THE LEGEND OF WILD BILL
by
Alexander C. Meske
BLACK SCREEN --
TITLE OVER:
Based on myths, legends, tall tales, and the occasional
truth.
FRANK (V.O.)
I'm in.
INT. BACK OF NUTTALL & MANN'S NO. 10 SALOON IN DEADWOOD,
SOUTH DAKOTA DAY
CARL MANN, the co-owner of the place, FRANK MASSEY, a
riverboat captain, and CHARLES RICH, a quiet old gunfighter,
all men in their late thirties/early forties, sit around a
table playing poker. FRANK MASSEY sits with his back to the
wall. A fourth seat sits open, with its back facing the
door. They sit and talk sparingly, as acquaintances will do
when they are gambling against each other.
WILD BILL HICKOK walks up to the table. His sports a long
mustache and worn but not threadbare clothes. His long hair,
in the early stages of graying, hangs down over his
shoulders. Not quite as handsome as he used to be; tired of
life but not beaten; wise but not distinguished; he is part
shadow, part caricature of his former self. The three men
welcome him warmly.
FRANK
Well look who's here.
CARL
If it isn't Bill Hickok. We were
wondering if you were gonna show.
HICKOK
Gentlemen. How's the game?
CHARLES
Don't know. Just started.
CARL
Thought you were getting sick of my
place. I heard you'd been going to
the Pearl.
HICKOK
It didn't change my luck.
FRANK
Expecting to turn it around here?
HICKOK
That's why I came. Care to deal me
in?
CARL
Of course. Grab a seat there,
Bill.
HICKOK
(To Frank)
If you don't mind, I'd like to sit
in my usual spot.
FRANK
(With a friendly laugh)
Oh come on, Bill, who's going to
shoot you here?
INT. HOTEL IN DEADWOOD, SD DAY
JACK MCCALL is at the desk talking to the CLERK. MCCALL is
an unstable-looking character and dressed roughly.
CLERK
No, Mr. Hickok is not here. He
left earlier but did not say where
he was going. You might try the
Pearl, he has been frequenting that
establishment of late.
MCCALL nods his assent and turns to leave.
CLERK
(Thinking of something)
Oh, incidentally sir, would your
name happen to be Jack McCall?
MCCALL stops and turns back to CLERK.
MCCALL
That's right.
CLERK
Mr. Hickok said that if you stopped
by, you should leave the money you
owe him here at the desk.
MCCALL
No, I'd like to give him what I owe
him in person.
MCCALL turns and exits.
INT. NO. 10 SALOON DAY
FRANK is shuffling cards. HICKOK looks tentatively at the
seat, then sits down. HICKOK pulls out his money.
FRANK
(To HICKOK)
Five card draw, take four, nothing
wild, aces high. Ante is five,
minimum raise five, always offer a
cut. And I've already told Charles
here not to four flush or I'll
shoot him myself and save you the
trouble.
CARL, CHARLES and HICKOK laugh warmly. They know and like
each other well. FRANK finishes the deal.
INT. SALOON NIGHT
A young BILL HICKOK picks up his cards. He has a neatly
trimmed mustache and hair that just reaches his shoulders.
He is young and handsome with an intense, yet devil-may-care
attitude about him, not unlike a purring tiger. He is
dressed well, with two six-shooters holstered in the front of
his belt. He sits at a poker table, in the middle of the
room, with a large stack of chips and his pocket watch in
front of him. Four other men sit at the table with
significantly smaller piles of chips. DAVE TUTT paces the
periphery of the table. He does not like Hickok one bit.
HICKOK
You really should relax David. All
that tension is bad for you.
Tutt glares at HICKOK.
HICKOK
And all that pacing. Even the
floorboards are getting blisters.
TUTT
Shut up.
PLAYER #2
One hundred to you, Hickok.
HICKOK
Another two hundred.
PLAYER #1
I'll call.
PLAYER #2
Likewise.
Player #3 throws his chips into the game.
PLAYER #4
I'm out.
HICKOK
Oh, not again, Prescott.
Player #4 shrugs his shoulders, exasperated by his luck.
HICKOK
Well, you know what they say,
unlucky at cards, lucky in love.
I'll take two.
The other men go through their discards.
HICKOK
And speaking of lucky in love, I
paid a call to Susanna today.
Tutt stops his pacing.
HICKOK
She's a lovely girl, isn't she?
Tutt does not respond.
HICKOK (CONT'D)
Yes, I certainly do enjoy her
company. I know she's not really
the woman for me, but it's an honor
to pay social calls on such a young
lady, wouldn't you say?
TUTT
Yes, I would.
HICKOK
Hm, yes I suppose you would. Do
you want to know why she's not
really my sort, David?
TUTT
No.
HICKOK
She was saying the most horrible
things about you.
TUTT
Like what?
HICKOK
She was saying that you had an idea
of killing me. Awful, isn't it?
Tutt says nothing.
HICKOK (CONT'D)
I can't abide such gossiping. What
a horrible thing to say a friend
would do to another friend, don't
you think?
The other men go through their discards. Tutt walks behind
HICKOK in order to either steal a glance at his cards or
shoot him. Hickok nonchalantly turns his cards downward and
leans back, obviously aware of what Tutt is trying to do.
HICKOK
I wouldn't stand there, David. A
suspicious man might think you're
up to something.
Tutt moves away.
Hickok glances at his pocket watch.
HICKOK
Well, the evening is getting late.
Let's make things interesting.
Three hundred.
PLAYER #1
Call.
PLAYER #2
I'm out.
PLAYER #3
Raise one hundred.
HICKOK
I'll see that and raise, oh, how
about five hundred?
TUTT
You think you can buy this hand,
Hickok?
PLAYER #1
(Throws his cards down)
I'll let him.
Player #3 examines his cards, then his chips.
PLAYER #3
(Frustrated)
I can't come up with that.
HICKOK
Oh, that's no good. You're
probably better for it here,
Jameson, I'm holding some tough
customers here.
Tutt throws money onto the table.
TUTT
There's another two hundred.
Hickok examines Tutt casually, as though sizing him up.
HICKOK
Has it occurred to you, David, that
our friend here may wish to fold
anyway? Perhaps Lady Luck is not
yet sitting on his lap.
TUTT
Two hundred.
HICKOK
Very well.
(To Player #3)
With your acceptance?
PLAYER #3
Let's see what you got.
HICKOK
You accept then?
TUTT
Don't try to talk your way out of
this. Lay 'em out.
Hickok lays his cards down.
HICKOK
Full house, jacks high. With the
eights backing, that ought to do
pretty well.
Player #3 is crestfallen. But Tutt is boiling with rage.
TUTT
You son of a bitch!
The saloon falls silent and stares at the commotion.
HICKOK
Now, now, David, this is why I
don't play poker with you. You
really must get that temper under
control.
Tutt, blustering and trying to think of anything to say, says
the first thing that comes to mind.
TUTT
(Yelling)
Where's that money you owe me?
HICKOK
This seems an awfully strange time
to discuss finance.
TUTT
Give me what you owe!
HICKOK
Alright, then. If you insist.
Hickok calmly picks up a chip and flips it at Tutt.
HICKOK (CONT'D)
There's your twenty-five. Now, may
the rest of us resume our game?
TUTT
Where's the rest of it?
HICKOK
Where's the rest of what? We're
squared. I borrowed twenty-five, I
gave you twenty-five.
TUTT
Well!?
HICKOK
I know full well I only borrowed
twenty-five. If you think it's
some other sum, I have the papers
to prove otherwise.
TUTT
That watch will cover it.
HICKOK
Now, David, even if I did owe you
more, I'm not about to give up my
timepiece over a mere ten dollars.
TUTT
Are you calling me a liar?
HICKOK
No, I'm calling you mistaken.
Would you like to see the papers we
drew up?
TUTT
You go get your papers, Hickok. In
the meantime
(Grabs Hickok's watch)
I'll hold this.
TUTT storms off. Hickok's demeanor changes from charm to a
cold dispassion.
HICKOK
Excuse me, gentlemen.
Hickok walks out of the saloon.
EXT. WESTERN TOWN NIGHT
Tutt is half-walking, half jogging down the street. Hickok
walks out after him. Some folks from the saloon walk out of
the front to catch the action.
HICKOK
(Yells after Tutt)
David Tutt!
Tutt stops and whirls around, but doesn't pull his gun. The
two stand about fifty yards apart.
Hickok walks toward him slowly with his hands held calmly
behind him until he is about thirty yards from Tutt.
HICKOK
Don't even think about it. Don't
start something you can't finish.
TUTT
I can finish this.
HICKOK
Should we really chance that
between friends?
TUTT
We're not friends now!
HICKOK
Even if you kill me, Tutt, you'd
wind up on the end of a rope. You
really feel like ending your life
over a watch?
TUTT
It's more than that and you know
it!
HICKOK
Ah, yes, Susanna.
TUTT
Damn right, Susanna!
HICKOK
Do you think I'm stealing her away?
TUTT
You know she's mine!
HICKOK
She's not anybody's. Least of all
yours.
TUTT
Like hell!
HICKOK
Her affections blow with the wind.
You were in the way.
TUTT
She chose me!
HICKOK
And now she's choosing to leave.
You can't stop her any more than I
could before.
TUTT
You sure do talk a lot…
HICKOK
Only when I'm making sense.
TUTT
…and I'm tired of all that air
you're spilling.
Tutt turns his body into the standard gunfighter's pose.
TUTT (CONT'D)
Let's see what you got, Mr. Wild
Bill.
Three men walk up behind Hickok. They want to be in a spot
where an errant shot by Tutt will pose little danger.
HICKOK
If you want a fight, you can find
easier elsewhere.
TUTT
I think I'll find you plenty easy.
For all I've heard about you, I
ain't seen you pull yet.
HICKOK
You don't want to see it from
there.
Tutt angrily turns to walk away.
HICKOK
Tutt!
Tutt whirls around again, this time pulling his gun and
firing. The shot hits the ground behind Hickok as he pulls
out one pistol and fires. Tutt falls dead.
Hickok pulls his other pistol to point at men behind him.
The three men have half-pulled their revolvers, but stop once
they see that Hickok already has the drop on them.
HICKOK
If you feel like joining him, just
keep going.
The men put their pistols back in their holsters.
HICKOK
Now get on back.
The men oblige and go back into the saloon.
Hickok puts one pistol back and walks up to Tutt's body.
Hickok pulls his watch from Tutt's dead hand. He looks over
the body and sighs.
Hickok walks toward the Sheriff's office, holstering his
other gun.
INT. NO. 10 SALOON DAY
Hickok at his watch impassively.
FRANK
Got a date tonight, Bill?
Hickok laughs politely.
CARL
I'm sure Calamity Jane is out there
and hot to trot.
HICKOK
Now boys, just keep that idea out
of your heads.
FRANK
I don't know, she's a little
firecracker, that one.
HICKOK
I wouldn't know.
CARL
Uh-huh. Sure Bill.
CHARLES
She still following you around like
a lost puppy?
HICKOK
Yeah, and I wish she'd stop.
CARL
I wouldn't mind getting between her
spurs, myself.
FRANK
Me neither. She's probably a
little hellcat between the sheets.
HICKOK
Then have at it, boys. I'm sure
she'll be here shortly.
INT. HOTEL DEADWOOD, SD DAY
CALAMITY JANE stands next to the desk, speaking with the
Clerk. She is dressed in buckskins and carries a rifle with
two pearl handled pistols holstered in the same manner as
Hickok.
CLERK
I'm sorry, Calamity, but Mr. Hickok
isn't here. He left some time ago.
CALAMITY JANE
Any idea where he might have gone?
CLERK
I believe he's been spending a lot
of time at the Pearl, that's where
I sent the gentleman who was asking
after him.
CALAMITY JANE
Thank you.
Calamity Jane turns to leave, then stops.
CALAMITY JANE
Incidentally, who else was looking
for Bill?
CLERK
I believe that was a Mr. McCall.
CALAMITY JANE
Jack McCall?
CLERK
Yes, ma'am.
Calamity Jane turns and leaves quickly.
INT. NO. 10 SALOON DAY
CARL, FRANK and CHARLES are laughing at something one of them
said.
HICKOK
I don't know what I'm going to do
with you boys.
JOHN
Anyway, Bill, it's ten to you.
Hickok looks at his cards. He is holding three nines.
HICKOK
I'll call.
INT. TOWN MARSHAL'S OFFICE, ABILENE NIGHT
Hickok is sitting behind a desk. AGNES LAKE THATCHER is
sitting in front of it. The two are talking comfortably. The
office itself is a long room. The desk sits in the back of
the room. There is a window next to the front door.
AGNES
How about that lovely Miss
Stillwell? She's still single and
she takes a fancy to you.
HICKOK
I know she does. And she's a
pretty girl. I paid a few calls on
her, but she's just not for me.
AGNES
Lucy McDonald, then? She's a
spirited girl. She'd be quite a
catch for you.
HICKOK
She's not evening taking a shine to
me.
AGNES
Nonsense. She can't keep her eyes
off of you.
HICKOK
I wouldn't call that love, she
stares at me like I'm some sort of
imbecile.
AGNES
And Miss Kern?
HICKOK
Like chatting up a stump.
Honestly, we can't keep all our
women that unthinking.
AGNES
You really must stop pushing women
away before they even get close.
You should find yourself a wife
sometime.
HICKOK
I don't hear you applying for the
job.
Agnes smiles lightly.
HICKOK (CONT'D)
Besides, someone has to escape
marriage. It gives men hope.
AGNES
The way you talk, you'd think it
was a prison sentence.
HICKOK
Why do you think they call it the
bonds of matrimony?
AGNES
Do you know what my husband used to
say about that?
HICKOK
What's that?
MIKE WILLIAMS bursts in the door. He is carrying a rifle.
WILLIAMS
Bill!? Shit, Bill, we've got a
situation.
WILLIAMS notices AGNES.
WILLIAMS
(Taking off his hat)
Oh. I'm sorry ma'am.
HICKOK
Mike, this is the widow Agnes
Thatcher.
AGNES
Will you stop calling me "the widow
Agnes Thatcher"? It makes me sound
so old.
HICKOK
Sorry. Anyway, I believe you two
have met.
WILLIAMS
Yes, of course. How do you do,
ma'am?
AGNES
Very well, thank you.
HICKOK
Anyway, Mike, you said you had a
situation.
WILLIAMS
Remember when you winged McMasters
earlier today?
HICKOK
(Ironically)
I seem to remember being there for
that, yes.
WILLIAMS
Well, the rest of his trail team
came back to town armed, looking to
get you back. They're out at Tommy
Drum's saloon and they look dead
serious. They nearly came after
me, but Stevens held them off.
HICKOK
Stevens. He's the trail boss,
isn't he?
WILLIAMS
Yep.
HICKOK
Then it's not the liquor talking.
WILLIAMS
What now?
HICKOK
Well, I guess I'd better go take a
look. If you'll excuse me, Mrs.
Thatcher.
AGNES
Certainly.
WILLIAMS
Ma'am.
AGNES
Mr. Williams.
Hickok and WILLIAMS head toward the door. Hickok grabs a
rifle.
AGNES
Bill?
HICKOK
Yes?
AGNES
Be careful.
HICKOK
Don't worry. I'm not going to
start any trouble.
Hickok and WILLIAMS leave the office.
AGNES
(To the door)
But you won't walk away from it,
either.
EXT. ABILENE NIGHT
Hickok, RILEY and MIKE WILLIAMS walk down the street toward a
saloon. Both are carrying rifles.
HICKOK
We're going to need Riley.
WILLIAMS
He's meeting us there. I found him
when I was looking for you.
HICKOK
What's the story?
WILLIAMS
When I left, they had three of 'em
by the bar, three at the tables and
four just milling around. One of
them went upstairs just before I
left.
HICKOK
Reckon he's playing possum?
WILLIAMS
He was carrying a Winchester.
Hickok nods thoughtfully.
HICKOK
Eleven.
WILLIAMS
That I know of.
HICKOK
Which three are at the tables?
WILLIAMS
Lawrence and Cobb are at table
three. Flint is at four.
HICKOK
Where's Stevens?
WILLIAMS
Walking the room.
HICKOK
He'll start it.
WILLIAMS
Him and Roberts. Or Gill.
HICKOK
Any good news?
WILLIAMS
(Ironically)
Well, they saved your seat.
Hickok nods thoughtfully. The pair comes to where DEPUTY
RILEY is standing. Riley is not carrying a rifle, but wears
a pistol.
HICKOK
Alright. Here's the plan. I want
you two to follow me, but not too
close. Take the corners by the
door and cover the room. Williams,
take the right and cover the
balcony.
WILLIAMS
Where are you going to be?
Hickok hands Riley a rifle.
HICKOK
(Smiles devilishly)
They saved my seat, didn't they?
INT. DRUM'S SALOON NIGHT
Hickok throws the doors open. He stands in the doorway for a
second, then heads for the back. All eyes follow him as he
crosses the room. Williams and Riley quietly enter the room,
obscuring their rifles with their dustcoats.
Hickok walks to a poker table in the back and sits down with
his back to the wall. Four players sit at the table and
watch him sit down. Then they simultaneously stand up and
walk away from the table. Hickok picks up the cards and
starts shuffling.
PEOPLE file out of the saloon. They know what's coming. The
BARTENDER ducks into the back room.
Eleven MEN who are out for Hickok take positions around the
room, looking to make trouble. Lawrence, Cobb and Flint
stand up from their tables to be ready. A door opens
upstairs, but no one comes out.
Stevens and Gill come walking up to Hickok's table.
HICKOK
Evening gents. You come for a
game?
Stevens looks Hickok over with a calculating eye.
STEVENS
You might say that.
HICKOK
Then have a seat, boys.
STEVENS
I think we'd rather stand for this
game.
HICKOK
Never knew a man to play poker
standing up.
STEVENS
Poker isn't my game.
HICKOK
What sort of game did you have in
mind?
STEVENS
I hear you did McMasters today.
HICKOK
I winged McMasters.
STEVENS
You tried to kill him.
HICKOK
If I wanted to kill him, he'd be
dead.
STEVENS
Nobody shoots a man in the shoulder
trying to wing him.
HICKOK
Then folks ought to aim better.
STEVENS
You sure are full of talk, boy.
HICKOK
My conversation boring you?
STEVENS
How's he gonna live? You thought
of that?
HICKOK
The doc said he'd be fine in a
couple months.
STEVENS
What about now, huh? How's he
gonna get back to Texas on his own?
HICKOK
He should have thought about that
before he came after me with a
knife.
STEVENS
Oh, yeah, self-defense. That's
always your excuse isn't it?
HICKOK
I ain't never shot anybody who
didn't have it coming.
STEVENS
Oh yeah? Neither have I.
Stevens and Gill pull their guns. But Hickok draws his two
pistols faster and shoots both men.
The remaining nine men in the room pull their revolvers. The
saloon becomes a flurry of movement and gunfire.
Lawrence shoots Riley in the arm, taking him out of the
action.
Williams quickly turns his rifle on Lawrence, shooting him
three times.
Hickok stalks the room, firing with alternate pistols,
killing two MEN BY THE BAR with five shots. The third man
runs out of the way of the gunfire. Another man dives for
cover behind the bar.
MAN comes out of upstairs room. Williams dispatches him with
two shots. He throws down his empty rifle and pulls out his
revolver.
MAN who was beside the bar runs toward WILLIAMS firing.
WILLIAMS takes him down.
Cobb and Flint have upended a poker table and take cover
behind it. Cobb pops up to fire. Hickok shoots Cobb in the
head. Flint cowers.
A man running across a side wall shoots haphazardly at Hickok
with two revolvers. Hickok drops him.
Another MAN aims his pistol at Hickok, but Hickok, noticing
him, ducks quickly and the shot goes past him. But as Hickok
dodges, he keeps his composure and fires four shots into the
MAN.
The man behind the bar stands to fire, but Williams plugs
him.
The bar is all quiet.
Hickok walks up to the table where Flint is cowering. Hickok
aims a pistol at Flint's head.
HICKOK
Riley? You okay?
RILEY
No!
HICKOK
Where'd you get it?
RILEY
In the arm, goddammit!
HICKOK
You'll be fine.
(To Flint)
Now you know we have laws against
carrying guns in Abilene. Don't
you Flint?
Flint nods dumbly.
HICKOK
Toss it.
Flint tosses his weapon aside.
HICKOK
I think you better go turn yourself
in.
A shellshocked Flint stands up and walks out the door.
WILLIAMS helps RILEY leave the saloon.
BARTENDER enters from the back room. Hickok instinctively
points a pistol at him. BARTENDER throws his hands up
quickly.
Hickok puts his pistol down and looks around at the mess.
HICKOK
I'll send a kid around with a mop.
Hickok holsters his weapons and heads for the door.
INT. NO. 10 SALOON, DEADWOOD DAY
CARL throws down his cards and FRANK defeatedly leans back in
his chair as Hickok pulls a moderate pot toward his side of
the table.
FRANK
Dammit, thought I had you.
CARL
Nice hand there, Bill.
HICKOK
Thank you.
FRANK
Your deal, Charlie.
CHARLES picks up the cards and starts shuffling.
CARL
I notice you weren't in on that one
Charlie.
CHARLES
Sometimes a man just has a bad
feeling about the way things are
shaping up.
INT. THE PEARL, DEADWOOD DAY
JACK MCCALL talks to BARTENDER.
BARTENDER
No, Jack, Bill ain't here. Last he
was in here, he said he wanted to
try his luck someplace else. You
might try down at the Dry Gulch or
Purity's. Or he went back to
Nuttall & Mann's No. 10. I know he
used to be a regular there.
JACK
The No. 10?
BARTENDER
Yep. Just a little ways up Main
Street.
JACK
Thanks for the tip.
JACK heads out the door.
INT. NO. 10 SALOON DAY
Charlie is shuffling.
FRANK
Bill, Charlie, you mind if I ask
you boys a question?
CHARLES
Go ahead.
FRANK
What's it like?
CHARLES
What's what like?
FRANK
A gunfight.
CHARLES
Loud.
FRANK
No, really. There's only two ways
out of a gunfight and neither one's
very pleasant. And you're standing
there knowing that it's him or you.
Slapping leather, pulling and
firing with the knowledge that you
may only have one chance to get the
other guy. It's just so strange.
Charles offers Frank a cut.
CHARLES
You really want to know?
Frank cuts the cards.
FRANK
Yep.
Charles deals.
CHARLES
It's like you can see through the
other guy. You know his every
twitch, every fear and every
thought. You know what he's going
to do before he does. You can
sense him wanting to pull that gun,
but being scared to go. It's like
there's something clearing your
mind as it clouds his. You feel
nothing and everything. It's
almost spiritual.
FRANK
Hm.
HICKOK
All 'cept for one thing.
FRANK
What's that?
HICKOK
Sometime, all those spirits are
going to let you down.
INT. TOWN MARSHAL'S OFFICE ABILENE NIGHT
BILL HICKOK, MIKE WILLIAMS and FRED TYLER sit around the
desk. The sounds of the Texas cowboys throwing the year's
biggest party filter in. Hickok and MIKE are at ease as
Hickok is teaching Mike how to play poker. FRED, a younger
man, sits quietly on a table, almost away from the other two.
FRED is armed and ready, holding a rifle. He is nervous;
obviously he has not been doing this for very long.
Somewhere out in the street, glass breaks and a woman
screams.
MIKE
Thank God the drovers are leaving
tomorrow.
HICKOK
Yeah, the last night's always the
worst.
An empty whiskey bottle flies through a window. FRED starts
and stands up quickly. Hickok and MIKE leisurely look at the
now broken pane, then return to their game.
HICKOK
(To Fred)
Relax, son, you're making us all
nervous.
(To Mike)
Okay, I'll call. And…
(Hickok picks up another
set of cards)
Mr. Smith will call as well.
Whaddaya got?
MIKE lays down his cards.
MIKE
A pair of eights.
HICKOK
What? You went for it on a pair of
eights?
MIKE
'Fraid so.
HICKOK
You can't go with a pair of eights,
Mike. Especially with more folks
around the table. They'll clean
your clock.
MIKE
Thought I might bluff.
HICKOK
But there's no point in bringing
the bluff when you start low.
Bluffing's for after the draw.
Unless you're real good at it,
which you're not.
MIKE
But how'd you do?
HICKOK
Well, I have a pair of kings and
Mr. Smith has two pair. Looks like
we both lose.
Hickok writes something on a small pad of paper.
HICKOK
By the way, I heard from Agnes
Thatcher today.
MIKE
How's she doing?
HICKOK
She's back in Ohio now, still
running her circus.
MIKE
You gonna go see her?
HICKOK
Don't see why. She's there and I'm
here.
MIKE
Oh, I think your little flirtations
might still take you that way.
HICKOK
How cruel of you to notice.
MIKE
It's hard not to.
HICKOK
Was it that obvious?
MIKE
It was downright shameless, you
carrying on like that. Both of you
waiting for the other to make some
sort of move. I tell you it makes
you almost human.
HICKOK
Well, we can't have that now, can
we?
MIKE
Anyway, how's our little game
going?
HICKOK
You're down $1200 and I'm down
$900. Mr. Smith is cleaning us
out.
MIKE
The bastard.
HICKOK
Yeah, I always hated that guy.
Hickok picks up the deck and starts shuffling. He notices
FRED looking at him strangely.
HICKOK
Something on your mind there
Freddy?
FRED
(Sheepishly)
No. Nope. Nothing.
Hickok and MIKE share a knowing glance. Both start laughing.
MIKE
Well, you might as well tell him.
HICKOK
Naw, naw, I want to hear it from
him. Come on Fred. Go ahead and
ask.
FRED
I just can't believe I'm actually a
deputy for Wild Bill Hickok.
HICKOK
Just plain Bill will be fine.
FRED
And I hear a lot of stories about
Wild Bill.
HICKOK
Yeah, I hear a lot of stories about
him too.
FRED
Indian hunter. Union scout. I
hear you killed a hundred men and
up.
HICKOK
And…?
FRED
And I just wanna know if those
stories are true.
HICKOK
Oh, I suppose they're all true in
some way. Let me tell you about
Rock Creek.
MIKE
Naw Bill, you gotta tell him about
the gully.
HICKOK
The gully? You sure he's ready for
that?
MIKE
Sure, why not?
Hickok picks up a cigar and bites off the end.
HICKOK
Alright, true story for you.
There's this one day I'm riding
scout for Custer, looking for
Indians. We were in some bad
country out there and a man's gotta
be on his toes out in land like
that. Well, I'm out there, on my
own, with nothing but a six-shooter
and my Bowie knife. And I go
riding into this dry gully, just
looking to see what I can see.
It's then I'm coming in there that
I see this little cave sort of
thing.
And as I'm looking in there, I
realize that a man looking to cause
trouble could keep a whole tribe of
Indians at bay if he got himself
into there. Well, no sooner do I
think that than I see this Indian
come walking towards me. So I take
him down with my revolver. One
shot. Then another one comes.
Same thing. One shot, one dead
Indian. Then another and another
and another. Same thing, one shot
for each. Pretty soon, I'm out of
ammo and these Indians keep coming.
I've got no time to reload and,
before I know it, I've got about
twenty Indians coming down on me.
So what do I do? I run myself into
this cave and pull out my Bowie
knife and get ready. I know it's
them or me that's going to get out
of this gully and I wasn't going to
go without a fight. They get
closer, they get closer, they get
closer, they are right on top of
me. And then…
Hickok lights up his cigar slowly.
FRED
W… well, what you do? What
happened next?
Hickok exhales a cloud of smoke.
HICKOK
Well son, they done killed me!
Hickok and MIKE laugh. FRED is too surprised to laugh at
first, then realizes he's been had.
HICKOK
Alright, Mike, your deal.
A shot rings out in the distance. MIKE and Hickok are
suddenly all ears. FRED looks at them, then realizes what's
going on.
MIKE
Pistol.
HICKOK
Just one shot.
MIKE
Kind of far. Out of town?
HICKOK
No, it was in the limits.
Another shot rings out.
MIKE
It's not a gunfight.
HICKOK
Nope.
MIKE
What then?
HICKOK
Somebody's trying to get a hold of
me.
MIKE
Ben Thompson back in town?
HICKOK
No, he's still laid up with that
broken leg.
MIKE
Think they finally brought in that
hired gun everybody's been talking
about?
HICKOK
Maybe.
Hickok grabs his hat and coat.
HICKOK (CONT'D)
I'd better go check it out.
MIKE
(Grabbing his hat)
I'll go with you.
Hickok begins to exit. Another shot is fired.
HICKOK
No, you stay. I need you and Fred
up here. Just keep your eyes
peeled.
EXT. ABILENE NIGHT
Hickok walks down the street briskly. Texas cowboys are all
around, drinking themselves silly, brawling and generally
makes nuisances of themselves. Hickok takes no notice of
them, he knows there's no point in trying to stop all of
them. Two more shots are fired. Hickok is getting closer.
Hickok approaches an empty lot. People are milling about.
Some Texans, some gamblers and a couple of prostitutes.
Another shot rings out very close.
Hickok comes through the crowd to see PHIL COE. Phil is
reloading his revolver. He looks a little drunk.
PHIL
Well, if it isn't Wild Bill Hickok.
What brings you down here?
HICKOK
What do you want Coe? You know the
law against carrying firearms.
PHIL
Oh, just having a little fun.
Shooting at a mongrel.
HICKOK
(Not buying it)
Is that so?
Phil slams his revolver closed and puts it back into his
holster.
PHIL
Yep.
HICKOK
Doesn't explain what you're doing
carrying a firearm.
PHIL
Too many varmints around these
parts. Don't know where the last
one went.
(Points in one direction)
Let's see, did it go that way?
(Points in another
direction)
Or did it go that way?
No, wait, I know where it went. He went right… there.
(Points directly at Hickok)
Phil pulls his pistol, but Hickok quickly dispatches him with
one shot. All is quiet for a moment. Then a sudden
movement. A surprised woman shrieks.
The crowd parts quickly. A man runs up cocking a rifle.
Hickok, surprised at his new adversary, fires, dropping him
with one shot to the head. All quiet again.
The crowd quickly converges on the new dead man.
WOMAN IN CROWD
Oh my God.
MAN IN CROWD #1
He just shot the deputy.
Hickok is too stunned to move. Then he runs up to the second
dead man.
MIKE WILLIAMS lies dead on the ground.
HICKOK
Send for a doctor!
MAN IN CROWD #2
Ain't no doctor gonna help him.
HICKOK
Come on, somebody get the doctor!
MAN IN CROWD #3
Bill…
Hickok points his gun on Man In Crowd #3.
HICKOK
I SAID GET THE GOD DAMNED DOCTOR!!!
MAN IN CROWD #3
(Backing away)
Sure. Whatever you say.
MAN IN CROWD #3 leaves warily but quickly.
Hickok kneels down next to Mike, trying to wake him. But
Mike is stone dead.
HICKOK
Oh God, Mike, Mike, Mike. Get up
Mike. Come on Mike, get up.
Don't just lay there, come on, look
at me, Mike. Oh, God, Mike…
--FADE OUT
FADE IN--
INT. HOTEL IN ABILENE MORNING
Empty and half-empty whiskey bottles litter the nightstand.
Hickok sits on the edge of the bed. A full-length mirror
stands next to the door. He is bleary-eyed from drink and
bad memories. The only thing worse for him than being awake
is being asleep and possibly dreaming. Someone knocks on the
door. Hickok ignores it. He knocks again. Hickok doesn't
react or look at the door. He takes a swig of whiskey. The
door opens and his deputy, Fred, walks in.
FRED
Mr. Hickok?
HICKOK
Yep?
FRED
I wasn't sure you were alive in
here.
HICKOK
I'm not.
FRED looks around at the whiskey bottles.
FRED
You're sure doing a number on
yourself.
HICKOK
Do what you're best at.
FRED
You okay Mr. Hickok?
HICKOK
What do you think?
FRED shuffles his feet uncomfortably.
FRED
(Taking his hat off)
I just got back from the town
meeting.
HICKOK
So'd they pass that bill to fix the
sidewalks?
FRED
That wasn't on the schedule today.
HICKOK
Shame. They need fixing.
FRED
They took a vote, Mr. Hickok.
About the town marshal position.
HICKOK
Yeah, that was on the docket.
FRED
I just wanted to let you know that,
uh… (beat) Well, the townspeople
had a discussion about the
marshal's office and, I put in a
good word for you, but they came to
the conclusion that, uh…
HICKOK
Go on and out with it, kid.
FRED
Well, Bill, they kind of, um, voted
you out.
Hickok looks up at Fred, then back to the blank distance.
HICKOK
Kinda figured.
FRED
Sorry, Bill, I did what I could. I
talked about how you got the gun
ordinance passed and you enforced
the laws effectively and how much
help you gave me when I was down on
my luck and I…
HICKOK
Who got the job?
FRED
I don't know, I didn't stick around
after that.
HICKOK
They'll probably look for another
big time lawman. Bat Masterson
maybe.
FRED
Yeah, I really don't know.
Fred stands aimlessly.
HICKOK
Well? You delivered the news, you
got something else on your mind?
FRED
Um, just that these came for you at
the marshal's office.
Fred hands Hickok a couple of letters. Hickok looks them
over, then throws them aside.
FRED
Well, um, I better get going. I'm
sorry about everything.
HICKOK
Fred?
FRED
Yes?
HICKOK
I'm sorry.
FRED
For what, Mr. Hickok?
HICKOK
For only being human.
Fred bows his head. He understands what Hickok means. Fred
turns and leaves.
Hickok takes the last swig of the bottle he was drinking,
then throws it at the mirror, shattering it.
EXT. TRAIN STATION IN ABILENE DAY
Hickok sits on a bench on the train platform reading a letter
from Buffalo Bill Cody.
BUFFALO BILL (V.O.)
Bill,
I heard about Mike. I figure
they're probably not renewing your
contract and you probably feel like
getting out of Abilene about now.
So, I have a proposition for you.
I'm in the theater business out
here in New York City and I sure
could use your help. These damn
fool Easterners can't seem to get
enough stories about us folks out
West and I was wondering if you
wanted to head out this way. It's
not hard, all you have to do is
remember a few lines and act like
yourself. Come on out to New York
and look me up.
Your friend,
Buffalo Bill Cody
Hickok looks at his other letter.
AGNES (V.O.)
Bill,
I'm hoping this letter gets to you
before you leave town. I heard
about what happened out in Abilene.
I know what a dear friend Mike
Williams was. I'll miss him, too.
I wanted to let you know that
things are good here in Cincinnati.
Business has been good and, by the
time this reaches you, the season
will be over. I know that Ohio is
not the sort of place you are used
to, but it's a quiet life out here.
Pleasant. Calm. I think you could
use that right now. Please come
see me.
With love,
Agnes
A train approaches. Hickok puts his letters away, stands up,
grabs his suitcase and heads toward the train.
INT. TRAIN DAY
Hickok throws his bag in an overhead space and sits down with
his ticket. As the train departs, a conductor walks up.
CONDUCTOR
Good afternoon, sir. May I ask
where you're heading?
HICKOK
(Handing the conductor his
ticket)
New York City.
INT. NO. 10 SALOON
The four players are in the middle of a hand.
HICKOK
Raise twenty.
CARL
Fold.
FRANK
Call.
CHARLES
Call and raise ten.
FRANK
Too rich for me.
HICKOK
Call and raise thirty.
CHARLES
Call. Let's see 'em.
HICKOK
A pair of jacks.
CHARLES
Two pair. Tens and fours.
FRANK
Ugh. I should've stayed in.
CHARLES
Gotta read the player, Frank. You
almost had me there, Bill.
HICKOK
Naw, I never was all that good at
bluffing.
INT. THEATER IN NEW YORK
A spotlight shines down on Hickok as he is on stage. ACTRESS
plays the part of Indian Princess on stage, pretending to be
tied to a pole to be burned at the stake. Two ACTORS in
ridiculous getup play the parts of Indians on stage. Hickok
is a terrible actor in bad makeup.
HICKOK
What is this fell circumstance that
befalls you, princess?
ACTRESS
Alas, I have fallen to this wild
tribe and find myself in a most
woeful state. Oh that a strong,
brave man might bear me away from
this perilous plight.
HICKOK
Fear not, noble princess, for I,
Wild Bill have come to rescue the
comely young…
(Hickok suddenly stops
acting)
Oh, what is this crap?
(Hickok turns to the
audience)
'Forthwith I shall dispatch these
savage men' and all that. Is this
even English? Who talks this way?
Nobody I know.
The AUDIENCE laughs appreciatively. Hickok turns back toward
the characters to finish his scene.
HICKOK (CONT'D)
Anyway, I'm Wild Bill here to
rescue you, blah, blah, blah.
ACTOR #1
No, not the mighty Wild Bill
Hickok, renowned throughout the
frontier for his…
HICKOK
(Interrupting the actor)
Yeah, yeah, yeah, okay.
Hickok pulls his pistols and fires off four blanks with such
speed the ACTORS almost forget to fall. The audience laps it
up.
HICKOK
Okay, you're free, let's go lady.
ACTRESS
Princess.
HICKOK
Yeah, whatever.
Hickok and the actress leave the stage to the thunderous
laughter and applause of the audience.
INT. TRAIN TO BOSTON NIGHT
Hickok is writing a letter.
HICKOK (V.O.)
Agnes, let me tell you about how it
is out East. I've never seen towns
this big or men this small. The
cities are as crooked as the
Mississippi and the policemen are
taking enough bribes to buy Kansas
City. I thought the cowtowns
needed law and order. These places
couldn't be cleaned out if you ran
a river through them. They sure do
love hearing us lie to them,
though. I go out there on stage
and spin crazy yarns and they eat
them up like they were the God's
honest truth. I never knew there
was such traffic in lying to
people. If I lie to a man in Hays
City, I'm liable to get in a
scrape. Here, if I lie to a man, I
get paid in cash. Eastern folks
don't make much sense.
INT. THEATER IN BOSTON
Hickok, BUFFALO BILL CODY and TEXAS JACK OMOHUNDRO sit around
a pretend campfire for the tall-tale, story-telling portion
of the show.
TEXAS JACK
And that's how I killed that
mountain lion with nothing my bare
hands.
The audience applauds.
BUFFALO BILL
How about you, Wild Bill? How
about a story?
HICKOK
It'll only cost a sip of whiskey.
BUFFALO BILL
A sip of whiskey is the fair price
to pay.
Hickok takes a sip from the whiskey bottle, then spits it out
violently. It's actually only a weak tea. The audience
laughs.
HICKOK
What the hell's this?!
(To people offstage)
I ain't telling no story 'til I get
real whiskey!
The audience laughs and applauds wildly.
EXT. AGNES THATCHER'S PORCH DAY
Agnes sits on her porch, reading a letter from Hickok.
HICKOK (V.O.)
I tell you, Agnes, it's a good
thing they're paying me to do this.
The stuff I have to do up on stage
is unbelievable. I actually have
to tell some woman I can't stand
that I love her, tell people I
don't know that they deserve to die
and show my "deadly skill with the
pistol" on coffee cans. I wear
makeup like some whore and that
damned spotlight is like some kind
of torture. I nearly walked right
off the front of the stage the
other day 'cause of that thing
shining in my face. And people
actually want to do this all the
time. If I hadn't signed on for a
full year, I'd have walked away the
first week.
INT. THEATER IN CHICAGO
Hickok is on stage, spotlit, displaying his shooting prowess
with live ammunition.
He shoots a coffee can off of a stool, then shoots it again
as it falls off the stool. He holsters his weapon.
HICKOK
(To the spotlight
operator)
Will stop shining that light in my
face?
Hickok draws and shoots a suspended clay pigeon with a hip
shot.
HICKOK
I said, get that spotlight away
from me.
Hickok holsters his pistol again. Then he draws both pistols
and simultaneously shoots two suspended clay pigeons on
opposite sides of the stage.
HICKOK
Get that damn thing out of here!!
Hickok fires a shot right through the middle of the
spotlight.
INT. HOTEL IN CHICAGO NIGHT
Hickok, wearing buckskins, is writing a letter. Three TOUGHS
eye him from the bar, looking to test Wild Bill. TOUGHs #1
and #2 are big, but TOUGH #3 is enormous: Broad shouldered,
thickly built and very strong.
HICKOK (V.O.)
I don't know what to do, Agnes. I
keep telling the same stories about
myself and can't remember which
ones are true. I keep playing some
part that's never happened.
The TOUGHS, by this point, have walked over to the table
Hickok is at. TOUGH #3, the enforcer of the group stands
behind #1 and #2.
TOUGH #1
Hey, farmer boy!
HICKOK (V.O.)
(Taking no notice of the
interruption)
How do you live a pretend life
that's nowhere near as good as the
real one?
TOUGH #1
I said, hey farmer boy!
HICKOK
(Still unperturbed)
How do you remember a bunch of
words that don't make sense to you
or anybody else? It's like I…
TOUGH #1
(Shoving Hickok)
I'm talking to you, hayseed!
HICKOK
(Continuing his letter
writing)
If you don't mind, I'm writing a
letter.
TOUGH #1
Aw, we ruined his letter writing.
TOUGH #2
That's a shame, isn't it?
TOUGH #1
Yeah, a real shame.
TOUGH #2
Didn't know you hayseeds knew how
to write.
HICKOK
You boys looking for trouble?
TOUGH #1
Why, no, we're not looking for
trouble, are we?
TOUGH #2
Why no, we're not looking for…
HICKOK
(Interrupting the
pointless repartee. He
has that cold gunfighter
stare)
Then go away.
TOUGH #1
Why? Are you looking for trouble?
HICKOK
Don't need to. I am trouble.
TOUGH #2
That's some big talk for a…
HICKOK
It ain't big talk and I ain't a
small man. Now both of you either
get to the point or get on with
your business.
The TOUGHs are thrown off-balance, but recover.
TOUGH #1
It's just that you seem like you
must think you're a tough guy.
HICKOK
So is the big guy is the only one
fighting or should I take on all
three of you?
The TOUGHs are even farther off balance. They hadn't
expected this at all.
HICKOK (CONT'D)
Alright, just him then. How much?
TOUGH #1
How much what?
HICKOK
I ain't fighting him for free.
What's the bet?
TOUGH #2
Ten dollars.
HICKOK
Twenty.
TOUGH #1
What?
HICKOK
I said twenty. Now put it in his
pocket.
TOUGH #2
Do what?
HICKOK
Put it in his pocket. So I can
take it out myself.
TOUGH #1 obliges, giving the money to TOUGH #3, who puts it
in his shirt pocket.
TOUGH #3
Come on, little man, let's see what
you got.
Hickok slowly stands up.
TOUGH #3 assumes the standard pose of bareknuckled boxing:
One fist held back, the other forward. Hickok looks at him
as though he is some sort of idiot.
Hickok tackles TOUGH #3 with the ferocity of a middle
linebacker having a bad day. Hickok quickly pummels TOUGH #3
into a bloody pulp, then takes the money out of TOUGH #3's
pocket.
Hickok stands up and looks at TOUGH #1 and #2. They are
shocked at the ease with which this frontier type beat up
their friend.
Hickok walks up to TOUGH #1.
HICKOK
How about double or nothing?
Without giving him a chance to respond, Hickok lands a
haymaker to TOUGH #1's jaw that drops him like a millstone.
Hickok reaches into TOUGH #1's pocket for his billfold.
TOUGH #2 just stands behind him, slack-jawed. Hickok turns
to TOUGH #2 as he finds the billfold.
HICKOK
You sticking around for the third
bout?
TOUGH #2 quickly turns and runs out the door.
Hickok pulls twenty dollars out of TOUGH #1's billfold, then
places it back in his pocket. Hickok sits back down and
continues writing.
INT. JAIL IN CHICAGO
BUFFALO BILL walks into the cell area. Hickok is sitting in
a cell in the same buckskins he was wearing in the fight. He
is tired.
BUFFALO BILL
Rough night last night?
HICKOK
For the other guys.
BUFFALO BILL
I heard about the fight.
HICKOK
Wasn't much of a fight.
BUFFALO BILL
I heard that too.
HICKOK
They needed four officers to bring
me in.
BUFFALO BILL
I thought you went along quietly.
HICKOK
After the fourth one showed up. I
wasn't moving for less than that.
BUFFALO BILL
I heard you stole money off two of
them.
HICKOK
I won a bet.
BUFFALO BILL
Bill, that ain't the way it works
out here.
HICKOK
Then they shouldn't have fought me.
BUFFALO BILL
Bill, why are you doing this?
HICKOK
The chance to meet new people.
BUFFALO BILL
No, Bill, I know you better than
that.
HICKOK
Why not do it?
BUFFALO BILL
Bill, you've been nothing but
trouble since you signed on with
this show. You come to every show
drunk, you can't remember your
lines, you try to stay out of the
spotlight even when you're on stage
by yourself, you mumble half the
time, and lately you've taken up
the habit of shooting blanks onto
the legs of the other actors.
HICKOK
Well that's just funny.
BUFFALO BILL
No, Bill, it hurts like hell.
HICKOK
I'm just trying to liven things up.
BUFFALO BILL
No, you're trying to make yourself
a pain in the ass.
Hickok turns his head away from Buffalo Bill. He knows it's
true.
BUFFALO BILL (CONT'D)
You want to quit?
HICKOK
(Half-heartedly)
No.
BUFFALO BILL
Yeah, you do. I know you hate it.
I'd have fired you if you weren't
filling the theaters. You're too
valuable to fire.
HICKOK
If you say so.
BUFFALO BILL
So why won't you quit it if you
hate it so much?
HICKOK
Maybe I'm just not the quitting
type.
BUFFALO BILL
Bill, as a production manager, I
have to keep you. You're too
valuable to get rid of. But I'm
your friend, too, Bill. And it's
only because of that that I'm
telling you you're fired.
HICKOK
I understand.
BUFFALO BILL
So how long are you going to be in
here?
HICKOK
The judge said I can stay one night
if I never come back.
BUFFALO HICKOK
Where to next?
BILL
I don't know.
Buffalo Bill reaches into his coat pocket.
BUFFALO BILL
Because I got something here for
you.
Buffalo Bill hands Hickok an envelope.
HICKOK
What's this?
BUFFALO BILL
A train ticket.
Hickok opens the envelope and pulls out the ticket.
HICKOK
Cincinnati.
Buffalo Bill stands up.
BUFFALO BILL
Tell Agnes I said hello.
Buffalo Bill turns to leave.
HICKOK
Hey, Buff?
Buffalo Bill stops and turns.
BUFFALO BILL
Yeah?
HICKOK
Thanks. Thanks for everything.
Buffalo Bill smiles and nods his acknowledgement, then
leaves.
EXT. AGNES LAKE THATCHER'S HOUSE, CINCINNATI DAY
Hickok walks up to the door carrying his suitcases. He sets
them down on the porch and knocks on the door.
AGNES comes to the door and sees Hickok. She giddily throws
her arms around him as though she does not want to let go.
They kiss. Hickok picks her up and walks her into the house.
INT. THE PEARL, DEADWOOD, SD DAY
CALAMITY JANE is speaking with BARTENDER.
CALAMITY JANE
You sent Jack McCall to the No. 10?
BARTENDER
I didn't really send him anywhere.
Jack simply asked where Bill might
be. I told him the Dry Gulch,
Purity's or the No. 10.
CALAMITY JANE
Where do you think he went?
BARTENDER
I really can't say, Calamity.
You'll have to ask him when you
find him.
Calamity Jane hurries out the door.
INT. NUTTALL & MANN'S DEADWOOD, SD DAY
CARL, FRANK, CHARLES and Hickok are playing poker. CARL is
dealing.
FRANK
Raise ten.
CHARLES
I'll call your ten. Bill?
Hickok is holding a pair of aces, a ten, three and two.
HICKOK
Call.
CARL
Alright, I'm in. How many cards
you want?
INT. AGNES THATCHER'S HOUSE EVENING
Hickok holds AGNES in his arms as they are lounging together
on a couch. They are both reading newspapers.
HICKOK
Hm.
AGNES
What's that?
HICKOK
Oh, I was just reading this article
about another gold rush.
AGNES
Where's this one?
HICKOK
The Dakota Territory.
AGNES
Isn't that Indian Territory?
HICKOK
Yes it is. Seems that they had a
gold strike and people have been
pouring in.
AGNES
Oh yes, I remember hearing about
that now. The government's been
trying to stop them, but people
keep going in anyway.
HICKOK
You might as well try to stop the
tides.
AGNES
What else does it say?
HICKOK
Just that three people were killed
last week and there's nobody to
arrest the murderers.
AGNES
Why not?
HICKOK
It's Indian Territory, there's no
government. Sounds like there's a
need for lawmen out there.
AGNES
Don't even think about it.
HICKOK
What?
AGNES
Going out there.
HICKOK
I wasn't.
AGNES
Yes, you were. You know you were.
I can hear your mind thinking about
open ranges, smelly saloons, and
fleecing those miners out of their
gold at the poker tables.
HICKOK
Okay, maybe.
AGNES
You've served your time and done
your duty, Bill. I think you've
earned a quiet retirement.
HICKOK
I guess I have.
AGNES
And don't think every gun in the
Dakotas wouldn't like to be the one
to kill Wild Bill.
HICKOK
True.
AGNES
But you're still thinking about it,
aren't you?
HICKOK
A little bit.
AGNES kisses him as she pulls the newspaper away from him,
then stands up. She sets the newspaper down on the coffee
table.
AGNES
I think it's time you came to bed.
HICKOK
I'll be there.
Agnes turns to go upstairs. Hickok leans forward and rubs
his eyes. He glances at the newspaper, then follows Agnes.
INT. AGNES THATCHER'S HOUSE DAWN
Agnes lies asleep in bed. The place next to her is recently
vacated. Hickok stands at the window, staring out at the
rising sun. He glances down at a newspaper. An article in
the newspaper reads, "Deadwood Gold Rush at Fever Pitch".
Hickok looks back out the window.
AGNES
You're looking the wrong way.
Hickok is startled. He thought she was asleep. Agnes rolls
over and looks at him.
HICKOK
I'm sorry?
AGNES
You, of all people, should know the
sun comes up in the east.
HICKOK
I'm just enjoying the dawn.
AGNES
But that's not what's on your mind.
Hickok says nothing.
AGNES (CONT'D)
You're thinking about going, aren't
you?
HICKOK
Where?
AGNES
Deadwood. South Dakota.
Hickok looks down guiltily. Agnes shakes her head, then
walks over to Hickok. They put their arms around each other.
AGNES
Don't you think it's time you
finally settled down?
HICKOK
It doesn't come easy to someone
like me.
AGNES
I know. That's why I fell in love
with you. But you can't keep going
forever.
HICKOK
I know. But I can't help thinking
about one last time.
AGNES
When you came, I hoped you'd stay
forever. It would be just the two
of us; away from those smelly
cowtowns, brawling drunks, and
crazed killers.
HICKOK
That's what I wanted.
AGNES
I know you wanted it. But I know
you miss being Wild Bill.
HICKOK
He was a great man, once.
AGNES
He still is. But you want to prove
it.
Hickok says nothing.
AGNES (CONT'D)
Do you really want to go?
HICKOK
Yes.
AGNES
Is this going to be the last time?
Or am I going to lose you to every
little backwater that has a
shooting?
HICKOK
This is the last time.
AGNES
I hope so.
HICKOK
I wish I could have been a better
man for you.
AGNES
I wish I didn't love you for who
you are.
Agnes and Hickok give each other a long kiss.
INT. NUTTALL & MANN'S DAY
CARL, FRANK, CHARLES and Hickok are playing poker. FRANK is
dealing. It is the same hand as previous.
FRANK
How many cards do I want? Let's
see… One.
CHARLES
Three for me.
Carl deals Charles his cards.
Hickok pulls the ten, three and two off of his hand and
throws them on the table.
HICKOK
Three.
EXT. WYOMING DAY
Hickok exits a train onto the platform. WORLEY is waiting
for him.
WORLEY
William Hickok?
HICKOK
Yes, sir.
WORLEY
I'm your guide to Deadwood, Mr.
Hickok. I think you got my letter?
HICKOK
Mr. Worley, yes.
WORLEY
It's a pleasure, Mr. Hickok. If
you can just follow me.
Worley leads Hickok off the platform.
HICKOK
Are we heading out right away?
WORLEY
We've got a station up north a few
miles where we'll spend the night.
HICKOK
Good. I could do with some sleep.
WORLEY
I hope you don't mind, everyone's
real excited to meet you.
HICKOK
I guess my reputation precedes me.
WORLEY
It certainly does, Mr. Hickok.
HICKOK
I'm just not sure that's a good
thing.
WORLEY and Hickok enter a corral with several horses and a
large wagon waiting. Hickok throws his luggage in the wagon,
which is already full of baggage. Several fellow travelers
are milling about, tending to their horses.
WORLEY
Well, it's not often we have two
famous folks as famous as
yourselves on one trail ride.
HICKOK
Two? Who else is coming?
WORLEY
I didn't tell you?
HICKOK
I guess not.
WORLEY
Jane Canary is coming along.
HICKOK
Jane Canary… Jane Canary… Calamity
Jane?
WORLEY
The one and only.
Calamity Jane stands in front of Hickok unable to move. She
is an adoring fan finally meeting her idol.
HICKOK
Ma'am.
Calamity Jane, surprised at Hickok saying anything to her,
turns to her horse.
WORLEY
I didn't think she knew how to look
embarrassed.
HICKOK
First time for everything. It's a
pleasure to meet you Miss Canary.
CALAMITY JANE
Yes... um... uh... thank you.
HICKOK
You seem a little nervous.
CALAMITY JANE
Um, no, I'm just, yes, um, you're,
um, Wild Bill Hickok, aren't you?
HICKOK
Yes, I am.
CALAMITY JANE
It's just such a pleasure, Mr.
Hickok, sir.
HICKOK
Bill is fine.
CALAMITY JANE
Is he? Oh, good.
HICKOK
No, I mean you can call me Bill.
CALAMITY JANE
Oh, well, um, thank you, Mr.
Hickok.
Hickok turns to tend to his horse.
HICKOK
I've heard a lot of stories about
you, Calamity.
CALAMITY JANE
Oh. Well, um, yeah. There're not
really all true.
HICKOK
They're not?
CALAMITY JANE
No.
HICKOK
Then we have a lot in common.
Calamity Jane allows herself a relaxed smile.
EXT. TRAIL TO DEADWOOD DAY
Calamity Jane and Hickok ride together in the midst of the
trail team.
HICKOK
So, the next thing I know, the rest
of the people there go running
after the other two guys with
shovels and axes. I don't like to
think about what they did to them.
CALAMITY JANE
So that's the famed Shootout at
Rock Creek?
HICKOK
Yep. Not quite a thrilling tale,
is it?
CALAMITY JANE
It's not like the other stories
I've heard.
HICKOK
No. I was young and scared. And
stupid. Looking back, I wish I
hadn't shot him.
CALAMITY JANE
All right, now what about the three
troopers you killed in Hays City?
HICKOK
I'm a little hazy on that one,
myself.
CALAMITY JANE
How can you be hazy on killing
three men?
HICKOK
Well, the only thing I know is, I'd
locked up Custer's younger brother
and that didn't sit too well with
the folks at Fort Hays. So three
of 'em jumped me as I walked into
the saloon. I remember being
pistol-whipped, but I don't know
too much after that. They must
have knocked the sense right out of
me. The next thing I remember
after being conked on the noggin is
waking up the next day in Abilene
with a splitting headache and a
newspaper telling me I shot the
three of 'em. I don't know if it's
true or not.
CALAMITY JANE
And here I was hoping to find out
that was true.
HICKOK
How about the thing where you got
your name? I hear you rescued a
general from an Indian attack and
he told you, what was it?
CALAMITY JANE
(Laughing)
"I name you Calamity Jane, the
heroine of the plains."
HICKOK
That's it.
CALAMITY JANE
It's not true. It just makes a
better story. That general did
give me the name, though.
HICKOK
Did he?
CALAMITY JANE
Yep. From a bad pun. Think about
it, Canary, Calamity. He'd just
kicked me out of the barracks,
where I was, um, getting to know
the men and he said "Jane Canary?
More like Jane Calamity." I guess
that was all he could think of at
the time; it's really not all that
funny. Somewhere along the line it
got itself turned around into
Calamity Jane. It's a useful name,
though.
HICKOK
How's that?
CALAMITY JANE
Would you want to mess with someone
named Calamity Jane?
HICKOK
Good point. I've also heard
stories that you've taken to
barging into bars and demanding
free drinks or you'd knock around
the barkeep.
CALAMITY JANE
Unfortunately, that's true. I'm an
angry drunk.
HICKOK
I've also heard you tended to
people sick with typhus.
CALAMITY JANE
Yeah. Typhus and cholera. I don't
much like talking about that. It
brings back ugly memories.
HICKOK
Still, if you can face that, you're
a lot braver than I am.
CALAMITY JANE
I don't know. It's more something
to ease a guilty conscience. So
how about Abilene? I hear you
killed eleven men by yourself in
one gunfight.
HICKOK
Not true, it was three of us.
The trail team crests a rise.
WORLEY
There it is, folks. Deadwood.
The trail team examines Deadwood spreading out beneath them.
CALAMITY JANE
What a dump. Anyway, you were
saying that…
Hickok looks down at Deadwood with a foreboding dread.
CALAMITY JANE (CONT'D)
Bill? Bill? Bill!
HICKOK
(Coming to, but unnerved)
Hm?
CALAMITY JANE
What is it, Bill?
HICKOK
I just had a feeling.
CALAMITY JANE
What kind of feeling?
HICKOK
Like I'm going to die down there.
CALAMITY JANE
(Nervously)
What?
HICKOK
Let's get a drink.
Bill starts his horse down the path. Calamity looks after
him reluctantly, then follows.
EXT. SALOON IN DEADWOOD, SD DAY
Three MEN are sitting down talking. They are drunk and
giddy.
MAN #1
I hear he's coming to town. It's
as good a chance as we'll ever get.
MAN #2
I don't know.
MAN #1
Oh, come on, he's getting old.
Anybody can get the drop on him.
MAN #2
I'm just saying, he's still got to
be pretty fast.
MAN #3
I'm sure he's fast, but as long as
you've got the drop on him… bang.
MAN #1
Yeah, we could take him.
MAN #3
No problem.
MAN #2
I still don't know.
MAN #1
Come on! Who wouldn't want to be
the man who killed Wild Bill
Hickok?
A gun is pointed at the side of MAN #1's head.
HICKOK
I wouldn't.
MAN #2 and #3 stare wide-eyed at Hickok as he holds the gun
to MAN #1's head. MAN #1 stares into the barrel. MAN #2 and
MAN #3 try to slide their hands down to their pistols.
CALAMITY JANE
Don't even think about it.
Calamity Jane is pointing a rifle at the other two men.
MAN #1
Unghh…
HICKOK
I believe you were saying…
MAN #1
Er…
HICKOK
Something about Wild Bill being
easy to kill.
MAN #1
Er… Er…
HICKOK
Well now's your chance. Think you
can get me from there?
MAN #1 shakes his head.
HICKOK (CONT'D)
You want to try?
MAN #1 shakes his head.
HICKOK (CONT'D)
You'd better be sure. Are you
sure?
MAN #1 nods.
HICKOK (CONT'D)
Alright then. Stand up. All of
you.
They do so.
HICKOK (CONT'D)
Now turn around and face the wall.
They do so.
MAN #2
(Panicky)
Are you going to kill us?
HICKOK
Unbuckle them gunbelts and drop
them on the ground.
They do it.
HICKOK (CONT'D)
Now back away three steps.
Again, they do so.
HICKOK (CONT'D)
Now get out of here and never let
me see any of you again.
The MEN walk stumble over each other as they try to run out
the door.
Hickok holsters his weapon and walks to the bar. Calamity
Jane follows.
CALAMITY JANE
Is that why you think you're going
to die here?
HICKOK
That won't be the last time. Every
man in this town knows he can make
a name for himself with one bullet.
CALAMITY JANE
So you think you're going to face
that every day you're here?
HICKOK
That and worse.
CALAMITY JANE
You can't take them all on.
HICKOK
Don't have much choice, do I?
CALAMITY JANE
Yes, you do, Bill; you can get out
of here.
HICKOK
No, I can't.
CALAMITY JANE
Why? What are you afraid of?
HICKOK
Dying.
CALAMITY JANE
Then why are you here?
HICKOK
We're all doing it, anyway.
CALAMITY JANE
But you don't have to do it now.
HICKOK
There's different kinds of dying,
Calamity. The West is dying. And
I'm dying with it. The new West
won't need brawlers and gunslingers
and it sure won't need men like me.
We came here because they needed
us. And we needed the West. And
when us old lawmen finish doing
what we do, then they won't need us
anymore. These rundown mining
camps and cowtowns won't want the
kind of law I bring. When that day
comes, I'll just be shoved under
the rug. No, better to die here a
legend than to fade away a nobody.
CALAMITY JANE
It's not going to be like that,
Bill.
HICKOK
Isn't it? Maybe. Maybe I wouldn't
mind living long enough to find
out. But I'm not running away.
CALAMITY JANE
It's not running away. It's being
sensible.
HICKOK
If I was a sensible man, I'd be
working on a farm back in Illinois.
I'd be digging ditches and I'd be
plowing fields and I'd still be
James Butler Hickok.
CALAMITY JANE
Then I'll be sensible. I'll
protect you. If you're not
leaving, I'm not leaving you
either.
HICKOK
You can't hover over me like I'm
some child.
CALAMITY JANE
Yes, I will. I'll be by your side
every waking moment.
HICKOK
You can't stay with me forever,
Calamity. Forever is a long, long
time.
CALAMITY JANE
No, Bill, no. I'm not going
anymore.
HICKOK
Do you really think you can do
that?
CALAMITY JANE
I can and I will.
HICKOK
Why?
CALAMITY JANE
Because I've known a lot of women
and none of them wanted me around.
I wasn't all prim and proper like
them. Men always wanted something
from me. Like a wife or a roll in
the hay. I fell in love with the
Wild Bill the legend. But Bill
Hickok is the first person who's
ever wanted to be my friend.
HICKOK
Good. 'Cause I hope you know
there's only one woman on my mind.
INT. NUTTALL & MANN'S DAY
CARL, FRANK, CHARLES and Hickok are playing poker. It is the
same hand as previous.
Hickok looks down at a locket containing a picture of Agnes
Lake Thatcher.
CHARLES
Bill?
Hickok looks up from the locket.
HICKOK
Hm?
CHARLES
Fifteen to you. What do you want
to do?
Hickok looks down at his cards. He is holding a pair of
aces, a pair of eights and a queen.
HICKOK
Call and raise ten.
JACK MCCALL enters Nuttall & Mann's and strides over to the
table where Hickok is sitting. As the hand continues, Jack
McCall circles the table, looking at everybody's hand, then
stands behind Hickok.
CARL
Call.
FRANK
Raise five.
CHARLES
Raise ten.
HICKOK
Call.
CARL
Call.
FRANK
Call.
CHARLES
Raise five.
HICKOK
You sure you want to do that?
CHARLES
Getting cold feet?
HICKOK
Not at all. It's just that I know
I can take you.
Jack McCall quickly draws his revolver and points in at the
back of Hickok's head.
JACK MCCALL
Take that.
Jack McCall fires. The bullet hits Hickok in the back of the
head. Hickok lurches forward, then falls backward, still
clutching his cards. Jack McCall quickly points his pistol
at Charles, who has his hand on his pistol but has not drawn.
Frank and Carl look aghast. McCall, as though realizing the
enormity of what he has just done, backs away, then runs out
the door.
Seconds later, Calamity Jane runs into the saloon. Seeing
Hickok lying on the floor in a pool of blood.
CALAMITY JANE
Oh God, no.
Calamity Jane runs to kneel beside Hickok's prone form. She
cradles his lifeless head.
CALAMITY JANE (CONT'D)
God, no, no, not you Bill. Not
you. Not you. Not you.
THE END