunts or uncles. (still casually) But you never know -- and the least I can do is bury him. Prince lets go with one of his rare smiles as he looks admiringly at Charlie. They reach the door. The crowd opens for them a little. EXT. SALOON - NIGHT As Mick and Haven come out; the crowd makes a noisy clearing. There are bets going down. As soon as the crowd has formed an open space, Haven wheels and smacks Mick across the face hitting with the heel of the hand, so that Mick rocks back almost going down. There is dead silence. Mick sets himself for the Kill, as he peels his coat. Bristow is shaking with excitement. BRISTOW Mick will kill him. CHARLIE That's ten to one. BRISTOW (grinning) I don't like the other fellow's chances, but I'm a sucker for odds. CHARLIE You should always bet on a champion. Then you can only lose once. BRISTOW You give ten to one...? (she nods) I'll take it. CHARLIE You're down. A thousand to a hundred. As they stare at the fight -- FULL SHOT - fight scene. As Mick is slowly advancing toward Haven. He suddenly swings a haymaker which Haven easily ducks, another and another that Haven evades. HAVEN Don't miss so much. You'll got tired. Mick misses again, fiercely and Haven cracks him one in the midriff. Then steps out fast and waits. Mick charges and Haven catches him full in the mouth. It stops Mick, and then Haven socks him again, this time with the butt of his hand -- open palm -- on the nose. Mick is surprised, tasting the blood on his hurt lips. ANGLE on Charlie, Mark and Prince, as they watch. Charlie's eyes are fixed with a kind of admiration on Haven. Prince watches without interest. Mark is tense and excited. BRISTOW He can fight a little. CHARLIE A little won't be enough. But you feel she wishes it might... ANGLE on the fight. MICK Stand still and fight. As Mick closes again, Haven stops quickly to one side, clipping him behind the ear as he goes by. But this time Mick keeps after Haven and finally connects. It is more of a push than a clean hit, but even so the force of it drives Haven off balance and he sprawls on his back. As Mick, sensing victory, charges, Haven knows he can't get to his feet in time, so he turns his body and springs at Mick's knees shoulder first. The impact spills Mick on his face; before he can recover, Haven dives on him, hands flat on his own chest and palms turned out. His body crashes heavily, angling across Mick's head, and Haven's savagely pushing hands mash the other man's face into the hard ground. Then he rolls clear and comes to his feet, breathing easily, waiting. Mick gets up, shaking his head to clear it, mad and hurt. As he closes ponderously in on Haven, his booted foot suddenly shoots out. Haven twists his knee cap away but takes the blow on the inside of his thigh, numbing the leg so that he almost goes down. And now Mick gets to him. His great arms close around Haven's waist, his hands locked in the small of Haven's back. Haven braces himself against the crushing squeeze, tensing his back muscles and stiffening his spine, but there is nothing he can do against the implacable brute power of the other man. The sweat stands out on Haven's face as Mick's great strength bends him over farther and farther. He must do something, and soon, or his back will be cracked like a barrel stave. Suddenly he bends his knees and lifts his feet up from off the ground. Mick, suddenly finding Haven's full weight pulling him forward, crashes down on top of him. With all the strength left in him, Haven brings his knee to the pit of Mick's stomach; as Mick's hold breaks, Haven rolls clear. Now they are both hurt. Haven's ribs and chest are so bruised that it is agony to take a breath. He knows it has to end quickly or he is done for, and he goes all out. As Mick tries to close with him again, he stands his ground and throws pile-driver punches to Mick's midsection; as Mick finally lowers his arms to cover his body, Haven shifts his attack to the face. This is not Mick's style of fighting, but as he lashes back clumsily and angrily, each time he touches Haven it is with punishing power. Toe to toe, they slug it out, the belt now unwound and dangling from Mick's fist, both men groggy but both refusing to go down. Finally Mick is helpless to protect himself, but Haven hasn't got power left to knock him off those sturdy legs. Gathering himself, Haven hurls his body shoulder first at Mick's chest but he miscalculates, glances off and falls flat on his face. As he rolls over, dogged and slow with exhaustion, he sees that his weight has staggered Mick; the big man has taken a step back, and now he starts to walk forward. Dazed and blind with pain, he passes Haven, staggers forward until the tie-rail stops him. There he stands, his hands on the rail, moving his head from side to side like a wounded animal. The crowd is silent now, waiting. Haven gets to his feet, drunk with weariness. He puts a hand on Mick's shoulder, but hasn't the strength to whirl him around. He braces himself with one hand against the tie-rail, and almost in slow motion pulls Mick around and clips him one last time with his remaining strength. Mick goes down. MICK (getting up very slow) You can't do this. Before he is up he goes down again, unable to make it. MICK (in the dirt) Nobody can do this... to me. The crowd is transfixed. They can't even cheer. The two bouncers lean over the fallen Mick. BOUNCER Somebody just did. They pick up Mick as Haven stupidly watches. Then as Haven turns and goes away, swaying and weak, the roar rises. He pushes aside people who try to assist him. They move aside and watch him leave. The crowd goes back in the saloon behind the vanquished Mick... ANGLE on Charlie, Bristow and Prince. Prince watches the beaten Mick go by with a smile of contempt. Charlie's eyes are fixed on the vanishing lonely figure of Haven. Mark's eyes are dancing. BRISTOW I can't believe it. Mick Marion losing a fight and me winning a thousand! CHARLIE (to Prince) Give it to him, Prince -- in chips. Bristow follows Prince, wiping his forehead. Charlie remains, looking down the now empty street where Haven vanished, a strange soft look in her eyes, a slow smile mounting her lips. INT. HOTEL - NIGHT Orville behind his desk is strumming softly on the guitar, his eyes following Haven as the latter slowly and somewhat painfully walks in and across the lobby. All the way to the desk the clerk watches Haven, strumming softly. Haven pauses and smiles very faintly at him. The clerk puts the guitar aside. There is a coffee pot and cup on the desk. ORVILLE Have some coffee? HAVEN (leaning on the desk) Thanks. Orville pours it quickly. ORVILLE (turning back to pick up a pitcher and a bottle) They told me who was fightin'. I was getting ready to rent your room. Cream or sugar? HAVEN Cream. Orville pours the "cream" from a whiskey bottle. Haven sips gingerly. ORVILLE (looking with mild curiosity and admiration) Myself, I'd rather fight a forest fire. HAVEN (softly) So would I... He finishes the coffee, turns and starts for his room. Orville tosses two towels on Haven's shoulder as the latter goes. Strumming the guitar again softly, he watches with admiration the retreating form of Haven. INT. HOTEL ROOM - NIGHT Haven stands in the darkness only lighted by lights of the saloon next door. He stands there looking vaguely out the window, sucking his knuckles absently as he listens to the piano playing. Then he goes wearily to the bed and falls on it gratefully, shutting his eyes, the towels still across his shoulder. There is a moment of silence and then a soft KNOCK at the door. Another KNOCK, and painfully Haven lifts himself on one elbow and drags out his gun. The door opens and Charlie enters. She shuts it behind her and stands looking at him. He lets the gun fall and turns over on his back. Charlie walks across to the bed and stands looking down at him. CHARLIE How do you feel? HAVEN Like a million dollars. CHARLIE You just cost me a thousand. You lost your pipe in the fight. I brought it to you. She puts it on the table beside the bed. Haven's eyes follow her. She sees the towels, takes them to the washstand, soaks them and brings them back and compresses them gently on Haven's bruised face. When she takes the towel away, he pulls himself up a little, propped against the pillow, looking at her curiously. She sits down on the edge of the bed. HAVEN Do you always get sweet with the men who fight over you? CHARLIE Only the winners. He watches her as she wets the towels again, returns and wraps his hands in them, sitting again on the edge of the bed. HAVEN Tell me something -- CHARLIE (quietly, smiling) What? HAVEN (he lies back) That fellow might have killed me -- (sleepily) Where do you bury the losers? He is almost asleep. She takes the now unused towel and puts it back in the basin, soaks it, returns with it and tucks it against the side of his face. CHARLIE You talk too much. HAVEN (bitterly) What do you want -- the next dance? CHARLIE I think you'd better sit this one out. He is sound asleep the next second. She stares at him; rises, puts the blanket over him and goes quietly out. FADE OUT FADE IN INT. HOTEL LOBBY - DAY Haven comes to the desk from his room. Orville is singing another verse of the ballad. The clerk favors Haven with an admiring smile. The coffee pot is there. ORVILLE Have some coffee? HAVEN Thanks. Orville strums the strings as Haven drinks, having a little trouble with his sore hands. HAVEN The way you run this dump I knew you must be good at something else. ORVILLE Some call me the town poet -- and some the village idiot. Who am I to question either? How you feel today? HAVEN Like I crawled here from Kansas City. ORVILLE Well, it figures to make you pretty famous. Fact, people been askin' for you already. HAVEN Who? ORVILLE That gold mine lady -- Mrs. Caslon. HAVEN That's nice. ORVILLE Couldn't do better. And Charlie. HAVEN Charlie? ORVILLE No. less. HAVEN You seem impressed. ORVILLE Why not? Charlie owns a piece of everything, includin' the undertaker and the sheriff. HAVEN The stage line too? ORVILLE Everything but the Wednesday Bible Class. Even owns a piece of me. (grins) Takes your money while you're here, and makes you pay to leave. HAVEN (putting down the cup) When you get the next verse I'd like to hear it. ORVILLE Can't find no word to rhyme with Mick Marion. HAVEN (as he turns away) Carrion. He walks off. Orville ponders this, scowling into space. DISSOLVE INT. MRS. CASLON'S MINE-CABIN Iles is pacing the floor. Mrs. Caslon is occupied with some minor domestic chore. Stellman is standing by the door. Iles is a ball of fire. ILES Of all the stupid bonehead plays! What did he fight about -- don't tell me a woman? STELLMAN That's what they tell me. ILES Who started it? STELLMAN I don't know, but Haven finished it. ILES That probably strikes you as a very admirable thing. Stellman shrugs. ILES Well, I don't think so! I have men who can use their fists. Why didn't they send a man who could use his brains! There is a knock at the door. Iles gives her a look; then glares at Stellman. ILES Well -- open it up! Stellman opens the door and Haven walks in. He pauses, glances around and smiles. Mrs. Caslon smiles at him. HAVEN Hello, Mrs. Caslon. She smiles and nods. Irons. Haven can feel the surcharged air. Deliberately he assumes that casual manner that so burns the Captain. HAVEN Captain... Lieutenant... ILES (coldly) Mr. Haven, we may not have very much around here that pleases you, but we do have a strict post regulation against brawling in the town. Now would you like to explain what happened last night? HAVEN (smiling) I came here to return Mrs. Caslon's call. Iles glances sharply at Mrs. Caslon, and then to Haven. ILES (indicating a chair) Sit down. Haven sits, wincing a little. But he beams at Iles, who now picks a book off the table. ILES This book I have in my hand is the Army Register, 1882. Haven inspects his knuckles. ILES I am now going to read from it. (finds the place; reads) "Haven, John Martin, born Ohio 1852. Appointed Second Lieutenant. Promoted First Lieutenant 20th Infantry, March 1880; reduced in rank to 2nd Lieutenant January 12, 1881." He tosses the book on the table, glaring at Haven. ILES Is that correct? HAVEN It's the Army Register. ILES Haven, you've lost your rank once. It may very well happen again. HAVEN To almost anybody. MRS. CASLON Maybe if you'd let him explain... He might have a good reason. ILES Even a bad reason would delight me. HAVEN What would you like to know? ILES Did you pick that fight? HAVEN Those things can become very vague. Iles scowls to him. ILES (shrewdly) And where do you expect all this to get you? HAVEN (rising wearily) That is a question I prefer not to answer. ILES (snaps it) I think you're trying to carry your authority too far. Haven goes to the door, gently touching his sore jaw. At the door he turns. HAVEN Perhaps, but there's one thing, Captain Iles... We had an arrangement that we wouldn't meet -- you and I -- except through Mrs. Caslon... I think it's important to keep it that way... (one more glance back) And I like it better. He smiles and leaves, closing the door as he goes. Iles stands there frozen with rage a moment. Then his face relaxes in a grim smile. He glances at Stellman as he takes a cigar out and bites it off. DISSOLVE INT. SALOON - DAY Business is slack. Girls drink coffee and knit at a table. Ernie polishes glasses at the bar. A colored man cleans a crap table. All look up with curiosity and esteem as Haven enters; all but Sam, the piano player, who goes on playing. Haven goes to the bar. Ernie nods at him. HAVEN Doesn't he ever stop playing? ERNIE Sam? It don't bother him. He's deaf. HAVEN Where do I find the boss? ERNIE First door top of the stairs. HAVEN Mick been around? ERNIE He's undisposed. Haven goes to the stairs. The eyes of the girls follow him. Top of the stairs -- as Haven reaches the door, wincing at the climb. He KNOCKS with the heel of his hand, hurts it, then uses his boot toe. PRINCE'S VOICE Come in. Haven opens the door. INT. CHARLIE'S OFFICE - DAY This is a big corner room, the windows of which look out over the main street. The chairs are big and there is a roll- top desk in the corner, a big leather sofa, and on the walls some framed pictures. At a table Prince sits. He has six dice stacked on top of each other and he is lifting the column. Charlie is seated behind the desk smiling. Haven looks from one to the other. HAVEN (to Prince) You wanted to see me? CHARLIE I did. HAVEN They said Charlie -- CHARLIE Yes. She seems to enjoy Haven's momentary confusion. Prince is indifferent. HAVEN You're Charlie? CHARLIE That's right. (nods toward Prince) This is Prince. Don't ever gamble with him. HAVEN You mean with his equipment? Prince gives him a thin smile and rises. PRINCE She means either. (he crosses to door) See you later, Charlie. Prince saunters out. Haven sits in a big chair, very gingerly; takes out his pipe and tobacco. HAVEN You surround yourself with very affable characters. CHARLIE It makes me feel at home. HAVEN You're not that sinister. Last night with the wet towels you were Florence Nightingale in silk stockings. (stretching his legs, looking at her) Have you got a match? She comes over with one and lights his pipe. HAVEN There's one in my pocket but I hate to reach for it... thanks. She takes his hand and looks at the cut knuckle. CHARLIE Sit there. She walks out of the room and he watches her; then around the room. In a moment she returns, pulls up a chair in the front of him and sits down. She has bandages and a little jar of ointment. HAVEN (smiles) Now you're Florence Nightingale again. She takes one of his bruised hands, and as she bandages his hands slowly, carefully and rather expertly, they talk. CHARLIE Why did you pick that fight? HAVEN I thought you did. CHARLIE (smiling) Really? HAVEN You could have insisted I was your cousin. CHARLIE Perhaps that isn't the way I felt about you. HAVEN (as his knuckle hurts) Ouch! She smiles at him and then goes on. HAVEN Where did you get the name of Charlie? CHARLIE It was my father's. My name is Charlene, but -- He watches her face. HAVEN I like that better... Charlene... (she doesn't answer) This'll be the first time I ever worked for a woman. CHARLIE (giving him a glance) What makes you think you're going to work for me? HAVEN You sent for me. CHARLIE (finishing the bandage) How's that? She stands up. Haven looks at her and ignores his bandaged hands. HAVEN Beautiful. CHARLIE (walking towards the window) All right, I sent for you. I was doing a nice quiet business. That was because everybody was afraid of Mick. Now every time a man has enough drinks in him to feel rugged he'll try to do what you did. HAVEN I wouldn't. CHARLIE But they will. HAVEN That's not the job I want. I don't intend to start at the bottom. I've been there. It's too crowded. CHARLIE (coolly) Where do you want to start? HAVEN With the money. CHARLIE And what will you do for it? HAVEN Anything -- except hang. How did you get -- all this? CHARLIE I learned one thing from my father. As long as men think they can beat the tables, all you have to do is get a table. Sometimes they run out of cash and I find myself with new responsibilities. HAVEN Such as -- CHARLIE A couple of stores for one thing. HAVEN I can't see myself behind a counter. CHARLIE A sawmill, and a logging camp. The logging camp's a long way from town. Haven gets the meaning and shakes his head. CHARLIE I own the stage line from here to West Rim City, but that's a dud. HAVEN Why? CHARLIE Outlaws. The money was in gold shipments. Now the mines won't ship it. HAVEN I'll take that job. CHARLIE You mean ride shot-gun? HAVEN I mean run the line. CHARLIE Don't force your luck. You won a fight last night. You could lose one tonight. HAVEN Today I'd hate to tangle with a butterfly. CHARLIE What do you think you'll get out of running the stage line? HAVEN A commission on all the gold I get through. CHARLIE That should buy you a small beer. HAVEN Glad to get it. CHARLIE It's pretty dangerous. Even Wells Fargo locked up their station and quit trying. HAVEN (leveling) Who steals the gold? CHARLIE Who doesn't? All they have to do is put a mask on and they all look like Black Bart. HAVEN (rising) Give me a letter of authorization. CHARLIE (going to the desk) I can't bet against you twice, can I? As she writes out the authorization, Haven saunters to the window, then over to the desk. Charlie finishes and hands him the paper. Haven scans it, pockets it. CHARLIE (smiling at him) You know I forgot to ask you one thing. HAVEN I'm working for you now. You can ask me anything. Haven is moving to the door and she beside him. They pause. CHARLIE How do I know I can trust you? HAVEN You don't. CHARLIE Can I? He looks at her face, neck and hair. She looks pretty good. HAVEN Only with money. Haven looks squarely at her a moment, then smiles. He reaches out one bandaged hand and pats her shoulder. HAVEN (quietly) Okay, boss? He walks out, and Charlie remains standing there, staring after him, just a little hazily. DISSOLVE EXT. STAGE LINE DEPOT - DAY As Haven walks through the wide gate into a compound. There are several unhitched stages and freight wagons, one or two in partial disassembly and being serviced. A colored boy is readying a horse and buggy and beside him, overlooking the yard activities, is a bespectacled man with rubber sleeve garters. He is the manager. He has eyes like Armadillo and claw-like hands; otherwise, he could be your loan agency man. Seeing Haven he crosses to him. HAVEN (looking him over) Are you the manager? MANAGER I am. HAVEN My name's Haven. MANAGER I've heard about you. You're the fellah who took Mick Marion apart. (looking at him) Almost knocked me off my feet. But my feet ain't been any good since I followed Stonewall Jackson. (keenly) What business you got with me? HAVEN (handing him the note) I'm the new boss. The manager glances at the note, after moving his spectacles out of the way. He gives it back without a word, and turns toward the rear office door. Haven halts him. HAVEN Wait a minute. You're not fired. MANAGER I got to be. There ain't enough work around here for one man, let alone two. HAVEN Two can loaf as easy as one. Jim Goddard and Jerry enter from the rear office door. Jerry is the younger. Goddard walks a little stiffly with the aid of a cane. JERRY Mr. Leonard! They halt and look at Haven. The Manager jerks a thumb at Haven. MANAGER Talk to him. He just took the reins. (indicating the two lads) This is Jim Goddard. He's a regular stage driver. Jerry here runs freight to the sawmill. Boys, your new boss. HAVEN Hello, boys. JERRY (with a grin of hero worship) I gotta start out of here for the sawmill before daybreak. Is that all right, Mr. Haven? Haven nods, after a glance at the manager. JERRY I seen that fight last night. It was sure a beauty. HAVEN Glad you enjoyed it. JERRY What I liked was the way you -- HAVEN Let's not talk about it. Right now it hurts my hands to listen. JERRY Yes, sir. He walks out, looking back with an awesome smile. Haven looks curiously at Goddard, who has been standing in silence, a thin smile on his lips. HAVEN What happened to you? GODDARD My last run. I stopped a bullet. HAVEN Did you get a look at them? GODDARD I wish I had. HAVEN I think I'm going to need you and not on one leg. So sit down and give it a rest. GODDARD (slowly smiling) Yes, sir. He obeys. Haven watches and then turns to the manager. HAVEN I'm coming back later and sit behind your desk. I'll need the keys. MANAGER (taking keys from his pocket) Only things here that work. The manager, gives them to him. Then looks at him. MANAGER Son, I waste my time. I might as well waste some advice. You're full of blood and vinegar, but this whole thing has got something wrong with it. Goddard only got nicked in the shin. You might not be so lucky... HAVEN I might depend on something besides luck. MANAGER Like for instance? HAVEN Well the fact that they don't seem to shoot too straight. MANAGER They don't need to when they shoot so often. He turns, takes a few steps -- and turns back to Haven. MANAGER Worry it over. The manager turns to go, shaking his head. EXT. OFFICER COMPOUND Haven, whistling softly, crosses to the colored boy who is polishing the last specks of dust off the buggy. It is a beautiful buggy attached to a beautiful horse. Haven pauses and gazes at it. HAVEN What's this? The colored boy steps back and admires his work. COLORED BOY Sumpin', ain't it? HAVEN Who's it for? COLORED BOY Miss Charlie, Mr. Haven. HAVEN Where do you drive her? COLORED BOY Same places. Around the hills, down the river, every afternoon. HAVEN I think I'll give you this afternoon off. COLORED BOY I shouldn't let you do this, suh... (looking Haven over, especially the bandaged hands) But ah am. Haven climbs in the buggy, and the Colored Boy watches him go. DISSOLVE INT. CHARLIE'S OFFICE - DAY Charlie is dressed to go somewhere. She looks much nicer in these clothes than in her show garments of the night. She is listening to Prince who sits in a chair, the inevitable dice in his fingers, two this time. There is a silence except the rattle of the cubes. Then Prince speaks coldly. PRINCE Does this Haven move me out? Is that the plan? CHARLIE Prince, you know I wouldn't part with you. PRINCE But I always come up empty. CHARLIE Not quite empty. I gave you what is probably the one honest feeling you ever had in your life. PRINCE I keep forgetting that. Pardon me. CHARLIE What's the matter, Prince? PRINCE I don't like John Haven or anything about him. CHARLIE You've said that. PRINCE What do you know about him? CHARLIE You want me to have him looked up in the Social Register? She gets up, goes to the window testily. Prince looks at her coldly as she gazes at the street. PRINCE A man walks in out of nowhere -- CHARLIE (turning) And went against your table. Did he play like a gambler? PRINCE He knew something. CHARLIE Yes -- and he took Mick. PRINCE So he can fight. (shrewdly) You like that part, don't you? He looks straight at her and she stares back, staring him down at last. As his eyes lower, she turns again to the window. CHARLIE I'll tell you one thing, Prince, I don't like this part. She is silent and Prince gets up and walks out. She does not turn. Down in the street she can see Haven riding up in the buggy, and the hard look on her face softens to a smile as Haven climbs out of the buggy. Some people passing stare at him, and whisper together. His fame has spread. He walks inside, smiling a little. INT. SALOON - DAY As Haven enters. There is no play at the tables. Some at the bar. The deaf pianist is pounding the keys softly. Prince has just descended the stairs and gone to the dice table, where he leans, his cold eyes fixed on Haven as the latter goes to the foot of the stairs. At this moment Charlie appears and descends the stairs, adjusting her hat. Haven stares at her with admiration, as she descends, smiling at him. MED. SHOT - Haven and Charlie, as she reaches the last step. HAVEN Stand there a second. She looks at him. HAVEN Every time I see you, you look different, but you always look beautiful. Why is that? CHARLIE I always have somebody to lie to me. HAVEN Take my hand -- (offering it) But don't squeeze it. She takes his arm instead and they walk towards the door. MOVING SHOT - Charlie and Haven, as they go. CHARLIE Tell me what you're doing with my buggy. HAVEN My work. I'm the new transportation boss. You hired me. MED. SHOT of Prince, as he stands at the table, watching them go. EXT. CHARLIE'S BUGGY - DAY As Haven helps Charlie into the carriage. HAVEN I presume you're going shopping? CHARLIE I wouldn't wear anything sold this side of Chicago. I'm going to call on a gentleman. HAVEN At this hour? CHARLIE His name is Mark Bristow -- and any hour, it would be strictly business. He glances at her. HAVEN The way you say it -- he may need a lawyer. CHARLIE He's a lawyer himself, but it won't help him. HAVEN No? CHARLIE (with a smile) What good is a lawyer if he never gets in a court? HAVEN Like a doctor in a graveyard. Where is this unlucky man? CHARLIE Across the street. As Haven shrugs and turns the carriage to front of Bristow's office. EXT. BRISTOW'S OFFICE - DAY The letters on the window read: Mark Bristow, Lawyer As Haven pulls up in front of it with the carriage. He goes around and helps Charlie alight, making it a little slow for the sake of added intimacy and causing her to smile as though she didn't resent it. HAVEN Shall I take the horses back and rub them down? CHARLIE Do you think they've gone far enough? HAVEN I haven't. CHARLIE Then maybe you better wait and come with me. As Charlie starts in, Mrs. Caslon comes out and they pass. Mrs. Caslon pauses to smile and Haven tips his hat. Charlie, flashing a backward look, sees this. EXT. BRISTOW'S OFFICE - DAY MED. SHOT of Haven and Mrs. Caslon. Haven is talking to her with apparent casualness because he realizes that Charlie can see him. HAVEN I wonder if you'd do me a favor? MRS. CASLON Why, surely. HAVEN It's a big favor, and I wouldn't blame you if you refused. MRS. CASLON What is it? HAVEN I want to haul some gold from your mine. MRS. CASLON That IS a big favor. HAVEN I know it seems impossible to you, but that's one reason why I'm here -- to find cut what makes it impossible. MRS. CASLON Isn't that very risky? HAVEN That's why I couldn't go to anyone but you. MRS. CASLON (hesitating) I'm just wondering if we shouldn't speak to Captain Iles first. HAVEN You know what he'd say. (she smiles grimly and nods) He'd advise against it -- but if it works my way, it may clear everything up -- for all of us -- and for Iles too. The War Department doesn't like all that gold around an Army Post. He watches her face as she thinks it over. HAVEN (softly) We're working too much in the dark. This may be the only way to see something. It's a risk -- but someone has to take it... MRS. CASLON (firmly) Who else will know of it? HAVEN Just us. That'll be all who know -- and that's the idea. MRS. CASLON (simply) I'll arrange it. HAVEN (grinning) Don't look so grim. It's only your gold and my skin. And smile when you walk away as though we'd been talking about what a dry summer it's been. She smiles and Haven pats her shoulder. INT. OFFICE - DAY As Bristow is talking. Charlie, looking through the window, sees Haven and Mrs. Caslon part, Haven patting her shoulder with that familiar gesture of his, then coming into the office door. BRISTOW ...You know I'll always cooperate -- as much as possible. But I haven't the money. Haven has entered in silence, seated himself in a chair. Charlie does not look at him; her face, hard now, looks straight at Bristow. He pauses as he glances at Haven with a little nod Haven doesn't return. CHARLIE (rising and going to the desk with a sheaf of papers, which she places on his desk) These are I.O.U.s for gambling. They add up to six thousand dollars. Do you want to count them? BRISTOW No. CHARLIE (returning them to her pocket) Your credit's over, Mark. BRISTOW My luck can turn, can't it? CHARLIE Not on my tables. BRISTOW I've seen other people fall in this trap -- but I didn't think it would get me. He is sweating a little. CHARLIE Nobody does. I'll have Prince drop in and go over your books. Maybe we can work something out. BRISTOW But I told you -- CHARLIE That's the way it is, Mark. I pay off on the line and I expect to get paid. Give it some thought. She whirls and walks out the door. Haven, fumbling for his pipe and putting it in his teeth, follows her with a parting glance at Bristow. For a long minute Bristow sits there alone, his eyes staring at nothing; then as he mops the mildew of sweat from his forehead: WIPE INT. CHARLIE'S CARRIAGE - DAY As Charlie and Haven drive in the country. The road winds between hills now and a stream tumbles along beside the winding road. The horse is moving at a snail's pace and Charlie is gazing around at the scenery, relaxed and thoughtful. HAVEN You know, you remind me a little -- back there -- of a character I once read in a book. CHARLIE I had an idea you'd read a book. What was the character? HAVEN Simon Legree. CHARLIE Mark is mixed up. He's either crooked without being smart, or honest without being lucky. And that's no good. HAVEN I don't think I'd want to owe you money -- even if I was honest. CHARLIE Even? HAVEN When I was seven I robbed my own piggy bank. CHARLIE It's hard to imagine you being seven. HAVEN I was very fat and ate a lot of candy. CHARLIE Is that why you robbed your bank? HAVEN No... I robbed it to run away from home. CHARLIE Did you do it? HAVEN Yeah, but I had to go back. CHARLIE Why? HAVEN It got dark. She laughs. They stop and get out. DISSOLVE STREAM BANK - DAY FULL SHOT as Haven helps her down the bank to the edge of the water. She sits on the edge of a huge flat boulder and Haven stretches out beside her. MED. SHOT of Haven and Charlie. As she looks at the stream and then at him. CHARLIE This is my favorite place in the world... I always come here to think about it. HAVEN What? CHARLIE The rook here and the stream. The stream is always running away and the rock is always watching it go. It's two ways to be -- and I always wonder which is the best. HAVEN They probably envy each other. CHARLIE Do you suppose any woman could envy me? HAVEN I know it. CHARLIE But not a good woman? HAVEN Nobody is any good. You mean respectable. CHARLIE Maybe. HAVEN Respectable people are very useful -- but they bore me. CHARLIE With certain exceptions. HAVEN (curiously) Like who? CHARLIE Like Mary Caslon... HAVEN I thought we might get to that. CHARLIE How did you happen to know her? HAVEN I knew her husband. CHARLIE That's curious, considering -- HAVEN Considering what? CHARLIE Ben Caslon was a very upright citizen. HAVEN Meaning I'm not? CHARLIE (adds thoughtfully) She's certainly not hard to look at -- and now she has the money and is -- (looking away) -- also very respectable. HAVEN Then why would she be interested in me? CHARLIE Because you're no good. And good women like men who are bad for them. HAVEN Flattery will get you nowhere. CHARLIE Fooling with her will get you nowhere too -- except in trouble. HAVEN With whom? CHARLIE The army. Why is it you're always getting mixed up with the army? Haven has been idly flipping pebbles into the stream. He sees a leaf float by. HAVEN (idly) What are the odds I hit the leaf? CHARLIE (absently) Four to one. HAVEN Pass -- (he flips the pebble, misses) What's the army got to do with Mrs. Caslon? CHARLIE She's engaged to Captain Iles. HAVEN Iles? CHARLIE He's the army boss here. HAVEN (smiling) If you're going to frighten me, the least you can do is hold my hand. He holds out his hand and takes hers. Abruptly she starts to rise, very piqued and unable to disguise it. Haven rises too. Takes her hand to help her from the boulder. Then stops and gazes at her, smiling. HAVEN This is where you ought to slip -- and I should catch you and kiss you. CHARLIE No chance. She starts down; Haven moves too, but it is he who slips and she who has to catch him. Her arms go automatically around him. His around her. Before he can act himself, she holds him tight and kisses him. It is a long kiss and on it we: FADE OUT FADE IN INT. HOTEL LOBBY - EVENING Orville is strumming the guitar as Haven enters. He pauses as Haven comes near on the way to his room. ORVILLE Hey. Haven halts, walks over. HAVEN You finish that song? ORVILLE Never do. HAVEN Why not? ORVILLE It's my fatality. I never finish nothin'. HAVEN Maybe it's just as well. ORVILLE Maybe so. I thought I'd tell you. Goin' back to your room will be a waste of time. HAVEN It will? ORVILLE I don't know what happened on that buggy ride, but somebody came and took all your truck. He strums the strings. HAVEN And, naturally, you didn't do anything about it? ORVILLE What could I do? HAVEN You could have called the sheriff. ORVILLE Set a thief to catch a thief, eh? HAVEN I paid my rent and I think I'm entitled to know who stole my clothes. He starts to his room. ORVILLE (calling after him) A man couldn't ask for no prettier thief. INT. HAVEN'S ROOM Haven enters, glances around, sees the bag is missing. He goes to the window, sees Charlie at saloon window across the areaway. He leans out. HAVEN Hey! Charlie moves the window, smiling. CHARLIE (leaning out) Hello... I've been wondering where you were. HAVEN I lost my shirt. CHARLIE You didn't imagine that I'd let you live in that hotel, did you? I want you available -- in case of trouble. HAVEN Where did I move? CHARLIE In a very nice room upstairs. HAVEN (taking out his pipe) When can you get my things back to the hotel, Charlie? She stares at him, the smile fading on her face. CHARLIE Why don't you take them yourself? HAVEN (calmly) Because that's not how they got here. A slight pause. CHARLIE You're really hard -- aren't you? HAVEN No. CHARLIE You have to play everything alone? HAVEN This hotel is no good. The service is bad. The clerk's a poet, and the mattress is not quite as soft as a marble slab. But I'm beginning to like it... and if I open this window, and hear you singing... CHARLIE Is that the way you want it? HAVEN That's the way. CHARLIE They'll be there. She turns abruptly from the window. Haven smiles and turns away. DISSOLVE EXT. STAGE LINE COMPOUND - NIGHT Haven is finishing preparations for the ride. ANGLE ON Goddard as he stands in shadow, watching. He carries a shotgun. As Goddard moves from the shadow, Haven whirls, going for his gun -- then relaxing as he recognizes the other man. MED. SHOT of Haven and Goddard. HAVEN What brings you here? GODDARD (smiling) I had a dream. HAVEN Yeah? GODDARD That you'd be back here tonight. HAVEN Why? GODDARD Maybe because you took the keys. HAVEN Don't they go with the job? Haven stares at him a long moment; Goddard returns the stare steadily. GODDARD You know how it is with dreams. I got the crazy idea you were going to try something -- HAVEN How crazy? GODDARD Like running a shipment. HAVEN Then what happened? GODDARD I wanted to be some help with it. HAVEN All right -- you've been some help. Now you can go back to sleep and I'll finish the dream for you. The coach is ready. Goddard doesn't move. GODDARD I'm riding with you, Haven. HAVEN You are? GODDARD (grimly) I'm riding. HAVEN (slowly) You got more than your leg hurt, didn't you? GODDARD Maybe I just like to ride in the moonlight if nothing happens. HAVEN And if it does? GODDARD Then I think I got a little better right than you to be there. HAVEN (gazing at him) I was just thinking -- a nice guy like you probably has a nice girl somewhere -- or a wife. GODDARD What are we gonna do -- have a little chat about women? Haven slowly grins at him; Goddard smiles back. HAVEN Some other time -- Let's go -- out the back gate. Goddard climbs up with his shotgun as Haven clambers up into the driver's seat. As the coach turns and heads for the back of the corral. WIPE EXT. OPEN COUNTRY - NIGHT FULL SHOT - the stagecoach, travelling across open flat country, heading toward the distant hills. CLOSE SHOT - Haven and Goddard in the driver's box, keeping an eye about him as the teams gallop along in the moonlight. HAVEN What makes you so anxious to take this chance? GODDARD What makes you? HAVEN I'm on commission. With me it's a matter of money. GODDARD And you think it's something else with me? HAVEN I can't think of anything else -- except curiosity. GODDARD (gazing out drily) Some moonlight after all... FULL SHOT as the stage rockets off into the darkness. DISSOLVE EXT. MOUNTAIN COUNTRY - NIGHT The stage is now heading uphill, the gentle slope at the beginning of the foothills. EXT. MOUNTAIN COUNTRY - NIGHT The road is steeper now, and winding. ANOTHER ANGLE. The road is cut out of the side of the mountain, leaving a sheer slope on one side, and high, thick trees and brush on the other. As the stage follows a bend in the road, a rider leaps out and grabs the lead horse. The stage lurches crazily and almost overturns as it slows to a stop. Before Haven can free his hands from the reins to go for his gun, two shadowy figures, handkerchiefs helping the darkness mask their faces, have jumped out onto the road ahead and have him covered. BANDIT All right -- stretch! Haven and Goddard raise their arms. Another bandit, from the hillside, calls out: SECOND BANDIT Pile out with the hands up. Two shotgun barrels cover the side of the stags. Goddard gets off, hands in air. FIRST BANDIT (to Haven) Get down. Haven obeys, to join Goddard in the road, as the bandits converge on the stage. There are five or six of them. Two come up behind Haven and Goddard. FIRST BANDIT Turn around and keep 'em high. The sacks are being loaded on a pack horse. Haven turns around. HAVEN Take it easy. They hang you just the same. SECOND BANDIT You, Goddard, start walking. He gives Goddard a none too gentle shove. Goddard moves on up the road in the darkness. A FEW YARDS UP THE ROAD. Mick is waiting by his horse, his gun drawn. We hear the steps of Goddard and the bandit. SECOND BANDIT'S VOICE That's far enough. The footsteps halt. Mick aims and fires. BY WAGON. There is a half grunt, half groan from Goddard. Haven turns as if to protest and then crumples as a gun fells him. CLOSE SHOT - Haven, lying face down on the ground, unconscious. FADE OUT FADE IN EXT. SKY As day breaks. EXT. MOUNTAIN ROAD - DAWN CLOSE SHOT - Haven. Haven comes to, gradually clearing the cobwebs. Then suddenly he remembers Goddard and the shot. He makes his way to where Goddard's body lies a few feet up the road. Goddard's right hand is half in his hip pocket, as if in his last dying moment he was reaching for something. As Haven pulls the hand out, he sees that Goddard's fingers have closed around his wallet. Puzzled, Haven opens the wallet. There is a stiff-backed daguerreotype of his wife, an expired Union Pacific Railroad pass, an express receipt, a souvenir bank-note of the Confederacy, and a small, closely- folded piece of paper. Unfolding this, Haven sees the top line: "To Whom It May Concern" HE READS FURTHER: "This certifies that the bearer, James Goddard, is operating as a legally deputized detective for Wells Fargo Stage and Express Company." Haven replaces the papers and lifts Goddard's body, carries it to the stage and places it on the floor. He removes Goddard's gun and shell belt and straps it on, closing the stage door. Haven's face is grim as he studies the ground nearby. The sticky mud shows clearly the new tracks of the bandits' horses. As he starts unhitching one of his horses from the wagon traces, we DISSOLVE EXT. MOUNTAIN COUNTRY - MORNING A tiny clearing on a brush-filled knoll, where the remains of a cooking fire are still visible, the ashes scattered over the tamped-down ground. CAMERA PANS OVER TO Haven, on horseback, as he studies the scene. This is where he evidently made camp for the night. He dismounts, sifts the ashes through his fingers to feel their warmth. He cannot be far behind. Then he turns his attention to the trail loading away. Inspection reveals that it divides, one group of fresh tracks heading towards town, another smaller group further into the mountains. He decides to follow the latter. As he mounts and rides off: DISSOLVE EXT. MOUNTAIN COUNTRY - MORNING A high spot from which Haven can get a good view. Off in the distance he sees: LONG SHOT - FROM his ANGLE. A lone rider, leading a pack horse, barely visible through the timber. He is heading away from him. CLOSE SHOT - Haven. He spurs his horse forward. FULL SHOT - Haven, in pursuit of the man ahead. EXT. STREAM - MORNING The bandit, unaware of his pursuer, puts his horse and the gold-laden pack horse through the stream. He comes out into a meadow on the other side. PAN SHOT - WITH Haven, as he comes to the stream. Half way across, his horse momentarily loses his footing on the slippery rocks. MED. SHOT - bandit. Hearing the noise of Haven's horse, he turns and sees his pursuer, takes a quick shot back at him, then heads for the other side of the meadow where there will be shelter, firing back as he rides. MED. CLOSE SHOT - Haven. He takes careful and deliberate aim and fires. FULL SHOT - FROM Haven's ANGLE. The bandit is almost at the edge of the woods when Haven's shot gets him. He tumbles from the saddle. Haven rides forward, gun ready in case it is a trick. EXT. MEADOW - MORNING It is no trick. The bandit is down where he fell. When Haven turns him over, the man's eyes are already glazed. Haven puts his lips close to the dying man's ear. HAVEN Who sent you? The man only glares up at him. Haven tries again. HAVEN You're a goner, brother -- you can talk. The man holds Haven's gaze defiantly and silently as the life goes out of him. Haven lowers him back to the ground, rifles his pocket. There are no papers on him, no identification. He stands up. He has the gold back, but he is no closer to rounding up the whole gang than he was before. Unless -- he is looking at the horses, placidly grazing. He goes up to them, ties up the loose lead reins, draws his belt off, and gives them each a sharp crack on the rump with the buckle. They take off across the meadow at a gallop. Haven lets them get a good start before he mounts his own horse, and follows after them. DISSOLVE EXT. MOUNTAIN COUNTRY - DAY As Haven rides up to the edge of a downslope, gazes over a broad valley, and sees: LONG VIEW of a sawmill, nestled in the valley. It comprises several sheds and buildings, with a long rank of stacked logs beside the biggest shed, and all this is serviced by a dirt road along which the two horses canter up to the camp. Haven observes several men come out of the main office and snag the two horses. EXT. CAMP OFFICE - DAY As two men who have snagged the horses now take off the gold bags. In front of the office Pete, the camp boss, Ben and Sam, two tough-looking accomplices, stand watching and glancing up the road down which the horses came. There is a frown on Pete's face. BEN Where's Joe? (as Pete doesn't answer) Something's gone wrong, Pete. Pete looks thoughtfully at Joe's horse, pats his neck, again locks up the road. PETE I know one thing. He was born on a horse and he didn't just fall off this one... go and take a look. Two men mount and start away. CLOSE SHOT of Haven. As he moves back out of sight. Obviously he can't move into the camp now. Glancing off down the valley he sees in the distance a work wagon approaching. It is still hidden from sight of the sawmill by high ground between. He puts his horse down the slope towards the approaching wagon, at a tangent to the camp. DISSOLVE EXT. SAWMILL ROAD - DAY As the work wagon lumbers along. Its markings identify it as belonging to the stageline Haven now manages. We recognize Jerry the driver as Haven rides up. Jerry gives him a grin and a salute. JERRY Hello there, Mr. Haven! HAVEN Hello, Jerry. What's the haul? JERRY This is that load of grub for the sawmill. HAVEN Want to ride my horse back to town? JERRY What about the wagon here? HAVEN I'll finish the haul. JERRY You're the boss. He climbs down as Haven dismounts and turns the horse over to Jerry. HAVEN (throwing it away) Any excitement in town? JERRY (grins) Don't know, Mr. Haven. I left before daybreak. HAVEN (relieved) Take him easy. He's tired. JERRY I'll give him a good rubdown. (mounting) Haven watches him ride away, then climbs aboard the wagon. Picking up the reins, he notices the bandages on his hands and, not wanting to be identified by them, rips them off. Blowing on his still sore knuckles, he drives toward the sawmill. DISSOLVE EXT. SAWMILL CAMP SITE - DAY As Haven's wagon lumbers in. He looks curiously at the main office. No one is in sight, but as he draws nearer, the swarthy hard-faced man, Pete, comes out on to the porch. PETE Hey, you! Haven looks at him. PETE You see a rider comin' up? HAVEN Nope. PETE You sure? HAVEN Haven't even seen a lizard. Where do I put this stuff? PETE Where did you put it before? HAVEN I never did. I'm a new driver. I think it's grub. PETE Take it to the cook shack. Haven flicks the reins, moves on. Pete watches suspiciously. Haven moves on to the cook shack outside of which the cook is busy dumping a pail of slop. HAVEN (pulling up) You the cook? COOK Nah. I just wear this hat to keep the flies out of my hair. HAVEN It don't matter to me, brother. I just haul this grub. I'd just as soon haul it back. COOK Take it next door. Haven pulls up by the warehouse next door and gets down. There is nobody around, so he starts wrestling with the food crates himself, taking the first one into the warehouse. EXT. WAREHOUSE - DAY It is big, barnlike, piled with provisions and equipment. Haven stares around; carries the crate to where a similar stack of crates are piled. Lowering the crate he notes a shiny object, picks it up. It is a button from an army uniform. He pockets it as his attention is distracted by two horsemen passing outside. Haven goes out to continue unloading. EXT. MAIN OFFICE - DAY As the two horsemen ride up to Pete and dismount. Ben and Sam are standing there. PETE (to the horsemen) Any luck? BEN No sign of Joe. But there's the tracks of another horse, circling the mill and coming back on the road just north. (he points) PETE That's bad. He glances toward the wagon where Haven is working. PETE Let's go and look at this guy again. The five men move down to Haven's wagon. ANGLE ON wagon and Haven, as he sees them come. His lip tightens; then he relaxes and goes on lifting a crate. He pauses as they come up and stand around him, their eyes fixed on: PETE You -- Haven looks at him. PETE You sure you didn't see no rider? HAVEN Look -- you want me to say I saw a rider? I'll say it. I'll say I saw a ghost. It don't make any difference to me. PETE When did you get this job? HAVEN Yesterday. PETE What for? HAVEN It's the system. If I don't work I don't eat. I never been able to find any way to beat it. PETE Who hired you? HAVEN (blandly) Mr. Haven. PETE The guy that had the fight? HAVEN Same fellow. It is a risky little moment; Haven eases both bruised hands into his coat pockets. PETE Friend of yours? HAVEN (innocently) Who? PETE This Haven. HAVEN Any man who gives me a job is my friend. Look, I'm working, I haul this stuff out here. Nobody wants to tell me where to dump it. Everybody wants to know what I'm doin' and what I haven't seen. I don't know. I get thirty cents an hour. How smart does that have to make me? PETE Don't get hot. Pete's face relaxes; as do the grim faces of the others. HAVEN (grinning) I ain't hot. I'm just mixed up. PETE Forget it. I got a load for you to take back when you're done here. HAVEN Sure. PETE How soon? HAVEN Well, I haven't eaten anything but dust since sun-up. PETE All right -- grab it quick. (to the others) Work on this stuff. They start unloading and Haven goes to the cook house. Pete watches him go. Ben notes it. BEN What do you think? PETE We risk him, that's all. BEN He don't look right to me. PETE He don't look any worse than the rest of it looks right now. (turning) Come on, get this junk out. He lends a hand with Ben and Sam. INT. COOKHOUSE - DAY A big pot of stew is simmering on the fire. The cook is busy slicing french fries. Haven enters. HAVEN How about a handout? COOK Help yourself. Haven begins ladling out some stew into a bowl, tastes it. HAVEN You cook pretty good. COOK I ought to. I used to cook for six hundred men a day. HAVEN Where was that? COOK Leavenworth. Haven shrugs and takes more stew; the cook goes on cutting the potatoes. HAVEN This used to be my mother's special dish. She made it right out of the world. COOK My old woman couldn't boil a potato. Haven takes another gulp in the silence that follows. Then he says carelessly: HAVEN Who's boss around here? COOK I am. HAVEN I mean the whole works. COOK You talked to the man when you came in. HAVEN Real tough-looking fellah. COOK (spits) They're all tough till they get to Mick Marion. HAVEN Mick come out here? COOK Last night -- and he looked like somebody got to him. HAVEN How's that? COOK Face all beat up -- (casually) Like your knuckles. HAVEN I had bad luck with a crate of cauliflower. COOK That's what he brought down here -- a cauliflower face. (casually) You fight him? HAVEN (smiling blandly) Mick? Do I look like I would? COOK (looking at him) Just the knuckles. Ben's head appears in the doorway. BEN Hurry it up, driver! HAVEN Comin'. Haven takes a last mouthful, turns toward the door. HAVEN Not many of the hands here, are there? COOK All up at the logging camp. HAVEN Much obliged. That was real fine mulligan. The cook isn't interested; he spits as he slices a potato. EXT. SAWMILL OFFICE - DAY Pete, Sam and Ben are waiting beside the gear box as we see Haven bringing the wagon up. BEN Maybe this isn't such a good idea. PETE Who said it was? I just want that gold outa here the easiest and quickest way. They watch Haven as he pulls up the wagon. Pete looks hard at his face. Haven has the pipe in his mouth again, looking very blandly at them. PETE You see this box? HAVEN Sure. PETE It goes to Prince. Know who Prince is? HAVEN Nope. PETE He runs things for Charlie. Know who Charlie is? HAVEN Sure. Haven climbs aboard. They look hard at him. He has stuck his pipe in his mouth. He smiles at them and he picks up the reins. PETE One thing... Haven pauses. PETE That's a gear box you're hauling back and it's got to be repaired. And you tell Charlie that if it ain't repaired we might have to shut down quick. You got that? HAVEN I got it. PETE All right -- then get out of here! Haven flicks the reins, grins at them and drives off. Ben is still worried and stares after the departing wagon. DISSOLVE EXT. MOUNTAINS - DAY This is deserted country on the way to town. When the land slopes steeply from the road down into a kind of wash, Haven halts the wagon. He glances around. No sign of life. He takes a hammer and chisel out of the tool box beside the seat, crawls to the crate and prys it open. His cargo is gold. Satisfied, he replaces the pried board, then pushes the crate over the side. It topples down the bank, vanishes in the brush at the bottom of the wash. With one more glance around, Haven resumes his seat in the wagon, puts a match to his pipe, and sends the horses forward at a faster clip. DISSOLVE LONG SHOT OF POST - DAY DISSOLVE INT. CAPTAIN ILES' OFFICE - POST Iles is pacing up and down as Stellman enters quietly. Iles promptly faces him. ILES Well -- what have you found out? STELLMAN Goddard's body -- shot in the back. ILES And no sign of Haven? STELLMAN One horse was missing. They might have taken him away on that. They wouldn't kidnap him if they'd killed him. ILES Why would they kill Goddard? STELLMAN He was a Wells Fargo Detective. ILES I see... he was a man they couldn't handle, so they shot him. But Haven wasn't killed. STELLMAN He may have followed them on the missing horse. ILES And he may be fishing for trout in the Verde River. Why do I always learn everything last? Why must everything be common gossip by the time it reaches me? STELLMAN I don't know, sir. ILES Neither do I, but I'll find out. The Army didn't banish me out here to set up a listening post. Bring the man in, dead or alive. If he's alive, arrest him. STELLMAN But can you arrest him? ILES No, but I can take any living human being into custody -- or am I mistaken in this too? STELLMAN No, sir. ILES Then go and do it! STELLMAN Yes, sir. Stellman turns and leaves obediently. DISSOLVE EXT. MARK'S OFFICE - EVENING SHOT FROM Haven's ANGLE to include street activity. As Mark approaches, opens the door and enters. INT. MARK'S OFFICE - EVENING As Mark enters in the semi-darkness and pauses, stiff with fright at the sight of Haven sitting in the chair, a gun in his hand. Mark opens his mouth but can't speak. HAVEN Draw those blinds, Bristow. Numbly, Mark obeys; then turns. HAVEN All right -- light it up. Mark lights the lamp. His voice is small and quavering. BRISTOW (indicating gun) Can't you put that firearm away. HAVEN I can -- but it quiets my nerves. Mark pours a drink shakily from a decanter by his law library. BRISTOW Drink? HAVEN (flatly) No. Mark gulps his in an ominous silence. BRISTOW We'd given you up for dead -- we -- HAVEN (idly rotating the cylinders of the gun) Who? BRISTOW Who? HAVEN Yeh. BRISTOW Why, everybody. They found Goddard's boy -- didn't you know that? What happened? Tell me about it. HAVEN (smiling) I'm glad you got your voice back. BRISTOW If you're trying to imply that you frightened me, coming here like this, you're right. I'm neither a hero nor a fool. (he sits down) (shrewdly) They killed Goddard -- Why didn't they kill you? HAVEN Somebody must have wanted me saved. BRISTOW What for? HAVEN I don't know. Maybe a rainy day. (dryly) Only it might never rain. Haven puts the gun away; rises, walks to the desk, pours a drink for himself. Mark watches him shrewdly. BRISTOW (himself again) And what do you want from me? HAVEN I'm going to make a statement, which you will write and notarize. BRISTOW Is that all? HAVEN Yes -- except that you put it away where it can't be stolen or tampered with. BRISTOW I have a safe -- HAVEN I can see you have. BRISTOW Meaning you don't trust me. HAVEN I do -- but I don't think you trust yourself. BRISTOW Where do you want it? HAVEN Mrs. Caslon has a safe -- a nice fat one. BRISTOW I think I can arrange it. HAVEN All right -- here's the statement. He saunters to the window -- glances through the crack of the shades. When he turns, he notes that Mark has paper and pencil ready. HAVEN I solemnly swear that on Thursday last, about eleven p.m. the stagecoach in which I was riding was held up by five armed bandits. The gold I was hauling was stolen and James Goddard, the guard, was murdered in cold blood. He pauses, looks stonily at the face of Mark, who is staring at him curiously and waiting. HAVEN I trailed the bandits, caught up with one and -- killed him. Mark stares in amazement. HAVEN Put it down. (as Mark obeys) I then followed the horses bearing the gold to a sawmill -- EXT. CHARLIE'S SALOON - EVENING Mick is standing outside, holding the arm of Jerry as he talks to the kid. Beside him stands Pete Yore's man, Ben. MICK You sure it was Haven you met? JERRY Don't I know my own boss? MICK (giving him a shove) Go in and get a beer. INT. MARK'S OFFICE - EVENING As Haven finishes his statement. He is again at the window, glancing out. Perhaps he has seen the incident with Mick and Jerry across the crowded street. HAVEN ...After I left there, I opened the crate. The gold was in it. He turns back into the room. Mark is looking at him with puzzled wonder, his face drawn and tense. HAVEN That's all. He smiles slightly. The wonder leaves Mark's face. Urbane cunning replaces it. BRISTOW Not quite. HAVEN No. BRISTOW What did you do about the gold? HAVEN I came to the conclusion that I finally had enough money to need a lawyer. Mark smiles thinly, licking his lips. BRISTOW (needing a drink again) Have you seen the sheriff? HAVEN I've heard about him, and I still came to you. BRISTOW I see. Well, as a lawyer, my advice would be -- HAVEN I didn't come here for advice. BRISTOW I'm wondering what you get out of this. HAVEN It makes me more valuable to somebody alive than dead. BRISTOW Who? HAVEN I don't know... yet. BRISTOW (levelly) Now I'm wondering what I get out of it. ORVILLE They been here lookin' for you, the men. HAVEN I thought they might. ORVILLE I told them you was out. HAVEN I was. I just came in the back way. Haven lights the pipe. HAVEN You finish that song? ORVILLE I had her finished, but what good is it? It was about your death. HAVEN Keep it a couple of days -- may be you can still use it. He strolls back towards his room and CAMERA FOLLOWS him, the strumming of the guitar again SOUNDING in the b.g. INT. HAVEN'S ROOM - EVENING Haven shuts the door, pulls off his boots and gun belt, lies on the bed and stares at the ceiling. His face is sad and he looks tired. The MUSIC from the saloon comes over, Charlie's song... he closes his eyes and in a moment falls asleep... WIPE EXT. MRS. CASLON'S MINE-CABIN - EVENING As iles rides up. He is just about to enter, after dismounting, when Mark Bristow comes out of the office. Mark smiles and nods at the officer. BRISTOW Good evening, Captain. ILES (grimly) Any news about Haven in town? BRISTOW I just saw Haven. ILES (abruptly) Alive? BRISTOW (smiling) Very much. Mark mounts his horse, drives away. INT. MRS. CASLON'S MINE CABIN - EVENING As Iles opens the door and enters. Mrs. Caslon is her usual cool self as she sits at her desk. Iles crosses to her and gives her a peck on the cheek as she fondly pats his hand. ILES Good evening, Mary. MRS. CASLON Good evening, George. ILES I just passed Bristow. MRS. CASLON (ignoring this) Why don't you sit down. You look tired. ILES I should. He sits in a comfortable chair, conscious of the fact that she had ignored his reference to Bristow. MRS. CASLON I suppose you've heard the news. The holdup and poor Jim Goddard. ILES I heard it -- last, as usual. MRS. CASLON (delaying) Why don't you smoke? Iles gives her a surly look, takes a cheroot out of his tunic. MRS. CASLON (taking a match and crossing to light his cigar) I'm afraid you're going to be angry with me. ILES (puffing) Why? MRS. CASLON The gold Haven tried to run was from the Argus, darling ILES It was? (then reacting) Yours! Iles is about to yell something at her, then holds himself in check, while she wipes the spilled ashes from his uniform. In this interlude he changes to an icy man. MRS. CASLON Now don't excite yourself. ILES I am very calm, and I calmly ask you how you could allow that scoundrel to transport gold from your mine when -- MRS. CASLON The man you call a scoundrel may be dead at this moment. ILES And he may be in town at this moment -- where, in fact, he is. (looks at her) How you could do this without telling me -- MRS. CASLON I only did it for your sake. ILES MY sake? MRS. CASLON After all, Mr. Haven represents the U.S. Government. ILES Who do you think I represent? MRS. CASLON I told you, George, I was only trying to help you. ILES (containing his fury) And while we're on the subject, who does Mark Bristow represent? MRS. CASLON You know perfectly well that he's my lawyer. ILES I know perfectly well he's a scoundrel too. (rises) Is he also trying to help me? He walks to the door. She stands there frigidly. ILES (at the door, a ball of cold fire) Thank you, Mary. He turns and fumbles with the knob, but he can't do it. He turns at last and walks meekly back to her. ILES I'm sorry. I'd say that I lost my head if I believed that I had one. MRS. CASLON (kissing him fondly) It's my fault George. (turning) Mark left me something. She turns to the desk and hands him the long legal envelope. Iles takes it and stares at it. He starts to open it. MRS. CASLON You're not going to open it? ILES To whom it may concern. That's what it says here. (going on) Well, it may concern me. He opens it, looks. ILES It does. He hands it to her. She reads. ILES (grimly) My business isn't jammed up enough -- so they send this harebrained demoted lieutenant pry around in it... They want to help me too. He takes back the paper from her, thrusts a blank sheet in the envelope, tosses the envelope back on the desk. MRS. CASLON George -- you're getting to be a hard man to deal with. ILES I'm getting to deal with some hard men. Iron-faced, he starts out, remembers again, softens against his will, comes back from the door and kisses her cheek and then leaves. CAMERA stays on Mrs. Caslon as she watches him go. She smiles slightly, puts the envelope in the safe, and then from it takes a six-gun, looks at it and begins dusting it with her handkerchief as we DISSOLVE BRISTOW You certainly are a careful man. HAVEN I have to be. I live a careless life. Haven begins washing his face in the washbowl, and then combing his hair and readjusting his somewhat rumpled shirt. Mark watches him. HAVEN What about the deposition? BRISTOW She has it. It's in her safe. HAVEN Good. BRISTOW What do we do now? HAVEN We call on Charlie. There is a little nervous sweat on Mark's hands; he wipes them on his coat. BRISTOW It's a dangerous play, Haven. HAVEN Is it? BRISTOW What if she doesn't believe you? HAVEN Then she'll have to believe you. BRISTOW That deposition could be a lie. It might not stand up in a court. HAVEN You're sure of that? BRISTOW Well -- not exactly. HAVEN That's it. You're a lawyer and you're not sure. Then how can she gamble on it, either? BRISTOW Because she's a gambler. HAVEN No, she isn't. (ready to go) We're the gamblers, Mark. Lot's go. A little shaken and uncertain, Mark obeys. DISSOLVE EXT. HOTEL - EVENING As Haven and Mark come out. They walk towards the saloon. People look at them curiously. Suddenly, down the street, the sheriff appears, approaching Haven slowly and ominously. Sensing a gun fight, people vanish. Purely from instinct, Mark deserts Haven's side in a hurried walk towards the saloon, eyeing both. Haven comes on leisurely. The sheriff has stopped in his tracks and has his gun out. A woman clutches her child to her skirt. Men stand stockstill, watching. A crowd forms at the entrance to Charlie's. Haven walks slowly forward until he reaches the waiting sheriff. He looks him over with a smile of contempt. SHERIFF You're under arrest! HAVEN (pausing) For what? SHERIFF For the murder of James Goddard -- and robbery under arms! HAVEN (casually) I've heard about you. You don't appear to understand the functions of your office. (taking sheriff's gun and breaking it open) You've missed the whole point of your profession. (showing him) Even your gun isn't loaded. (Haven loads it as it goes on) I suggest that you start all over again, with this point in mind: the duty of a peace officer is to arrest the culprit of a crime -- not the victim. Haven hands him back the now loaded gun and walks away towards the saloon, leaving the sheriff standing there, a completely dumbfounded and bepuzzled man. DISSOLVE INT. CHARLIE'S SALOON - NIGHT The place is roaring. Haven enters, followed by Mark. The guy at the piano is playing as always. Haven and Mark go slowly to the bar, eyes following them. The noise softens almost to silence, except the piano, Cowering, Mark sticks close to Haven. At the dice table, Prince stares coldly, hands another man the stick and walks away to the stairway, his eyes seeking Mick Marion who is also staring at Haven. Prince nods to Mick as he goes. MED. SHOT at bar -- as Haven and Mark loan against it. Ernie is looking at him curiously; then towards Mick. Haven doesn't follow the glance, but Mark does. ERNIE Rye? HAVEN Two. Ernie gets them. Haven glances at the piano. Mick who had stood there has now vanished. Haven smiles. The drinks arrive. BRISTOW (gulping his drink) This is no good. HAVEN The bourbon is just as bad. BRISTOW I don't mean that. HAVEN You want to leave? BRISTOW I just don't like it. (taking another drink) I'm a nervous man. Something's going to happen. I can feel it. HAVEN That's right. BRISTOW Then why don't we do something. HAVEN We're doing something. BRISTOW What? HAVEN Waiting for something to happen. (smiling at Mark) Mark finishes off his second. A stickman comes up. Nudges Haven. STICKMAN Charlie wants to see you. Upstairs. HAVEN (to Mark) See? The stickman moves away. Mark looks at Haven. BRISTOW Do I go with you? HAVEN Can you make it? Haven turns away towards the stairs. Mark hesitates, bites his lip, swallows another drink and then grimly follows. INT. CHARLIE'S OFFICE - NIGHT Charlie is behind her desk, as Haven walks in. Behind him, sweating now, comes Mark. As the two are in the room the door behind them slams shut. Mick is there with a gun. Prince moves slightly out of a shadow. Mark backs against a wall. Charlie looks up from her fingernails. Haven smiles and glances around. His eyes fix on Mick and the gun. HAVEN I see you found the difference. Mick says nothing, his face a blank hatred. Haven sits down in a big chair. HAVEN Looks like a board meeting. Another door opens and Pete, the sawmill foreman, enters, stands silently. Haven glances at him, then at Charlie who smiles thinly back. CHARLIE (indicating Mark) What's he doing with you? HAVEN I thought I might need a lawyer. CHARLIE I doubt it. HAVEN I can realize how seldom legal technicalities annoy you -- but I have one that might. (taking out his pipe) Besides, he knows all about it. PRINCE About what? HAVEN About a gear box I failed to deliver. BRISTOW I don't know anything! I merely -- PRINCE Shut up! Mark relapses into a perspiring silence. HAVEN (quietly) Mark is right. He doesn't know anything. He just knows what I dictated to him in a deposition. CHARLIE And what was that? HAVEN It was just a story. About a man who got murdered, a thief who got shot, and a gear box that got lost. Probably nobody would believe it -- (glancing up) ...unless I got killed for it. Charlie stares at him a moment. Then she glances at Pete. CHARLIE Go downstairs, Pete. Watch the stairway. Pete walks out. CHARLIE (to Haven) Who else have you told? HAVEN No one. Mark I had to have. He's a witness and a notary. He makes it stick. He stands it up in court. CHARLIE (always watching his face) What keeps it from getting to a court? HAVEN A cut. MICK He's running a bluff! HAVEN I ran one on you. Mick burns in silence. Charlie smiles. CHARLIE You brought your lawyer. Ask him if this doesn't sound like blackmail. HAVEN He can't think very clearly in the presence of a gun. PRINCE But it doesn't bother you? HAVEN (coldly) No, it doesn't. PRINCE What you want is money. Haven nods. CHARLIE I don't see how going to the law will get it for you. HAVEN If you did see how, I'd never get there, would I? CHARLIE I'm afraid not. HAVEN So it boils down to this: we can make a deal, and all be happy together. PRINCE Not as long as you always have something on us. HAVEN Unless you also have something on me. CHARLIE And how would that be? HAVEN When I deliver the gold to you. CHARLIE You mean the gear box? HAVEN I can even forget I looked inside. So I stole a gear box... I'm still a thief. Charlie is silent a moment. Haven lights his pipe. Charlie looks at Mark, pale by the wall. PRINCE (indicating Mark) What does he get? HAVEN He gets even with you. PRINCE Have you lost your mind! HAVEN It was all right when he lost his money. CHARLIE All right... I'll give him the IOU's... when the gear box is delivered. PRINCE (smiling) You don't realize how important it is when a piece of machinery breaks down. It could close the entire sawmill. HAVEN I guess I didn't realize it. She looks coolly at Mick and Mark. CHARLIE I think that's all. Mark glances at Haven who nods and Mark leaves in the wake of the grimly departing Mick. Prince lingers. CHARLIE (to Haven) You can stay. HAVEN (to Prince) I think she was talking to me. Prince gets up grimly, his lips tight, the dice held hard in his fingers. He stares at Haven. PRINCE You roll nice dice and you bet them jamb up, but some day you'll slip. And when you do, I'll be around to catch you. He turns and walks out. Haven watches him go. HAVEN You know, I think he will. CHARLIE Then you should be more careful. HAVEN The poorhouses are filled with careful men... (knocking out his pipe) ...And so are the graveyards. Charlie comes around and sits on the arm of his chair. HAVEN You've got a nice perfume. CHARLIE Carnation. (she ruffles his hair with her hand) I almost had to have you killed. I'd have hated it. HAVEN So would I. CHARLIE I'd have missed you... too much. HAVEN And too long. She brushes his cheek with her lips. CHARLIE (she smiles at him) Did you ever tell a woman you loved her? HAVEN All of them. CHARLIE How did you get away? HAVEN I was always in the doorway when I said it. CHARLIE You never said it to me. HAVEN Let's go over to the doorway. He rises and so does she. She picks up a scarf in silence and anger, crosses and goes out the door, Haven following her. INT. STAIRWAY - NIGHT As Haven and Charlie descend. Her face is hard. CHARLIE I seem to always end up like this with you. I take you for granted. You like it that way. It goes with loaded dice and crimped cards and fixed wheels. HAVEN Isn't that your business. CHARLIE It isn't my life. As they descend, Stellman can be seen in the bar crowd, watching them. MED. SHOT of Charlie and Haven at foot of stairs. Haven is smiling at her, but her face is serious and her eyes hard. CHARLIE You told me once you might be a missionary on your way to China. And that's as much as I've ever found out about you. You're working for me, but for all I know you could be working for somebody else. HAVEN Like Goddard? CHARLIE Why not? Haven smiles. He can see Stellman approaching. HAVEN I think I better bring you that gold. He starts away, but Stellman halts him. STELLMAN Haven. Haven looks at him. Charlie watches. HAVEN Don't tell me you're still recruiting? STELLMAN Yes, we still want you. But this is a little different. HAVEN And how's that? STELLMAN Captain Iles has asked me to take you into custody, Haven. Haven stares at him, then looks at Charlie. A slow smile dawns on her face. CHARLIE (quietly) You heard the man. STELLMAN Best thing for you is to come along, Haven. HAVEN That's what I like -- the best thing for me. He pats Charlie's shoulder and then walks out with Stellman. Charlie watches them go. Prince appears beside her. PRINCE Very friendly with everybody -- isn't he? Wells Fargo detectives, and now the Army. How far can he go? CHARLIE Exactly where he's headed now -- to jail. She walks away towards the piano. Prince stands there, watching Haven go. DISSOLVE Note: Pick up two night exteriors of the post. INT. ILES' OFFICE - NIGHT There is a sergeant inside facing Iles who sits behind his desk. Stellman and Haven pause at the door. SERGEANT (to Iles) The Quartermaster at Platte wants three sworn statements before he'll replace those seventy uniforms, sir. ILES Three sworn statements! I told him all I know. They were in the freight office at West Rim City. The building burned down.. .you sure he doesn't want me to send him the ashes too? (seeing Stellman) All right, have Stamm fix the papers. The Sergeant exits. Iles looks calmly and with relish at Haven. ILES (pleasantly) Come in. Haven and Stellman enter. Stellman closes the door and stands near it. Haven smiles and nods at Iles, then sits down unbidden. ILES Nice to see you alive. HAVEN Dumb luck. ILES You seem to have been living quite an adventurous life. HAVEN Is that why I'm under arrest? ILES That's indefinite. I wanted to talk to you. HAVEN If you consult the Army Blue Book it might enable you to be more definite. ILES (grimly) Curiously enough, you got me into the habit of reading myself. You're quite right about The Blue Book -- (fiercely) UNLESS that officer should get himself about one-half as far out of line as you have! HAVEN How far is that? Iles picks up the deposition, extends it. ILES Right here in your own statement! Haven glances at him, then at the statement, and then tosses it on the desk and inhales. HAVEN I see you did what I expected. ILES You've gotten a man killed and Mrs. Caslon's gold stolen. Is that far enough? HAVEN Not quite. ILES (rising slowly) Haven -- as far as I'm concerned, this deposition is good enough for me. (indicates the deposition) I want these people arrested. This is all the evidence we need. HAVEN I need more. ILES For what reason? HAVEN For the reason I came here... to get the murderers of two soldiers -- not to save somebody's gold. That's a mistake you made. I still don't know who killed them, but I'm going to find out. And when the net is hauled in, they're all going to be in it. (rising) That's my fish -- and you can have the minnows. ILES (demandingly) When are you returning Mrs. Caslon's gold? HAVEN (firmly) That's a matter between myself and Mrs. Caslon. They look hard at each other in silence. ILES I don't particularly like you -- but I see no reason why you should get yourself deliberately killed. HAVEN (smiling again) It won't be deliberate. ILES What difference does it make how you get killed? Where does it leave me? HAVEN Where does it leave me? ILES (meaning it) Understand this, Haven. You're heading for bad trouble -- and when it comes don't expect any help from me. Is that clear? HAVEN (smiling thinly) From the beginning. Haven turns and walks out; the door closes behind him. Iles slumps down into his chair. Stellman is smiling faintly at him. STELLMAN Anything else, Sir? ILES (glumly) Yes, three cigars, a pint of whiskey, and a copy of that confounded Blue Book. As Stellman turns away. DISSOLVE INT. HOTEL LOBBY - NIGHT As Haven saunters in. Orville is, as always, behind the desk. Haven nods at him. HAVEN What's the good word? ORVILLE For you it's not good. You're in bad trouble. HAVEN I don't know how you can know so much and move so little. (turning to go) I think I'll try it myself. ORVILLE Want to leave a call? HAVEN That's very nice of you. ORVILLE What time? HAVEN When you're sure everybody in town is in bed -- call me. And if anybody asks for me -- I went to jail. He goes and Orville strums a little jail song. FADE OUT FADE IN EXT. COUNTRY - DAY Haven, driving a wagon and team of horses, is retracing the road he took back from the sawmill looking for the place where he dumped the bullion. CLOSER VIEW of Haven, as he looks for the landmarks. He is whistling softly the tune that Charlie always sings. At last he stops, alights and makes his way down the steep slope, a couple of gunny sacks slung across his shoulder. Bottom of the gulley as Haven gets there and locates the crate at rest in a clump of brush. The crate has broken from the fall. Haven loads the buckskin bags of gold into the gunny sack and scrambles back up the slope. Side of slope as Haven scrambles to the top, he finds himself looking into a six-shooter held in the unwavering hand of Mrs. Caslon. Her eyes are hard and a grim smile plays at the corners of her mouth. MRS. CASLON Drop it. Haven obeys. MRS. CASLON Turn around with your hands up. Haven turns. She takes his gun and tosses it in the wagon; then glances inside the sack, sees the gold. She backs off a step or two. MRS. CASLON All right -- put it in the wagon. Haven turns to obey. He manages a smile at her. HAVEN Is this a hold-up? MRS. CASLON You want to put it in the wagon? HAVEN (looking at her hard eyes) Yes. He struggles with the sack, swings it onto the wagon in which he came. Then stands back, looking at her. MRS. CASLON Now was there something you wanted to say? HAVEN I trailed one of the bandits here where they cached it. I couldn't haul it on horseback, so I came here with the wagon. MRS. CASLON I know that's a lie. HAVEN Some of it's true. MRS. CASLON But not nearly enough. HAVEN I'll try it again. I cached it here myself. I was going to turn it over to them. I wanted to buy a membership in their club. This was the initiation fee. MRS. CASLON Fifty thousand dollars? HAVEN Well, you see, I thought it was worth it. MRS. CASLON Well, you see, I don't. She climbs to the seat of the wagon watching him warily. Haven doesn't move. HAVEN (quietly) What you're doing may get me into serious trouble. MRS. CASLON If you're still in town in twenty- four hours, I promise what I do may get you hanged. She grabs the rein of her own horse, flicks the reins of the wagon team and rides away, leaving Haven on the road, horseless and very much discountenanced. He watches grimly as she rides away. At a distance from him she tosses his gun beside the road. DISSOLVE INT. CHARLIE'S SALOON - DAY As Haven enters. He is dusty and tired from his long walk. The place is moderately busy. MED. SHOT of Haven as he sits tiredly at a table where Charlie and Prince are sitting. She smiles at him. CHARLIE I thought you were in jail. HAVEN I talked my way out. CHARLIE You're a very glib man. You seem to talk your way out of everything. HAVEN Up to a certain point. CHARLIE What's that? HAVEN A gun. (to the waiter) Champagne. The waiter exits. Charlie looks at Haven curiously. PRINCE Are we celebrating something? HAVEN (to Charlie) You know, the first time I talked to you we had champagne. (smiling at her) I think I should have been a missionary and gone to China after all. He takes out the pipe, twirls it in his fingers. The waiter puts down the champagne. Charlie is looking at Haven with puzzlement and curiosity. The waiter goes... CHARLIE Didn't you bring me something? HAVEN No. CHARLIE But you will? HAVEN No. Her face changes; hardens. She glances across at Prince. Haven watches Prince with a smile. PRINCE (quietly) No -- just like that? HAVEN It's easy to explain. It's just a little hard to believe. CHARLIE Make it as credible as you can. HAVEN (smiling grimly) I can't. (filling the pipe) I went to get it, and it was there. But so was somebody else. CHARLIE Who? HAVEN Mrs. Caslon. CHARLIE Alone? HAVEN No... she had a gun with her. PRINCE Did you have one too? HAVEN The one she had was in her hand. There is a silence. Prince stares idly at the dice cubes in his hand. Charlie stares straight at Haven. Haven glances at Prince. HAVEN This could be that slip you mentioned. Prince just stares at him. CHARLIE (to Haven) So this nice lady held you up and took the gold, is that it? HAVEN It's like saying I got robbed at Sunday school. It's no good, is it? PRINCE (looking at him) No, it isn't. HAVEN I even had to walk back to town. I think that may be one of the longest walks I ever took. PRINCE And one of the last. Haven takes a sip of the champagne, Charlie's whole manner has now changed. It is cold and very quiet. PRINCE Mick might have killed you, but you fought him with your fists. The sheriff had a gun but you took it away from him. Ben had a gun last night but it didn't seem to scare you. Now this genteol petticoat waves a pistol and you run for your life. HAVEN (twirling the wineglass, glancing at Charlie) He makes it sound very silly. PRINCE Or I make it sound like what it is: a lie! (he rises) Haven reaches in his pocket for a match. Prince, mistaking the gesture, swiftly extracts a small pistol from his belt, covers him. PRINCE No. Haven extracts the match, with a glance of contempt at Prince; then lights the pipe again. HAVEN (smiling faintly) My word doesn't seem very good around here. PRINCE You've only got one thing left that's any good here - and that's some gold. HAVEN (to Charlie) Is that all I've got? CHARLIE Not quite. You've got some time. You've got two hours to get it here. There is a brief silence that punctuates this statement. It has an air of fatal finality, marked by the idle MUSIC of the deaf pianist. Haven puts his pipe away, carefully so that Prince won't get any mistaken ideas. HAVEN You want me to fatten you up before you kill me? Is that what you mean? CHARLIE I said what I meant -- two hours. Haven rises. He brushes some dust off his coat, smiles thinly at Charlie. HAVEN I once knew a guy who stole a dime tip from a lunch counter and parlayed it into fifty thousand. I might try that -- but not in two hours. She says nothing; her face carved out of ice. Prince smiles thinly. Haven looks at him, shrugs. He hesitates; then pats Charlie's frigid shoulder. HAVEN (to Charlie) You're sweet. He turns and walks slowly out. The dirge of the piano follows him. Prince fingers his pistol a little, tempted. At a look from Charlie he puts it away. Haven goes out. Charlie suddenly leaves the tables and goes quickly up the stairs. Prince watches her with a slow smile, picks up Haven's gun and pockets it... WIPE EXT. STREET - DAY As Haven leaves the saloon. He pauses, looks around, up at the sky, then down the street. He takes out his pipe and beginning filling it slowly with tobacco, as Mark Bristow comes hurrying across the street. MOVING SHOT of Haven as he walks very slowly, filling the pipe, and Mark comes alongside and walks with him. Haven hardly glances at him. BRISTOW I've been looking for you. Where have you been? HAVEN I took a walk in the country. BRISTOW Did you get it for her? HAVEN No. (pausing in front of the hotel) Sorry. MED. SHOT of Haven and Mark outside the hotel. Mark is afraid and puzzled. He keeps staring at Haven's face. BRISTOW But that was the deal. You agreed to -- He pauses as two men walk by. BRISTOW If you're trying to pull something -- HAVEN (finished with the pipe) You want to listen? BRISTOW (calming himself) All right. HAVEN (explicitly) I can't deliver it because I no longer have it. It was taken away from me by Mrs. Caslon. I've told Charlie, and she's very unhappy. I have two hours to produce the loot. You haven't any idea where a man could raise fifty thousand quickly, have you? Mark's mouth pops open. HAVEN I thought not. Haven lights the pipe. Mark stands there, mouth open; fear draining the blood from his face. His voice is a mere whisper. BRISTOW What are you going to do...? HAVEN Nothing, Mark. The boat just sailed. BRISTOW What about me? HAVEN You'll have to think of something very good. Mark stares at him, then looks off. His face becomes grim. He almost glares back at Haven. BRISTOW I can think of something. HAVEN (patting his shoulder with a slight smile) Go ahead, Mark. Go ahead and do it. Mark stares at him, then turns abruptly away. He hurries across the street. Haven watches him as he goes off in the direction of Mrs. Caslon. Haven smiles and walks inside the hotel. WIPE INT. HAVEN'S ROOM - DAY He enters, locks the door. Pulls the shade at the window, takes off his shoes and coat and lies down on the bed. He gazes towards the wall, thoughtfully. He gets up, goes to the window, opens it softly; then looks out. Down the alley, at the corner, a man is lounging; an ugly looking character, whose eyes watch the alleyway. Haven smiles wryly, goes back to the bed and lies down. The piano music starts next door. INT. SALOON - DAY Showing the deaf pianist at the piano, playing. CAMERA PICKS UP Pete as he enters, FOLLOWS him as he walks up the stairs. INT. UPPER HALLWAY - SALOON As Pete knocks on Charlie's office door, then enters. INT. CHARLIE'S OFFICE - DAY As Pete enters. He looks around. Mick is sitting there and Prince. Charlie is standing at the window. By another door another grim character stands in silence. Charlie turns as Peter enters. CHARLIE Everything ready? PETE All set. PRINCE Got enough men at the sawmill? PETE Plenty. PRINCE All right. Go back out there and get them into the uniforms. We'll hit the post just before midnight. Pete turns and walks out, shutting the door behind him. There is silence. Charlie looks out the window again. Prince fools with the dice. Mick stands stolidly near the door. At last the silence is broken over the ticking of the wall clock. PRINCE I don't know what we're waiting for. CHARLIE I gave him some time. He's in the hotel. He's not doing anything. I gave him some time. I don't care what he does with it. She has not turned from the window. The clock ticks. From behind her Mick's voice comes, quiet and deadly. MICK And I don't care when, but I'll get him. CHARLIE Again? Mick is silent. Charlie smiles thinly. EXT. STREET - NIGHT As Mark hurries into the saloon, a desperate look on his face. INT. CHARLIE'S OFFICE - DAY As Charlie turns from the window. CHARLIE Bristow's here. PRINCE This should be good. CHARLIE (to Mick) Let him in. Mick goes to the door, opens it; just as Mark arrives a little breathlessly at the door. Mark enters, a little surprised at the door opening for him, glancing back as Mick quietly shuts it. Charlie looks coldly at the lawyer who is sweating again. Mark stands there, silent a moment, gathering himself together. CHARLIE You want the I.O.U's? BRISTOW You mean -- She has turned to the safe; now she turns with them and as Mark reaches for them, Charlie drops them at his feet. They scatter. He bends to pick them up. Prince smiles at him contemptuously. Mark is picking them up one at a time when suddenly he pauses, stands erect, and looks at them with fear and suspicion. BRISTOW Why? Did Haven -- PRINCE No, he didn't. BRISTOW Then I don't understand -- PRINCE We don't think they're going to be any good. Mark stands there. The papers slip from his fingers. He knows what Prince means. But his mouth hardens in an effort. BRISTOW I didn't have anything to do with it. All I did was write it. I'm not in on this. I can still make them good. (he puts a couple back on the desk) Or I can -- CHARLIE What? BRISTOW I can do business. (fumbling in his pocket) I got it somewhere. I -- Here -- take a look at this -- the deposition -- (bringing out the deposition) The only copy. CHARLIE (coldly) Let's have it. BRISTOW (eagerly) Here. Hands it to her. PRINCE What do you want? BRISTOW (as Charlie opens the envelope) Nothing. I just want to get out of it. I never had any part of it. This ought to prove that! CHARLIE This? She hands him the paper from the envelope. Marks takes it and stares at it. It is absolutely a blank piece of paper. He stands there, bites his lips. He looks wearily around at them, fear making him weak, making him unable to hold the piece of paper, so that it floats to the carpet. BRISTOW (at last) It's -- it's a trick. I -- (trying to pull himself together) I'll see about this! He can't do this to me! (moving back towards the door) I'll go and see about this! CHARLIE Sure, you see about it. He stops dead in his tracks as Charlie moves towards him with a little pistol, pearl-handled. But she only gives it to him. She has to take his hand and put it in his palm. CHARLIE Take this along. He backs out, the little gun in his hand. Mick opens the door. In sudden relief and haste Mark barrels out. They can hear his quick feet on the stairs outside. Prince looks at Charlie. PRINCE Something left to wait for? CHARLIE (slowly) No. Prince gets up and leaves, and Mick, with a grim smile of anticipation follows. Charlie sits slowly down in the chair. The music comes up the stairs and through the door. INT. HAVEN'S BEDROOM - DAY Haven is lying on the bed, his arms under his head, his eyes on the ceiling. There is a SOUND in the hallway and then a hurried knock at the door. Haven slowly rises, walks to the door. He stands there. The knock SOUNDS again. HAVEN Who is it? MARK'S VOICE It's me -- Bristow -- let me in. Haven opens the door. Mark enters swiftly, the little gun in his hand. Haven shuts the door and locks it. He turns and faces Mark, now pointing the gun. Without a word Haven walks over to the bed and lies down again, looking at the ceiling. Mark follows him with the gun. HAVEN You going to shoot me, Mark? BRISTOW You double crossed me, Haven. HAVEN I did? BRISTOW I got the deposition back. I took it to them. Haven leans on one elbow, looking at him. BRISTOW It wasn't there! It was a piece of blank paper! Haven lies back with a short laugh. Mark stares at him in fury. BRISTOW Don't you laugh at me! I ought to kill you! HAVEN They want you to, Mark. Haven again leans on one elbow, looking at Mark and the trembling hand that holds the gun. HAVEN And it may be your only out, if you do. But I doubt it. You know why? Because even if you took them my scalp, it wouldn't buy your life. You're in debt and you're broke and you're scared -- and you know far too much. There isn't any way they use you -- alive. Can you think of one? Mark sits slowly back in the chair, beaten. BRISTOW They're going to do it. I know it. They're going to kill me -- (his hand trembles) Why do they have to kill me? HAVEN Us, Mark... Haven gets up slowly, reaches over and takes the little gun, smiles at it. HAVEN This must be hers. BRISTOW (dully) Yes. HAVEN She's sweet. He puts the gun on the table. Mark's teeth are chattering. He is almost ready to cry. Haven gets a bottle and pours him a drink in a dusty glass. He hands it to Mark. HAVEN There's one thing, Mark. BRISTOW (gulping the drink) There is? HAVEN You might get out of town. BRISTOW There isn't a chance in a thousand. HAVEN If there's one in a million, it's the only one you have. Mark gets up waveringly. Takes another hooker. BRISTOW Yes -- we might get away with it. We might... HAVEN I'm not going. Mark stares at him. Haven smiles grimly back. HAVEN I have to stay. BRISTOW But you can't stay. You said yourself -- HAVEN If you must do this, go straight to your horse. Don't stop for anything. BRISTOW -- I've got a lot of important papers -- HAVEN You haven't got anything important left, Mark -- except your life, and very little time to keep it. You do it very fast and you might be lucky. BRISTOW (trying to pull himself together) Yes. I might be. I'll try it. Mark hurries out into the hall. Goes. Haven turns back and looks at the room, picks up the little pistol, smiles at it. Shrugs and then slips into his coat and exits, too. INT. HOTEL LOBBY - DAY As Haven enters. SHOOTING FROM his ANGLE, we can see, as he does, Mark crossing the street, apparently towards his law office. He is in such a hurry that he falls down, crawls a little, gets up, runs. Just as he reaches the office door, just as his hand touches the knob, a shot rings out and he crumples. He still tries, then his hand slips from the knob and he lies there dead. The vacant street is empty with his death. Haven stares. He takes a match from the counter, applies it to his pipe -- then finding the pipe empty, smiles thinly and pockets it HAVEN (softly; turning to the clerk) You didn't throw away that verse? ORVILLE No. HAVEN You won't have to change it much. He takes the little pistol from his pocket and glances at it. The clerk, watching, idly strumming the guitar string. ORVILLE You ain't going out there with that? HAVEN Not much, is it? ORVILLE You'll never get closer to having nothin' -- HAVEN (staring out) No -- I won't. ORVILLE Say -- HAVEN Yeh? ORVILLE I'm naturally sentimental, bein' a sort of poet. HAVEN Naturally. ORVILLE I keep a bunch of gimeracks -- an oldtime sheriff's gun, a bullet from a dead bandit, a rosary from some guy they hanged. HAVEN That's nice. A hobby? ORVILLE In a way -- Want to leave me something? Haven smiles. He feels in his pocket, comes out with the army button gotten at the sawmill. HAVEN This is all I seem to have. ORVILLE (taking it) Army button. (puzzled) Where's the uniform that goes with it? HAVEN What do you want for -- (he pauses as the idea hits him) Yeh? A very good question. The clerk stares at him; Haven smiles grimly. He breaks the little gun, checks it. HAVEN I might even know. I think I'll try to go and find out. He starts to the door, the little gun in hand; very slowly. Watching him, the clerk twangs the strings softly. Haven walks very slowly. He opens the door and hesitates. Just as he is about to step out, looking up and down the street, there is a furor and the sheriff rides up outside and dismounts. Starts over to inspect Mark's body. He turns as Haven walks on to the street, hands held high. EXT. STREET - DAY As Haven emerges and the Sheriff holds a gun on him. ANGLE on Mick as down the street, with disgust, he lowers his gun. ANGLE on Prince as from a doorway he watches. Stopping with a shake of his head the intent of a man beside him to shoot. FULL SHOT -- street -- as Haven surrenders to the sheriff. SHERIFF All right, you -- march. Haven obeys, walking up the street -- the sheriff and the sheriff's horse behind him. People watch, appearing now in safety. The sheriff is pretty pleased. MOVING SHOT -- of Haven and Sheriff. As they go, Haven's hands still aloft. HAVEN You loaded your gun for this? SHERIFF No -- you did. Back of them can now be seen the figures of Mick and Prince and the other gunman, following at a little distance. Going leisurely, now Haven slows his pace so that the sheriff is closer behind him. SHERIFF Come on, you! Keep moving! Haven suddenly drops to his knees. The sheriff almost walks over him. The sheriff stumbles with an oath. Haven grapples with him. Haven snatches his gun, drags him by a headlock to the horse, flings him aside and then mounts. A second later he is away. Shots RING OUT as Mick and Prince and the gunman shoot. Haven rides on, bent low, out of town. The sheriff hides his bulk in the dust as the bullets fly. ANGLE from Charlie's office -- as she goes to the window, stares out at the flying form of Haven. A slow smile comes over her face, bitter and grim, yet somehow faintly admiring... She sees Mick mount a horse and start after Haven. Then she turns abruptly away. WIPE EXT. COUNTRY ROAD - DAY As Haven slows down his horse, but goes on at a fair clip after looking warily back. He breaks open the sheriff's gun, finds it loaded. He reacts and whistles softly. As he swings his horse off the travelled road to head crosscountry for the sawmill. FADE OUT FADE IN EXT. NEAR SAWMILL - NIGHT As Haven sits on his horse at a point in the woods where he can look down on the sawmill. Around the mill office there seems to be signs of unusual activity. Haven sees Mick Marion going by on the road towards the mill. Mick passes not far away and is riding hard. Haven watches as Mick arrives and Pete can be seen in conference with him. Other men -- too many -- are gathered around. At last Haven dismounts and makes his way carefully on foot towards the warehouse. EXT. WOODS IN BACK OF WAREHOUSE As Haven leaves his horse in the brush and trees and then approaches the building. He finds a window in back, breaks it with a stone; then waits tensely to see if the sound has attracted any attention, gun in hand now. It doesn't. Haven replaces the gun in his holster, opens the window and crawls inside. INT. WAREHOUSE - NIGHT Haven surveys the piles of crates, boxes and equipment. He starts his search methodically and swiftly. Suddenly a shaft of light comes from the front doors opened now by two men. Haven shrinks back, drawing his gun. The men start to enter when Pete's voice is heard. PETE'S VOICE Where you guys goin'? MAN You want them uniforms out, don't you? PETE'S VOICE I'll tell you when. The men turn and leave. Haven relaxes. He goes back to work, pulls back a big canvas tarpaulin one of the men had approached, and there before him is revealed the army uniforms, stacked in neat piles. He looks and smiles grimly. Outside is the SOUND of horses and more men arriving. Haven goes slowly around the warehouse now, looking for something. At last he finds it: a can of kerosene. He takes it over to the uniforms, pours it liberally on them. At just this moment a figure appears at the door. MAN What you think you're doin'? Haven lights a match and tosses it on the soaked bales of uniforms. They blaze up instantly. The man shoots as Haven ducks away. EXT. WAREHOUSE - NIGHT As the shot RINGS out. Pete and Mick, surrounded by many men, turn swiftly. Flame and smoke emerge from the warehouse. They start swiftly across, drawing guns. The man at the door shoots again into the smoking interior. An answering SHOT from Haven fells him. INT. WAREHOUSE - NIGHT As Haven makes his way back to the open window. He crawls out swiftly. Now the building is in flames. He can hear shouting and, as he moves away, the useless attempt of men to put out the blaze, working with buckets of water. EXT. WAREHOUSE - NIGHT As Haven starts for the woods. The flames now light the ground around, and Pete appears around the side of the building. Pete fires and Haven draws and shoots. Pete whirls away, hit but still on his feet, driving forward, trying to shoot again and this time Haven drills him clean and Pete goes down to stay. Other men come up as Haven makes for the woods, disappears. Mick Marion and a dozen men appear, shooting. Mick suddenly changes his mind, turns past the body of Pete, gets his horse and heads back to town full tilt. INT. WOODS - NIGHT As Haven watches the flaming building. The slowly approaching figures of the men are illumined in the big light of the fire. Haven smiles, turns to the horse and moves slowly through the trees to a place where he can mount; then mounts and rides for it, SHOTS following him as he breaks into the clear some hundred yards away and heads for the road that Mick Marion took back to town. Bent low, Haven rides for his life -- and makes it... FADE OUT FADE IN EXT. ARMY POST - DAWN As Haven rides up, a detachment of men supervised by Stellman is forming beside mounts in the parade ground. Haven dismounts and starts inside. He glances at his wagon parked outside. It is the one Mrs. Caslon took from him. He smiles slightly as he notes it. INT. ARMY POST - ILES' OFFICES - DAWN Haven walks in, brushes past the desk sergeant with a cursory nod and enters Iles' sanctum. INT. ILES' OFFICE - DAWN As Haven enters. Mrs. Caslon is there, and Iles, in full field uniform. They look at him quickly as he enters; he pauses, glances at Mrs. Caslon and then faces the explosive Iles. ILES That's all right. Just barge right in! I'm going to tell you something... HAVEN (abruptly) No, you're not. You're going to listen. As Iles stares, dumbfounded, at this impertinence: HAVEN You lost some uniforms? You thought they were burned? ILES They were. HAVEN No, they weren't, but they are now because I just set fire to them. ILES (rising) What's this? HAVEN They're smouldering right now in the warehouse at the sawmill, and there are about seventy men down there who were ready to wear them. ILES Wear them? What for? HAVEN What other reason? To get in the post and take the gold from you. Iles gawks at him. HAVEN You were taking a detachment up north on an Indian scare? Iles nods vaguely. HAVEN Well, that scare is a fake. A ruse. So you know where to send them now. ILES Look here, Lieutenant -- HAVEN Correction. Haven dips into a lining pocket under his arm and tosses a paper at Iles. Iles glances at it, then looks, thunderstruck, at Haven. ILES Major? HAVEN You better get down to that sawmill, Captain. They may try it anyway. ILES' expression slowly changes. He smiles at last. ILES I guess I owe you an apology. HAVEN (extending his hand) I'll take it. He shakes hands with Iles for second, then Iles goes out abruptly. Outside we can hear abrupt commands to the Sergeant before the door closes. Haven takes out his pipe, looks at the silent, dumb-struck Mrs Caslon. He smiles at her slightly. She gets her voice at last. MRS. CASLON I guess I owe you something too. HAVEN Only fifty thousand. Outside "To Horse" is sounding. Haven glances out the window, hardly aware of Mrs Caslon's presence. MRS. CASLON I wish there was something I could say or do. HAVEN There is. You can give me back my gun. She goes to the desk, gets it and hands it to him. He takes the gun from his holster and hands it to her. HAVEN And you can give this one back to the sheriff. She takes it. MRS. CASLON I'll always remember what a fool I made of myself. HAVEN (smiling) I always try to forget. He puts his own gun in holster. Glances out the window. MRS. CASLON (watching his face) Are you going too? HAVEN Not with them... He pats her shoulder in a gesture of goodbye and walks out the door. She stands watching him, then moves to the window and looks out. EXT. POST - DAWN As Haven walks outside towards his waiting horse. He pauses, pipe in mouth, lighting the pipe now, his face intensely interested as he watches the men form on the parade ground in front of the mounted Iles and Stellman. FULL SHOT of soldiers. As they mount to a brisk command, and the color bearer takes position. Iles barks out a command; the column forms into marching order. On the double quick, the cavalry company starts out and on the way. CLOSE SHOT of Haven as he watches; his eyes lighting a little, the pipe in hand. We feel that he'd like to go too in this moment. ANOTHER ANGLE from Haven's view, as the column of cavalry departs. Haven waves his hand, a half salute, a half gesture to Iles as Iles salutes him in passing. Then only the dust remains and Haven's gaze lingers. His face changes. It becomes grim. He slowly knocks the ashes from the pipe, pockets it. He slowly mounts the horse. He takes out his gun and checks it. Then slowly he rides away, like a man on a mission he dislikes but cannot evade. INT. ILES OFFICE - DAWN As Mrs. Caslon looks out the window. Her face, tense, as she watches the lonely figure go; her hand waves slightly. DISSOLVE INT. CHARLIE'S OFFICE - DAWN Charlie is standing by the desk and window. Prince is sitting there, talking, the inevitable dice in his fingers. PRINCE There's seventy men ready for any kind of play. I say we can still swing it -- and get out of town. THERE is SOUND of massed horses outside and Charlie looks out. Prince walks to the window. They look in silence. CHARLIE Can we? EXT. STREET - DAWN As Iles rides by at full gallop, followed by a troop of cavalry, headed for the sawmill. INT. CHARLIE'S OFFICE - DAWN As they watch. Prince turns away. PRINCE You wanted to give Haven time. Well, he took it. CHARLIE You better get out before he takes you. PRINCE By that I presume you intend to remain. CHARLIE (wistfully) I've been here as long as I remember. Prince crosses to the window and stands looking at Charlie. PRINCE I asked you once if Haven moved me out. (he smiles) I think he's moved us both out -- together. Charlie looks at him but does not answer and then she turns to the window, and smiles slightly. Prince follows her gaze to the street. His face is grim. EXT. STREET - DAWN Haven, mounted, is coming up the street. Slowly and carefully he progresses to the front of the saloon. INT. CHARLIE'S OFFICE - DAWN As Charlie glances at Prince. PRINCE (softly) This is the way I wanted it... and when I've finished you will too... as though Haven had never been here. He turns and goes quietly and swiftly from the room. Charlie stands thoughtfully. There is nothing in her look or manner to indicate that what Prince has said has made the slightest impression on her. EXT. STREET - DAWN As Haven comes up to the saloon door. INT. SALOON DAWN As Prince moves into a shadowy corner. ANGLE ON the door as Haven enters and looks around. He sees no one. The place seems utterly deserted. It is soundless. CAMERA FOLLOWS Haven as he moves slowly. He has replaced the gun, but he is alert. ANGLE ON Prince as he watches Haven, now a perfect target, not looking in his direction. Prince raises the gun a little, but the dice in his over hand click ever so faintly. SHOT OF Haven as he stops dead in his tracks, hand on the gun again, alert at the slight sound of the dice. Now facing towards the shadow where Prince is hidden. He stands ready and rigid for a long still moment. When there is no further sound or movement, he goes on towards the stairs. ANGLE ON Prince as he moves slightly from the shadow as Haven goes to the stairs. Prince is ready to shoot again, but now the angle on Haven up the stairs is no good. He lowers the gun with disgust, then moves softly out of the shadow. INT. CHARLIE'S OFFICE - DAWN She gets a gun out of the drawer, looks at it, smiles, drops it back into the drawer, moves around the desk and faces the door, composing herself and waiting. EXT. CHARLIE'S DOOR As Haven pauses, pushes it open. Then walks slowly in. INT. CHARLIE'S OFFICE - DAWN She is standing with her back to the desk, her fingers tight on the edge of the desk as Haven walks in. He stops and looks around and then at her. There is a slight smile on her face. CHARLIE You cause me an awful lot of trouble. HAVEN Yeh... but I finally brought you something. He hands her the little derringer she had given to Mark. HAVEN You didn't really think Mark would use it, did you? CHARLIE Maybe I just wanted to send you a gun. HAVEN (thoughtfully) Maybe. CHARLIE Isn't it a little late to make any difference? HAVEN It's pretty late. CHARLIE Why? HAVEN I have to arrest you. CHARLIE For what? HAVEN Murder. CHARLIE I could have killed you from the window -- but I didn't. And I didn't kill the two men -- or Goodard. HAVEN Who did? CHARLIE Maybe Mick -- maybe Prince -- who knows. HAVEN You know. She puts the little gun on the desk. CHARLIE You'd almost as soon be killed as arrest me, wouldn't you? HAVEN Almost. CHARLIE Which are you -- Wells Fargo or Army? HAVEN Army. He hands her the paper he showed Iles. She just glances at it without touching it. Smiles at him. CHARLIE I guess it's my turn to wish you'd gone to China. HAVEN I wish I had too. CHARLIE (quietly) If you still have that gold, and I think you do, we might make it yet. You see I believe that every man has his price. HAVEN Some men don't believe that. CHARLIE But every woman knows it. Her eyes pass him towards the door behind him. HAVEN Only there wouldn't be any women on my jury. (taking out his pipe) And that's why you're not as bad off as you might think... I could find twelve men who might think you capable of almost anything -- but I wouldn't bet they'd vote that way after staring at you through a trial. (he notes her eyes go past him) Mick is dead for the murders and Prince can be hung for the rest of it... At the bare rustle of SOUND behind him (and the memory of her eyes going past him) Haven whirls, stopping aside and drawing as he does so. And just as he does so, Prince, in the doorway, fires. Haven shoots so that the shots RING OUT almost simultaneously. Prince topples forward on his knees and then his face. The dice roll out of his unclenched left hand. MED. SHOT of Haven and Charlie as their eyes read the dice. Haven puts away the gun. Charlie is still leaning against the desk, but there is a strange look on her face. A thin smile for Haven. Now she sags a little and Haven realizes she has been hit. He starts to her and she turns away towards the couch. He catches her as she sags again, and helps her down gently on the couch. ANGLE on couch as Haven kneels beside her. He starts to pull away the top of her dress, but the wound is close to the heart. She shakes her head. CHARLIE It's no good... Haven knows it. He takes her hand and squeezes it. HAVEN I'll get someone -- CHARLIE Stay here. Haven stares grimly at her face. She gives him a faint smile. CHARLIE Tell me something... HAVEN Sure. CHARLIE This gets us all. This doesn't count. HAVEN (softly) No... CHARLIE Tell me something -- on the square. She holds herself tight a moment; then looks at him again, the faint smile returning. CHARLIE Did you ever -- love me? HAVEN All the time. CHARLIE (a whisper) Tell it. HAVEN From the first night and the first time of the song. I tried to get away from it, but every time it came back. Every time I tried to get it out of my brain I just pushed it deeper into my heart. It had to be either you or me. CHARLIE It's all right. I love you... (as he looks hard at her) Well -- say it. HAVEN (softly) I love you. She starts to die. He takes her shoulders in his hands as though to kiss her or hold her back to life. Her voice is almost a whisper. CHARLIE See you... in China. She goes, slumping back. He sits there, pats her shoulder in a familiar absent-minded way, then slowly rises. Grimly, Haven walks out of the room. MOVING SHOT as Haven goes down the stairway. The deaf pianist is playing as always. INT. HOTEL Orville is at his old seat behind the desk. He is playing the last verse of the ballad. Haven enters and crosses to his bag, his face blank and grim. He picks up his bag, turns and walks out, as though not hearing the guitar and the ballad. As he goes into the street -- FADE OUT THE END