A rutted wagon trail parts a sea of prairie grass that
stretches as far as the eye can see.
A lone cedar elm tree stands at the crossroads of three
trails. A Texas Horned Lizard lazes on the road in the sun.
In the shade of the elm, a SIGNPOST marks MARBLE CREEK,
pointing straight ahead to the cluster of buildings just
visible past the next rise. Like the paint on the signpost,
the town looks a bit faded in the afternoon haze.
The thunder of approaching hooves sends birds out of the
tree. Five black-clad riders split off to the right. *
As the dust clears we see three names marking the trails that
split off. HANNIGAN RANCH and KNOX RANCH both point left. The
riders are headed to BYRNE RANCH.
On the ground below, the lizard lies flattened. Uh oh.
2 INT. HOTEL LOBBY, SAN ANTONIO - DAY 2
SUPER: SAN ANTONIO - 1898
Dark woods and plush green fabrics. Elegance is everywhere.
RORY BYRNE (36, Irish, ruggedly handsome and charming without *
trying) pulls at the cuffs of his suit jacket. He paces *
impatiently near the front door. He turns at the pounding of
feet on the stairs and bursts into a smile.
His son FLINT (8, full of spunk) and daughter EMMA (15, the *
last vestiges of childhood cling to her despite her attempts *
to be a lady) are dressed in their finest, but their *
appearance doesn't hinder their race toward their father.
AUDREY BYRNE (34, Irish by birth, Philadelphia bred, a *
striking brunette) is glowing as she arrives behind her *
children at the top of the stairs. She catches her husband's
eye - and his breath.
Audrey shakes her head at the children, and heads down the
stairs with refined grace, her left hand floating above the
railing. Her 3ct diamond ring and matching wedding band are *
hard to miss.
RORY
Why Mrs. Byrne, seems the city *
still suits you. *
Audrey's smile betrays she agrees with her husband.
AUDREY *
Thank you, Mr. Byrne. *
FLINT
Is that why I have to wear one?
Flint tugs at his suit coat.
Rory stifles a laugh. He ruffles his son's hair, then quickly
smooths it again. Audrey shares a smile with her husband as *
she reaches for her daughter's hand.
AUDREY
Emma, please behave like the young
lady you are. Remember, time and
place.
EMMA
Yes, Momma.
Emma stands a bit straighter. Audrey adjusts Flint's jacket.
Rory puts his hand on his daughter's shoulder.
RORY
Your Momma knows a thing or two
about all of this, so listen up:
time and place.
He leans to whisper into Emma's ear.
RORY (CONT'D)
Time and place for fun and games
coming soon, my Emerald Rose.
Rory grins. Emma beams, and takes his offered arm. Audrey
smiles, reaches down to take Flint's arm, and they lead their
children out of the hotel to discover the joys of the city.
Genres:
["Western","Family Drama"]
Ratings
Scene
2 -
The Threat at Byrne Ranch
3 EXT. BYRNE RANCH HOUSE - DAY 3
A stately house rises over the prairie, a carved sign
identifies it as BYRNE RANCH.
A young boy, RAMON (7, Spanish Mexican) stops sweeping the *
upstairs balcony, and looks out. He drops the broom and runs
inside.
4 INT. BYRNE RANCH HOUSE OFFICE - DAY 4
SEAMUS BYRNE (58) handsome in a curmudgeonly fashion, wearing *
work clothes, writes in a ledger at the large wooden desk. A
wedding photo of Rory and Audrey on display.
Ramon runs in, but stops himself in the doorway.
RAMON
Señor Byrne! The Black Riders!
SEAMUS
Gracias, Ramon. I'm not surprised.
Anita!
Seamus moves to the window to look out. ANITA CALDERON (20,
Spanish Mexican, smart and graceful. She grew up working in *
this house) arrives at the doorway behind Ramon, drying her *
hands on an apron stained with homemade preserves.
ANITA
Sí, Señor Byrne.
SEAMUS
You and Ramon. Go. Now. Get the
others. Rápido!
ANITA
But it is the middle of the day …
SEAMUS
Do as I say. Don’t you come back
‘til supper. Hear me.
5 EXT. DIRT ROAD - DAY 5
Five men ride. Three with strict cavalry posture and two with *
the experienced ease of being raised in a saddle.
Black hats, black shirts, and large yellow scarves they call
"wild rags" tied around their faces declare their allegiance
and disguise their identities.
They pass in formation down the dirt road, sending a flock of *
prairie chickens squawking up in their dust.
6 EXT. SAN ANTONIO BANK - DAY 6
San Antonio's new cement sidewalks practically shimmer in the
morning light. The city is buzzing with life.
A shady courtyard by a fountain makes a lovely resting spot
for Audrey, Emma and Flint.
Rory emerges from the bank and walks over to his family.
AUDREY
And...?
RORY
I should be able to sign tomorrow.
Waiting on one more detail, but
we're close.
FLINT
Close to what, Pa?
Rory grabs his son and lifts him high in the air, swinging
him about. Flint squeals in delight. Emma laughs.
AUDREY
Rory!
Audrey looks to see who might notice this display. Rory
smiles at his beautiful, concerned wife as he sets his son
gently on his feet. He kneels to look Flint in the eyes.
RORY
Close to a park with swans. Want to
go see a lake?
FLINT
Yes, sir, I do!
They head off - a happy family on their next adventure.
7 EXT. BYRNE RANCH HOUSE - DAY 7
Two riders take watch positions on the road to the house. *
The three cavalry men ride into the smooth courtyard. One *
dismounts and approaches the house, his right hand releases *
the leather safety strap on his holstered gun. *
8 EXT. BYRNE RANCH HOUSE FRONT PORCH - CONTINUOUS 8
Seamus emerges onto the porch holding a shotgun. He surveys
the men and clocks the approaching LEADER (60) who is tall *
and lean.
SEAMUS
You got no business here.
LEADER
Why'd you have to be so stubborn,
Seamus?
SEAMUS
Just doin' right by my family.
LEADER
No. You're ruinin' everything.
Leader draws his revolver, aims and pulls the trigger.
9 EXT. SAN ANTONIO, SAN PEDRO PARK - DAY 9
POP! A PHOTOGRAPHER's flash-lamp illuminates the Byrne family
as they stand in front of the lake. There may even be swans
behind them.
They all laugh as Flint jumps like he's suddenly free.
10 EXT. BYRNE RANCH HOUSE FRONT PORCH - DAY 10
The impact of the bullet sends Seamus back against the porch *
rocker. His shotgun knocked out of reach. The chair sways
violently. Seamus struggles to breathe. *
Heavy boots climb the front steps. Seamus pulls himself to
standing, pride fueling his strength.
SEAMUS
It’s done. Rory's signin' papers.
Best make your peace with it.
LEADER
That be true, there'll be no peace. *
SEAMUS
Change is coming. One way or
t’other. Tell Knox to go to hell.
LEADER
I’m real sorry, Seamus. The Colonel
said to send you on ahead.
POP. The shot knocks Seamus to the porch. Blood pours out. *
Next to his lifeless body, the rocker slows to a stop. *
Genres:
["Western","Drama","Action"]
Ratings
Scene
3 -
Embracing Change
11 EXT. SAN ANTONIO, SAN PEDRO PARK - DAY 11
Rory and Audrey sit close together on a park bench under a
large shade tree. Emma and Flint stand in front of them.
EMMA
Oh Daddy, thank you! Momma! *
RORY
We'll find a house near your new
schools, but it might be a bit. The *
(MORE)
RORY (CONT'D)
new owners'll do a survey for the *
mill, and --
FLINT
A mill? Not a ranch anymore?
RORY
A sheep ranch, to supply the mill.
The new owners are from Germany,
but it's good. The mill means more
jobs.
AUDREY
Marble Creek is needing to grow and
we are going to help it.
Flint squeezes in between his parents to sit on the bench.
FLINT
What about Grandpa?
RORY
He'll come with us.
AUDREY
We can come to the park and you'll
love the public library …
FLINT
(realizing)
Tommy. What about Tommy?
AUDREY
The Carters can come visit.
Emma squats down in front of her brother, her hand on his
knee.
EMMA
You'll make new friends. And you *
won't have to ride into town to see
them.
RORY
I know it'll take some gettin' used
to, son, but your mother and I
think it's time for us to leave
Marble Creek. We'll have new city
adventures.
EMMA
It's going to be wonderful!
AUDREY
Oh Emma, I knew you would be happy.
There are so many opportunities
here for you and your brother.
RORY
I hope you trust us, Flint, that
it's all going to turn out alright.
Flint considers, acquiescing for now. Rory throws a concerned
look to Audrey; she smiles back. Hopeful.
12 EXT. BYRNE RANCH HOUSE - DAY 12
The riders turn their horses to ride out. The leader tips his
hat to Seamus before he mounts his horse and follows.
13 INT. HOTEL LOBBY, SAN ANTONIO - LATE DAY 13
The Byrne family arrives back at the hotel, happy and tired. *
The CONCIERGE intercepts Rory at the base of the stairs.
CONCIERGE
Mr. Byrne. Telegram for you. *
FLINT
A telegram?
He tips the concierge a coin and turns to Audrey. *
RORY
Why don't you and the children go
on up?
Audrey herds the children upstairs. Rory heads to the lounge.
Genres:
["Drama","Family"]
Ratings
Scene
4 -
Facing Loss Together
14 INT. HOTEL LOBBY, SAN ANTONIO - EVENING 14 *
Audrey descends the stairs, looking for Rory. *
The concierge is lighting gas lamps. He spots Audrey and *
points toward the lounge. Audrey sees Rory seated near a *
window. A nearly empty whiskey glass sits on the telegram.
AUDREY
Rory? What is it?
He can't bring himself to speak. He passes the telegram to
her and finishes his whiskey.
She reads it and drops onto the couch next to him.
AUDREY (CONT'D)
I am so sorry, darling.
RORY
I telephoned the Ranger.
AUDREY
As if there was a question?
RORY
Using the appropriate channels.
AUDREY
Why? The Black Riders don't.
Rory isn't listening.
RORY
I'm securing train tickets. We'll
go back first thing tomorrow. The
horses'll stay here for now. I'll
reschedule pickup for the new
carriage.
AUDREY
Oh, Rory. I just --
The concierge approaches.
CONCIERGE
I'm sorry, Mr. Byrne. There's a *
problem with the tracks headed to *
Marble Creek. Train isn't expected *
to run until Tuesday.
Audrey sees this news crush Rory. She dismisses the
concierge.
AUDREY
Thank you. We will let you know if
we need anything else.
(to Rory)
Is the new carriage ready yet?
RORY
(collecting himself)
It should be. I'll handle the hotel
arrangements so you and the *
children --
AUDREY
You will do no such thing.
RORY
Audrey, this is what you want --
AUDREY
He's their grandfather. We are a
family and will go with you. I
won't hear another word about it.
Rory knows better than to argue with her.
RORY
If we head out at dawn, we can be
there before nightfall. I'll have
the horses and the new carriage
moved to the hotel livery tonight.
AUDREY
I shall ask the kitchen for *
provisions. *
Rory grabs his wife's hand and stands to look at her.
RORY
Thank you, Audrey. We'll get home
and set things right.
He pulls his wife into a desperate hug. Off Audrey, her heart
breaking for her husband's loss.
Genres:
["Drama","Western"]
Ratings
Scene
5 -
Tipping Point
15 EXT. RIVER'S EDGE ROAD - DAY 15
The Byrne's beautiful new carriage sways as it travels along
the riverbank. Rory sits at the helm, driving the horses.
The water beside them is swift and high. Rory barely notices.
The pace is hypnotic, the horses follow a worn path.
16 INT. BYRNE CARRIAGE - MOVING - DAY 16
Emma stares at her hands, wringing her kerchief as the
carriage bounces. Flint sleeps like a rock under a blanket. *
EMMA
Who are the Black Riders, Momma?
Audrey turns, speechless.
EMMA (CONT'D)
You think someone sent them because
Grandpa's selling the ranch.
AUDREY
That is not your worry.
EMMA
I'm not Flint, Momma. I'm nearly
grown.
AUDREY
You are not grown enough for this.
EMMA
Will that matter when they come
after us?
AUDREY
Your father will never let that
happen.
17 EXT. RIVER'S EDGE ROAD - DAY 17
The trail is suddenly sodden, the coach wheels catch hard in
mud.
Rory jolts forward and tries to reign the horses away from
the river's edge.
The deeply grooved mud steers the coach closer to the water.
18 INT. BYRNE CARRIAGE - DAY 18 *
Tipping to one side, Flint slides down onto Emma and flails *
at being jolted awake. Audrey is thrown onto the side wall. *
MOMENTS LATER - *
Audrey wakes up slowly, her head in pain, her face wet with
blood from a few small cuts.
Emma and Flint stir -- although they all sit up, they are
sideways -- along with the coach.
AUDREY
Emma. Flint. Are you hurt?
EMMA
I don't think so. What happened?
FLINT
Momma?
AUDREY
Right here. Are you alright?
FLINT
Uh huh. What happened?
Her children unscathed, Audrey looks around accessing her
options. She braces her feet and climbs out the high side.
Genres:
["Western","Family Drama"]
Ratings
Scene
6 -
A Tragic Loss by the River
20 EXT. RIVER'S EDGE ROAD, OUTSIDE THE CARRIAGE - DAY 20 *
Audrey steps off the tipped coach and onto the trail -- her *
dress drags in the mud.
AUDREY
Rory?
She looks about. The road just behind them is collapsing into
the river, eroded by the high water.
A carriage wheel is broken but the axles are intact. The *
horses are gone, the carriage anchor broken.
AUDREY (CONT'D)
RORY?!
She searches frantically.
AT THE RIVER'S EDGE, she sees Rory face down.
AUDREY (CONT'D)
Rory!
She wades out to him, rolls him onto his back. *
BLOOD. So much blood. It's poured out his temple onto the *
rock where he landed. He's not breathing. *
Audrey SOBS and clutches his lifeless body. *
EMMA (O.S.)
Momma?
Audrey's maternal instincts kick into high gear. She rushes
to intercept Emma.
EMMA (CONT'D)
Daddy! DADDY!! *
Audrey gathers her daughter in arms, too late to shield her
from the sight. Emma breaks down.
Flint runs past before Audrey can stop him. He sees his
father lying in the mud and turns to his mother.
FLINT
(screaming)
Do something!
21 EXT. RIVER'S EDGE ROAD - LATER 21 *
Emma helps Audrey, her face still blood stained, place the
last rocks over Rory’s body. Flint hands Audrey two sticks
bound in the shape of a cross and secured with Emma’s hair
ribbons.
22 EXT. RIVER'S EDGE ROAD - MAGIC HOUR 22 *
Audrey huddles with Flint and Emma on drier land near a small
fire. Blankets ward off the cold. The toppled carriage behind *
them offers some protection. A rifle beside Audrey offers a
bit more.
EMMA
How long to walk to San Antonio?
AUDREY
We're closer to Marble Creek.
FLINT
Grandpa's not there anymore.
EMMA
Just the men who killed him.
Audrey processes all she has to deal with and hugs her
children tight.
AUDREY
We will go to Marble Creek. There
are family matters to attend to.
FLINT
I love the ranch.
EMMA
Momma hates it there.
AUDREY
That's not true.
PRELAP the sound of Rory whistling. *
Genres:
["Western","Drama"]
Ratings
Scene
7 -
Twilight Reflections
23 EXT. BYRNE RANCH HOUSE - NIGHT (FLASHBACK- 1883) 23 *
Twilight illuminates the front porch. A younger Rory rocks *
BABY EMMA in his arms, softly whistling "When Johnny Comes
Marching Home."
RORY *
Ah, sweet Emerald Rose. How you
will shine in this sea of Texas
Bluebonnets. You are extraordinary.
A younger Audrey, in a proper high-collared light colored day *
dress with a minimal bustle, glides through the screen door. *
AUDREY
Careful. Fill her head full of
promise and she will forever chase
it.
RORY
A father should tell his daughter
she's special. Otherwise how'll she
know her value in the world?
AUDREY
She will know. Our clever Emma.
Audrey gently scoops Emma into her arms. Rory is amused.
RORY
Even here, in cow country?
Audrey steps off the porch and stares up, holding Emma so she
can see the sky. A bright partial moon lights her face.
AUDREY
The moon seems so much bigger here.
Never seems to hide. And every
night there are more stars.
RORY
I think a few followed you here
from Philadelphia. I worry that you
miss the city.
AUDREY
Do you remember the first thing I
said to you when we met?
RORY
It was a whisper actually. “You are
using the wrong fork.”
Rory laughs, remembering.
AUDREY
After that. When that pompous
cattle broker tried to cheat you?
RORY
Barely remember him. Just the
beautiful, smart young woman who
told him he was making a fool's
offer.
AUDREY
I said you were too honest.
RORY
Your father said he was trying to
court you.
AUDREY
Probably, but that is not my point. *
I said that money doesn’t buy
character and not to let the men *
there make you feel out of place.
RORY
Then you danced with me out of *
pity.
AUDREY
I danced with a man of genuine
character, and I followed him back
to the end of the world. And I do
not regret it.
RORY
Maybe not right this minute, but...
Audrey walks back up on the porch and gives Rory a kiss.
AUDREY
Stop worrying. You and Emma and the
moon. There's nothing more I need.
Audrey is moving decisively. She picks up the rifle. *
Emma and Flint join her -- uncertain.
AUDREY
The horses shouldn't have wandered *
too far. Emma,
(hands her the rifle)
Remember your father's lessons? *
Emma nods.
AUDREY (CONT'D)
Good. Now. Time and place to be
strong. Right?
Emma nods again. Her confidence evident in the way she *
adjusts her hold on the rifle. *
EMMA
Yes, Momma.
AUDREY
Now Flint, do as Emma says.
Flint nods to his mother, and looks up to his sister. *
EMMA
We'll wait right here, right Flint?
If you need me, I'll protect you.
Audrey considers her daughter -- suddenly so grown up. Audrey
hikes up her once-fine travel dress and heads out. At the *
crest she looks back to her children and mouths a prayer. *
25 INT. OFFICE OF GARRETT KNOX - DAY 25
The well-appointed space of a monied gentleman. A civil war
saber hangs above a map of Marble Creek. The map is so large
it covers most of one wall. The region's ranches, farms, and
small housing settlements are clearly marked.
GARRETT KNOX (64, English) is monied, yes, but he's no
gentleman. Graced with charm that belies his true nature, his
original Queen's English is laced with Texas prairie by way
of a Colonel's rank in the US Civil War.
Knox traces a river with his finger, and then the perimeter
of the BYRNE RANCH, as if to connect it to KNOX RANCH.
MALCOLM (OS)
Well, Garrett. Is it true?
Knox turns to see MALCOLM HANNIGAN (62, Irish), once a
strikingly handsome man. A jagged scar on his face isn't the
issue, he's a man worn down by life's battles. Malcolm stares
at Knox pointedly.
MALCOLM (CONT'D)
Seamus Byrne.
Malcom's accent hints at his Dublin origins.
GARRETT
Fine seeing you, too, Malcolm. Yes,
it's true. Seamus is dead. They say
it was the Black Riders - whoever
the hell they are. Frankly we
should thank them. The land won't
go to the Germans.
MALCOLM
Knox, what the hell? How could you
let that happen? Seamus wasn't
making things easy, but he used to
be your friend. His son's fixin' to
move. He's still gonna sell.
GARRETT
I'll talk to Rory. He's a cattleman
through and through. He'll sell to
me before he lets those --
MALCOLM
And how, exactly, are you --
GARRETT
Leave the strategy to me, Hannigan.
We don't want those Forty-Eighters
here. We don't want their mills.
This is a gift of an opportunity.
26 EXT. RIVER'S EDGE ROAD, OUTSIDE THE CARRIAGE - DAY 26 *
Flint is bored and scared -- a volatile combination. Emma
works to salvage what supplies she can in the carriage.
Pounding HORSE HOOVES ring out and carry over from beyond the
crest. Emma grabs the rifle.
EMMA
Get behind the carriage.
Flint hesitates.
EMMA (CONT'D)
Do as I say!
She gives him a push. The horses are getting closer.
Emma stands beside her brother, bracing the rifle on the
carriage wheel.
AUDREY (O.C.)
Emma! Flint!
EMMA
Momma!
Emma stands to see Audrey riding over the crest astride a *
horse from the carriage. This is BLUEBONNET. Audrey holds the *
broken leather rein of the second horse that follows. *
LATER:
Audrey finishes up securing a rope as a makeshift noseband on *
Bluebonnet. There's just enough for a single rein. *
Audrey whispers to Bluebonnet, who nods. Their bond is clear. *
Emma pulls Flint up behind her - they're doubled up on the *
other horse. It has a full bridle and a blanket across its *
withers. *
Audrey secures the rifle in a sling across her back and *
climbs up bareback on Bluebonnet. Her torn dress offers *
little constraint. *
AUDREY
Start riding, I'm right behind.
Emma gives a kick and a cluck. Audrey looks to the grave of
rocks.
AUDREY (CONT'D)
I promise I'll be back soon. We’ll
take you home.
She looks to her children and urges Bluebonnet on. The three *
surviving members of the Byrne family ride over the crest.
Genres:
["Western","Drama"]
Ratings
Scene
9 -
Grief and Uncertainty
27 EXT. MARBLE CREEK, CHURCH GRAVEYARD - DAY 27
Audrey, Emma and Flint stand next to the fresh dirt in front *
of Seamus and Rory's headstones. Audrey wears widow's black *
silk. *
Emma places flowers at her father's headstone. *
Flint looks up at his mother. Her face is so full of pain. He *
takes her hand. *
Heartbreakingly both sad and lost, he turns to his mother. *
FLINT
What do we do now?
AUDREY
I need to decide...Your
grandfather... The plans your
father and I had no longer...
EMMA
(defeated)
We're not moving to San Antonio.
FLINT
We can make new plans here, Momma.
Audrey finds a smile for Flint, and squeezes his hand.
Audrey checks Emma for her reaction. *
EMMA
It's alright Momma. Can I please..?
Emma looks to her father's grave. Audrey nods. She gives Emma *
a squeeze before leading Flint to their friends. *
ROSE CARTER (35, Black)and her husband ABRAHAM CARTER (40, *
Black) stand nearby with their son TOMMY CARTER (10, Black). *
They look collectively like their hearts are breaking. *
Rose and Abraham reach out. Hugs are quiet and sincere. *
At the gravesite, Emma squats down. *
EMMA (CONT'D)
Oh, Daddy. Without you, it's *
just...
Emma wipes a tear before it falls. She looks to her mother,
then back to the grave.
EMMA (CONT'D)
...it's a mess.
The staff from Byrne Ranch watch from near the buggies and *
horses. Anita and young Ramon are with ENRIQUE FARIAS (62, *
Mexican of Spanish descent), the foreman at Byrne Ranch. *
They, too, clearly feel the pain of this double loss. *
From the front steps of the church, Malcolm and Garrett watch
Emma join Audrey and Flint as they head toward the ranch *
staff. Enrique helps gather the Byrnes into the buggy before *
he steps up and take the reins.
MALCOLM
Once probate gets sorted, how you
plan on talkin' her into sellin' to
you?
GARRETT
Probate will not be a hindrance.
The land will not be hers to sell.
I’ve got a little luck and a judge
who can’t play cards.
Malcolm isn't surprised. Classic Garrett Knox.
Genres:
["Drama","Western"]
Ratings
Scene
10 -
Holding the Ranch Together
28 INT. BYRNE RANCH HOUSE MASTER BEDROOM - DAWN 28
Audrey wakes up, looks at Rory's empty side. She is still
waiting for it all to be an awful dream.
She looks over to his boots. Her eyes well up, but she sits
up suddenly. She gets out of bed and opens an armoire,
pulling out one of Rory's work shirts and hugs it tight.
She sits back on the bed and rocks herself and the shirt. *
Suddenly, she sits up straight and still. With a deep inhale, *
she stands and steps out of frame. *
29 INT. BYRNE RANCH HOUSE KITCHEN/BACK DOOR - MORNING 29
Anita works at the stove. Emma and Flint come in the back
door. Flint carries a basket of fresh eggs, Emma a pitcher of
very fresh milk.
They remove their work boots and slide into their day shoes. *
ANITA
Gracias. Now sit down and eat. Your
momma won't like you being late to
school.
Audrey enters in Rory's clothes. Anita tries not to stare.
Emma is agape and Flint's eyes are big as silver dollars.
AUDREY
Anita is right. You've missed too
many days already.
Anita hands her boss a painted porcelain cup of black coffee,
incongruous with her belted pants and oversized shirt. Audrey
looks to her children.
AUDREY (CONT'D)
I’ve got a ranch to run. I can’t do
it in black silk.
Anita pulls out a chair at the table for Audrey to sit and
removes a cloth off a plate of food.
AUDREY (CONT'D)
Thank you, Anita, but I'm not ready
to eat. Now that I’m going to be *
working with Enrique in the
pastures, I’m counting on you to
run the house.
EMMA
Momma! You can't be serious?
Audrey shuts Emma down with a look. Anita knows not to show
her surprise.
ANITA
Of course, Señora.
AUDREY
You already run it better than I
do. Make sure Maria doesn't go near
Seamus's desk when she's dusting.
I've got papers sorted, and I don't
want them moved, please. *
EMMA
But we're selling! Daddy said -- *
AUDREY
That is not currently an option.
Probate will take time. We must
maintain the value of the ranch,
which means we work.
FLINT
Does that mean we're staying?
Audrey looks to her children who are each clearly hoping for
different answers
AUDREY
That means we're playing the hand
we've been dealt - for now.
The children each process this quite differently.
AUDREY (CONT'D)
You will both be doing more chores.
Fetching eggs and fresh milk isn't
enough if we plan to keep Byrne
ranch humming. We'll discuss it
further after school.
FLINT
Can I start helping with the
cattle?
AUDREY
One step at a time, Flint. Emma? Am *
I clear? Everyone does their part. *
Emma looks like she was just sentenced to prison.
EMMA
Yes, Ma'am.
Audrey heads out, but Flint's words stop her in the doorway. *
FLINT
It's Byrne ranch, Emma. *
Genres:
["Drama","Western"]
Ratings
Scene
11 -
Commitment to the Ranch
30 EXT. BYRNE RANCH BARN - MORNING 30
Audrey crosses to the barn trying to stride confidently in
Rory's pants. She stumbles a bit, but catches herself. The
ranch hands stare but say nothing.
31 INT. BYRNE RANCH BARN TACK ROOM - MORNING 31
She finds Enrique in the tack room repairing his saddle. He
looks her over.
ENRIQUE
Changing your clothes won’t turn
you into a rancher.
AUDREY
No, Enrique, it won’t.
Audrey takes a deep breath. This has to work.
AUDREY (CONT'D)
I am counting on you to fill in the
gaps of my knowledge. I can manage
all the numbers, but it's time I
learned what they represent. I will
not be the Byrne who lets this
ranch fail.
ENRIQUE
You mean, no sale?
AUDREY
I am not selling, for now at least.
Enrique says nothing, just turns a new hole into the leather.
AUDREY (CONT'D)
Will you stay and help me? Rory
said you're the best foreman in the
county and we're so lucky you put
up with Seamus all these years.
Enrique is unmoved.
AUDREY (CONT'D)
I can't raise your wages until I
know what we can get per head in
the next sale, and what the train
costs per car will be to get them
to Dodge City. But with the new
Angus Bulls --
Enrique laughs. She's ready for a fight, but then realizes...
ENRIQUE
So you want me to teach you what
that all means?
AUDREY
Yes, if you please.
Enrique looks to Audrey's left hand. Her diamond glimmers.
ENRIQUE
No rings.
She looks at her hand. A new commitment of its own, she nods.
A beautiful early summer day. Audrey is dressed in well-
fitting women's work wear. She and Enrique have just freed a *
calf from a broken section of barbed wire fence. *
SUPER: ONE YEAR LATER. *
The calf bleats and runs off. Audrey and Enrique work *
together effortlessly to quickly repair the fence. *
As they walk over to mount their horses, we see Audrey moves *
with new strength and ease. *
ENRIQUE
Tomorrow the hands and me will *
count this section. Doubt that hole *
was big enough to lose any. *
AUDREY
Enrique -- I got a letter. The
Germans have come back with another
offer.
ENRIQUE
You tell them no, sí?
AUDREY
Actually... We have done remarkably
well in light of things, but the
way the cattle business is
changing, I need to consider it.
ENRIQUE
You think of your children when you
make this decision. Their future
can be many things.
The weight of Enrique's words hang over her.
AUDREY
I appreciate your dedication to
Byrne ranch. I'll do what I can to
make sure they keep you on.
Genres:
["Western","Drama"]
Ratings
Scene
12 -
A Day in Marble Creek
33 EXT. MARBLE CREEK, CENTER STREET - DAY 33
The dusty Main Street of Marble Creek bustles with daily
life. A YOUNG BOY runs out of one door and across the street
to another - the messenger service of the day.
TOWNSPEOPLE stroll along raised sidewalks of wood boards.
SHOPKEEPERS work around them, sweeping up clouds of DUST in *
their never-ending task of keeping the dirt in the road where
it belongs.
COWPOKES on horseback steer clear and tie up at the livery
before heading over to the saloon.
Audrey drives the buggy through town, Flint by her side,
fresh from his schoolhouse pickup. She pulls up to the
blacksmith shop and climbs down with ease. She’s dressed like
a proper rancher's wife, but moves like a rancher. Flint
bounds down behind her.
34 EXT. 'SINGER SMITHING' BLACKSMITH SHOP - DAY 34
CHARLIE SINGER (48, Black), solid and strong, steps out of
his shop.
AUDREY
Good day, Mr. Singer.
CHARLIE
Mrs. Byrne. Little Mister Byrne. *
Good day at school? *
FLINT
Hello, Mr. Singer. Yes, thank you *
for asking. *
Audrey and Charlie exchange a smile. *
AUDREY
Charlie, can you check the axle?
There is a drag and I don’t want it *
kicking out and catching *
Bluebonnet’s legs.
CHARLIE
Sure enough. Let’s get her loose
and over to the livery. I’ll look
at this right quick.
AUDREY
Thank you, Charlie. And I brought
you some of Anita’s corn bread.
CHARLIE
Mighty thoughtful, Mrs. Byrne.
AUDREY
It is too good not to share. *
CHARLIE
Flint, I’m finishin' up shoes for a
wagon horse. You want to give me a
hand with the punch, then we can
tackle this wagon?
FLINT
Can I, Momma?
AUDREY
Be good and stay out of Mr.
Singer’s way. If you can be
helpful, all the better.
Audrey nods a thank you to Charlie before heading out,
determination in her every step.
35 INT. MARBLE CREEK POST OFFICE - DAY 35 *
One section of the office is marked TELEGRAPH, with Marble
Creek's original telegraph machine behind it.
On the other side of the office, Mr. Dumphries (70), the
crotchety old postal clerk, is behind the mail counter.
Audrey walks up to the mail counter and hands Mr. Dumphries
an envelope she retrieves from her handbag. He inspects it.
MR. DUMPHRIES
You selling? To that mill?
Audrey's proper upbringing keeps her from responding. *
AUDREY
Thank you, Mr. Dumphries.
She slides him two pennies and exits without another word. *
Genres:
["Western","Drama"]
Ratings
Scene
13 -
Defiance on the Boardwalk
36 EXT. MARBLE CREEK, CENTER STREET - DAY 36
Audrey steps out onto the boardwalk, heading toward the bank.
Before she opens the bank's heavy door, she looks back to see
Mr. Dumphries leave the Post Office. He heads directly across
the street, where Garrett Knox is walking.
Audrey watches the Postal Clerk pull Garrett aside for a
word. Garrett's poker faced, but lets a small smile sneak out
when he catches Audrey's watchful eye.
He heads in her direction. Audrey takes a deep breath.
GARRETT
Good morning, Mrs. Byrne.
As Garrett makes his way to Audrey, a few TOWNSPEOPLE notice,
but clearly realize it better to be nosy from a distance. *
GARRETT (CONT'D)
Mrs. Byrne, I understand you are
ready to acquiesce that ranch work
is too much for a widow with two
children. I'd like to ease your
troubles.
AUDREY
Mr. Knox, if by "ease my troubles"
you mean take my land, you
attempted that in probate court, to
no avail.
GARRETT
I feel it is my duty to relieve you *
of your heavy burden if I am able,
and I am.
Audrey shifts her tactics.
AUDREY
What a gracious, neighborly
gesture, but there is no need. You *
see, a woman is capable of raising
children AND running a business.
More women than I do it every day.
Undeterred, Garrett doubles-down.
GARRETT
I am prepared to release ten
percent over fair market value to
you immediately. Let me spare you *
from dealing with surveys for a *
mill or paperwork with those
foreigners. You and the children
can leave for Pennsylvania by
week's end. Wouldn't you enjoy
being in Society Hill again? Where
your children would have so many
opportunities.
Audrey looks at him. Her smile grows. *
AUDREY
Society Hill? That's quite the
picture.
GARRETT
I've no doubt.
Garrett smiles smugly, but his assuredness is premature. She
has had enough. She looks about, and steps forward to avoid a
scene. Her hushed tones catch Garrett by surprise. *
AUDREY
I will give my land to the church
before I sell it to the devil, and
the fact that you purposely brought
up my childhood community as a
means to further shun my presence
in this town, proves that you are
indeed the devil.
Audrey steps back, and returns to full voice.
AUDREY (CONT'D)
Now, if you will please excuse me,
Mr. Knox, I have business to attend
to.
Audrey turns to enter the bank, leaving him to stew in his
lashing. The townsfolk who were watching quickly turn and get
busy.
GARRETT
That's what I will do. Simply leave
her no choice. Now, what about your
situation?
Malcolm joins Garrett at the wall as they analyze an updated *
map of the town and surrounding area. The ranches, farms, and
small housing settlements are marked.
MALCOLM
I'm stymied by Whitman's damn
sharecroppers. He had 'em build
those cabins too damn close to the
narrowest part of the river.
Malcolm points to the marked cabins on the river's edge,
right next to Hannigan Ranch. A line delineates the
relatively small WHITMAN FARM having a peninsula like access
to the river. Hannigan Ranch is to its West, Byrne Ranch to
its east.
MALCOLM (CONT'D)
Another wet year and it'll be nigh
to impossible to get my herd to
cross without heavy losses, much
less grow it. Whitman won't budge.
He's paid off his loan, so he
doesn't need my money and he
doesn't want my cattle near his
crops.
GARRETT
The trouble with cotton is there
will always be another loan.
Equipment, seed, never can support
itself. We can't wait for his crop
to fail. We need to get you in
there to that river stretch. Then
you can add another thirty percent
to your east herd.
MALCOLM
Careful, Garrett. We do that - my
ranch will rival yours for size.
GARRETT
Soon as I get Seamus's land, I'll
have the biggest ranch within ten
counties.
MALCOLM
How? With Audrey Byrne so mighty
high on her principles? If Seamus
got her onto bringing in a mill --
GARRETT
Seamus was ready to give up but not
us. We are not ready to let these
changemakers hobble us into our
graves. There is honor in standing
up for ourselves, our way of life.
We built this together, Malcolm. We
cannot let cotton or wool get in
our way. Stand with me.
MALCOLM
It's an ugly fight you're askin'
for, takin' on mill work.
GARRETT
It doesn't have to be. We can make
it quick and clean. We grow big
enough, we'll be leaving the young
bucks proper ranching legacies to
take over. Our good work will live
on.
MALCOLM
Not all young bucks want this life.
GARRETT
Indecision is all young men have.
Your boy will come around.
Malcolm chooses to change the subject.
MALCOLM
Word is George Dullnig was drilling *
for water and found oil down at his *
place. I heard that and sent Krett *
out looking. *
Garrett looks back at the map. You can practically see him *
thinking. *
MALCOLM (CONT'D) *
Not that that's been my luck. *
Though it'd be a double-edged sword *
for a cattle-man. Bottom fact - *
Krett says my land's clean, so *
that's one I don't have to take on.
Wondering if you've checked? *
Garrett looks back to Malcolm. *
GARRETT
My man Patrick's only good with the
herd. Can I borrow Krett to have a
look?
MALCOLM
' Course.
GARRETT
Doubt he'll find anything, but it's
good to be sure. Here's to keeping
Marble Creek cattleman's country.
Garrett's a bit too sincere if you pay attention, but Malcolm *
isn't. Garrett holds out his hand and Malcolm takes it, *
striking the devil's bargain.
Genres:
["Western","Drama"]
Ratings
Scene
15 -
Navigating Loss and Change
38 INT. CARTER'S MERCANTILE - DAY 38
Recognizing them from the funeral, we see Rose and Abraham
Carter. Rose is sharp and quick to share her thoughts - she ,
is doing just that with her husband, the owner of the
Mercantile. An affable and sincere man, he's lovingly patient
with her. Their son, TOMMY CARTER (10) is stacking cans on
shelves.
ROSE
If Audrey was as upset as Mrs. Ross
said, Garrett Knox must have --
ABRAHAM
There is no point supposin'. I'm
sure she'll be along soon.
ROSE
But if he--
ABRAHAM
Rose, you need to leave it be and
stop speaking ill of your neighbor
when you have nothing but hearsay --
A ringing bell interrupts him. Audrey enters the store. She
beelines for Rose and Abraham.
AUDREY
I cannot believe the audacity of
Garrett Knox. He is a flannel-
mouthed hypocrite!
ROSE
I heard he stopped you outside the
bank and you called him the devil!
Good for you!
Abraham rolls his eyes and moves away.
ROSE (CONT'D)
But before you tell me about that,
how are you, Audrey? You taking
care of yourself in between all --
The only telephone in town RINGS IN THE BACK ROOM. Audrey
jumps. Abraham disappears behind the fabric curtain.
AUDREY
Good lord. How do you get used to
that sound?
ABRAHAM (O.S.)
Marble Creek exchange.
ROSE
It takes some practice. Now...
Audrey looks to Tommy. Rose understands.
ROSE (CONT'D)
Tommy, please go stand by your pa
when he's on the telephone. You'll
be answering it soon enough.
TOMMY
Yes, Ma'am.
Tommy exits to the backroom. Audrey pulls Rose aside.
AUDREY
Rose. The mill. It is going to
happen. I've invited Mr. Bauer to
come do his survey. I'm selling.
ROSE
Oh Audrey. Do you have to go?
Audrey takes her friend's hand and gives it a squeeze as she
nods her head.
AUDREY
Emma needs... it's all just so
much.. without Rory, I just... *
Rose nods, knowingly. Audrey resets herself.
AUDREY (CONT'D)
Besides, I am a city girl at heart.
We'll start in San Antonio, so it's
not too big a change. Maybe a year.
Then I want to take them back to
Philadelphia.
ROSE
Oh, Audrey. Sometimes I wish we
could leave and get Tommy outta
here. I heard Abraham takin’
messages. Seems they’re sendin’ a
couple Pinkerton detectives to sort
out the train robbery from last
week. Shouldn't take much detective
work to find who's behind that.
AUDREY
Let us pray they can track those
lowlife Black Riders down once and
for all... and for Seamus.
Audrey saddens as she remembers. Rose squeezes her hand.
Genres:
["Western","Drama"]
Ratings
Scene
16 -
A Case of Silence
39 EXT. MARBLE CREEK TRAIN STATION - DAY 39 *
The train engine releases steam as PASSENGERS unload.
BEAU HANNIGAN (33, Irish) handsome with hair a bit long,
steps onto the platform. He's tall, fit and carries himself
with confidence. A Pinkerton Detective and dressed the part.
STEPHEN WALL (33, Black) also a Pinkerton Detective, is a bit
shorter. He's fit, a few pounds heavier, but just as
confident as Beau. The men look about and assess their
surroundings.
Down the platform, a horseless carriage rolls down the ramp
from a boxcar to the ground and its very excited new owner.
Beau and Stephen head into the station house.
40 INT. MARBLE CREEK TRAIN STATION - DAY 40 *
The crowd thins, leaving the way clear to the station
manager, SAM TUCKER (60, English) wearing a uniform like a
conductor.
SAM
Well, I’ll be damned. Beau Hannigan
and Stephen Wall. What's it been?
Five years?
STEPHEN
Nearly ten, Mr. Tucker, but who's
counting?
BEAU
Hey, Sam.
SAM
What’s brings you back to these
parts, boys? Thought you’d … gone
your own way, Beau?
They hold up their Pinkerton badges.
BEAU
I did. And it brought me home
anyway. What can you tell us about
the robbery last week of the
Southwestern Telephone payroll?
SAM
Train outta San Antonio. Quietest *
robbery I’ve ever heard of. Near as
we can tell, they went in the back
side of the baggage car, opened the
safe with the combination. Safe *
door was open when we found it.
STEPHEN
So nobody actually saw anything?
SAM
Nope. Nobody hurt but the phone
company. I hear it was a twenty
thousand dollar punch.
BEAU
We’ll be around for a bit if you
hear somethin’ more.
SAM
Good to have you both back home.
Beau nods. They step outside.
STEPHEN
How about we discuss this over a
beer?
BEAU
Excellent plan.
Genres:
["Western","Mystery"]
Ratings
Scene
17 -
A Game of Ethics
41 INT. SALOON, MAIN ROOM - DAY 41
The open windows and doors let a nice afternoon light in on
the place. Nothing fancy. A long bar hugs one wall. Behind
it, ROBERT O'BRIEN (60), the bartender/owner, monitors his
grandson, LEWIS O'BRIEN (17) as he re-stocks glasses.
ROBERT
Those nice and clean, Lewis?
LEWIS
Yessir, Grandad. *
Some generally well-behaved RANCH HANDS fill a dozen chairs
around several tables. Two hold card games. *
KRETT CARSON (34) foreman at Hannigan Ranch. Handsome and
usually cheerful. He looks at his cards. At this moment, he's *
clearly not feeling good about his stake in the game.
PATRICK LOCKWOOD (50's, Alabama born and raised) foreman at *
Knox Ranch. He's an over-confident smarmy bastard. *
PATRICK
Full house.
Krett lays down his cards. Patrick gathers the pile of chips.
THREE RANCH HANDS lay down their cards and leave the table.
KRETT
Patrick, don't it bother you to
take money from them that work for
you?
PATRICK
I ain't no skilamalink. 'Sides,
Garrett Knox pays their wages same
as mine.
KRETT
They don't get Foreman's pay.
PATRICK
I don't owe 'em nothin'. Other than *
Johnny, none of those boys served. *
Patrick nods over to JOHNNY (50's, a Good Ol' Boy from south *
Georgia) who sits at another game. *
PATRICK (CONT'D) *
Ain't my worry if the cards bring *
me luck and not them. *
Krett scoffs. *
PATRICK (CONT'D)
You worried 'bout my hands losing *
money, Carson? Or is this about *
you? Doesn't Malcolm Hannigan pays *
his highfalutin' foreman enough to *
lose a few hands? *
KRETT
I can lose and buy drinks, Patrick. *
(to the room)
Who's thirsty?
CHEERS from the other men shut Patrick up. Robert starts
lining up shot glasses and pouring.
The saloon is a happy place when Beau and Stephen enter. They
scan the place, and lock eyes with Robert behind the bar.
Smiles are contagious.
ROBERT
Well, ain't you two a sight for
sore eyes.
STEPHEN
Afternoon, Mr. O'Brien. How about a
shot and a beer for a couple of
weary travelers?
BEAU
Hello, Robert. Is that Lewis all
grown up? Last time I saw you, your
Grandad here had you emptying
spittoons. Look at you now!
Lewis stands a little straighter. A bit full of himself.
ROBERT
Lewis, you surely remember Beau
Hannigan, and Doc Wall's son, *
Stephen.
LEWIS
Good to see you gentlemen.
Robert sets down the whiskeys, including one for himself.
ROBERT
Welcome home boys. To the old days. *
Before they can drink, Krett steps up to Beau, pats him on
the back.
KRETT
The prodigal son has returned! Does
your pa know you're back?
BEAU
I don't believe he cares.
KRETT
Come on, Beau. I'm sure your pa
will be happy to see you.
Beau looks at Krett blankly.
KRETT (CONT'D)
Come out on the count with us! Just
like old times. Though the hands
are lookin' to me these days, but
you understand. Stephen, been a
long time. How you been?
STEPHEN
Krett. Looks like bein' a foreman
agrees with you.
Krett smiles, but before he can speak, Beau jumps in.
BEAU
We're here on business. We won't be
around long.
KRETT
Offer's open if you change your
mind. Hope to see you at supper!
Beau turns to Stephen and they down their shots. Krett heads
out the door.
Genres:
["Western","Drama"]
Ratings
Scene
18 -
Festival Preparations and Friendly Banter
42 INT. CARTER'S MERCANTILE - DAY 42
Rose wipes the pickle barrel. Audrey looks through fabrics.
Abraham rings up a sale for MRS. KIMBALL (60s, Irish).
ABRAHAM
Mrs. Kimball.
Mrs. Kimball collects her things, and approaches Audrey.
MRS. KIMBALL
Mrs. Byrne, I am so hoping you and
your children will be attending the
Annual Festival on Sunday. We count *
on everyone in the community taking
part.
Not needing a reply, Mrs. Kimball exits with a flourish of
importance as Abraham calls out after her.
ABRAHAM
Do give our best to Rev. Kimball!
ROSE
You'd think it was the Governor's
inauguration the way she goes on! *
ABRAHAM
Would you and the children like to
go with us, Audrey? Tommy's been
asking about Flint being there.
AUDREY
It's just so many people. I don't
think --
ABRAHAM
It should be quite the event. And
sitting together, it'll be just
like old times.
Abraham realizes his gaffe as soon as he says it.
ROSE
What Abraham means is --
AUDREY
It's alright. I know Rory would *
want us to go. So, I will consider
it.
ROSE
It would be good for the children.
You might actually enjoy it, too.
AUDREY
If I do attend, when the biddies
start in with 'you poor dear,' and
Lord help me you know they will,
(MORE)
AUDREY (CONT'D)
bring me something with whiskey in
it.
ABRAHAM
(laughs)
Perhaps not. You might just tell
them what you think.
ROSE
I'll bring you something with
whiskey. Serve 'em right.
Genres:
["Drama","Western"]
Ratings
Scene
19 -
Tensions of Duty
43 INT. SALOON, MAIN ROOM - DAY 43
Beau and Stephen sit at a corner table with their beers. Only
a few RANCH HANDS remain, they're on the other side of the
room.
BEAU
It's too clean to be a gang job.
STEPHEN
Getting on and off the train out of
sight wouldn’t be too difficult,
but opening a safe silently? Either
they're experienced crackers --
BEAU
That's a short list these parts.
STEPHEN
-- or they had the numbers in their
pocket already.
BEAU
Let's telegraph the office. Find *
out who locked up the safe in San *
Antone. And who all knows the
combination.
STEPHEN
Better idea. My pa says the
Mercantile's got a phone now. We
can go say howdy to the Carters.
Beau looks over to the RANCH HANDS as they stand to go.
BEAU
Ask your pa how things are in town
these days. Seems something amiss,
more than just passing years,
right?
Stephen feels that. As the men reach the door, they
practically run into the entering Malcom Hannigan.
MALCOLM
Well whaddya know.
BEAU
Pa.
MALCOLM
I guess the lines musta been down.
BEAU
I'm here on Pinkerton business.
I'll be staying at the hotel if--
MALCOLM
Your room's how you left it. I'll
have cook add one more for supper.
BEAU
I'll stay at the Wildflower.
MALCOLM
Don't be an ass. Charlie finished
shoein’ the wagon horse. Be helpful
and bring him home.
Malcolm heads over to the bar and starts talking quietly to
Robert.
STEPHEN
Told you. You should'a sent a
telegram.
BEAU
Wouldn't'a made a difference. Let's
make that call. *
Genres:
["Western","Mystery"]
Ratings
Scene
20 -
Collision of Progress and Tradition
44 EXT. CARTER'S MERCANTILE - DAY 44
Stephen reaches the door of the Mercantile first, see Audrey
about to exit and opens it for her. Beau hasn't noticed her,
thinks Stephen is holding the door for him.
With Stephen blocking their view, the two crash into each
other. Stephen catches Audrey before she can fall, but she's
strong and bounces right back.
BEAU
My sincerest apologies, Ma'am, I
had no idea --
AUDREY
Clearly.
STEPHEN
Are you alright, Ma'am?
Audrey looks back and forth between the men. She smiles at *
Stephen. *
AUDREY
Stephen Wall? What a surprise. *
STEPHEN *
Mrs. Byrne, how -- *
BEAU *
I am so sorry for my misstep, Mrs. *
Byrne. *
AUDREY *
Hannigan. *
Audrey huffs, glares at Beau, turns and walks away. Beau *
returns Stephen's broad grin with a sheepish look. Stephen
enters the Mercantile as Beau watches Audrey walk away.
45 EXT. MARBLE CREEK, CENTER STREET - DAY 45
A HORSELESS CARRIAGE drives down the center of town. Its
OWNER grins from ear to ear as if parading on an elephant.
TOWNSPEOPLE flock around, touching it and asking questions. *
Audrey stops to look. Flint runs up to her from the *
blacksmith's shop.
FLINT
Momma, can you believe it! I never
thought we'd see a city car here.
Audrey's mouth reflexively turns up at the corners.
AUDREY
A new century is just around the
corner. The possibilities it brings
are limited only by your
imagination.
Garrett steps out onto the boarded walkway and scoffs.
GARRETT
(Loudly)
Noise. Distraction. New toys aren't
progress.
AUDREY
Flint, go on back to Mr. Singer's.
I need to see about reading glasses
for Enrique. I'll fetch you soon.
Flint runs off. Audrey heads to the Optician. The owner of
the horseless carriage smiles broadly at a fuming Garrett and
drives on.
Genres:
["Western","Drama"]
Ratings
Scene
21 -
Community Connections
46 EXT. 'SINGER SMITHING' BLACKSMITH SHOP - DAY 46
Charlie Singer's legs are sticking out from under the Byrne *
wagon. We can just see Flint's feet next to him. *
CHARLIE (O.C.)
See this bent part here, we gotta
get lots of good grease on this so
as to keep it from breakin' easy.
Two city shoes appear next to Charlie's.
BEAU
Hello, Charlie.
Charlie somehow moves his large frame out from under with
grace and ease. He looks up and smiles broadly as he wipes
grease off his hands. Beau takes his hand and turns it into a
hug.
CHARLIE
Beau Hannigan. Damn it's good to
see you. Lookin' quite the
detective, you are.
BEAU
I see you've found a new
apprentice.
Flint climbs out from under the buggy.
CHARLIE
This here's Flint Byrne. He comes
by now and again to give me a hand.
FLINT
Hello, sir.
BEAU
Nice to meet you, young Mr. Byrne.
Charlie, my pa asked me to pick up
his wagon horse.
CHARLIE
Alright then. Just one second.
Audrey walks up from around the buggy. Beau doesn't see her
coming and she doesn't register it's him at first.
CHARLIE (CONT'D)
Hello, Mrs. Byrne. I'm afraid your
buggy needs a new axel. There's
impurity in the iron in this one.
It's right to break before it bends
much more.
FLINT
Momma, Mr. Singer put grease on it
so it won't break easy, and he
measured it and he's gonna make a
new one. But it'll take a couple
days so you gotta tell Bluebonnet
to go extra slow so's as you miss *
the big holes.
All three adults smile at Flint's enthusiastic report.
CHARLIE
Couldn't a said it better, myself.
So yes, Mrs. Byrne, please be extra
careful on the way home.
AUDREY
I understand, Charlie.
CHARLIE
Beau, this is Flint's mother, Mrs.
Byrne. Mrs. Byrne, you might
remember Beau Hannigan.
AUDREY
As he nearly knocked me over just a
bit ago, yes, I am afraid I do.
BEAU
It's a pleasure to see you again,
Mrs. Byrne. And again, my sincere
apologies for my misstep earlier.
I'm going to be riding out your
way. It would be no problem at all *
to escort you and Flint home to
make sure your buggy makes the trip
(MORE)
BEAU (CONT'D)
safely. Flint, why don't you come
with me and we'll fetch both our
horses out the livery.
FLINT
Momma?
AUDREY
Go get Bluebonnet and we'll sort
out the rest.
Flint and Beau head off to the livery. Off Audrey, who's
feeling very managed.
Genres:
["Western","Drama"]
Ratings
Scene
22 -
Fork in the Road
47 EXT. DIRT ROAD OUT OF MARBLE CREEK - AFTERNOON 47
Beau rides the wagon horse along side the buggy, Flint sits
beside Audrey. The wagon horse keeps wanting to walk along
next to Bluebonnet.
BEAU
When I was your age, summer was the
best. We'd throw up a rope at river
bend and swing wide and fly in. You
tried that yet?
FLINT
Momma, can I --
AUDREY
We will discuss that later. So out
with it, Mr. Hannigan. You are here
to help your father and that devil
Garrett Knox run me off my land.
BEAU
I am afraid I have no idea what
you're talking about, other than
that I agree that Knox and the
devil are likely related. No, I’m
here for work, not the ranch.
FLINT
I thought ranchin’ was work. Sure
is at our house.
BEAU
That’s not my work.
Beau shows his Pinkerton badge to a very impressed Flint.
AUDREY
So it takes a train robbery to
bring you home.
BEAU
You know about that?
AUDREY
The town has not changed that much
in your absence. Very little
happens without everyone knowing
about it.
BEAU
Yes, ma’am. That's Marble Creek.
(beat)
My condolences on your loss. Rory
Hannigan was a good man. Flint, I
am truly sorry you lost both your
pa and grandpa so early.
Flint and Beau share a look, before Flint turns away. They
approach a fork in the road. Beau's horse noses Bluebonnet.
AUDREY
Your horse seems quite distracted,
but there's no need to accompany us
further, Mr. Hannigan. We'll be
fine from here.
Beau tips his hat as Audrey heads the buggy right.
FLINT
Bye Mr. Hannigan. See you 'round.
Audrey sighs and clicks to Bluebonnet.
Beau reins his horse to stay straight toward the creek
crossing. He shakes his head and lets a smile sneak out.
Genres:
["Western","Drama"]
Ratings
Scene
23 -
Tensions on the Porch
48 EXT. BYRNE RANCH HOUSE FRONT PORCH - AFTERNOON 48
Enrique rambles up to Bluebonnet and greets both Audrey and *
the horse as the buggy stops in front of the house.
ENRIQUE
Done for the day, ma'am?
AUDREY
Yes, Enrique. Thank you. I've got
your reading glasses. Please find
me after you get Bluebonnet settled
(MORE)
AUDREY (CONT'D)
and we can make sure they work
properly for you.
ENRIQUE
(nodding)
Thank you, Ma'am. Young Mr. Byrne.
Enrique smiles to Flint and then walks the horse and buggy
away. Audrey and Flint walk up to the porch as Emma runs out
of the house. *
EMMA
How was town? *
FLINT
If you want to know, why don't you
go to school.
EMMA
Because I've learned everything
you're being taught.
FLINT
If you'd gone, you'd a seen a city
car, and maybe even Lewis O'Brien!
EMMA
I am not asking about him!
Flint runs inside, Emma goes to chase him, but Audrey stops
her.
AUDREY
Maybe you and Lewis can catch up at
the Festival on Sunday. *
EMMA
We're going?
AUDREY
Apparently it's time to become a
part of the community again. And
Emma, I do hope you'll reconsider
going back to school. You need to
be ready whenever we --
EMMA
Momma, I will continue my schooling
in San Antonio. However long it
takes to get there.
Emma goes inside. Audrey calls after her.
AUDREY
We are not done talking about this!
Genres:
["Drama","Family"]
Ratings
Scene
24 -
Tension in the Pasture
49 EXT. BYRNE RANCH - PASTURE LANDS - MORNING 49
Audrey and Enrique study a plot plan, their horses nearby.
AUDREY
So this number is correct?
ENRIQUE
Yes, ma'am. You have fifteen
thousand, seven-hundred and sixty-
four acres.
A horse in halter wanders across the pasture toward them.
Beau rides his horse out of nearby brush following the stray.
BEAU
Seems my wagon horse has a bit of a
longing for Miss Bluebonnet.
Audrey looks up, annoyed. Enrique moves away, but keeps a
watchful eye.
BEAU (CONT'D)
He's escaped three times since
yesterday to head this way. This is
the first time he made it past the
creek.
AUDREY
I applaud his persistence, but
Bluebonnet seems disinterested.
BEAU
Do you think she won't give a
chance to a wagon horse? How
unromantic.
Beau slips a lead through the bridle of the loose horse.
AUDREY
Shouldn't you be getting back to
work, Mr. Hannigan. If there are no
clues to solving the robbery, your
father will surely be enlisting you
in his shenanigans. Unless the
robbery is pretense and your
wandering horse is a ruse to
convince me to sell to Garrett Knox
to build their precious legacies.
BEAU
I am in Marble Creek to track down
a thief - which I should be on
about right now.I can assure you I
have absolutely no interest in my
father's business, his legacy, or
whatever Knox is up to. I am here
to fetch my horse. It is that
simple.
Beau starts to lead the wagon horse away.
AUDREY
Thank you for the clarification,
Mr. Hannigan.
He turns back with renewed calm.
BEAU
Maybe it's not that simple. It's
nice to see you, too, Mrs. Byrne.
Beau gives her a smile that would melt ice. Audrey almost
smiles back, then turns so he can't see her blush.
Enrique walks over to Audrey, suppressing a grin. Audrey
mounts Bluebonnet to avoid his gaze.
AUDREY
Thank you, Enrique, as I know you
are looking out for me. Now let us
hope Mr. Hannigan and his horse *
have no need to wander this way
again. I'll see you back at the
barn.
Audrey kicks Bluebonnet into a gallop. Enrique chuckles to
himself and shakes his head.
Genres:
["Western","Drama"]
Ratings
Scene
25 -
A Fork in the Road
50 EXT. ROAD NEAR THE RIVER CROSSING - MORNING 50
Beau tightens the cinch strap on his saddle. Krett approaches
from around the house.
KRETT
Hey, old friend! Countin' the herd
out at Zephyr Pass come Monday. One
of your favorite places.
BEAU
I don't think so, Krett.
KRETT
Aw, Beau, you saying that detective
work is more fun that a couple days
out at the Pass?
BEAU
I'm done working the ranch. Simple
as that.
KRETT
Okay, okay. But I gotta ask - were
you just out working Rory's widow?
How's the old man feel about that?
BEAU
Damn Krett. See you haven't
changed.
KRETT
She's playin' you. She's all about
causin' bother to your pa.
BEAU
My father doesn't care about
anything but next year's herd.
That's why you're here.
KRETT
Bottom fact is you supposed to be
here.
BEAU
Ten long and dusty years of hard
ground and flies was enough for my
lifetime. You choose your fate and
I'll choose mine.
Beau mounts up.
KRETT
Luxury of a baron's son.
BEAU
Krett, you and me known each other
for a long time. I never wanted to
be a baron's son. You want it so
bad, it's yours. Maybe you can even
get him to leave all this to you.
But don't mistake any of it for his
caring. I'll be in town today, if
anyone asks.
With a kick, Beau and his horse ride out. Off Krett, who
shakes his head and walks toward the barn.
Genres:
["Western","Drama"]
Ratings
Scene
26 -
A Dance of Hope
51 EXT. MARBLE CREEK WILDFLOWER HOTEL - DAY 51 *
DANIEL SHORT (16, IRISH) sweeps the porch of his family's
hotel as Emma rides by at a nice walking pace. *
She looks to Daniel and waves. *
EMMA *
Hello Daniel. *
DANIEL *
Hi Emma. Nice to see you. *
Emma smiles and rides on. Daniel stands, broom in hand.Beau *
walks up-- amused. He's sporting a new haircut and a fresh
shave.
BEAU
Broom works better if it touches
the dirt.
Daniel snaps to, cheeks flushed.
BEAU (CONT'D)
I bet if you ask Miss Emma for a
dance on Sunday, she won't say no. *
Daniel plays it cool, but the thought does give him hope.
Just then Daniel's father, hotel owner GEORGE SHORT (36,
glasses) walks onto the porch with Stephen Wall.
GEORGE
Daniel Short. Get on and finish up
inside now.
DANIEL GEORGE (CONT'D)
Yes, Pa. Good to see you, Beau.
BEAU
Hello, George.
STEPHEN
Thank you for your time, Mr. Short.
GEORGE
Sorry I couldn't be more help. Nice
to see you both back around. Y'all
take care.
George heads back inside. Stephen smiles.
STEPHEN
Heard what you said to that boy.
You're going to get his hopes up.
BEAU
Nothin' wrong with hope.
STEPHEN
Nice haircut.
Stephen laughs and dodges Beau's pending retaliation.
BEAU
Seriously...
Stephen stops goofing around.
BEAU (CONT'D)
You learn anything from Daniel's
Pa?
STEPHEN
Well, he didn't have many guests
that week - only regulars. No one
new.
BEAU
The Agency should be gettin' back
to us soon with that list.
STEPHEN
Best intelligence is likely
tomorrow. A little food, drink and
dancing - next thing you know,
people will be happy to talk.
Genres:
["Western","Mystery"]
Ratings
Scene
27 -
Festival Preparations and Hidden Tensions
EXT. MARBLE CREEK, CENTER STREET - DAWN *
A dozen WORKMEN are setting up for the Festival. Bandstand, *
dance floor and tables are getting set up, along with *
banners. Mrs. Kimball oversees it all. *
52 EXT. MARBLE CREEK, CENTER STREET - AFTERNOON 52
The Byrnes and the Carters head to the Festival. Audrey and *
Rose carry their dishes. Emma carries a blanket. Abraham
carries a picnic basket and a jug.
Flint and Tommy quietly giggle over Tommy's new slingshot.
ROSE
Tommy Carter, I told you not to
bring that thing. If I see it out
of your pocket tonight, I'm gonna *
practice on your behind tomorrow. *
Tommy quickly pockets the slingshot.
ABRAHAM
Come on boys. I could use a hand.
Tommy and Flint walk on ahead with Abraham.
TOMMY
How'm I gonna get as good as Flint
if Momma never lets me shoot it?
ROSE
Are you going to at least try to
have a good time?
AUDREY
I cherish the chance to fellowship
with my community.
EMMA
Even I don't believe that.
Emma scoffs and bounds up ahead to catch up with Abraham.
ROSE
It will do you good to be out and
away from the ranch.
AUDREY
I know, it's just... I'm starting
to make it through a day without
thinking about him, and ...
ROSE
You aren't going to forget Rory.
Even if you live your fullest life
without him. He would want that. *
Audrey sighs. Rose takes her friend's arm and sidles up
close. *
They arrive at the end of the street where trestle tables *
display all contributions, humble and grand. *
Charlie Singer greets Abraham. Flint and Tommy run off with *
three other boys. Emma wanders off. Audrey and Rose add their *
dishes to the already full table. *
STEPHEN (O.C.) *
Got a spot for these? *
The ladies turn and smile at Stephen holding a huge platter *
of biscuits. Beside him is his father, DR. RICHARD WALL *
(60's, Black), who's clearly enjoying having his son home. *
ROSE *
Your father let you take over his *
kitchen, I see. *
RICHARD *
In fact, I did, Mrs. Carter. *
BEAU *
(popping up behind) *
You're a trusting man, Doctor. *
RICHARD *
I figure if your cook trusted him *
to make 'em on your cattle drives, *
it'd be a safe bet. *
BEAU *
It's good to see you, sir. *
Beau and Dr. Wall laugh and enjoy a hearty hug. Rose and *
Audrey slip away before being cornered by approaching ladies. *
Garrett and Malcolm stand on the other side of the square, *
watching Beau enjoy himself with the Walls. *
GARRETT *
Your son looks healthy. Good to *
have him home? *
MALCOLM *
Beau's unlikely to be here any *
longer than he has to be. *
GARRETT *
That's not all bad, Malcolm. Last *
thing we need - Pinkertons pokin' *
their nose in our business. *
Garrett walks away, leaving Malcolm watching his son. *
Genres:
["Drama","Western"]
Ratings
Scene
28 -
Divided Gatherings
54 EXT. MARBLE CREEK, TOWN SQUARE - EVENING 54
The pot luck supper is in full swing. Seating is clearly *
socially and racially divided. *
Malcolm and Garrett sit at one end of a long table. They have
ample elbow room - respectful space - as their foremen sit to *
their sides. Beau sits beside Krett. Patrick is across from *
them. Their ranch hands sit together intermixed, eating like
ranch hands.
The next table over holds the town businessmen and their
families. Saloon owner Robert O'Brien and his grandson, *
Lewis, and hotel owner George Short, his wife and their son
Daniel sit at one end of the table. *
The Black business owners share the table without division. *
Town doctor Richard Wall and his son Stephen sit with *
Blacksmith Charlie Singer. The Carters are there, with the *
Byrnes next to them, showing their alliance. *
George Short laughs broadly, and elbows his son. Young Daniel *
hasn't heard any of it. He only has eyes for Emma.
Emma sits with her family and the Carters. She's looking *
about, but not in Daniel's direction.
MRS. KELLY (60s) approaches the table, making a beeline for
Audrey.
MRS. KELLY
Dear me, Audrey, I just don't know
how you stand it. No wonder you're
selling to those Germans. Your poor
hands look so worn.
Audrey is about to retort, but Abraham jumps in.
ABRAHAM
Mrs. Kelly, is this your peach pie?
It's just delightful. What's your
secret?
MRS. KELLY
Why thank you, Mr. Carter. It's my
peach trees. My husband planted
three when we settled here...
Rose puts her hand gently on Audrey's arm and stands.
ROSE
Emma, would you please help your
mother and me clear?
ABRAHAM
(to Rose)
No whiskey!
Audrey barely holding back her frustration while Rose laughs
aloud as they walk away from the table with empty plates.
EMMA
What? What's so funny?
As the women laugh, Emma looks over to Lewis O'Brien,
watching him. Like he feels her gaze, he looks back and
smiles. She blushes and turns away.
Genres:
["Drama","Western"]
Ratings
Scene
29 -
Dancing Under the Torches
55 EXT. MARBLE CREEK, TOWN SQUARE - NIGHT 55
Torches burn at the corners of the area cleared for dancing.
A small band settles in on the stage. *
Emma's surrounded by girls ages five through twelve. Clearly, *
they adore her.
Daniel walks up and shoos them along as the band starts up. *
DANIEL
Hello Emma. As you can tell, we all
miss you at school.
EMMA
Oh Daniel, not you too. It's not
that I don't love helping with the
little ones, and of course it's
nice to see you, but I'm just so
tired of Marble Creek.
Emma sighs and sits on a bench. Daniel hesitates, then sits
beside her to watch the band play.
Across the way, Rose gives Audrey's hand a squeeze as Abraham
pulls his wife out to dance. Audrey looks over to Emma and
smiles at the way Daniel is clearly smitten.
BEAU (O.C.)
Good evening, Mrs. Byrne.
Audrey turns to see Beau approaching.
AUDREY
Mr. Hannigan.
BEAU
Marble Creek musicians sure can
fill a dance floor right quick.
Would you care to --
AUDREY
No. Thank you.
Audrey turns to get away as fast as she can, and is promptly
stopped by Mrs. Kimball.
MRS. KIMBALL
I'm glad you and your children are
here, Mrs. Byrne. Being a widow,
you need community. And attempting
to run that ranch on your own, only
the good Lord knows what you are
(MORE)
MRS. KIMBALL (CONT'D)
thinking. Thank the Lord, you've *
come to your senses to sell. *
Audrey is about to speak her mind, when Beau steps up to her.
BEAU
Mrs. Byrne, Perhaps this isn't a
good time, but --
AUDREY
It's a perfect time, Mr. Hannigan.
Shall we?
They head toward the dance floor together, leaving Mrs.
Kimball with her mouth open. Once safely away, Audrey stops. *
AUDREY (CONT'D)
The audacity of that woman!
BEAU
You're welcome.
AUDREY
What? It's Mrs. Kimball who should
be thanking you. You saved her from
getting an earful from me. I am SO *
tired of people thinking I am not *
capable of running a ranch! *
BEAU *
I believe you are not only capable, *
but likely better at it than many *
men who struggle with the task. *
Audrey looks at him. He means it. That's a nice change. *
BEAU (CONT'D) *
Is the sale pending? *
Audrey opts not to disclose to much. *
AUDREY *
I am awaiting a response from the *
interested buyer. *
Audrey looks at the dancers enjoying themselves, remembering *
how she loves it. *
BEAU
If you're brave enough, shall we?
I'm so rusty I may fall over.
AUDREY
I'm afraid I didn't bring my oil
can.
BEAU
I can see your city upbringing
taught you the fine art of acerbic
wit.
Audrey almost smiles at Beau.
AUDREY
Thank you. I shall take that as a *
compliment. *
Beau reaches out his hand to her. She takes it and follows
him to the dance floor as the band starts a new song.
Some make way for them happily. Others choose to gossip.
Malcolm glares in disapproval, pulls out a flask and walks
away.
Emma watches her mother with concern. Daniel looks to Emma,
mustering his courage. Lewis glides right up.
LEWIS
Miss Emma, would you do me the
honor of sharing a dance?
EMMA
Miss Emma? You've turned mighty
highfalutin'.
LEWIS
I'm a workin' man. And a gentleman.
(leans in to whisper)
You gonna be a lady and dance with
me or not?
Lewis holds out his hand. She takes it, with a giggle. They
leave without a look to Daniel, who's silently berating
himself.
Genres:
["Drama","Romance","Western"]
Ratings
Scene
30 -
Waltz of Tension
56 EXT. MARBLE CREEK, TOWN SQUARE - LATER 56
The band transitions to a WALTZ -- Emma and Lewis move off
the dance floor.
Audrey turns to leave, but Beau grabs her hand and spins her
into the waltz before she can catch her breath.
AUDREY
People are staring.
BEAU
(off her look)
Don't look at them. If you must
look somewhere, try me. *
She flushes. She's flustered looking in his eyes. *
BEAU (CONT'D) *
My ear might be less distracting. *
Audrey laughs and relaxes. Their waltzing is effortless, *
graceful and outshines the other couples. Audrey smiles in
spite of herself.
Emma notices - not sure what she thinks about it.
As the waltz ends, Emma walks up to Audrey and Beau.
EMMA
Mama, can we go?
AUDREY
Emma. Yes, it's past time.
BEAU
I've not yet had the pleasure, Miss
Emma. I'm Beau Hannigan.
EMMA
Nice to meet you. Mama? *
AUDREY
Find your brother and I'll meet you
at the livery.
Emma throws Beau a concerned look, and heads off.
BEAU
I hope I haven't --
AUDREY
Thank you for the dance, Mr.
Hannigan.
Audrey starts to walk away.
BEAU
Can I escort you to the livery?
AUDREY
No need. Good night.
Beau's face betrays his lack of understanding of women. As
Audrey walks away, sadness replaces the smiles from earlier.
57 EXT. MARBLE CREEK, TOWN SQUARE - NIGHT 57
Away from the revelry, Garrett pulls his horse reins off a
post to quietly slip away.
RICHARD
Not like you to sneak away.
GARRETT
Not sneaking, just leaving. You
need something, Richard?
RICHARD
No needs, Garrett, just wanting to
chat. I'm sure you're aware the
Hannigan boy and my son are here on
Agency business.
GARRETT
I am aware. They will soon find out
who opened the safe and then they
will leave.
Richard shoots him a look.
RICHARD
How are you going to handle it?
GARRETT
The way I handle everything, Doc.
RICHARD
I hope not in the manner you've
taken to lately. And do you truly
believe that little stunt will slow
down Southwestern Telephone?
Garett laughs like it's an inside joke and a rhetorical
question, then turns to Richard like a threatened bull.
GARRETT
It's been proved that our group of
original founders is not as strong
as it was. You're either in this
with me or you're out. You need to
decide. Now.
Richard takes a deep breath and offers a slight nod. Garret
mounts his horse.
GARRETT (CONT'D)
Good. Any change that comes to
these parts - well, it's on my say
so. God help those who stand in my
way.
Garrett rides off hard. Richard watches him go.
RICHARD
(to Garrett's dust)
If anything happens to my
son...there will be repercussions
your money can't silence.
58 EXT. MARBLE CREEK, CENTER STREET - NIGHT 58
Beau and Stephen walk away from the event as the band plays.
STEPHEN
So, mister "I am not taken with
her" looked pretty darn taken while
you were on that dance floor.
BEAU
You can harp on me about that
later. There seems to be only one
source of trouble in town.
STEPHEN
Right? People don't want to talk
about 'em but they can't seem to
help themselves.
BEAU
It makes no sense. The Black Riders
may be unnamed, but they don't shy
away from attention. If they wanted
in that safe, they'd a blown it.
STEPHEN
Unless they wanted the money but
not the glory.
BEAU
Or to annoy Southwestern Telephone.
So how'd they get the combination?
STEPHEN
Beau, nobody wants to say it, but
it was suggested they're backed by
Garrett Knox. Think your pa --?
BEAU
My pa!? How the hell would I know? *
(collects himself)
Soon as the Agency gets us those
names, let's see who here in town
links up.
Genres:
["Western","Mystery","Drama"]
Ratings
Scene
31 -
Generational Clash at the Ranch
59 INT. HANNIGAN RANCH HOUSE - NIGHT 59
Malcolm sits in the front room clutching a whiskey. His pipe
glows in the dark.
Beau enters through the front door.
MALCOLM
You ever gonna get back out and
work this ranch?
BEAU
Krett's here with a dozen hands.
You don't need me.
MALCOLM
This is gonna be your ranch one
day. Try to show a little pride.
BEAU
I was proud when I worked it. I
have other work now.
MALCOLM
What's the city done to you, boy?
And what the hell are you doing
with Rory Byrne's widow?
BEAU
What do you want from me? I am a
man makin’ his own way. Not relyin’
on someone else to carry me. And
since when do you give a damn who --
The heavy brass front door KNOCKER interrupts.
Beau turns to answer but A MAID beats him to it and is handed
a telegram. She brings it into the room.
MAID
Telegram for Mr. Hannigan.
MALCOLM
Who the blazes would send me a
telegram at this hour?
MAID
It's for Mr. Beau.
She hands it to Beau and leaves.
MALCOLM
You gonna make me ask?
BEAU
From the Agency. About the train
robbery.
MALCOLM
I'm goin' to bed. I got real work
to do tomorrow. *
Malcolm leaves. Beau fishes his badge out of his pocket,
stares at it. He shoves it back in and goes upstairs. *
60 EXT. MARBLE CREEK, CENTER STREET - AFTERNOON 60 *
Audrey, wearing a day dress, steps out of Carter's Mercantile
and walks down the boards into the Post Office.
61 INT. MARBLE CREEK POST OFFICE - AFTERNOON 61 *
Audrey opens her box to find it empty. Disheartened she goes *
to the clerk at the counter.
AUDREY
Has the mail been delayed?
MR. DUMPHRIES
No.
AUDREY
Perhaps there's a bag not been
emptied? I've been awaiting a reply
for quite some time now.
MR. DUMPHRIES
Are you insinuating something?
AUDREY
No, Mr. Dumphries. I have no doubt
that you are very aware of every
letter that comes through. I have
complete trust in your dedication
to delivering each one with care.
She turns to leave, but stops to add one more thought.
AUDREY (CONT'D)
Give Garrett Knox my regards.
62 EXT. MARBLE CREEK, SIDE STREET NEAR BLACKSMITH - AFTERNOON *
Malcolm walks down the street, distracted by his thoughts. *
A METALLIC CRASH (O.S.) startles him, and turns at the back
corner of the blacksmith's shop to see what happened.
Flint sets the milk can back on a bench and makes another
attempt to rope it with the same calamitous result.
MALCOLM
Well that rope didn't fly right.
Flint is a little intimidated, but tries to hide it.
FLINT
I want to help more on our ranch.
Figure if I can rope it'd be good.
Malcolm takes this in.
MALCOLM
In that case, you got to practice
right. Try this.
Malcolm takes the rope and throws. He's close, but misses.
MALCOLM (CONT'D)
Even us old timers need practice.
His next try lands it perfect.
FLINT
How did you do that?
Malcolm places the rope in Flint's hands and guides him
through it. Together, they land it.
MALCOLM
You're the Byrne boy, aren't ya?
FLINT
Yessir. Flint Byrne.
Flint tries on his own, he gets closer, and tries again.
MALCOLM
You're friends with my son Beau.
FLINT
I like him. He don't act bossy like
other grown-ups.
Flint tries again, this time snagging the can perfectly. *
MALCOLM
Now you can tease Beau. Took him a
while before he wrangled his first
milk can.
They both laugh. Malcolm's face is a muddle of happy memories
and lost chances.
CHARLIE (O.S.)
Flint! Your momma's here! *
MALCOLM
Yes, don't be late for supper. I *
best be on my way. Take care, young
Mr. Byrne. *
Genres:
["Western","Drama"]
Ratings
Scene
32 -
Dawn of Destruction
63 EXT. KNOX RANCH - DAWN 63 *
Saloon owner Robert O'Brien rides up to the Knox Ranch *
bunkhouse. *
ROBERT *
Patrick! *
Patrick hurries out from the bunkhouse. He stops in front of *
Robert missing one of his boots. *
PATRICK *
Yessir. *
ROBERT *
Need you to send the two new hands *
to strike a match. *
PATRICK *
Where, sir? *
ROBERT *
Whitman's sharecropper cabins. *
PATRICK *
And the croppers? *
ROBERT *
Don't waste a bullet you don't have *
to. Fire should be enough. Colonel *
wants 'em cleared out. *
PATRICK *
When? *
ROBERT *
Now. Croppers are in the fields. *
Fewer people to run the buckets. *
PATRICK *
I'll handle it. *
ROBERT *
No. Those two new men will. Then'll *
they're to join you and Johnny on *
something more important you'll be *
taking point on. Go fetch Johnny so *
I only say it once. *
(re: his missing boot) *
You'll need both your boots. *
64 EXT. SHARECROPPERS' SETTLEMENT - MORNING 64
The sharecroppers' homes sit back from a small stream -- one
room cabins with cookstove chimneys and a few windows.
The fields they work are in the distance, a considerable
"commute" even on horseback.
Two Black Riders - NEW HAND 1 and NEW HAND 2 - charge from
behind the settlement and light the houses farthest out of
view of the fields. They light a few more and ride away.
The black smoke clouds mushroom quickly.
A single cry of "Fuego!" rings out.
Across the field, WORKERS turn to the smoke, drop everything
and run.
65 EXT. DIRT ROAD OUT OF MARBLE CREEK - MORNING 65
The buildings of Marble Creek far behind them, Beau and
Stephen slow their horses to a walk.
STEPHEN
Think Mrs. Thompson will tell us
anything about her brother's work
with the telephone company?
BEAU
Depends how she feels about
Pinkertons.
STEPHEN
At least the weather's ... oh no.
Black smoke rises in the distance. They exchange worried *
looks and kick their horses into a full gallop. *
Genres:
["Western","Drama"]
Ratings
Scene
33 -
Fire on the Horizon
66 EXT. BYRNE RANCH BARN - MORNING 66
The alarm bell outside the barn peals loudly through the
property. Young Ramon pounds the bell with all his might.
Audrey, in her work clothes, runs out of the barn.
AUDREY
What's wrong?
RAMON
Incendio! Fire!
Across the field behind the band, more than a mile away,
black smoke rises angrily.
ENRIQUE
Whitman's croppers. *
AUDREY
The cabins! Go. Go! Everyone!
Workers pull gear out of a small wagon as Enrique tosses
buckets in. Men pile in. Another half-dozen grab the horses
out of the corral and jump on bareback with only a simple
bridle.
Anita runs from the house just as the wagon starts to head
out.
ANITA
Espera! Mi Madre!
(to Audrey)
My mother. I have to go!
Audrey nods. One of the workers reaches out a hand and pulls
Anita up into the wagon as it rolls.
Another man brings a horse over to Enrique. He looks to her.
AUDREY
Go.
ENRIQUE
Mrs. Byrne...
AUDREY
Go. You'll need everyone. *
Audrey and Emma watch the men on horseback race to the fire.
The wagon horse pulls the others as fast as it can.
EMMA
Mama, do you think the Black
Riders...
AUDREY
I do, yes. They are the cause of
all that plagues us.
Audrey and Emma step into the very empty house. *
EXT. SHARECROPPER CABIN - DAY *
Enrique jumps off his horse. He races towards black smoke *
from a cabin. Approaching horse hooves stop him. He turns. *
Beau and Stephen ride up hard. *
ENRIQUE *
Señor Hannigan. With me please. *
Beau dismounts and follows Enrique. Stephen heads off to help *
the off-screen hands we hear yelling for more water. *
67 INT. BYRNE RANCH HOUSE, EMMA'S BEDROOM - DAY 67
Emma hears horses approaching and looks out the upstairs *
window.
EMMA
Momma!
Genres:
["Western","Drama"]
Ratings
Scene
34 -
Standoff at Byrne Ranch
68 EXT. BYRNE RANCH HOUSE - DAY 68
Four Black riders are on the road riding toward the house.
Smoke rises from the rifle of the leader. The eyes above the
yellow wild rag are recognizable - it's Patrick Darnell, Knox
Ranch Foreman. JOHNNY and the two new hands follow.
69 INT. BYRNE RANCH HOUSE, EMMA'S BEDROOM - DAY 69
Audrey comes up behind Emma, carrying two WINCHESTER 73
RIFLES.
AUDREY
I see them. And I am not surprised.
Audrey drops a box of ammunition on a small table and hands
Emma one of the rifles.
AUDREY (CONT'D)
Load.
Audrey grabs four bullets and starts loading the other.
AUDREY (CONT'D)
Load 'em as full as you can, but
don't make me wait. And Stay Down!
Emma ducks and starts loading. It's not easy to seat each
bullet into the chamber.
Audrey raises her rifle, supports it on the sill, and takes
aim at the ground in front of the lead rider.
She fires a WARNING SHOT. The kickback is slight, but she
wasn't quite ready. Clearly it's been a while.
INTERCUT TO THE BLACK RIDERS -
Audrey's bullet hits the ground -- less than ten feet in
front of his horse.
Rocks, dirt and dust explode on the ground.
The lead horse spooks and the others pull up short. NEW HAND
1 pulls his rifle out.
JOHNNY
Put it away. You know our orders.
NEW HAND 1
Well at least she can't aim.
Audrey sites her Winchester and adjusts her grip.
The men stare up at her, yellow masks under black hats,
holding their fire.
Audrey aims at the ground before the horses, and FIRES three
times. Kickback no longer a problem.
The Riders control their spooked horses.
PATRICK
Oh she can aim. She knows just what
she's doin'.
AUDREY
Get off my land! *
Emma startles at her mother's outburst.
Patrick signals. They split into two's and go around the
sides of the house.
Audrey tenses. She hands the empty rifle to Emma and reaches
for the other.
Emma snaps back to her task, grabs the hot empty rifle as she
hands over the other.
AUDREY (CONT'D)
How many loads?
EMMA
Four. I think.
AUDREY
Let's hope that's right.
The Black Riders loop the perimeter back toward the house and
close in on the back entrance.
AUDREY (CONT'D) *
Once I've fired three shots, be
ready to hand me that one. Stay out
of sight best you can.
Audrey breaks for the stairs. *
Genres:
["Western","Action","Drama"]
Ratings
Scene
35 -
Descent into Chaos
EXT. SHARECROPPER CABIN - DAY *
Anita, covered with soot and ash, pleads with the workers. *
ANITA *
Has visto a mi madre? *
One of the ranch hands steps out of a burned house and takes *
Anita's hand. His look says it all. *
ANITA (CONT'D) *
NO!!!! NO!!! *
Anita races into the house. People gather around. All the *
work and talking stops. Anita's sobs the only sound. *
KAPOW! A distant rifle shot rings out. *
Beau and Enrique share a glance. That was from Byrne Ranch. *
70 I/E. BYRNE RANCH HOUSE KITCHEN/BACK DOOR - DAY 70 *
Audrey stands at around the corner, in the hallway, her rifle
pointed at the kitchen door. A Black Riders enters.
Audrey doesn't miss a beat -- she steps out and FIRES.
The blast hits NEW HAND 2 square in the chest. It BLOWS him *
backwards and into the other Black Rider - NEW HAND 1 - who *
is coming up on the stairs behind him. *
Audrey cocks the rifle FIRES AGAIN. The bullet flies between *
Patrick and Johnny who are behind a tree. Patrick fires above *
her head. The kitchen ceiling EXPLODES. Dust falls on Audrey. *
New Hand 1 rises and comes at her. She FIRES A THIRD TIME -- *
he takes a bullet in the arm. Blood flies. *
She looks behind her for Emma. She's not there.
New Hand 1 grabs his arm, and runs to his horse. *
Audrey readies to fire again, but the three Black Riders *
hightail it and ride out hard on the back road. *
She steps out onto the back porch with the rifle in hand, and
looks down at New Hand 2, the dead Black Rider. Emma comes up *
behind Audrey holding the other rifle, clearly shaken.
71 EXT. BYRNE RANCH, BACK ROAD - DAY 71 *
Riding hard, Patrick and Johnny are out in front of New Hand
1. Patrick pulls up and turns his horse around. Johnny slows.
JOHNNY
What the hell, Patrick?
New Hand 1 rides up awkwardly. He's trying to stop the
bleeding in his arm and hold the reins at the same time.
NEW HAND 1
If I coulda shot that bitch --
BANG! A shot square in his chest stops that thought. New Hand
1 is knocked half out of his saddle; the horse circles.
Patrick's gun is smoking in his hand.
PATRICK
Colonel's orders. No loose ends.
Patrick pushes New Hand 1's body down off his saddle. It *
lands in the dust with a heavy thud.
Patrick takes the reins of the loose horse. Without another
word, the two men and three horses head back where they came
from.
72 EXT. BYRNE RANCH HOUSE FRONT PORCH - SAME TIME 72
Soot covered Beau, Enrique, and Stephen ride up to the house *
at top speed.
Beau leaps off his horse and runs toward the front door -- *
gun drawn, eyes scanning. *
Guns in hand, Enrique and Stephen head around to the back. *
Beau opens the front door and freezes.
73 INT. BYRNE RANCH HOUSE - CONTINUOUS 73
Audrey is aiming a rifle right at him. Emma is behind her,
aiming a rifle out the open back door.
BEAU
Whoa there!
Audrey lowers her gun. Emma turns, lowers her rifle and moves
to Beau.
BEAU (CONT'D)
Are you alright? We heard shots --
EMMA
Momma shot one. Two actually, but
the one she got in the arm rode off
with the other two.
Enrique comes in from the kitchen. *
ENRIQUE
Señor Hannigan. You need to see.
Genres:
["Western","Action","Drama"]
Ratings
Scene
36 -
Confronting Danger
74 EXT. BYRNE RANCH HOUSE KITCHEN/BACK DOOR - DAY 74 *
Stephen stands with two soot covered ranch hands by the dead *
man on the ground. Enrique nods. One reaches to pull the mask
from the raider's face revealing New Hand 1. He looks to *
Enrique, his face blank.
ENRIQUE
We do not know this man.
EMMA
Why are we still here, Momma?
Audrey turns to her daughter.
EMMA (CONT'D)
They killed Grandpa. Are you gonna
let 'em kill us, too?
AUDREY
Emma!
EMMA
Daddy and Grandpa wanted us to *
leave! We should have left right
after we buried them.
Audrey is stunned. Emma looks square at her mother.
EMMA (CONT'D)
Just sell the damn ranch!
Audrey snaps -- a switch has been flipped.
AUDREY
Enough!!
Emma is blown back.
AUDREY (CONT'D)
Anyone who thinks I will just roll
over and leave is a damn fool!
Emma storms out the back door, Audrey turns to watch her go
Stephen crouches down to inspect the dead man. *
Audrey sees the man dead at her hand and steps back, hit with *
the life-changing realization that she did that. She turns to *
Beau. *
AUDREY (CONT'D)
I believe I need to call the
Ranger. I shall get changed to ride *
into town with you and Mr. Wall.
Beau nods, but his blackened face betrays a heavy weight. *
AUDREY (CONT'D)
The fire? Is everyone alright? How
bad is the damage?
BEAU
Anita's mother couldn't get out in
time. She's gone.
Audrey looks gut-punched. She sinks into the nearest seat.
BEAU (CONT'D)
Everyone else is okay. But their
homes are destroyed.
Beau looks to Stephen, who is looking through the dead man's
pockets. He pulls out then smooths a crumpled piece of paper.
STEPHEN
Beau, looks like we found one of
our train robbers.
Stephen holds a train schedule with a sequence of numbers
scrawled onto it.
Another of the Byrne ranch hands rides up to Enrique and *
quietly shares information.
ENRIQUE
Señor Hannigan. There's another man
with the yellow wild rag. Dead on *
the back road. *
AUDREY
You can bet this is all Garrett *
Knox's handiwork. I just know it. *
Stephen and Beau exchange looks.
Off Audrey, caught in an emotional fire storm. *
Genres:
["Western","Drama","Action"]
Ratings
Scene
37 -
Confrontation at the Ranch
75 INT. HANNIGAN RANCH HOUSE - EVENING 75
Malcolm and Dr. Richard Wall are in a heated conversation.
RICHARD
This.. this... was never part of
our founders' plan. The bribes, the
blackmail, the threats?! Now murder
of an innocent woman and attack on
a family?! We have to stop him. My
conscience is full.
MALCOLM
Mine's clear.
RICHARD
You just stopped caring.
MALCOLM
Garrett would never --
RICHARD
Settle this before he ends it for
us all.
Richard turns to leave and nearly runs into Beau at the door. *
Some remnants of soot and ash evident on his clothing. *
BEAU
Dr. Wall. Good to see you, sir.
RICHARD
Beau. *
BEAU
Something wrong?
RICHARD
Not for much longer.
Richard nods to each of them and leaves.
BEAU
What was that about?
MALCOLM
He's got some notion that I know
what's going on around these parts.
Malcolm sinks into a chair by the fire. A book lays ignored
on a side table, next to a pipe and a glass of whiskey.
BEAU
Was a time nothin' happened around
here without your say.
MALCOLM
I got rich. I got old. And I'm
tired enough to not give much of a
damn.
BEAU
You gave up the day she died. Made *
no difference to you where I went *
or what I did. *
MALCOLM
You ran away! I turn around and
you'd high tailed it outta here
without a look back.
Beau stares at Malcolm.
BEAU
Marble Creek was all you cared *
about. But now --
MALCOLM
They give you lessons in how to
care with that little Pinkerton
badge?
BEAU
This badge gives me purpose. I came *
here to track the men who got into *
that safe. I bet you know all too
well the sister of the phone
company's accountant lives in town.
And that her husband owed Knox a
favor.
Malcolm scoffs.
BEAU (CONT'D)
Maybe owed you one, too. But arson? *
Murder? You and Knox sinking to new *
lows. *
MALCOLM
You think I go after women and
children? That's what you think of
me? The stock you come from?
Understand this, boy. Don't cross
me in business because you will
lose. But I don't conduct my
business with a gun or a mask.
BEAU
You may not be the one givin’
orders, but you sure as hell aren't
stoppin' 'em.
MALCOLM
What do you expect me to do?
BEAU
Take a stand. Lead this town like
you once did. Be the man you used
to be before she died.
MALCOLM
You said yourself, ain't nothin'
left of that man.
BEAU
I wanted you to prove me wrong.
Beau walks off. The back door SLAMS, echoing thru the house.
Malcolm looks like he's been broadsided. He moves to his
desk, picks up a small framed photograph. A young woman with
some of Beau's features stares back. He sits heavily into his
chair, putting the photo to his chest.
Genres:
["Western","Drama"]
Ratings
Scene
38 -
A Night of Vigilance
76 EXT. BYRNE RANCH HOUSE - NIGHT 76
Audrey rocks in the chair on the porch -- rifle by her side.
A CRUNCH OF GRAVEL puts her on alert -- she grabs the rifle
and readies to aim.
Enrique, rifle against his shoulder, comes around the corner.
AUDREY
Good lord, Enrique.
Audrey sits back into the rocker with a big exhale.
ENRIQUE
I'm sorry, Mrs. Byrne. I thought
you were inside.
AUDREY
Is everyone settled in the
bunkhouse?
ENRIQUE
I have three men looking out, they
will change teams in 4 hours. I am
sorry we left you today. You should
not have been alone to defend the
house.
AUDREY
You did the right thing. Those poor
families. Anita's mother, God bless
her. Do you remember how she *
convinced Seamus to bring Anita to *
work with us instead of X's fields. *
I'd just married Rory. *
Enrique sighs. There's too much there.
ENRIQUE
You did the right thing too Señora.
AUDREY
I just cannot get that dead man's *
face out of my mind. Did he have a *
family? *
(MORE)
AUDREY (CONT'D)
(beat) *
What happens when they come back? *
ENRIQUE
Fear is the weapon the Black Riders
use. Now they know you're not
afraid... *
AUDREY
That's what I'm concerned about.
She looks from the shadows over to Enrique.
AUDREY (CONT'D)
Thank you for your steadfast ways,
Enrique. Truly. You meant the world
to Rory, you know.
ENRIQUE
He was a gift to us all, our Rory. *
It is my honor to stand beside you *
and the children now. We will be *
here with you, ready to fight if we
must -- as long as it takes.
AUDREY
Thank you.
Enrique walks off. Audrey stands and moves to the railing,
looking up at the night sky. A creak from behind her snaps
her attention, she readies the rifle.
EMMA
(at the door)
Momma?
Audrey quickly lowers the gun and exhales, not in the mood
for another confrontation from her teenage daughter.
AUDREY
You should be in bed.
EMMA
So should you.
AUDREY
My mind is too busy for sleep. *
EMMA
I thought the Ranger said you
wouldn't have to see the judge.
AUDREY
I'm not worried about the judge.
EMMA
What would happen if they get into
the house?
AUDREY
Oh Emma, I wish I could take that
worry off your mind. Sleep is your
best respite. Go on back to bed.
EMMA
Not 'til you come inside.
AUDREY
Emma. Inside now. Who is the momma
here?
EMMA
You are. And I want to keep it that
way.
Audrey pauses.
AUDREY
I'm so sorry you got caught up in
all this horribleness. I wish you
hadn't witnessed what I did today.
EMMA
You had to - to save us.
AUDREY
I am so truly sorry.
EMMA
I'm not. You did what was right,
and I'm sure Pa would think so too.
AUDREY
When did you grow up so much?
EMMA
When you weren't lookin'.
AUDREY
I haven't been looking much, have
I?
EMMA
You're so busy with the ranch...
I've been tryin' to help around
here so you don't have to worry so
much.
AUDREY
I'm supposed to worry.
EMMA
You can't do it all alone. Come on
in, Momma.
Audrey rises from the chair. She sets down the rifle and
pulls Emma into a powerful hug.
AUDREY
Please don't take on my troubles,
baby girl.
EMMA
If you promise not to call me that.
AUDREY
If I live to be a hundred years,
you'll always be my baby girl.
Audrey picks up the rifle and follows Emma inside. The door
closes securely behind them.
Genres:
["Western","Drama"]
Ratings
Scene
39 -
Legacy and Defiance
77 INT. BYRNE RANCH HOUSE, EMMA'S BEDROOM - NIGHT 77
Emma unlocks a large trunk at the foot of her bed and pulls
out a homemade wooden case.
Etched on the top is "Emerald Rose" -- she opens it to reveal
two guns - a Colt double-action revolver and an old flintlock
pistol.
She removes the flintlock with reverence.
78 EXT. BYRNE RANCH HOUSE - DAY (FLASHBACK-1897) 78 *
Rory teaches Emma (just a couple years younger) how to load
and shoot the flintlock pistol. She hits the target.
Emma puts the pistol back in the case and closes it gently.
80 EXT. MARBLE CREEK, CHURCH GRAVEYARD - MORNING 80
In a day dress, Audrey paces in front of Rory's grave.
AUDREY
I cannot do this by myself. Fine, I
can handle the cattle it turns out,
but I do not want to be a gun-
slinging outlaw. Dammit Rory.
An unexpected tear melts her frustration.
AUDREY (CONT'D)
I may not be so lucky next time.
With Knox you know there'll be a
next time. And the children? God
help us.
She looks to the sky. Then to the next headstone.
AUDREY (CONT'D)
This is your mess, you old fool.
81 EXT. MARBLE CREEK, CHURCH GRAVEYARD - MORNING 81
Garrett approaches Audrey as she leaves the cemetery. She
stares daggers at him. He looks to the graveyard.
GARRETT
We all miss Rory, he was the golden
boy of Marble Creek.
Before Audrey can say a word, he steps closer to her.
GARRETT (CONT'D)
I heard about what happened at
Byrne Ranch yesterday. How horrible
that it came to you having to kill
a man. Even if he was a train
robber, there's still the weight of
it. And those poor croppers, we
simply can't abide by this
happening in Marble Creek.
Audrey is stunned nearly speechless at his audacity.
AUDREY
Why--
GARRETT
My offer still stands if these
events change your mind about
staying in Marble Creek. We will
miss you, to be sure. I remember
the day Rory showed up with you,
his Yankee bride. How we took you
in as our own.
That does it. Audrey's fuse is lit.
AUDREY
Took me in? Reminded me I was an
outsider every day. Leer at me like
a porcelain doll --
GARRETT
My, my. I thought your eastern
upbringing would prevent you from
speaking in such a manner when I'm
here being neighborly.
Malcolm approaches. He slows his pace as he reads the tone.
AUDREY
I would advise you to experience
Philadelphia before you presume
that it is the homeland of
spineless fools incapable of
intelligent thought. It is where
this country was born, not in your
backwoods parlor room.
(to Malcolm)
In all my time here, I have never
heard an ill word about your
business. Tough but honest. How can
you stand by for his barbaric
idiocy?
MALCOLM
I don't know what exactly you mean,
but I believe his idiocy is in
service of the what's best for the
land and the people.
Garrett isn't sure if he's been insulted or not.
AUDREY
That is for the people who own the
land to decide. I own my land and I
am NOT SELLING!
GARRETT
You'll find yourself quite alone if
you aren't willing to work with the
community who trust the men who
built this town.
AUDREY
I will do with my land whatever I
desire. And... and, if you choose
to break God's sixth commandment to
prevent that, well... Unlike what
(MORE)
AUDREY (CONT'D)
happened to Seamus - have the spine
to do it yourself.
Garrett raises his hand to strike her. Malcolm reaches out to
stop him, but Garrett sell-corrects. He glares at Malcolm.
Audrey turns on her heel and crosses to the Mercantile. The
men stare after her.
Genres:
["Western","Drama"]
Ratings
Scene
40 -
A Turning Point
82 INT. CARTER'S MERCANTILE - MORNING 82
Abraham and ROSE watch Audrey as she spins away from Garrett
and Malcolm and heads to the store.
Audrey storms inside where Rose meets her at the door and
walks her to the back counter where Abraham is.
PATRONS look up at her and return to their browsing.
ABRAHAM
Not one but both of the most
powerful men in town? Have you no
sense?
ROSE
Shush. What did they say?
AUDREY
Doesn't matter. I am through hiding
from them.
ABRAHAM
I suppose you'll be moving on one
way or another.
AUDREY
What is it about the male
temperament that presumes that a
woman's immediate response to
conflict is to leave.
ROSE
It might be time to consider the
safer option, Audrey.
ABRAHAM
We so enjoyed having Flint with us
last night. Why not have him stay a
while. You and Emma too. At least
until things calm down.
AUDREY
That's very kind, Abraham, but I
will stay in our home. *
She's paused.
AUDREY (CONT'D)
It is our home. *
ROSE
Uh oh.
AUDREY
Abraham, be a dear and get me some
ammunition.
83 INT. BYRNE RANCH BARN TACK ROOM - DAY 83
Audrey, now in riding slacks, is pulling a saddle off the
rack. She's furious. Enrique enters.
ENRIQUE
Are you headed out?
AUDREY
I need Bluebonnet to help me clear
my head. Garrett Knox seems to have
everyone in this god-forsaken town
wrapped around his little finger. I
will be damned if I ever let him
get a hold of this land but I am
tired of feeling like Sisyphus.
ENRIQUE
I don't know what that means.
Audrey sighs.
ENRIQUE (CONT'D)
Mrs. Byrne, working with you, I
learn you are a woman who will not
be beaten down. I believe Rory is *
talking to God, telling him to look *
out for you. That is good. Even men
like Knox cannot win against God.
Audrey smiles a little, her anger eased.
AUDREY
Thank you, Enrique. *
84 EXT. BYRNE RANCH RIVER'S EDGE - DAY 84
The water flows over rocks and around little islands of green
grass. Ramon is squatting down at the edge of the river,
scooping something dark into a small glass jar.
Audrey walks toward him leading Bluebonnet. Her hair's a mess *
and her horse is sweaty. She drops the reins to let *
Bluebonnet graze. She walks up to Ramon. *
AUDREY
Hola Ramon.
Ramon jumps to his feet. His face screams guilt.
RAMON
Señora.
AUDREY
What have you got there?
RAMON
For mi abuela. She sent me.
AUDREY
Please send your grandmother my
best wishes.
Ramon can't get out of there fast enough.
Audrey walks over, crouches down, and puts her fingers where
Ramon was working. She pulls them up from a small bubbling
hole. They're coated in thick black goo.
Yep. Black gold. Texas Tea. We got us a game-changer.
Genres:
["Western","Drama"]
Ratings
Scene
41 -
Audrey's Determined Delivery
85 EXT. MARBLE CREEK POST OFFICE - DAY 85 *
Audrey, in the same riding slacks, her hair a bit less
disheveled, but not much, dismounts and discusses the
situation with Bluebonnet as she ties her to the hitching
post in front of the Post Office.
AUDREY
Alright girl. Let us hope today is
a bit more successful.
As she turns to enter, she's looking right at Beau and
Stephen who are watching her from the sidewalk.
BEAU STEPHEN
Afternoon, Mrs. Byrne. Hello, Mrs, Byrne.
AUDREY
Gentlemen.
BEAU
I hope you and Bluebonnet are
having a pleasant day.
AUDREY
Yes, thank you. We are quite well.
Audrey starts to excuse herself, but stops.
AUDREY (CONT'D)
If it's not too much trouble, would
you gentlemen please escort me?
I've had some issues of service
lately, and perhaps your presence
will make certain my letter goes
out directly.
STEPHEN
It will be our pleasure.
86 INT. MARBLE CREEK POST OFFICE - DAY 86 *
Cranky old Mr. Dumphries is behind the mail counter handing
over the out-going mail to a YOUNG MAN who loads it into a
canvas bag.
Audrey walks up to the counter, Beau and Stephen on either
side. Mr. Dumphries looks askance at her riding attire.
MR. DUMPHRIES
There's no mail for you today, Mrs.
Byrne.
AUDREY
I'm here to send a letter.
She hands him her envelope. He inspects it.
UNITED STATES GEOLOGICAL SURVEY
MR. DUMPHRIES
An invite for the U.S.G.S. to poke
around?
AUDREY
If I wanted you to know my personal
business, I would visit you at the
telegraph counter.
Stephen and Beau look at each other - impressed by Audrey's
gumption and noting the recipient of her letter.
Audrey puts two pennies on the counter. He grumbles and
affixes a stamp.
The Young Man closes his mail bag and heads for the door.
YOUNG MAN
These'll make the four-forty to San
Antone.
AUDREY
Wait!
Audrey turns to retrieve the letter. It's already gone. Beau
holds out his hand. He stares down the old man, who pulls the
stamped envelope out from under the counter and hands it to
Beau, which he give to Audrey. She steps up to the young man.
AUDREY (CONT'D)
Would you please be so kind as to
include this?
Audrey's letter goes in the mail bag, much to the dismay of
the disgruntled Mr. Dumphries.
Audrey and her escorts share a smile.
Genres:
["Western","Drama"]
Ratings
Scene
42 -
Preparing for the Storm
87 EXT. MARBLE CREEK POST OFFICE - DAY 87 *
Audrey, Beau and Stephen step out of the post office.
AUDREY
Thank you for your assistance.
Normally, I would think that was
small town nosiness, but I have
learned better. That man is in
Garrett Knox's pocket.
STEPHEN
Happy we could help. Beau, I told
my Pa I'd give him a hand. Fetch me
later to talk to the sister?
BEAU
Sounds good. Mrs. Byrne, might I
ride along with you if you're
headed back?
Stephen smiles to himself as he heads off.
AUDREY
I'd enjoy the company. It's been
quite a day.
88 EXT. DIRT ROAD OUT OF MARBLE CREEK - DAY 88
Beau rides along next to Audrey and Bluebonnet.
BEAU
It explains so much. Milling and
immigrants aren't worth murder, but
oil? Knox has always been hellbent
on being the richest man in the
county.
AUDREY
So he sent his thugs to attack us
yesterday... and it had to be why
he had Seamus killed.
BEAU
Mrs. Byrne, I think you --
AUDREY
I think we can move past the
formalities after everything.
BEAU
Audrey. I think you need to --
Just then Enrique appears on horseback coming from the ranch.
ENRIQUE
Ramon told me you found him at the
water's edge. I'll stake that as
the reason the Black Riders
attacked.
BEAU
You're a smart man, Enrique. I
leave you to escort Mrs. Byrne.
I'll be back after I apprise my
partner of all this.
Beau rides back to town.
AUDREY
Well. Enrique, let's get the hands
that are not out on the count on
watch, shall we?
Genres:
["Western","Drama"]
Ratings
Scene
43 -
A Lesson in Shooting and Safety
89 EXT. BYRNE RANCH HOUSE - DAY 89
Chores are done. The house seems quiet.
Beau rides up to the front porch and dismounts. He notes the
RANCH HAND on horseback with a rifle, coming around the *
property at the sound of his approach. *
A CLANG ECHOES from the back. *
Worried, ties his horse to a post and Beau heads over to the *
barn.
90 EXT. BYRNE RANCH BARN - CONTINUOUS 90
Flint fires off a pebble with his slingshot. A can goes
flying.
FLINT
Woohoo!
BEAU
Well aren't you some pumpkins!
Those cans don't stand a chance.
FLINT
You're funny.
The crack of a gunshot makes Beau spin and reach for his gun.
FLINT (CONT'D)
That's just my sister.
BEAU
What is she doing?
FLINT
Practicing. Don't go around the
barn too fast. She's a bit jumpy.
Beau leaves Flint and crosses to the other side of the barn.
Emma sights her Colt revolver at a small target and SHOOTS --
she nicks the corner of the squat log, and it drops off a
fence post. Beau's surprised. Emma turns to him.
BEAU
Where did you learn to shoot?
EMMA
My pa taught me.
BEAU
Well, then. Allow me to be
impressed in his honor.
Emma smiles. She carefully sets down the revolver to rub her
hand. Beau moves to set up another log.
BEAU (CONT'D)
You might want to adjust your grip
a bit.
EMMA
I know how to hold a revolver.
She picks it back up to demonstrate.
BEAU
Yes. And you also know everyone has *
somethin' to learn. I bet you've
grown a bit since you started. The
way you hold it needs to grow, too.
Beau holds out his hand and Emma gives him the revolver. He
checks the chamber, then looks at the next target.
BEAU (CONT'D)
Slide your hand up a bit on the
grip. Overlap your thumbs.
He demonstrates, then points to the cylinder gap.
BEAU (CONT'D)
Make sure you never let your
fingers go near this cylinder gap.
EMMA
Pa told me that. He would say, "If
you wanna keep 'em, that is."
She laughs just a little at the memory. Beau smiles and hands
her the gun.
Emma lines up the sights.
BEAU
When you're ready, squeeze the
trigger, don't pull it.
She glares at him as if she wasn't born yesterday. Then *
proceeds to show what she can do. The log takes a direct hit, *
flying off the post.
EMMA
It worked.
BEAU
Course it did. Only needed a little
fine tuning.
EMMA
Are you trying to court Momma?
BEAU
Can you put that down first?
Emma lays the revolver next to its carved box. *
BEAU (CONT'D)
I think your momma is a fine woman.
A New Woman, as Henry James writes,
in the best sense of it, but it
leaves me on unsteady ground.
EMMA
(Impressed)
You are a well-read man. You've
spent time in the city. You might
stand a chance. *
BEAU
I know your mother is neither easy *
to sway or quick to a decision, so - *
EMMA *
Hah! That is God's honest truth! *
Beau spots the carved gun case. *
BEAU
"Emerald Rose?"
EMMA
That's me. That's what Pa called me
since I was born.
BEAU
It's quite a name to grow into, but
it suits you.
EMMA
He taught me to shoot, I just
hadn't felt the need to do it until
now. Can I show you something? *
Beau nods. *
She reaches down and opens the gun case. A beautiful *
flintlock pistol lays next to the space for the revolver. *
Beau picks it up, looking at the firearm with reverence. *
EMMA (CONT'D) *
That was Pa's. Grandpa gave it to *
him. *
Emma holds out her hands to take it back. *
BEAU *
Flintlock is a fine piece of *
craftsmanship. Does it fire? *
EMMA *
Used to. But now, something's *
wrong. I think the flint's loose. *
And I might have let it get damp, *
which Pa would have been mad about. *
She cradles the gun, clearly holding tight to the memories. *
BEAU *
They are finicky. I might be able *
to fix it. Would you mind if I take *
a look? It's a shame to see *
something so nice sitting in a box. *
EMMA *
It's already broke so you can't *
hurt it. I'll fetch something to *
wrap it in. *
AUDREY (O.S.)
Emma! *
Audrey steps around the corner, surprised to see Beau. Emma *
takes full advantage and races into the house before Audrey *
can get out a word. *
Audrey walks up to Beau, who braces for a chastising. *
AUDREY (CONT'D)
I would appreciate if --
BEAU
I just came upon her. She's
determined to be ready should --
AUDREY
I'm all for learning to be brave,
but I don't want them caught up in
this.
BEAU
They're just trying to help you. *
AUDREY
I don't want them to help. I want
them out of harm's way. *
Audrey's anger gives way at Beau's understanding look.
AUDREY (CONT'D)
I should send them to stay at the
Wildflower, but how will I know
they'll be safe if they aren't with
me?
BEAU
It can't be an easy decision. You
should know, though, Emma's pretty
good with that Colt, just needed a
little polish. She didn't seem to
mind my suggestion.
Audrey smiles, realizing his kindness.
AUDREY
Any news?
BEAU
We found a bunch more questions,
but no real answers quite yet.
Emma runs back out with the flintlock carefully wrapped in a *
flour sack. Audrey's look demands an explanation. *
EMMA *
It's Pa's flintlock. *
BEAU *
I'm gonna see if I can fix it. *
Audrey looks to Emma. *
AUDREY *
Put that revolver away and go see *
what cook needs. Now. *
Emma hands the wrapped flintlock to Beau. *
BEAU *
I promise to take good care of it. *
EMMA *
Thank you. *
Emma curtseys, then walks to the house, breaking into a run *
after a few steps. Audrey shakes her head. Beau gives her a *
smile that would melt icebergs. *
BEAU *
Audrey, I -- *
AUDREY *
Please stop, Beau. You are a kind *
man, and perhaps you are in Marble *
Creek for purely legitimate *
reasons... I simply do not have the *
time or the inclination to... I'm *
not looking to replace my husband, *
Mr. Hannigan. So please don't waste *
your time trying. *
FLINT (O.C) *
Mr. Hannigan! *
Flint runs up and launches breathlessly into *
FLINT (CONT'D) *
Emma said you're gonna fix the *
flintlock! I know Pa gave it to *
her, but that was when I was too *
young to shoot, and since my name's *
Flint, I'm hoping you can fix it so *
I can learn to shoot it, cuz I know *
Pa would want me to and maybe you *
could teach me? Mama can Mr. *
Hannigan stay for supper? *
Flint's speech renders Audrey speechless. *
BEAU *
Thank you kindly for the gracious *
invite, Flint, but I have to head *
on back. You can be assured, as can *
Emma, that I will do my best to *
repair the flintlock. Now, I best *
fetch my horse. Mrs. Byrne, I will *
keep you apprised of any further *
developments. *
Beau tips his hat to Audrey, gives Flint a smile, and heads *
off. *
Flint takes his mother's hand and pulls her toward the house. *
FLINT *
I'm so hungry, Mama. Are you? *
AUDREY *
Absolutely, darling. Absolutely. *
Before Flint can pull her into a walk, she gives him the hug *
of a mother bear. Then they head into the house with the sun *
setting gorgeously behind it. *
Genres:
["Western","Drama"]
Ratings
Scene
44 -
Chaos at the Byrne Ranch
93 INT. BYRNE RANCH HOUSE KITCHEN/BACK DOOR - MORNING 93 *
Audrey comes back from the barn up onto the back porch, drops
work gloves on a porch shelf and steps inside. There's hay in
her hair and she's splattered in mud.
Anita sits at the table mending clothes. Emma and Flint argue
over his SLINGSHOT. *
AUDREY
Will you two stop it? Can't we have
one day of quiet?
EMMA
He started it.
FLINT
Did not.
Anita exits through the open back door and closes it quietly
to avoid interrupting the argument.
EMMA
He wanted his pea shooter and I
said he couldn't before supper.
FLINT
And I said it doesn't shoot peas it
shoots pebbles really far. And she
said how far and I said watch this.
Flint whips around and shoots at the now-closed door. CRACK! *
The pebble busts right through the window. They all gasp.
FLINT (CONT'D)
I'm sorry, Momma --
AUDREY
Give it here.
Flint hands her the slingshot, bracing for the worst.
Audrey looks down and sees the FLINTLOCK PISTOL laying on top *
of the cloth we last saw it in. A BAG OF POWDER beside it. *
AUDREY (CONT'D)
Emma. Your flintlock. Was Mr.
Hannigan here this morning?
EMMA
He fixed it! He said he'd be back
to shoot it with me, so I got the
powder ready and --
AUDREY
Enough. Hide this somewhere.
Audrey puts the slingshot in Emma's hand.
AUDREY (CONT'D)
And put that gun away! Now!
Audrey strides out of the kitchen, Flint follows.
FLINT (O.S.)
I said I was sorry.
Emma hides the slingshot in a cookie tin, and quickly puts
the pistol and powder in a cabinet.
94 INT. BYRNE RANCH HOUSE OFFICE - DAY 94
Audrey closes the door and leans against it-- shutting out
the mayhem for a brief second.
Genres:
["Western","Family Drama"]
Ratings
Scene
45 -
Standing Alone
95 EXT. MARBLE CREEK, CHURCH GRAVEYARD - DAY 95 *
The FUNERAL CROWD walks from the church to the graveyard.
Rev. Kimball walks beside Anita who, supported by her
friends, follows the coffin on the wagon. Emma and Flint walk
with Enrique.
Audrey walks slowly following them, lost in her own thoughts.
Malcolm catches up to her.
MALCOLM
Good day, Mrs. Byrne.
AUDREY
There's not much good on a day we
bury a woman who was murdered and
the criminals behind it run free.
MALCOLM
The attack on your home.
AUDREY
What about it?
MALCOLM
It shows just how vulnerable we can
be. I am concerned about how
passionately you are refusing to
consider Garrett's offer.
AUDREY
Are you saying...?
MALCOLM
I'm simply saying that we all want
things to go back to the way they
were. If you choose not to sell, to
just keep ranching, well, when the
talk of change goes away, I believe
peace can return.
AUDREY
Change is already happening.
MALCOLM
Please consider it, Mrs. Byrne.
Malcolm leaves Audrey standing alone.
Beau stands talking with one of the townsfolk on the church
steps. He looks over to the procession, sees his father
speaking to Audrey. Malcolm is gone by the time he reaches
her.
BEAU
Are you a'right? What was that
about?
AUDREY
I am done trying to please
everyone. I will take care of
myself and my family. I do not need
your help.
BEAU
What did I do?
AUDREY
From what I can see, your family
needs to choose sides and stay
there. And I believe you came here
to do a job. Go back to your life
and leave mine alone.
BEAU
If this is to do with my father, he
is not me. I'm going to sort that
once and for all.
Beau walks off. Audrey stands still.
Genres:
["Western","Drama"]
Ratings
Scene
46 -
Revelations on the Dirt Road
96 EXT. DIRT ROAD OUT OF MARBLE CREEK - DAY 96
Beau rides hard to catch up with Malcolm. He turns his horse
in front of Malcolm to force him to stop.
MALCOLM
What the hell are you doin', boy?!
BEAU
I need to know what Garrett Knox
has up his sleeve. You can either
tell me or I'll drag it out of you.
MALCOLM
There's no need for empty threats.
BEAU
They aren't empty. Your old friend
has crossed the line.
MALCOLM
He makes some sense. Him keeping
the mill out will let things stay
simpler.
BEAU
You and Richard Wall may think he's
including you but you'll end up
dead like Seamus and he'll end up
with control of everything.
Including the oil.
Malcolm looks at Beau like he's confused.
MALCOLM
Ain't no oil in Marble Creek, boy.
BEAU
(realizing)
You don't know. There's oil under
Byrne ranch. That's why he wants it
so bad.
Malcolm's riding posture collapses. He grabs the saddle horn.
BEAU (CONT'D)
I'm done with it. Like I am done
with you.
Beau turns his horse and rides back to town leaving his
father to absorb the truth.
97 INT. CARTER'S MERCANTILE - DAY 97
Tommy is setting up cards on a makeshift table in the corner
for a game with Flint and Emma. Abraham keeps a watchful eye.
and find Rose and Audrey drinking whiskey in dainty little
shot glasses.
ROSE
You really should apologize.
AUDREY
Why? He is his father's son. *
ROSE
Beau is not his father. Never has
been. You may not have noticed him
much before, but he's a good man.
He's never stood with his father.
Or Garrett Knox.
AUDREY
He's letting them carry on.
ROSE
Don't be a fool. You know what it
means to go against them.
(realizing)
Oh Audrey, it has been so long
since someone tried to court you,
you don't see it for what it is. *
Audrey takes this in. The picture of inner conflict.
Genres:
["Western","Drama"]
Ratings
Scene
47 -
A Chance for Love
99 EXT. MARBLE CREEK TRAIN STATION - DAY 99 *
Stephen and Beau sit on a wagon in the shade of the train
station. Stephen holds the reigns, looking side-eyed at Beau. *
STEPHEN
You are never this quiet unless
something's wrong. *
BEAU
Not much right today, my friend.
STEPHEN
Yes. But I believe there's one *
particular dilemma weighing on you. *
Beau looks over to Stephen, trying to make sense of him. The *
WHISTLE of the incoming train moves them out to their feet. *
STEPHEN (CONT'D)
Pretty brunette, about so high. *
Runs her own ranch. Got you all *
worked up.
BEAU
She wants nothin' to do with me.
STEPHEN
You really believe that?
BEAU
I'm a Hannigan and that's a
problem. Can't change that.
Beau and Stephen step onto the platform. The train pulls to a *
stop and loudly releases the steam. A porter disembarks
carrying a locked wooden chest and hands it to Stephen. *
PORTER
Your father's delivery.
STEPHEN
Much appreciated.
He tips the porter and they take the box back to the wagon.
BEAU
She refuses to believe that I do *
not side with my father. Who
clearly sides with Knox, which is
unfathomable to me.
STEPHEN
If you want to court Audrey, you've
got to show her you're a man of
your word. And that you aren't
easily scared off, even by her.
BEAU
How am I supposed to do that?
STEPHEN
Well, just so happens I might have
helped you out a bit with this.
Stephen unlocks the chest with a key. From amidst bottles of *
tinctures and other powders, he proudly pulls out two *
envelopes: One from the USGS and one from the Oil Company. *
STEPHEN (CONT'D)
When it became apparent our postal
clerk has been selective in what he
allows through, I thought a
"special delivery" might be in
order. I had them included with my *
father's medical order. *
He hands Beau the envelopes. *
STEPHEN (CONT'D)
Show her you're on her side.
BEAU
I owe you.
STEPHEN
I'll add it to your bill.
BEAU
(already leaving)
Be back as soon as I can.
Genres:
["Western","Drama"]
Ratings
Scene
48 -
Moments of Connection
100 INT. CARTER'S MERCANTILE - DAY 100
Lewis O'Brien steps away from the counter with a purchase.
LEWIS
Thank you kindly, Mrs. Carter.
ROSE
Always a pleasure, Lewis.
Emma is pretending to busy herself admiring the fabrics.
Lewis walks up to her. You can practically hear their teenage *
hormones screaming.
The door opens. Beau steps inside. Rose looks up.
BEAU
Is Audrey here?
Emma and Lewis turn to look. Rose grins slightly, tipping her
head toward the curtain to the back room. Beau nods his
thanks to Rose and smiles at Emma and Lewis.
101 INT. CARTER'S MERCANTILE STOREROOM - DAY 101
Audrey stands at the wall phone, leaning into the microphone,
clutching the handpiece.
AUDREY (INTO PHONE)
No, there has been nothing in the
post for a week... If I have to
come to San Antonio to get it
myself I will, but it should not --
BEAU
You're expectin' these? *
She turns, startled. Beau holds up the envelopes. *
She drops the handpiece and takes them in disbelief. *
With tears forming in her eyes, she looks at Beau anew. Is *
she about to kiss him? We'll never know. She's stopped short *
by a voice on the phone.
OIL CO REP (V.O.)
Hello? Mrs. Byrne? Are you there?
Audrey picks up the phone and directs her attention to the
call.
AUDREY
Yes, I'm here. I have the papers.
They just arrived. What happens
now?
Beau beams at Audrey.
102 EXT. 'SINGER SMITHING' BLACKSMITH SHOP - DAY 102
Krett Carson walks his horse up to the door of the shop.
KRETT
Charlie, you here?
Charlie steps out from the shop. Greets the horse first.
CHARLIE
What's the trouble, Deuce?
KRETT
Threw one o'them new shoes. You
musta missed something.
CHARLIE
I'll take care of it, Krett.
KRETT
I've got some business at the
saloon. Send someone over when
you're done?
CHARLIE
Sure. Be 'bout an hour
Krett heads out. Charlie takes a minute to connect with the
horse who is clearly unsettled.
CHARLIE (CONT'D)
I just put that shoe on you and you
and I both know it was good work.
You tryin' to tell me something?
Charlie looks out at Krett walking away, questioning. *
Genres:
["Western","Drama"]
Ratings
Scene
49 -
Confrontation in the Office
103 INT. OFFICE OF GARRETT KNOX - DAY 103
Garrett sits at his desk. Mr. Dumphries, the postal clerk, is *
seated in front of him. The mood is light. Their whiskey *
glasses are nearly empty. *
Malcolm walks into the room. His eyes lock on Garrett. *
MALCOLM
I've got a question for you.
GARRETT
Will you excuse us, Mr. Dumphries? *
MR. DUMPHRIES *
(to Knox)
You want me to --
MALCOLM
For the love of God, get out.
Garrett nods. Mr. Dumphries leaves in silence and closes the *
door.
Malcolm pours himself a whiskey from a bottle of private
stock on the side table. He clocks a NEW MAP on the large *
table in the side room. *
Malcolm turns to Garrett. He doesn't sit. *
MALCOLM (CONT'D)
These Black Riders, they work for
you.
GARRETT
That wasn't exactly a question.
MALCOLM
And that wasn't an outright denial.
GARRETT
Ranger's a day away even when I
want him here, and the new county
Sheriff is too high for his nut.
Someone has to keep the peace.
MALCOLM
Your strength kept the peace here
for many years, Garrett, but now
you're just a crook.
GARRETT
Malcolm, we both know selling this
valley out to the Germans, bringing
in a mill,
(leaning into his English *
charm) *
it rips out the heart of everything
we built.
MALCOLM
Enough! You want Byrne Ranch for
the oil money.
Garrett sits back, relaxes and sips his whiskey.
GARRETT
Change comes like a flood, if you
don't control it, it will control
you.
Malcolm throws back the last of his whiskey and sets his
glass down with a thud. They stare at each other a moment.
Malcolm walks out. Garrett smirks and lights a cigar.
104 INT. 'SINGER SMITHING' BLACKSMITH SHOP - LATER 104
Charlie squeezes the bellows to heat up the coke in the
furnace. As he reaches for the iron, he sees Flint broadly
beaming at his door.
CHARLIE
What are you after, little man?
FLINT
Momma wanted me to check on those
stall hasps Enrique sent in.
CHARLIE
I finished 'em. Box is on the
table.
Flint moves through the cramped workshop. He pulls the box
off the table and knocks a saddle bag to the floor. Its *
contents spill out.
Amidst the mess, a YELLOW WILD RAG. Flint freezes. *
CHARLIE (O.S.) (CONT'D)
Did ya find those hasps?
FLINT
Uh huh.
Flint grabs the wild rag with his free hand and shoves it in *
his pocket. Leaving the spilt mess.
CHARLIE
You wanna hang around a bit, help
me quench the shoe?
FLINT
I gotta get back to the Carters'.
Momma and Emma are waiting for me.
He scurries from the shop, box in hand. Flint leaves with
nary a glance from Charlie, who is deep in his own thoughts.
Genres:
["Western","Drama"]
Ratings
Scene
50 -
The Discovery of the Wild Rag
105 EXT. MARBLE CREEK, SIDE STREET NEAR BLACKSMITH - DAY 105 *
Flint rushes around the corner and runs right into Malcolm.
FLINT
Sorry, mister.
Flint is clearly panicked. Almost on the verge of tears.
MALCOLM
You a'right there?
FLINT
Yessir. Mr. Hannigan, sir.
Flint's eyes are wild and frightened. Malcolm squats down to
look right at him.
MALCOLM
Tell me what's wrong.
Flint hesitates. He looks around for anyone watching.
MALCOLM (CONT'D)
Boy, you look like you've seen
ghost, what is it?
Flint pulls the yellow wild rag from his pocket. *
Malcolm is stunned.
MALCOLM (CONT'D)
(loudly)
Where did you get that?
Flint jumps a little at Malcolm's tone.
MALCOLM (CONT'D)
(softer)
It's okay. Where did you find that,
son?
FLINT
Charlie's. He can't ride with them,
can he? They hurt folks. They
killed my Grandpa.
MALCOLM
No, I'm sure it's not his. Give it
to me and you go on about your day.
Don't say anything to anyone. We
need to know the truth before we go
sayin' things we can't take back.
Flint looks both relieved, but clings to the cloth. *
MALCOLM (CONT'D)
You can trust me. Charlie is a good
man. That doesn't belong to him.
Flint seems to take that news better.
MALCOLM (CONT'D)
Give me that and you get someplace
safe.
FLINT
Momma, Emma and me are about to
ride home.
Flint hands the wild rag to Malcolm, then tries to shake the *
stench of it off his hands.
MALCOLM
I will get word to ya when I find
out the truth. Until then, not a
word. Understood?
FLINT
Yessir.
Flint takes his box and runs across the street. Malcolm
squeezes the cloth in his fist and strides around the corner *
to Charlie's.
106 INT. 'SINGER SMITHING' BLACKSMITH SHOP - DAY 106
Charlie looks up through the latest plume of steam into the
searing eyes of Malcolm.
CHARLIE
Mr. Hannigan. I didn't hear you.
Malcolm opens his hand to expose the yellow cloth.
MALCOLM
Where did you get this?
CHARLIE
It's not mine.
MALCOLM
I know it's not yours. Whose is it?
CHARLIE
I don't want to say as I ain't sure
it's his.
MALCOLM
You let me find that out.
CHARLIE
He left a bit ago.
MALCOLM
Charlie.
CHARLIE
Horse threw a shoe, he was rattled,
so I took off his saddlebag to calm
him, and he knocked it outta my
hands and...
MALCOLM
Charlie, I am not gonna ask again.
CHARLIE
Krett Carson. He's at the Saloon.
Malcolm's shock, hurt and anger fly across his face as fast
as you can say, "Damnit!"
CHARLIE (CONT'D)
I know he's your foreman, I won't
say any --
MALCOLM
Not anymore. Seems he never worked
for me after all. You forget all
about this for now. I'm gonna set
this right and then you can tell
the Ranger what you know.
CHARLIE
Yes, Mr. Hannigan. You be careful.
Malcolm nods and exits the blacksmith shop. Charlie knows *
this won't end well. *
Genres:
["Western","Drama","Mystery"]
Ratings
Scene
51 -
Confrontation in the Saloon
107 INT. SALOON, MAIN ROOM - DAY 107
Malcolm comes in hot, practically knocking over Lewis who *
just walking in with his goods from the Mercantile. *
Malcolm heads straight to Krett, who's sitting on a bar stool
talking to Robert.
KRETT
Hey, Boss. Didn't expect--
BAM! Malcolm throws a punch like he used to 20 years ago and
sends Krett back off the stool and flat onto the floor.
KRETT (CONT'D)
What the hell?
Malcolm throws the wild rag onto his chest. You could hear a
pin drop.
KRETT (CONT'D)
I can explain…
MALCOLM
Krett Carson, if I see you on my
land again...
Krett grabs the scarf, stands, a little wobbly from the hit.
KRETT
I love this valley, too. I was just
doin' my part.
MALCOLM
Murder? Arson? Double-crossin' me
after all I've done for you?
KRETT
You and Beau are turning to the
wrong side of all this.
MALCOLM
Maybe the losing side, but not the
wrong one.
Malcolm turns and walks out.
Behind the bar, Robert turns to Lewis.
ROBERT
Go to Garrett Knox. He needs to
know what's coming.
108 EXT. MARBLE CREEK, CENTER STREET - DAY 108
Malcolm walks out of the saloon, his pace slows after a
couple steps.
He looks up to see Beau, Audrey, Emma and Flint stepping out
of the Mercantile.
Malcolm ducks out of view. He hears Flint holler out to Beau,
and looks out to see Beau head towards Dr. Wall's - the
Byrnes ride off toward their ranch.
Malcolm clocks a boy, HARRY (8), walking out of the Optician. *
He motions him over. *
HARRY
Yes, Mr. Hannigan, sir?
MALCOLM
Harry, I need you to take a message
out to Byrne Ranch. Give it
directly to young Mr.Byrne.
Understood?
Harry nods. Malcolm hands the boy a quarter. *
MALCOLM (CONT'D)
You tell him I found out who the
wild rag belongs to. You tell him
(MORE)
MALCOLM (CONT'D)
I'm gonna put an end to it. Repeat
that.
HARRY
You found out who the wild rag
belongs to and you're gonna put an
end to it.
MALCOLM
Good. Now go to Charlie Singer and
tell him you need to borrow a
horse. Tell him I sent you. Here's
a dollar to make sure you find
Flint as quick as you can.
Harry nods again and runs off. Malcolm heads to the office *
of Garrett Knox. *
Genres:
["Western","Drama"]
Ratings
Scene
52 -
Betrayal and Farewell
109 INT. OFFICE OF GARRETT KNOX - DAY 109
Malcolm enter an empty office.
He looks at the map on the table. Deep lines show multiple
properties combined into one large one, under the KNOX RANCH
banner.
Malcolm looks at his land - HANNIGAN RANCH has strange new
red triangular markings. *
MALCOLM
No... he didn't...
He turns to leave, just as Garrett walks in. Malcolm spins.
MALCOLM (CONT'D)
You son of a bitch.
GARRETT
Oh, Hannigan. You really lost your
backbone, didn't you. What a shame.
And with that, Garrett walks over to his desk, pulls out a
pistol and BANG! shoots Malcolm in the chest.
110 EXT. MARBLE CREEK, CENTER STREET - SAME TIME 110
Beau and Stephen are on horseback, walking through town. They
are laughing. Beau is practically beaming.
STEPHEN
Just glad I could help.
BANG! The sound of the Garrett's gun rings out into the
street.
The men look around, and see Knox coming out of his office,
mounting up and riding out of town. *
The partners know what to do and nudge their horses to the *
Knox Office hitching post.
111 INT. OFFICE OF GARRETT KNOX - MOMENTS LATER 111
Beau opens the door, and sees his father lying in a pool of
blood on the floor.
BEAU
Pa!
Beau rushes to his father as Stephen walks in and surveys the
rest of the space.
Malcolm opens his eyes to his son, and attempts to open his
heart.
MALCOLM
Son. You were right. I tried to
stop him. Son of a bitch just shot
me.
Beau kneels down to his father and grabs his hand. Malcolm
pulls it to his chest.
BEAU
Hold on, Pa. Stephen. Get your pa.
Stephen races off.
MALCOLM
The Byrnes. Get to 'em. 'Fore it's
too late.
BEAU
Oh, Pa.
MALCOLM
Careful, son. Knox is... Be ready
for a battle.
Beau is overwhelmed with all there is to process.
MALCOLM (CONT'D)
I'm proud of you.
Malcolm can barely breathe. He squeezes Beau's hand and
closes his eyes, and leaves this earth.
Genres:
["Western","Drama","Action"]
Ratings
Scene
53 -
Urgent Decisions at Byrne Ranch
112 EXT. BYRNE RANCH HOUSE - DAY 112
Flint runs up to the house as young Harry rides off.
FLINT
Momma! Enrique!
Audrey and Anita come out onto the porch. Enrique runs up
from the side of the house.
AUDREY
Flint? What is it?
FLINT
Mr. Hannigan's going after the
Black Riders.
AUDREY
Beau? What's he --
FLINT
No, old Mr. Hannigan. Charlie had a
yellow wild rag but it wasn't his
and Mr. Hannigan said he was going
to find out the truth and he'd get
word to me and --
AUDREY
Enough. I understand. Go get your
sister and pack a case. We're going *
to stay in town tonight.
FLINT
But, Momma.
AUDREY
Flint! Hurry!
Flint heads into the house. She looks to Enrique.
ENRIQUE
Do you want the wagon?
AUDREY
Horseback's faster. And we should
stay off the main road. You must
leave, too.
ENRIQUE
Mrs. Byrne, we will stay and
protect the house.
AUDREY
No. They will kill anyone in their
way. I will not lose one more soul
to Garrett Knox and his dogs. Get
the others and go.
ENRIQUE
I will send them off, but I will go
with you. I'll prepare the horses. *
Audrey goes into the house. Anita hurries after her.
AUDREY
Emma!
INT. OFFICE OF GARRETT KNOX - DAY *
Richard and Stephen race in through the open door. They stop *
short when the see Beau sitting on the floor beside Malcolm, *
who seems to be dead. *
Richard approaches gently. He feels for a pulse. *
RICHARD *
I'm so sorry, Beau. Guessin' Knox *
has a plan that your Pa was fixin' *
to ruin. *
Beau rises to his full height. Grief is replaced by a need *
for justice. He looks to Stephen. *
BEAU *
He's headed for Byrne Ranch. *
STEPHEN *
Let's go. *
Beau moves to head out with Stephen. *
RICHARD *
It won't just be Knox you're *
fighting. *
Richard's words stop them in their tracks. *
RICHARD (CONT'D) *
They have killed for their beloved *
Colonel; they'll die for him if *
they have to. *
BEAU *
If it's us or them, those Black *
Riders won't get up. *
These three men have shared so much in their lifetime, *
there's nothing more to say. Beau and Stephen nod and move *
out. *
Genres:
["Western","Drama","Action"]
Ratings
Scene
54 -
Raid at Byrne Ranch
113 EXT. KNOX RANCH - DAY 113 *
Five Black Riders: Krett, Robert, Lewis, Patrick and Johnny *
pull their yellow wild rags up over their faces before they
mount up.
Garrett rides up - no scarf, no hiding. The men look to him,
confused.
GARRETT
I wouldn't think of missing this
one, gentlemen. Shall we?
Garrett leads them out to the road.
114 EXT. BYRNE RANCH HOUSE - DAY 114
Garrett and four Black Riders ride up hard. A BYRNE RANCH
HAND comes around the corner and Robert shoots him. He drops. *
The men quickly reach the house, and dismount. They all grab
their rifles, leaving their horses loose by the porch.
GARRETT
Patrick and Johnny. Go 'round the
back. Find the rest of the hands.
Anyone points a gun at you, kill
'em. Robert, you and Lewis - with
me.
BLACK RIDERS
Yes sir, Colonel.
With that Garrett marches up the front steps and his men do
as they're ordered.
115 INT. BYRNE RANCH HOUSE, PARLOR - DAY 115
Ramon and two other Mexican women are bustling about. Audrey
leans up the stairwell as Anita herds the kids down.
AUDREY
Do not dawdle!
Two Black Rider storm in guns raised, and clear the door for
Garrett's entrance.
Garrett gets within reach of Audrey and she slaps him. Hard.
He grabs her hand, spins it behind her back and holds her in
a pinned move. Audrey lets fly a stream of insults.
GARRETT
(to Lewis)
Put your wild rag around Mrs.
Byrne's mouth please. She seems to
have lost her fine manners.
Lewis removes his yellow scarf and ties Audrey's mouth. Emma
can't believe her eyes.
EMMA
Lewis! You're... You traitor!
Emma goes from crushed to fiercely indignant. Lewis is stoic.
While Lewis holds Audrey, Garrett take a curtain tieback to
her wrists and secures them behind her, looking to Emma.
GARRETT
I'd advise you to stay quiet, young
lady. He's a smart young man
protecting the future of Marble
Creek.
Garrett looks to Robert and Lewis, and motions to Emma &
Flint, Anita and the others.
GARRETT (CONT'D)
Take 'em to the back of the house.
Lock up the help, but keep the
young 'uns handy in case Audrey
here needs some incentivizing.
Robert grabs Emma and Flint by the arms as Lewis puts his gun
to Anita's back. They take their captives into the kitchen.
GARRETT (CONT'D)
Robert, once they're secure, head
up to the balcony. Young Hannigan
is bound to show up, and as much as
I'd like to finish him myself, your
sharp-shooting days make you likely
to end that problem quickly.
ROBERT
Yessir, Colonel.
Genres:
["Western","Action","Drama"]
Ratings
Scene
55 -
Standoff at the Byrne Ranch
116 EXT. ROAD NEAR THE RIVER CROSSING - DAY 116
Beau rides up to the river crossing. As he eases his horse to
slow, Krett walks out from behind a tree. His right hand
holds a revolver that's pointed up at Beau.
117 INT. BYRNE RANCH HOUSE, PARLOR - DAY 117
Garrett, his cheek growing a red mark the size of Audrey's
hand, spins the now-tied & gagged Audrey away from him, like
a dance move as he pulls his gun on her.
GARRETT
Now, Mrs. Byrne, we have business
to discuss. Perhaps you just listen
first.
Garrett chuckles. She would rip his heart out given the
chance.
THREE GUN SHOTS ring out from the barn. *
AUDREY *
(muffled) *
Enrique! *
Audrey crumbles. *
GARRETT
All this can stop right now, if you
agree to sign the papers I have
right here,
(taps his breast pocket)
making me the owner of all that is
now Byrne Ranch. Do it quickly and
I'll even pay you half its value
and promise no harm will come to
you or your children.
AUDREY
(muffled)
If I don't agree?
GARRETT
Then I'll start shooting the help,
one by one. When only your children
are left, well, I bet by then we'll
have a deal. What say you to that?
118 I/E. BYRNE RANCH HOUSE KITCHEN/BACK DOOR - DAY 118
Robert pushes Emma and Flint down onto the floor in a corner.
While Robert and Lewis lock Anita, Ramon and the others in
the pantry, Emma grabs a small rock off the floor and slides
it into her dress pocket.
PRAYERS IN SPANISH leak out the pantry door.
ROBERT
Quiet down in there!
Lewis bangs threateningly on the door and the voices stop.
119 INT. BYRNE RANCH HOUSE, PARLOR - DAY 119
Audrey looks defeated. Garrett removes her gag.
AUDREY
If I sign, you promise you won't
harm anyone, not my family or
anyone who works here. Ever?
GARRETT
You have my word.
AUDREY
Would you consider full market
value?
Garrett laughs. He holsters his gun.
GARRETT
That offer's long gone, dear lady.
But I can make it seventy-five
percent if you promise not to make
me waste any more bullets.
Audrey is on the verge of tears.
AUDREY
I'll need my hands to sign.
Garrett frees her hands and tosses off the tie. Audrey holds
out her left hand for the paper.
As he goes to his jacket, Audrey, in one swift move, grabs a
brass candlestick off the table and slams it into his head,
knocking him down.
Garrett seems unconscious. Audrey rushes for his pistol,
grabs it from his holster, and turns to the kitchen.
Suddenly Garrett grabs her dress skirt, pulling hard. The
well-made garment doesn't tear. Audrey falls back. Garrett
rolls out of the way, grabbing the gun out of her hand. *
Genres:
["Western","Drama","Action"]
Ratings
Scene
56 -
Confrontation at the River Crossing
120 EXT. ROAD NEAR THE RIVER CROSSING - DAY 120
His gun still pointed at Beau, Krett takes Beau's horse by
the reins with his left hand.
KRETT
You still don't know when to leave
it alone.
BEAU
Leave it Krett. Ain't your concern.
KRETT
My orders were to kill you on
sight.
BEAU
Then do it or move, "old friend."
KRETT
Temptin'. But lets make it look
like a fair fight. Get down. With
your hands in the air.
Beau dismounts. Krett levels his gun.
A downstream SPLASH draws Krett's attention and Beau rushes
him.
The gun flies out of Krett's hand as they hit the ground.
Punches landing hard, arms twisted, boot heels hitting bone.
Krett reaches down and pulls a knife from his boot. He swipes
at Beau, catching a piece of Beau's sleeve. Beau stumbles as
he pulls away and falls on his back.
Krett drops. He pins Beau to the ground. In the brief moment
he takes to shift his grip to drive the blade into Beau's
chest, a SHOT clear through his neck takes Krett down. Beau
is splattered in blood. He pushes Krett off him and rolls
over. A pair of familiar boots right in front of him.
STEPHEN (O.C.)
That wasn't quite how we planned
it.
Beau scrambles to his feet.
BEAU
Come on.
STEPHEN
Hold up. Clearly Knox expects you.
But I doubt he's expecting me.
BEAU
Likely not. Split up?
STEPHEN
I'll take the back road. Approach
the house on foot. Good luck comin'
in from the front.
BEAU
Meet you in the middle after we get
that son of a bitch.
Stephen tips his hat to Beau and the men mount and split off.
Genres:
["Western","Action","Drama"]
Ratings
Scene
57 -
Tension at the Byrne Ranch
121 INT. BYRNE RANCH HOUSE, PARLOR - DAY 121
Garrett paces the room -- bleeding. His gun in his holster.
Audrey follows him with her eyes from the sofa. Her red cheek
shows Garrett's retaliation.
Her hands are again bound behind her with curtain tie-backs.
She's quiet, even without the gag.
Garrett stops pacing, his eyes boring into her.
GARRETT
Perhaps, Mrs. Byrne, you can
understand this is your last chance
to acquiesce. Agree to my requests.
You - AND YOUR CHILDREN can still
walk away.
122 EXT. BYRNE RANCH HOUSE - DAY 122
Beau walks his horse up through the grasses to muffle his
approach. He ties his horse to some scrub and pulls his gun.
The house is eerily quiet.
123 I/E. BYRNE RANCH HOUSE KITCHEN/BACK DOOR - DAY 123
Robert, no longer behind his yellow scarf, is whispering to
Lewis indecipherably. Robert exits to head to the balcony.
Emma winks at her brother.
EMMA
Okay, fine.
Lewis looks to her as she stands and reaches up on a shelf
for the cookie tin.
LEWIS
What are you doing?
EMMA
I'm getting my brother a cookie.
Behind Lewis, out the window, Emma sees Stephen walking
toward the back door. She sees him notice her.
Emma pulls down the cookie tin and reaches inside. She hands
a cookie down to Flint. Emma takes out another cookie. Lewis
looks hungry.
EMMA (CONT'D)
You expect me to give a traitor a
cookie?
Lewis reaches out and grabs the cookie from her hand. Emma
huffs. He turns away.
Emma slips Flint's slingshot out of the tin. As she returns
the tin to the shelf, she looks outside and sees Stephen nod
to the door.
The PRAYERS IN SPANISH start up again.
LEWIS
Quiet! Or I'll come in and shut
y'all up.
Lewis bangs on the door for good measure.
Emma shields Flint from Lewis's view while she slips the
slingshot to him. He looks at her questioningly. She pulls
the rock from her pocket and puts it in his other hand, then
tips her head to the missing glass pane in the door.
EMMA
(whispers)
Aim outside. Hit somethin' loud.
Genres:
["Western","Drama","Action"]
Ratings
Scene
58 -
The Stealthy Rescue
124 EXT. BYRNE RANCH HOUSE - DAY 124
Beau is almost to the house. Abandoned horses wander through
the grasses. The body of a dead Byrne Ranch Hand lies in
front of the house.
The sound of the balcony door opening sends Beau diving to
hide in the bushes against the side of the house. He clocks a
way to climb up.
Robert steps out and looks around the property, holding his
rifle at the ready.
Beau holsters his gun and starts to climb.
125 INT. BYRNE RANCH HOUSE KITCHEN/BACK DOOR - DAY 125
Flint makes a perfect shot. Right through the open window *
pane and into the side of a water pail. CLUNK.
The sound pulls Lewis outside, drawing his guns. Stephen
knocks him out silently with his gun butt. Because that works
in the movies.
126 EXT. BYRNE RANCH HOUSE BALCONY - DAY 126 *
A hand reaches up from below and grabs a baluster. Beau lifts
himself just enough to see Robert with his rifle poised,
looking out on the land.
Beau lowers himself down, and kicks the side of the house. *
The noise brings Robert rushing to the edge, his rifle
pointed out. Beau swings himself up, kicks a leg over the
railing, and with a free hand, grabs the rifle and pulls.
127 EXT. BYRNE RANCH HOUSE KITCHEN/BACK DOOR - CONTINUOUS 127
The children quietly rush to the open door to greet Stephen.
They speak very quietly.
EMMA
They've got Mama in the front room.
Anita, Ramon, Maria, Dolores and
Guadalupe are in the pantry.
STEPHEN
Who all's --
EMMA
Mr. Knox is inside. At least two
more went out back.
Enrique and another Byrne Ranch Hand arrive on foot, armed, *
from the back of the property. Stephen and the kids tiptoe
down the stairs to meet them. Everyone knows to be stealthy.
STEPHEN
(nodding to Lewis)
I need to tie him up and gag him.
(MORE)
STEPHEN (CONT'D)
Then go 'round the house. Beau's
comin' from the front.
FLINT
Knox sent a sharp shooter to the
balcony.
STEPHEN
(comforting Flint)
We haven't heard a shot, so --
ENRIQUE
We got two of them in the barn.
Shot 'em, but they ain't dead. Ties *
should hold, but...
His man heads back to the barn. Enrique looks to the kids. *
ENRIQUE (CONT'D)
I can take them while you --
STEPHEN
Yes. Thanks.
(to Emma and Flint)
Go with Enrique. We'll get your
mama.
Enrique takes Flint by the hand. He motions to Emma to
follow. She start to, then stops, looking up to the house. *
Emma steps behind a tree, watching Stephen hug the house *
walls as he heads around to the front. Enrique and Flint are *
unaware she's no longer with them.
Genres:
["Western","Action","Drama"]
Ratings
Scene
59 -
The Fall and the Fight
128 EXT. BYRNE RANCH HOUSE BALCONY - DAY 128 *
Robert has the upper hand of balance and makes a rush at
Beau, pushing him back over the railing, so he's hanging
upside down.
Beau's gun slides out of his holster and falls to the ground.
Robert laughs. Mistake. Beau hooks his feet through the
balusters, reaches up and pulls the older man hard.
Robert flips over and lands with a bad crunch. Beau pulls
himself up onto the balcony and quietly goes inside.
129 INT. BYRNE RANCH HOUSE, PARLOR - DAY 129
SMACK! The thud of the body fall, pulls Garrett to the door. *
He sees nothing and steps back inside. Audrey has stood up to *
look, too.
GARRETT
I believe it's time to incentivize
you. Let's get one of the help out
here. You can watch them die. Let's
get them out here, shall we? Lewis!
Audrey inhales sharply, struggling to find a plan.
GARRETT (CONT'D)
Or do we start with your children?
Which one dies first? *
EXT. BYRNE RANCH HOUSE - DAY *
Stephen comes around the corner and sees Robert lying in a *
smashed bush on the side of the house. He's dead. *
Stephen takes whatever firearms near the body and goes around *
to the front. *
INT. BYRNE RANCH HOUSE, PARLOR - SAME TIME *
Garrett turns to the kitchen, about to call out again, but he *
stops short at the sight of Beau quietly coming down the
stairs.
Garrett pulls his gun, and points it at the unarmed Beau.
GARRETT
Father and son in one day.
He shoots.
AUDREY
No!
Beau dives down the stairs, just in time. The bullet sinks
into the wall behind him.
Garrett starts to laugh, then BANG! Garrett's face contorts *
in pain. He collapses to the floor.
Emma stands in the doorway, the kitchen behind her, smoking
flintlock in her hand.
Stephen busts in the front door, gun pointed. *
Audrey runs to her daughter, resting her forehead against
Emma's. *
AUDREY (CONT'D) *
Oh dear girl. *
EMMA *
I could hear Daddy telling me what *
to do. Time and place, Momma. *
Beau gently takes the flintlock from Emma and sets it down. *
Stephen takes Knox's gun and checks his pulse. Dead. *
Emma turns Audrey around to untie her hands. As she does, she *
makes her case.
EMMA (CONT'D)
No one can take our ranch. *
Audrey turns around and hugs her daughter with all her might. *
Genres:
["Western","Action","Drama"]
Ratings
Scene
60 -
New Beginnings at the Byrne Ranch
130 EXT. BYRNE RANCH HOUSE - AFTERNOON 130
SUPER: ONE YEAR LATER
The light is perfect. Everything looks fresh and beautiful.
An oil drill can be seen in the distance.
Audrey steps out onto the front porch as Emma and Flint come *
riding in. Enrique comes out from the barn to take the
horses. They exchange greetings underneath a sweeping score.
AUDREY
(calling out)
Did you get all your goodbyes in?
The kids' smiles tell it all as they start playfully messing
with each other on their way to the house.
AUDREY (CONT'D)
Enough of that now. Go up and
finish filling those cases, then *
come on down and wash up. Anita's
got something special planned for
supper.
EMMA FLINT
Yes, Ma'am. Yes, Momma.
Emma heads in directly, but Flint slows to deliver exciting
news.
FLINT (CONT'D)
Tommy's folks are gonna bring him! *
To see the swans! For 3 whole days! *
Audrey smiles and starts to follow them into the house. She *
stops at the sound of another approaching horse. She turns. *
Beau Hannigan rides up and dismounts with grace, trying not
to run up to Audrey, but clearly excited to see her.
AUDREY *
This is a surprise. More Pinkerton *
business? *
BEAU
I heard the kids are heading to
boarding school in San Antonio. *
Wanted to wish 'em well. And, *
besides, I figured you might have *
time now to reconsider that supper
with me?
Audrey is both stunned and possibly happy. She tries to make
sense of it.
AUDREY *
Oh Beau. I... Your timing is... *
She looks about, as if looking for the words that makes sense *
of her emotions. She sees Enrique watching and smiling. He *
nods to her. *
BEAU *
I shouldn't have... I'm sorry. *
Beau steps back. Audrey reaches for his hand. *
AUDREY *
Cook's made quite a feast for the *
children's send-off. I'm sure *
there's room for one more. *
Enrique's grin is big. He turns and heads to the barn. *
Beau steps up. They stare at each other for a moment, then *
Beau offers his arm to escort Audrey into the house. *