The Patriot Resource - Tombstone

INT - DRESSING ROOM/BEDROOM, WYATT'S HOUSE - NIGHT

Mattie irons shirts in the adjoining bedroom while Wyatt finishes shaving in the dressing room, wiping foam from his face, looking in the cabinet for a towel. Opening the bottom drawer, a nest of small brown bottles clatters onto the floor. Laudanum bottles, all empty. Mattie looks up as Wyatt comes out, bottle in hand:

WYATT
Mattie. What about this?

MATTIE
(looks up, keeps ironing)
I need it.

WYATT
'Least you admit it.

MATTIE
Admit what, I'm an opium fiend?
No, Wyatt, I just said I need it.
I need something to keep me warm
At night.

WYATT
Look, Mattie, I know you're-

MATTIE
You know nothing. What you don't
Know would fill a book. Jesus, I
Feel like it's when you're around
I need it most. You're never
Yourself, you never relax. Never.
Everything's so stiff and dead.
You always have to keep a rein on
Everything, ever yourself. Oh,
You smile sometimes, I've even
Seen you laugh. But there's no
Light in your smile for me,
Wyatt, nothing to keep me warm.
And I get cold, Wyatt. I get so cold.
(pauses)
What's between you and that Jew woman?

This catches Wyatt off-guard. He looks at her. She sneers. Then:

WYATT
All right, look. I can make it
Right, I can make this up to you,
Mattie. I can, I swear.

MATTIE
Will you go to her and tell her
Right in front of me she's
Nothing to you? Right out loud so
I can hear? Tell her she's
Nothing, tell her she's nobody,
Just dirt? Will you do that?

Wyatt falls silent. Mattie stands, staring at him a moment, then:

MATTIE
Until you can do that we've got
Nothing to talk about, Wyatt.
Nothing. Now leave me alone.

She keeps ironing. Wyatt looks as if a building fell on him....

EXT - TOUGHNUT STREET - DAY

Behan comes out of Nellie Cashman's, spots Josephine going down Toughnut. He catches up to her, pacing her. She keeps walking.

BEHAN
Listen, I want to talk to you.

JOSEPHINE
Not now. I don't have time.

BEHAN
(grabs her)
I saw that look pass between you
And Wyatt at the fight. Listen to
Me! You're mine! Understand?
You're my woman and I'm your man.

JOSEPHINE
My man? You told Wyatt you'd
Disarmed those men. Do you
Actually believe after that I
Could see you as my man? You're
Just a dirty little fixer.

BEHAN
You whore! You filthy whore!

A HAND reaches into frame, spinning Behan around. Morgan stands there, arm in a sling, red in his eye:

MORGAN
You don't talk that way to a
Female human being! Not ever!

BEHAN
Look, I don't want to take
Advantage of an injured man but
You better-

With his good arm Morgan SLUGS Behan in the mouth. Behan drops like a leaf, as much to avoid a further injury as from the blow. Morgan turns to Josephine, leading her away. Across the street Curly Bill and Ringo share a flask, watching, Ringo looking even odder than usual. Curly Bill chuckles:

CURLY BILL
So she's Wyatt's slice now. Looks
Like we got another name for the
Tally book.

EXT - ALLEN STREET/ORIENTAL - LATE DAY

Later. The Earp brothers stand in front of the Oriental.

MORGAN
Dropped him, that was it. Sorry
If I made a worse mess for you.

WYATT
I'm the one made a mess. Made a
Right fair mess of the whole thing.
Wyatt looks down, mis erable. Virgil looks up at the sky:

VIRGIL
Getting warmer. Guess spring's comin'.

Just then Morgan sees Breakenridge passing by in silence.

MORGAN
Hello, Billy. I say hello, Deputy.

BREAKENRIDGE
(turns to them)
I don't want to talk to you. Those
Men you killed were my friends.
I'm just a nothing, but if I
Wasn't I'd fight you, I'd fight
You right now. So I don't wanna
Talk to you.

He hurries away, eyes tearing up. The Earps look on in amazement.

WYATT
All they ever did was make fun of him.

O.S. VOICE
Sister Boy should've stuck around.

They turn. A liquored-up RINGO stands behind them on the sidewalk like an apparition, murder in his eyes, hands thrust into the pockets of a long black buffalo coat, ivory gunbutts peeking out.

VIRGIL
What d'you want, Ringo?

RINGO
I want your blood and I want you
Souls and I want them both right now.

WYATT
Don't want any more trouble, Ringo.

RINGO
(steps up to Wyatt)
Well you got trouble and it
Starts with you.

WYATT
I'm not gonna fight you, there's
No money in it. Sober up. Come
On, boys.

Wyatt turns into the Oriental. His brothers follow. Ringo howls:

RINGO
Wretched slugs, don't any of you
Have the guts to play for blood?

O.S. VOICE
I'm your huckleberry.

Ringo turns. Doc stands there, smiling that Cheshire cat smile.

DOC
That's just my game.

RINGO
All right, lunger. Have at it.

They face each other, eyes blazing, about to reach critical mass.

DOC
On three? You call it.

RINGO
Here it come: one-two-

At the last possible instant, Curly Bill flashes into frame along with Stillwell and Spence, grabbing Ringo from behind while the Earps step in front of Doc.

CURLY BILL
Johnny, don't, Jesus! Come on,
Son...
(turns to Earps)
Never mind. He's drunk.

They haul Ringo up the street, out of earshot. Ringo is boiling:

RINGO
I want them spitting blood!

CURLY BILL
Easy, Johnny. Now ain't the time.
(turns to others)
I tell you, boys, even I'm
Worried what'll happen once Ringo
Runs this outfit! God have mercy!

He pulls Ringo into a doorway, away from the others. Tears in his eyes, clawing the air, Ringo is beside himself.

RINGO
There's no God, there's no devil,
I hate the God damn world! I want
To die!

CURLY BILL
Easy, son. You just need to get
Your feet back under you, that's
All. Come on, boy, let's kick
South. Down to the old playground.

INT - ADOBE HOUSE - NIGHT

An adobe rancho in the Sonora desert, small, humbly furnished. Inside a Mexican family, 3 children, a husband and young wife eat dinner. Suddenly Curly Bill and Ringo BURST IN, guns drawn, shouting in Spanish. Everyone freezes and as the children start crying we feel the family's sense of inner terror. Curly Bill looks the trembling young wife over, nodding at Ringo:

CURLY BILL
See son, there is a God after all!

EXT - ALLEN STREET/ORIENTAL - DUSK

Nightfall and the wind HOWLS down the street, kicking up dust in swirling columns. A FLASH of lightning streaks down from the purple clouds and a THUNDERCLAP crashes in our ears, echoing through town into the hills, making the horses neigh and fidget...

INT- ORIENTAL - DUSK

But inside it's bright and warm. Florentino is alone at the bar, nursing a drink while Wyatt deals for Morgan and a few others. Virgil looks out at the storm, shaking his head:

VIRGIL
Gonna be one of those nights.

EXT- RUSTLER'S PARK - DUSK

The Cowboys are gathered on a rise. Curly Bill stands before them, silhouetted against the boiling sky, arms outstretched, exulting in the storm's fury. He turns to his men, eyes ablaze:

CURLY BILL
All right, boys. Now's the time
To get woolly.

INT - JOSEPHINE'S HOTEL ROOM - NIGHT

Josephine sits by the window, reading Swinburne. A KNOCK at the door. She answers it. Behan enters. She bristles, but:

BEHAN
Easy. I just wanted to tell you
Things're about to start changing
Around here. Lots of so-called
Hard cases and tough-nuts swagger
Around this town but none of
'em's got a clue about the real
play. None of 'em.

JOSEPHINE
I don't understand.

BEHAN
You will after tonight. Bet on it.

INT - PARLOR, VIRGIL'S HOUSE - NIGHT

Allie and Louisa sip tea by a blazing fire in the hearth, warming themselves against the storm's cold. Mattie sits nearby, sewing.

ALLIE
God, it's a cold night. Come up
To the fire, Mattie.

Suddenly there's a KNOCK at the door. Louisa looks out the window. Outside is the tall silhouette of a WOMAN in a dark cloak.

LOUISA
It looks like a woman.

Allie opens the door. Josephine enter, breathless, comes into the parlor. Mattie sits up in shock. The others gather round.

JOSEPHINE
Please, I know it's awful me
Coming here, but listen, I can't
Say why, but I think something is-

Another KNOCK. Allie goes to the window. There's a weird sense of déjà vu as outside we again see a cloaked woman's SILHOUETTE.

ALLIE
Now who in... It's another woman.

Allie starts to open the door but Josephine suddenly leaps up and:

JOSEPHINE
No! Look out!

With her dancer's quickness she dashes across the parlor, grabbing Allie and pulling her to the floor just as a tremendous SHOTGUN BLAST rips through the open doorway. The chandelier overhead explodes, showering the screaming women with broken glass and a harsh MALE VOICE cuts through the air as the shrouded figure dashes into the darkness:

MAN'S VOICE
Everybody dies!

INT- ORIENTAL - NIGHT

The sound of the gunshots are lost in the wind and thunder as Virgil gets up, yawning:

VIRGIL
Getting late. Guess I'll turn in.

WYATT
Bundle up, Virge. Cold out there.

Virgil nods, exiting with a wave. Wyatt and Morgan keep playing, hardly noticing as moments later, Florentino walks out....

EXT - CORNER OF ALLEN & 5TH STREET - NIGHT

Virgil turns off Allen onto 5th, the wind whipping his coattails. He glances up as Florentino walks by, crossing 5th and ducking into a doorway. Virgil stops. SOMETHING seems to be moving in the shadows of an unfinished building on the opposite side of 5th....

INT - ORIENTAL - NIGHT

A BOOMING SOUND echoes outside, muffled by wind. Morgan looks up:

MORGAN
That thunder's sure somethin'.

WYATT
That didn't sound like thunder.

Moments later Virgil walks back in, pale, hatless, a blank look on his face. He moves with odd, shuffling steps, holding himself sideways. Wyatt and Morgan exchange puzzled glances, then:

WYATT
Virgil?

VIRGIL
Wyatt...

Virgil does an unsteady stutter-step, his face taking on a pleading, almost childlike look of panic. But as he turns his body toward Wyatt we suddenly see that his whole left side is in bloody shreds, his left arm dangling unnaturally by a few gory ribbons of flesh. His voice is a frightened sob:

VIRGIL
Wyatt!

He starts to swoon. Wyatt rushes over and grabs him as....

INT- HOTEL ROOM (VIRGIL) - NIGHT

The hotel room where they've taken Virgil. He's on the bed, wrapped in bandages, semi-conscious. Wyatt and Morgan stand in the doorway with Doc and the women. Allie is at Virgil's side, hands over her mouth as Dr. Goodfellow speaks in somber tones:

DR. GOODFELLOW
I'm afraid your husband's been
Very badly hurt. I had to remove
The entire left elbow joint. What
That means is, well I'm afraid-

ALLIE
Oh, no, no, no, NO!

She starts wailing. Suddenly alert, Virgil sits up, taking her in his big right arm, pulling her close, his voice calm, reassuring:

VIRGIL
No, no, don't worry, honey. I
Still got one arm left to hug you with.

She buries her face in his chest and sobs. He holds her, rocking her back and forth. Wyatt turns away, shutting his eyes.

INT- HOTEL ROOM (VIRGIL) - DAY

Virgil lies in bed, staring blankly into space. Wyatt sits at his side, hands over his face while Allie hovers in the b.g.

WYATT
It's all my fault. If I hadn't been
So damn smart, if I'd just... Oh
God, Virge, I'm so sorry.

ALLIE
Look, Wyatt, I don't want to talk
Right now.

WYATT
Virgil, what am I going to do?

VIRGIL
For God's sake, just leave me alone.

Virgil grimaces in hopeless agony. Allie touches Wyatt's arm.

ALLIE
He doesn't want to talk now.

Wyatt stands, backing away. He turns pleadingly to Mattie standing in the doorway. She looks away. He walks out....

INT - HOTEL LOBBY - DAY

Wyatt comes into the lobby and freezes as McMasters approaches. Wyatt starts to walk by him, but McMasters steps into his path:

MCMASTERS
No, wait. Please. I know nothin'
I say'll fix things but I want
You to know it wasn't me.

WYATT
No? Brothers to the bone, right?

MCMASTERS
Not anymore, not after this.

Wyatt looks into McMasters' eyes and we can see he means it....

INT - ORIENTAL - NIGHT

Morgan is by himself in the empty saloon, calmly shooting pool, his dog jumping enthusiastically at every shot as Wyatt enters.

MORGAN
Get down, boy.

WYATT
Morgan, are you crazy? They're
Out gunning for us! What the
Hell're you doin'?

MORGAN
What's it look like? They want a
Piece of me they can come and get
It, I'm not crawlin' into my hole.

WYATT
Morg, use your head.

MORGAN
I am usin' it, Wyatt. Been
Wonderin' how the hell we got in
This tangle. You know they hit
Clum's house, too? Shot up his wife.
His wife. Who ever heard of
That? Men sneakin' around in the
Dark, back-shootin', scarin'
Women? They're bugs, Wyatt. Yo u
Know all your smart talk about
Live and let live? Ain't no live
And let live with bugs.

WYATT
I know, I was wrong. But Morg,
Look, we got to get out.

MORGAN
Listen to yourself, Wyatt. Lie
Down and crawl or you might get
Hurt? What kinda talk is that?
That's Virgil lyin' over there,
Wyatt. Our own brother. Ruined
For life. No sir, I ain't going
No place. You want to go, fine.
I'm stayin' right here and have
It out with those bastards.

Morgan pulls back his vest, revealing Virgil's badge. Wyatt drops into a corner chair, defeated. Morgan makes a shot, leaving only the 8 ball. A few beats. Seeing Wyatt's misery, Morgan softens, poking him with the cue. Wyatt looks up. Morgan taps the middle pocket. Wyatt shakes his head.

MORGAN
How much you wanna bet?

Wyatt holds up his watch. Morgan frowns. Wyatt raises his brows:

WYATT
I just got it fixed.

MORGAN
You're on.

Morgan has to lean over the table but he sinks the 8 ball, looking over at Wyatt in triumph. Wyatt applauds, rolling his eyes just as a BULLET SPANGS into the wall by his head. Wyatt dives for the floor as ANOTHER SHOT pierces the window. Wyatt jumps up, bounding to the door to see several FIGURES cash into the darkness. Wyatt turns back and freezed. Morgan lies across the table with one leg dangling over the edge, jerking and shuddering involuntarily. Wyatt rushes to him. The dog whines as Doc rushes in with Kate and McMasters. Wyatt is trembling.

WYATT
No, no! Get the doctor! Jesus Christ!

INTO - ORIENTAL - NIGHT

The curious crowd outside, watching through the windows. Morgan is on the pool table, lying on his side with his shirt pulled up. The dog cowers in the corner, whining while Dr. Goodfellow digs into the wound with a steel probe, making Morgan writhe in perfect agony. The doctor turns to Wyatt:

DR. GOODFELLOW
Hold him.

Wyatt takes Morgan in his arms. The doctor probes. Morgan jerks violently. Suddenly we hear a bloodcurdling SCREAM. Louisa is in the doorway, tearing her hair, lost in utter hysterics.

WYATT
Oh, no, get her out of her! Jesus!

And now the whole scene sinks into hellish confusion with the dog whimpering, Louisa shrieking as others restrain her, and Morgan gives a violet jerk, breaking Wyatt's grip. The doctor snarls, about at the end of his rope.

DR. GOODFELLOW
I said hold him, God damn it!

WYATT
Somebody shut that dog up!

Morgan takes Wyatt's arm, his voice like a child's.

MORGAN
You were right, Wyatt. They got
Me good. Don't let 'em get you
Too.

WYATT
Will somebody get the damn dog out-

MORGAN
Remember about the light you're
Supposed to see when you're dyin'?

WYATT
Easy Morg, don't think about that now.

MORGAN
Isn't true. I can't see a damn thing.

Tears well up in Wyatt's eyes. He touches his brother's face. Morgan's eyelids start fluttering. Wyatt squeezes his hand.

WYATT
Morgan? Morgan!

The dog starts howling, long and loud and pitiful-and in the next moment the air is FILLED with howls as every dog and coyote for miles joins in the mourning. Wyatt backs away from his dead brother and trudges out onto the sidewalk, staring at the blood on his hands. Standing in the crowd across the street, Josephine sees Wyatt and starts for him. Behan grabs her. She wrenches free and with the whole town watching, starts running toward Wyatt. Seeing her, Wyatt backs away in horror, shaking his head:

WYATT
No, no, get away, get away from me...

JOSEPHINE
Wyatt...

She keeps coming. Wyatt panics. Finally, in desperation:

WYATT
Whore! Filthy whore! Get away
From me!

She pauses, unable to believe her ears, then runs away crying. Fuming with rage, Kate starts after Wyatt. Doc pulls her back:

DOC
Can't you see why he did it?

The howls continue as Wyatt trudges down the street alone. Suddenly he doubles over, clutching his abdomen in agony, staring at his bloody hands....

EXT - ALLEN STREET - DAY

The wagon bearing Morgan's pine coffin waits in the street, hitched and ready. Virgil is up front with the women, arm in a sling, pale. Doc and Kate wait on horses nearby. Finished loading, Wyatt looks around. People line the street, watching in silence. Clum and his wounded wife turn away from the window of their lodgings next door, unable to meet his gaze. The very air feels charged with paranoia and recrimination, as if the whole town has suddenly become morally radio-active. Bystanders gape as Josephine steps out of the hotel, regal and impervious as a queen, wearing a gawking scorn like a mink coat, her little white dog scampering after her. Passing Behan, he gives her nasty look and spits. She doesn't even break stride. Lounging in front of the Crystal Palace with the other Cowboys, Stillwell gives Curly Bill an enquiring look.

CURLY BILL
Naw, she's nobody. Wyatt junked her.

Passing Wyatt, she doesn't even glance at him. Doc sighs:

DOC
And so she walked out of our
Lives forever.

Without a word Wyatt climbs onto the wagon and shakes the reins, driving off. He pulls up in front of the Cowboys. They make a show of pretending to hide their guns. Wyatt looks straight ahead:

WYATT
I want you to know it's over.
We're leaving and we're not
Coming back.

CURLY BILL
Well... 'bye.

RINGO
(sniffs)
Hey, you smell that? Smells like
Something died.

CURLY BILL
(stifling a laugh)
Oh, Jesus, Johnny...

Allie's eyes flare, Louisa stifles a sob. The Cowboys snicker. Wyatt clenches his teeth, still staring straight ahead, and drives on. A few beats then Curly Bill turns to Ike:

CURLY BILL
Take Frank and finish it.

EXT - TRAIN STATION, TUCSON - NIGHT

A train pours steam onto the platform in puffs and clouds while 2 porters load Morgan's coffin into a boxcar. Up ahead, Mattie and Louisa fumble with luggage while Allie boosts Virgil into a passenger car. As we HEAR the conductor's voice shouting, " 'Board!", Ike and Stillwell emerge from the shadows near the scales, crouched behind shotguns. They exchange nods and start forward, cocking their weapons, squinting through the steam:

STILLWELL
That's Virgil with the women. But
Where the hell's Wyatt?

O.S. VOICE
Right behind you, Stillwell.

They spin around. Wyatt stands behind them, looking down the barrels of Virgil's big 10 gauge. Stillwell raises his shotgun, Wyatt FIRES. Stillwell hits the floor in a crumpled heap, his torso a smoking bundle of bloody rags. Screams ??????????

Page 87 cut off right side

Page 88 missing

WAGONMASTER
Rest of us're 3 months out of
Independece but we're from
Carthage, Illinois originally.

WYATT
Carthage, really? I'm from Monmouth.

WAGONMASTER
Another Illinois man! Practical
Neighbors! Step down, Marshal.
Have a feed.



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