David Milch - Reconnoitering The Rim lyrics

FADE IN: EXT. ELLSWORTH'S CLAIM - DAY Ellsworth works his sluice-system at the creek-bank, watches Driscoll's dog paw at a woodchuck hole -- ELLSWORTH (to his dog) He's down in that hole for a fact, and pitiful as you pursued him you better hope he ain't got space enough to roll around and hold his sides and bust a gut laughing. As the disgruntled dog give up his digging -- ELLSWORTH 'Tells the other woodchucks at the club this afternoon he might not even call it a escape -- might just say it was his morning's entertainment. DORITY (O.S.) Hey Ellsworth. The dog runs for cover as Dority appears -- ELLSWORTH Hey Dan Dority. Where's the Great Prospector? DORITY I guess Brom slept in this morning. ELLSWORTH S'pose his enthusiasm's on the wane? Their eyes hold -- DORITY Always possible. If he shows up, would you tell him I quit waiting? ELLSWORTH Sure I will. DORITY See you at the Gem. ELLSWORTH Always possible. A last look between them, then Dority leaves. After a beat -- ELLSWORTH (to the dog) Gone. As the cur comes out of hiding -- CUT TO: EXT. OUTSIDE TOWN - DAY An improvised burial area twenty feet or so off the wagon path into Deadwood. Just beside the piled earth covering the new grave of his brother Ned, a plain coffin with Tom Mason's body inside is lowered into the ground with ropes by the newspaperman Merrick and Seth Bullock. The Reverend Smith reads from the Bible -- SMITH "The earth is the Lord's and the fullness thereof, the world and they that dwell therein." TIGHT ON BULLOCK standing back, studying the minister -- SMITH "For he hath founded it upon the seas and established it upon the floods." Bullock's gaze rises to where Calamity Jane and Charlie Utter, both on horseback, pa** on the wagon path. Jane carries the Metz child -- SMITH "Who shall ascend into the hill of the Lord, or who shall stand in His Holy place? He that hath clean hands and a pure heart, who hath not lifted up his soul unto vanity nor sworn deceitfully." Bullock's gaze has risen beyond Jane and Utter and the child toward the camp which is their destination, and where can be made out the last of a series of wagons, garishly painted -- SMITH (V.O.) "He shall receive the blessing from the Lord and justice from the God of his salvation." NEW ANGLE - POV FROM SWEARENGEN'S OFFICE WINDOW The long row of garishly painted wagons of which the wagon Bullock saw was last. These wagons bear the dealers and gambling equipment and other personnel of an organization new to the settlement, and, the restlessness of the camera's survey seems to suggest, destined to unsettle its existence. who*es on horseback also in the organization's employ shake their tits at gawking onlookers by way of greeting as, from the lobby of the Simpson Hotel, the hotel's occupant's, summarily evicted, disgorge onto the street in various states of disarray. Atop the building a crudely lettered "Simpson Hotel" sign is being replaced by one rendered more professionally and rebaptizing the edifice "The Bella Union Saloon" -- the whole process supervised by three figures we'll come to know as Cy Toliver, Ed Sawyer, and Comstock Joanie Stubbs. The Voiceover has continued -- SMITH (O.S.) "Lift up your heads o ye gates and be lifted up ye everlasting doors and the King of Glory shall come in." TIGHT ON AL SWEARENGEN Outraged, incredulous, his gaze moving as if in search of some impression which does not portend disaster to E.B. Farnum's Grand Central Hotel, fixing there on the figure, observable in a second-story window, of Alma Garret, whose eyes for this brief instant meet Swearengen's -- SMITH (O.S.) We conclude with verses from Proverbs Sixteen... Behind Alma her husband Brom can be seen rehearsing; he pantomimes, first, exaggeratedly delighted surprise at some fortuitous meeting, then some serious discussion with the party come-upon, and, finally, a meeting of the minds which is punctuated by a mimed handshake; Alma seems embarra**ed to be under Swearengen's scrutiny, disappears from the window -- RESUME - SWEARENGEN -- after a last cursory look at the street, during which he may or may not note Sol Star's emergence from his tent in deal-making attire, also turning away -- RESUME - BURIAL SITE Smith, plainly unsettled, has found his new place in the scriptures -- SMITH "Everyone proud in heart is an abomination to the Lord; though hand join in hand he shall not be unpunished. By mercy and truth is iniquity purged, and by the fear of the Lord do men depart from evil. A man's ways please the Lord when he maketh even his enemies to be at peace with him." Smith closes his Bible, meets Bullock's eye, then takes up a shovel and begins to cover the grave with dirt. Careful against impiety, Merrick moves a step closer to Bullock, addresses him quietly -- MERRICK Might we edify my readers Mr. Bullock? BULLOCK I don't know what "edify" means. MERRICK Can we talk about last night's gunfight? BULLOCK No. Under which Bullock has moved forward, away from Merrick; he takes the shovel from Smith, continuing the work of burial -- CUT TO: EXT. MAIN STREET - DAY Swearengen, exiting the Gem, tucks the end of his night-shirt into his pants; Star's approached from his tent, a step too late to engage Swearengen, who's made for Farnum's familiar face -- SWEARENGEN What the f**. FARNUM All's I can speculate Al, whoever these Bella Union people are, they bought Artie Simpson's place on the quiet, prearranged turning it into a joint. Swearengen looks to the aforementioned Simpson -- SWEARENGEN This no-good f**ing Judas -- -- readied to ascend the wagon which will take him from the settlement. Swearengen heads for Simpson -- SWEARENGEN Hey f**-Nut! SIMPSON You just take it easy Al! SWEARENGEN How long were you hatching this f**ing plot? SIMPSON I made a practical goddamn business decision! SWEARENGEN Selling to strangers, and no chance for me to match their f**ing offer! SIMPSON You couldn't've! You'd've k**ed me before you'd've matched! It's between you and them now. SWEARENGEN Drive careful, co*ks**er! SIMPSON And don't think I haven't taken precautions! -- Under which, several riders, hired by Simpson to protect him, move into escort position -- SIMPSON -- don't think I don't know your mind! Simpson brings the reins down on the harnessed horses' flanks. The wagon lurches forward. Swearengen, his will confounded, feels suddenly underdressed; he strides through the muck toward the haven of the Gem. Star tries again -- STAR I hate to press you on that lot Mr. Swearengen -- SWEARENGEN I ain't ready to close yet. STAR -- it's just we're anxious to start building. SWEARENGEN If you need the answer now it's no. As Swearengen walks away from Star, Johnny Burns falls in on his boss' other side -- BURNS Wu won't feed Persimmon Phil to his pigs Al -- SWEARENGEN Get away from me. BURNS -- wants five dollars to do the job. SWEARENGEN Get away or I'll break your jaw. Johnny Burns stops stock-still in the mud -- ANGLE - E.B. FARNUM considering the new operators apprehensively as he returns to the Grand Central -- CUT TO: INT. DOC COCHRAN'S OFFICE - DAY Cochran's examining the Norwegian child under Jane's and Utter's anxious supervision -- JANE She's warm, isn't she? UTTER Still ain't talking neither. JANE That's besides the point. You shut up. COCHRAN She will have fever, being wolf-bit. JANE Only reason we risked bringing her into camp. COCHRAN You don't have to fear the saloon- keeper. He's not a danger to her no more. JANE Why not? Cochran again touches the girl's forehead while speaking for Utter's hearing -- COCHRAN Saloon-keeper worried if the Little One said road-agents k**ed her people, who the road-agents might say they worked for -- JANE (to Utter) Meaning him. COCHRAN But he took another approach to his problem. (beat) She would do better indoors. UTTER I told Jane she could take my room with the Little One and I'd move back in with Bill. JANE I will not stay in no motel. They don't want me, they won't give me a room! COCHRAN Why don't both of you lower your voices? Cochran's mixed some an*lgesic in water, offers it to the little girl in a spoon. Having observed Cochran's mimed consumption of the medicine, the child takes it into her mouth. It's as if Jane and Utter swallow the medicine themselves, to immediate healthful effect; relief shows in their features, and the tone of their bickering becomes inappropriately cheerful -- JANE (to Utter, whispers) What did I say about noise? (to Cochran, re Utter) Snores the whole f**ing night! UTTER Snoring's past a person's control! Off which -- CUT TO: INT. NUTTALL'S NUMBER TEN - DAY Ass-end of an all-night poker game. Hickok, the big loser, is drunk and composed. McCall's winnings are before him in ostentatious stacks. Con Stapleton and Lou Varnes are the other players. Nuttall, who's loaned Hickok more funds, observes from behind the bar in silent misery. It's mid-hand -- HICKOK (to Stapleton, who's dealing) Two. MCCALL Same for me only better. STAPLETON Three for the dealer. Stapleton distributes the cards. Varnes is already out -- STAPLETON (to McCall) Opener bets. MCCALL Well damn, Bill, even a stopped clock's right sometime, common logic says you're going to win one here pretty soon. But I'm still going to push my luck. McCall pushes twenty dollars into the pot, appearing only now to notice Hickok hasn't funds enough to call -- MCCALL Or what've you got left there? -- eight dollars? (looks to Nuttall) Ready to stand more credit to Wild Bill here Tom? Though he seems ingenuously oblivious, McCall calculates the volume of his voice to embarra** -- NUTTALL I didn't hear him ask for any. MCCALL Want me to just bet eight Bill? HICKOK This cover my call? Hickok produces one of his pistols, puts it on the table. It's just what McCall wanted -- MCCALL Bill, I can't let you put your gun up. That Colt's worth more than my raise by a good forty bucks. HICKOK Are you taking the bet? MCCALL Tell you what -- I'll add forty to my raise to make the bet fair... He puts these chips in the table-center, smiles amiably -- MCCALL And fifty again if you'll put up the set. Hickok doesn't blink, produces his second gun quickly enough to prompt an instant's flinch in his adversary. McCall pushes another stack forward to match Hickok's wager of the second weapon -- STAPLETON Pot's right. Now the room is still, all the air s**ed out. McCall lays his hand down -- MCCALL Nine-high straight do the trick? Hickok lays down his cards -- STAPLETON Pot to the club flush. Droop-lidded McCall takes this in, tries to sustain his bravado by meeting Hickok's gaze -- MCCALL One in a row for you Bill. McCall raises his hands above his head, stretching theatrically -- MCCALL Who's hungry? -- what the hell damn time is it anyways? Hickok stares at McCall as he collects his guns and holsters them -- HICKOK Sure you want to quit Jack? Game's all that's between you and getting called a c*nt. STAPLETON Whoa. NUTTALL Meeting's adjourned fellas. Take it all outside. HICKOK That dropped eye of yours looks like a hood on a c*nt to me Jack. When you talk your mouth looks like a c*nt moving. MCCALL I ain't getting in no gunfight with you Hickok. HICKOK But you will run your c*nt-mouth at me. Hickok's voice is heavy with sleeplessness and alcoholism past alleviation by drink -- HICKOK And I will take it to play poker. He rises, looks to Nuttall, indicates his stacked chips -- NUTTALL I'll tote up accounts Mr. Hickok and we'll do whatever wrist-business we need to next you're in. Hickok nods, looks to those at the table -- HICKOK Anyone 'wants to can find me at the Grand Central. As Hickok walks out -- CUT TO: INT. GRAND CENTRAL HOTEL - LOBBY - DAY Several tenants displaced from the Simpson Hotel congregate outside the Grand Central lobby as, behind the desk, Farnum resists Utters's effort to gain housing for the Norwegian child and Jane -- FARNUM A guest checking out severs his connection with his room -- UTTER I ain't checking out -- I'm saying I can move over with Mr. Hickok... FARNUM By my lights Sir that is a checkout, and a checkout can't stipulate the room's next occupant. JANE (to Utter) I said they'd find a way to stop me. UTTER If it's raising room rates you're after go ahead and raise 'em. FARNUM Rates aren't the only factor -- Farnum's gesture invokes those outside -- FARNUM -- there's a waiting list for occupancy! JANE You undertaker-looking son-of-a-b**h -- this little girl's doctor-ordered to live indoors and I'm a**igned to change her dressings. FARNUM A sad story that's none of my affair Madam -- (pinch-lipped) -- if I guess your s** correct. HICKOK (O.S.) What's the problem Innkeeper? They see him -- FARNUM Mr. Hickok. Brom Garret, descended from the second floor, pauses to listen -- UTTER Little One took fever in that wagon last night Bill. I thought Jane and her could stay in my room and I could move back in with you. FARNUM I'm not in opposition Sir. Just the opposite! Who wouldn't want to accommodate a sick little girl?! But the Simpson Hotel's closed its doors! If Mr. Utter's vacating, shouldn't these people who've been trying me all morning get first call? Isn't that simple fairness? JANE (to Hickok, re Farnum) He don't give f**-all for fairness -- he just don't want me in here. HICKOK (to Farnum, re Utter and Jane) How about if he stays in his room and the lady moves in with me. That way no one's vacating nothing. Jane puts her hand on the reception desk for support -- FARNUM (weak) That would out-flank the checkout issue but it might raise questions of decorum. HICKOK With who? Farnum tries to get spit enough to swallow -- FARNUM No one pertinent I 'spose. HICKOK (to Farnum, re Jane) Let her in. I'm going to get some breakfast. As Hickok heads for the dining room, Farnum, taking up the master key-ring, calls after him -- FARNUM There will be a rate adjustment. Hickok's disappeared around the corner. Brom moves past Utter -- BROM 'Morning. Excuse me. -- heading for the dining room to seek an audience with Hickok. Utter watches the disgruntled Farnum lead Jane to the stairs. Jane, carrying the child, keeps secret her suspicion she's dreaming. As they climb. Farnum observes to her in a fierce whisper -- FARNUM I've heard the stories Madam -- I tell you that at flag-fall. You are here on sufferance! JANE Kiss my a**. -- then indicates the child with defensive propriety -- JANE She don't understand English in case you're wondering. Below, in the lobby, Utter heads for the dining room himself -- CUT TO: EXT. MAIN STREET - DAY Bullock and Smith walking back -- REV. SMITH I was a field nurse during the War, at Shiloh and Second Mana**as. (beat) That was a good deal of violence. BULLOCK Is that when you got your calling? REV. SMITH Yes it was Sir -- out of that crucible. Out of all that horror, to come to God's grace. "A man's heart deviseth his way, but the Lord directeth his steps." Smith smiles at Bullock with a pained urgency -- REV. SMITH He directeth all our steps Mr. Bullock. All of us. Bullock bridles slightly -- BULLOCK If you're preaching at me Reverend you need to put some more light on the text. REV. SMITH If I'm preaching at you Sir I do you a disservice. They've reached the hardware tent. Star's waiting outside. The tent's been partially dismantled in preparation for the move to the new lot, and a good deal of the goods are packed for easy transport -- REV. SMITH Good morning Mr. Star. STAR 'Morning Reverend. BULLOCK Did we get the lot? Can we start building? The Reverend's come to help. STAR (shakes his head no) We're still hanging fire. Bullock takes this in, his temper building -- BULLOCK What's the damn hold-up? STAR New gambling outfit come into town Seth -- time wasn't right to push him to a decision. BULLOCK I got all the lumber cut. STAR And I warned you that was premature. BULLOCK You said ninety-eight percent after your last conversation with that son- of-a-b**h. STAR Ninety-eight is not a hundred. A beat, then -- BULLOCK Goddamnit. Off which -- CUT TO: INT. THE GEM - SWEARENGEN'S OFFICE - DAY He's dressing -- SWEARENGEN co*ks**ers. Trixie's helping him -- SWEARENGEN Where were they when Dan and me were chopping trees in this gulch, hands all blistered, buck-tooth f**ing beavers rolling around in the creek, slapping their tales on the water like we was hired entertainment. TRIXIE I'd've paid a nickel to see you chop wood. SWEARENGEN Don't think I wasn't blow-for-blow beside Dan. I can play that sh** when I have to. He considers himself in the mirror Trixie holds up for him -- TIME CUT TO: INT. THE BELLA UNION - DAY Well along in its transformation, as observed by Swearengen, just arrived, an image of sartorial finery. Eddie Sawyer and Joanie Stubbs ride herd respectively on the set-up of gambling equipment and facilities for prostitution. Tolliver, supervising the whole, is first to note Swearengen -- SWEARENGEN I guess this ain't a hotel no more. STUBBS Come see us tonight when we open -- we'll find you a place to lay down. TOLLIVER And someone to keep your feet warm. Swearengen his hand to Tolliver -- SWEARENGEN I'm Al Swearengen, my joint's across the way. SAWYER The Gem? SWEARENGEN That's it. TOLLIVER Cy Tolliver, Al. Shaking hands, Tolliver identifies his partners -- TOLLIVER Ed Sawyer, Joanie Stubbs. Swearengen shakes hands all around -- SWEARENGEN You people must have trained with the heathens, come upon us unbeknownst. Tolliver appears to take Swearengen's opening of this subject as good-natured banter not requiring pursuit -- TOLLIVER How long you been in camp Al? SWEARENGEN This time Cy since March -- I was here last year too, but the f**ing cavalry drove us out. TOLLIVER Put all the whites out didn't they. SWEARENGEN Deep-f**ing thinkers in Washington put that policy together. This year though, so many soldiers deserting to prospect, they give the ghost up and let us all back in. And o'course Custer sorted out the f**ing Sioux for us, so now we're safe as at our mothers' tits. Tolliver and the others grin -- TOLLIVER Did a job for our side, didn't he Al? SWEARENGEN How about that f**ing long-haired blow-hard? I'll tell you this though Cy -- and you can mark my f**ing words -- Crazy Horse winning at the Little Big Horn bought his people one long-term a**-f**ing, 'cause them Washington co*ks**ers will now be coming at 'em hard. You do not want to be a dirt-worshiping heathen from this point forward. Swearengen can't tell if they're in his palm or he's in theirs -- SWEARENGEN Anyways, here we are settling the world's problems. (rubs his mouth) I'm wondering Cy -- you and me want to talk about our areas of overlap? So we're not at each other's throats? TOLLIVER Give me a for-instance Al. SWEARENGEN Women. Would we want to agree on rates? Tolliver defers to Stubbs, who addresses Swearengen in a voice friendly and businesslike -- STUBBS Far as p**y Al, we'll want to let the market sort itself out. SWEARENGEN (to Tolliver) Sounds to me like I'm up against specialty acts. How about table-games, avoiding overlap there? Tolliver looks to Eddie Sawyer -- SAWYER We'll be featuring craps Al -- SWEARENGEN I played craps in Chicago. I don't offer it myself -- gets these hoople- heads confused. Swearengen rubs his neck -- SWEARENGEN So that's one overlap avoided. Now what about faro? SAWYER We'll have it. SWEARENGEN Is that decision hard-and-fast? Sawyer looks to Tolliver -- TOLLIVER I just don't see overlap being a problem Al, even where we duplicate. We're offering different atmospheres. You're a pioneer-type, a trailblazer type, and you're going to draw a trail-blazing element. SWEARENGEN Meaning I get the ones that don't wash. SAWYER Must cut through the stink though when they walk in with those sacks- full of gold. SWEARENGEN Oh the money spends, definitely. Swearengen resents being answered by an underling, looks back to Tolliver, who gives him a big friendly smile -- TOLLIVER Anyways, thanks for the neighborly visit. SWEARENGEN Yeah, good to meet you, very good luck to you. You're opening at eight, huh? SAWYER That's what we're aiming at. SWEARENGEN Eight o'clock, good for you. Swearengen turns, takes the long walk out, his gaze lingering briefly on one of Tolliver's faro dealers. When Swearengen's gone Tolliver looks to Eddie Sawyer, inviting his a**essment of their rival -- SAWYER He wouldn't set a fire right away. TOLLIVER Come to cases though, he would set a fire. Tolliver offers this, not out of any sense of jeopardy, but as an archaeologist might after enjoying an encounter, stimulating to his imagination, with a relic of some precursor civilization -- CUT TO: INT. GRAND CENTRAL HOTEL - DINING ROOM - DAY Hickok, Utter, and Brom -- HICKOK 'Way you tell it Mister, 'man didn't sell you that claim holding a gun to your head. BROM Frankly, Mr. Hickok, as a novice in these matters I was duped. And now the seller's disappeared. (to Utter, irrelevantly) You moved into his room. UTTER Sounds like you're up sh**'s Creek. BROM (confiding) The seller had accomplices, gentlemen, men of what pa**es for position in this place. (to Hickok) I'd pay handsome bounty if they were brought to make restitution. HICKOK Sorry you lost your money Mister, but I ain't for hire to rob it back. BROM I make no terms as to method. HICKOK You don't figure a good talking-to'd do the trick. Brom looks away, embarra**ed but resolute -- BROM I'm not leaving camp without my money. UTTER Mister, that fella you said had my room before me? BROM A man named Tim Driscoll, yes. Pure charlatan. UTTER Fresh stain on my floor when I moved in. He may've checked out short a useful amount of blood. BROM It wouldn't surprise me in the least. UTTER That'd make them accomplices you were talking about dangerous people to deal with. BROM Yes. I quite take your point. No honor among thieves. (to Hickok) Thanks for your time. I'll pursue my remedies in some other fashion. Brom splits. Hickok looks to Utter -- HICKOK I don't think he took your point, quite. UTTER I think he quite missed it. Hickok gets to his feet -- HICKOK Believe I'll pa** out Charlie. UTTER I guess you was playing poker all night. HICKOK Yessir. Utter's too worried about Hickok to try to accomplish a smooth conversational transition -- UTTER When we was coming into camp, Jane and me seen that Montana fella you seem to like -- HICKOK (nods) Bullock. He had my back again last night. UTTER He was seeing to the result this morning. HICKOK Man has an active conscience. UTTER What would you think of us and him and his friend having dinner tonight? HICKOK Why? UTTER Why? People gotta eat, don't they Bill? HICKOK True enough. Mark me down for a yes. UTTER And maybe you'd enjoy sitting with someone 'wasn't looking to beat you at cards or blow your head off. Hickok moves off. Off Utter, watching his friend go with futile concern -- CUT TO: INT. THE GEM - SWEARENGEN'S OFFICE - DAY Swearengen, silent at his desk. Before him, his minions. After a beat --- SWEARENGEN What we're not going to do is set any f**ing fires. Not yet anyhow. Swearengen rubs his neck -- SWEARENGEN (to Farnum) I want to know who did their leg work. FARNUM You hit the nail square Al. Whoever went-between them Bella Union people and Artie Simpson would be a prime source of information. SWEARENGEN Do not repeat back to me what I just said in different f**ing words. A pregnant pause -- SWEARENGEN And I want to know who cut the cheese. All eyes are downcast -- SWEARENGEN I'll tell you this much for openers -- we are setting off an arena on the balcony, and God help whoever doesn't use it, because the next stink I have to smell in this office, that person goes out the window into the muck on their f**ing heads and we'll see how they like farting from that position. Swearengen begins to pace -- SWEARENGEN "Can't we hurry and close on the lot Mr. Swearengen." Wouldn't that be a great f**ing set-up, if they're all of the same f**ing party. No one has the temerity to ask him to explain. He stops, stares at them -- SWEARENGEN Two days ago them hardware guys come to camp, inside six hours people start falling like bowling pins. Oh and here's a coincidence -- Wild Bill Hickok's got the one co*ks**er's back. FARNUM You think them hardware guys and Hickok might be the advance party for them saloon operators Al? SWEARENGEN You just did the same f**ing thing I told you not to. (to Burns) Get them two. Say I'm ready to conclude on their offer. BURNS The hardware guys. SWEARENGEN Who the f** do you think I'm talking about? BURNS Here I go Al. SWEARENGEN Stop at Wu's on your way, tell that co*ks**er either he feeds his pigs Persimmon Phil or tonight I serve 'em Raw Loin of Oriental. BURNS See I thought you forgot about that Al, I thought that slipped between the cracks. Swearengen just stares at him. Burns is gone. Swearengen looks to Irons -- SWEARENGEN A faro dealer at that new joint's a dope-fiend -- tall guy with a skanky red beard... IRONS (eagerly) Want me to get next to him Mr. Swearengen? Let me take a few dollars -- I'll play at his table. SWEARENGEN Not that that f**ing joint's open yet, or that sending you out with two dollars in your pocket I'd see you back again till you were broke and couldn't get no more credit from whoever was filling up your pipe. (as Irons looks down shame-faced) Stop hustling. I'll give you dope when you bring the co*ks**er back here. IRONS He's as good as standing in front of you Mr. Swearengen. Irons is gone. Swearengen looks out the window, hates feeling this vulnerable -- SWEARENGEN Stick around. Help me measure where their loyalties lie. FARNUM These hardware guys. SWEARENGEN You did it again. Swearengen can't meet Farnum's eyes -- FARNUM Sure Al. (beat) 'Far as the other matter -- I haven't pa**ed gas in a public place since I left Philadelphia at twelve. Off the distracted Swearengen -- CUT TO: INT. / EXT. BULLOCK AND STAR'S HARDWARE TENT - DAY McCall, still drunk, ostensibly perusing their wares, is near to falling asleep -- BULLOCK Look at that jacka**. Star calls to him -- STAR Help you with anything? MCCALL I'll tell you who's being done a favor at this exact moment, or would you like to guess? A favor in this tent. STAR I'd guess it's you yourself Sir, considering quality goods. MCCALL Favor here's being done for Wild Bill f**ing Hickok. Which prompts Bullock and irritates him -- BULLOCK What're you talking about? MCCALL Because if I'm prospecting in the hills, he's not getting his just desserts, at a poker table or otherwise -- and don't ask what I mean by that last part. Bullock's voice is level -- BULLOCK What do you mean? McCall smiles with drunken subtlety -- MCCALL I said you'd do better not asking. Bullock notes, behind McCall, the entrance of Charlie Utter -- BULLOCK (to McCall) Get out of here. McCall's lost contact with Bullock, shows Star a sifting cradle -- MCCALL I'll buy this one. What's the price? BULLOCK You ain't buying nothing. Some unseen principle deprives McCall of balance -- in contorting to regain it he notes Utter behind him -- MCCALL I know you. Where do I know you from? UTTER Can't help you with that Pardner. It comes to McCall -- MCCALL You follow him around... Bullock grabs McCall at neck-nape and pants-seat and bum- rushes him from the tent, heaves him face-down in the muck -- BULLOCK That tent's shut to you -- don't come back there. Bullock goes back inside -- MCCALL You got a favor being done you Mister, if you know or not, or know or not what it is. Hearing no answer, McCall raises his face enough to blink, prepares to collect himself -- MCCALL f** you, and plans I may have had to buy something -- He's got his hands in the muck for balance, begins to begin to rise -- MCCALL -- or prospect, or not settle that f**head's account. Utter's hat is in his hands; he watches Bullock resume his place -- UTTER (to Star) I'd be lousy at retail, I guarantee you that much. Wouldn't have patience for it. STAR (indicates Bullock) We're not sure how much future he's got. Utter scratches at the back of his neck -- UTTER Anyways, I wanted to tell you fellas -- 'several days I'll be going back to Cheyenne. Star and Bullock aren't sure what to make of this. Utter plunges onward -- UTTER I operate a freight business out of there. If you need resupply I'll be bringing several wagons back, 'far as restocking your inventory. STAR That's good to know. UTTER Not drumming business up -- that's not my purpose. I got all the business I need. Just you seem like nice fellas. He looks like he wants to hang himself -- UTTER And I was half-wondering too if you'd want to join me and Bill for dinner. STAR Sure. UTTER Tonight or some other time. BULLOCK Let's do it tonight. UTTER Whatever's convenient. BULLOCK Sure. For his friend's sake, having plumbed the core-resources of his social sk**s, Utter stands now near befuddlement -- UTTER I feel like I should've brought posies with me. Burns has come in -- STAR Afternoon. Help you find something? BURNS Mr. Swearengen wants to see you. Off which -- CUT TO: INT. GRAND CENTRAL HOTEL - GARRETS' ROOM/HALLWAY - DAY Alma sits at her dressing table, watching Brom stew -- BROM The burden falls on me Alma. That much now is clear. ALMA Mr. Hickok left no possibility he might reconsider? BROM None. Nor was I sure that if he'd agreed the man before me at that breakfast table was equal to the task. He paces -- ALMA Make me only one promise then Brom. BROM Don't ask me to amend my purpose -- ALMA That before seeing Mr. Swearengen you take your walk. He ponders this -- BROM To clear my head and reflect. ALMA If only to perfect your arguments. BROM I see. He searches her eyes with all the seriousness he's capable of -- BROM I accept this suggestion, out of feeling for its author. She smooths the curl at his forehead -- ALMA Thank you. He opens the door -- BROM If I'm stooped when next you see me it won't be worry weighing me down but the bags of our recovered gold. ALMA Take your walk Dear. He leaves. Alma postpones getting high, believing she may have seen at the door of the room across the hall, which is also opened a crack, another female eye. She widens slightly her door's aperture. The woman behind the other door does the same. Their eyes meet, hold an irrefutable beat before the other woman slams her door closed. Alma again defers going for her dope, peers further into the hallway, sees Brom at its far end contemplating Hickok's supine form. A husband's preternatural sense of coming suddenly under his wife's scrutiny prompts Brom to raise his head and turn -- BROM It's Hickok, Alma, unconscious. ALMA I see. BROM I take this for proof my reservations were well-grounded. Now she does need to get high. Closes the door. Brom notes her disappearance, starts at a snore from Hickok, sets off -- INT. GRAND CENTRAL HOTEL - HICKOK'S ROOM - CONTINUOUS Jane sits on a chair beside the bed, watching the little

girl sleep -- JANE Too considerate to disturb us, wouldn't have truck with that room- clerk ghoul to get let in to Charlie's. Rather sleep in the f**ing hallway -- that's the kind of man he is. Jane realizes she's said "f**", but remorse has all but lost its sting -- JANE I owe you another f**ing penny. Owe you another one. Jane changes the compress on the child's head -- JANE I don't know if you ever should learn English. Never mind foul -- spare you knowing how ignorant people are. Her hand lingers on her there gratefully -- JANE But then I could tell you about Bill, sleeping in the hallway out of thought for others. And I know some other f**ing stories too. Owe you another penny. Off which -- INT. GRAND CENTRAL HOTEL - GARRETS' ROOM - CONTINUOUS Alma, at the window, having already taken her first draught of laudanum, and while squeezing replenishment of the opiate, drop after drop, into a water-gla**, considers with luxuriating indolence the puny affairs of men as pursued on the street below. As distorted by the liquid, she sees through the gla** and a spasm of guilt forces her to focus upon -- ALMA'S POV - BROM -- having finished his first circuit of the camp, pausing now outside the Gem. Alma watches Brom's effort at marshaling resolve to enter Swearengen's saloon, and the faltering of his will, returns her attention to the liquid as he moves on -- CUT TO: INT. THE GEM - SALOON - DAY Bullock, Star and Swearengen; b.g., Dority and Farnum -- SWEARENGEN (more or less to Star) I only hope you understand me being short with you out on the street this morning. STAR You had a lot on your mind. SWEARENGEN I had a lot on what's left of my f**ing mind, these new interests coming in, and I hope you see now what my thinking was yesterday not selling that lot to you outright. BULLOCK What's your thinking today? SWEARENGEN (to Star, re Bullock) Gets dead-center to the f**ing point, which I like in most situations. Star's warning glance prompts from Bullock a nod which means to be acquiescent but impresses as only provisional -- SWEARENGEN (to Star) Do you know those new saloon interests? Are you acquainted with 'em at all? STAR No. BULLOCK Not them and not Bill Hickok, and all we want to do is run a hardware business. Swearengen studies Bullock -- SWEARENGEN I've got to be satisfied. You understand? And I'm the type simple co*ks**er that when he sees lightning readies for thunder, and takes the thunder if it comes for part of the same f**ing storm... STAR Why wouldn't you Mr. Swearengen? SWEARENGEN Thank you for saying that even if you don't f**ing mean it. BULLOCK What would make you comfortable selling to us? Swearengen's glance in Farnum's direction puts the hotel operator on notice to check Swearengen's thinking -- SWEARENGEN A thousand, with right of first refusal on any further sale. Unobtrusively, Farnum nods approval of Swearengen's move -- STAR Accepted. SWEARENGEN Right to buy back at the original sale price plus the cost of your improvements. Farnum nods that Swearengen's on a roll -- STAR Accepted. Swearengen's got his confidence back -- SWEARENGEN No gambling on the f**ing premises, or no a**ociation of any sort with these Bella Union co*ks**ers. STAR Accepted. BULLOCK We can't sell 'em our goods? SWEARENGEN No -- what do you think of that? STAR Accepted. SWEARENGEN (to Bullock) What do you think? BULLOCK Accepted. -- so much so, that, rea**ured further by Bullock's capitulation, he softens these Draconian terms -- SWEARENGEN Or what they'd buy in the normal course of your normal f**ing business I guess'd be okay to transact, with these co*ks**ers. BULLOCK We can sell 'em our wares. SWEARENGEN Your normal f**ing wares. No gambling, whoring or whiskey on the f**ing premises, is the chief f**ing point. STAR Accepted. Star offers his hand in agreement -- SWEARENGEN I spit in my hand, will that drive you screaming into the Hills? Star and Swearengen spit, shake hands. Bullock and Swearengen do the same, watching each other carefully -- SWEARENGEN The thousand'd be nice. Star's already produced a billfold from which he begins to extract currency. Swearengen nods to Farnum that it's okay for Farnum to go -- FARNUM Happy outcome. He waves valediction to Swearengen, heading for the door. Off Swearengen, as the bills accumulate before him -- CUT TO: EXT. THE GEM - DAY Utter's waiting outside the Gem for Bullock and Star. The huckster's pitching him an idea -- HUCKSTER A shooting exhibition -- Charlie's approached by deep-thinkers like this in every camp he and Hickok hit -- UTTER That idea for Mr. Hickok's been had and acted on by a few people before you. Utter notes Farnum b.g. exiting The Gem. The more Farnum attempts to navigate the thoroughfare as a man without qualm of conscience, the more his movement becomes sheepish and surreptitious. Finally, far b.g., he ostentatiously plants himself as the equivalent of a window-shopper at the establishment beside the Bella Union. During all of which, the Huckster embellishes his proposal with compounded enthusiasm -- HUCKSTER -- but, then, afterward, we dig out the bullets out of the tree and sell the f**ing bullets -- UTTER Uh-huh. HUCKSTER -- and the f**ing playing cards he used as targets. That's the part I was coming to. UTTER How about the tree-bark behind the f**ing playing-card targets. HUCKSTER Hell yes we'll sell the f**ing bark. Utter's grateful to note Star and Bullock come out of The Gem -- UTTER What do you say, fellas? STAR We got our lot Mr. Utter. UTTER Well hooray for you boys. HUCKSTER (to Utter) Two days I can get the word out. Ten cents to watch and we'll charge for the souvenirs -- UTTER I ain't going to take you up on it Mister. HUCKSTER (lower) There's twenty for you on the quiet. UTTER No, and the talk between us is over. Utter's eyes have gone cold. The Huckster moves off, eyes on the beckoning future -- HUCKSTER Soap with a prize inside! UTTER (to Star, re Swearengen) So you got that man to sell. STAR Never had to strain so to spend a thousand dollars. BULLOCK (to Utter) Will you and Mr. Hickok excuse us from dinner? UTTER (visibly disappointed) You'd as soon not do it, huh? BULLOCK We'd like to get to building. STAR Will we see you for breakfast tomorrow? UTTER Sure. We might even catch Bill coming back from cards. Anyways, congratulations to the both of you and good luck. STAR Thanks Mr. Utter. BULLOCK Thank you. Bullock and Star watch as the older man sets off for the Grand Central Hotel, and E.B. Farnum, having satisfied himself he's bored to stupefaction anyone who might've been watching him, skulks into the Bella Union saloon -- CUT TO: INT. THE BELLA UNION - DAY Farnum enters, wanders among the workers without apparent aim or purpose, a shy and shambling bumpkin -- FARNUM My goodness. My heavens. My goodness gracious. The work continues apace. Farnum arrives at a craps table whose installation Eddie Sawyer supervises. He raises his voice a little -- FARNUM Heavens to Betsy. This draws Sawyer's attention. He considers Farnum with a show of patronizing urbanity -- SAWYER What do you think Hiram? -- ever seen a craps layout? FARNUM My first. SAWYER Shall I show you how it works? FARNUM I might could follow. I do read and cipher. SAWYER Well you're well in advance of the pack. Under which Sawyer's steered Farnum to a second table, fully installed but unattended, points to an inscription on its felt -- SAWYER Tell me what this says. FARNUM "P-A-S-S" says "pa**". SAWYER You can read, can't you. FARNUM I wasn't raised to lie. Farnum now lowers his voice -- FARNUM I'm liable to be k**ed Eddie. He's on my scent and closing. -- while Sawyer pantomimes movements which would suggest to an observer that he's explaining the inscriptions on the felt -- SAWYER Curious tactics coming here then, E.B. Farnum's whisper is an angry hiss -- FARNUM To remind you secrecy is of the essence! That's a dangerous man. Let him doubt those he's trusted, this camp'll run red with blood. Sawyer receives this with more seriousness than his tone admits -- SAWYER Argues for raising your room-rates. 'Least make the game worth the candle. FARNUM I wonder how cavalier your attitude'll be if a pig starts gnawing through your vitals. Sawyer distributes chips on the layout as if demonstrating possible wagers -- SAWYER Bet on me screaming for mercy. FARNUM Turned down your offer to buy and pointed you to Artie Simpson -- whole damned extent of my involvement, and I'm staring straight at extinction. Smiling affably, Sawyer puts his last stack of chips on "Don't Come" -- SAWYER He may get you anyway E.B. -- but if your nerve goes he'll get you sure. Off which -- CUT TO: INT. THE GEM - SALOON - DAY Dority's behind the bar. Burns approaches, produces several sheets of paper on which have been painstakingly inscribed a series of inscrutable drawings -- BURNS Give me a fresh eye on these Dan. Dority examines the first of the sketches -- BURNS Plans for Al's platform. Under which Jimmy Irons enters, leading upstairs the red- bearded faro-dealer Swearengen saw at The Bella Union -- BURNS This one's a lot of construction, extending the balcony over the alley -- Burns shuffles the sheets -- BURNS -- but if you just add a leverage post, the boys'll be farting right outside Al's window. Dority considers him -- DORITY I'd wait till he came back to me, then show Al the alternatives. BURNS (relieved) Let him make the choice. DORITY If he ever came back I'd show Al I did the work and then I'd leave it up to him. Burns' nod affirms Dority's and trumps it with a wink -- DORITY Watch the bar for me? BURNS Go do what you've got to do. Dority does. Off Burns -- CUT TO: INT. THE GEM - SWEARENGEN'S OFFICE - DAY Standing beside Jimmy Irons is Leon, the red-bearded dope- fiend faro-dealer -- SWEARENGEN Get along with me, only dope problem you'll have in this camp is not walking loopy into the a**-end of horses or pa**ing out in feed-troughs. LEON Jimmy said you'd do right by me Mr. Swearengen. SWEARENGEN Safe's open Jimmy, get Leon here some of that dope. IRONS Yes sir. SWEARENGEN (to Leon, re Jimmy) Hear his voice tremble? -- he's thinking, "My God, how long's the safe been open?" IRONS (chuckles uneasily) 'Never crossed my mind Mr. Swearengen. Irons has collected the opium, hands it to Swearengen, who breaks off a tarry black piece -- SWEARENGEN (to Leon) Dope's not my own preferred form of relaxation but I did sample this sh** and believe me I nearly converted. LEON I look forward to trying it Mr. Swearengen. All this time, Swearengen's interest is drawn outside to the affronting structure across the way -- SWEARENGEN Everything that goes on at the place. LEON I'll give you a daily rundown. SWEARENGEN Yeah, that'll be convenient for the both of us. At this moment Swearengen apprehends a form slinking with accustomed stealth from The Bella Union toward its lair at the Grand Central Hotel; stares at the creature with a forming intuition... SWEARENGEN Here's the type I'd want to know about... (points) Just left your joint, the Judas-goat- looking fella... Leon comes to the window -- SWEARENGEN See him? Coyote-moving type -- Swearengen's palms suddenly frame the dope-fiend's skull at the temples, guiding Leon's gaze with a fierce pedagogical pressure -- SWEARENGEN See him? It's as if Swearengen is forcing his own gaze to focus -- LEON (winces) The short guy. SWEARENGEN Yeah. With his paws always damp like a just-sh** f**ing turd. -- asking himself "could I have missed danger so close?" He makes himself let go of Leon's head -- SWEARENGEN That's the type I'd want to know about, comings and goings and any dealings with your bosses. LEON I'll keep a special eye on him. Leon flexes his jaw and optic muscles -- TRIXIE (O.S.) Al? Swearengen addressed the closed door -- SWEARENGEN What? TRIXIE (O.S.) That Cherry New York Dude's downstairs asking for you. SWEARENGEN No good. Jolly him the f** out. TRIXIE (O.S.) He's talking about the Pinkertons. Off Swearengen -- CUT TO: INT. THE GEM - SALOON - DAY Descending the stairs, Swearengen calls out to Brom -- SWEARENGEN Dan Dority thought you were dead. BROM Yes, I didn't go to the claim this morning. I chose not to. SWEARENGEN You should've let him know, I've had him in tears here the last several hours. (calls O.S.) Dan! Dority emerges from a back room -- SWEARENGEN Look Dan! -- (indicates Brom) He's alive! BROM (to Dority) Yes, I chose not to go to the claim. SWEARENGEN Whiskey Brom? Snatch? BROM Frankly Al, I'm here to speak to you, and I'm not to be distracted. SWEARENGEN Proceed then My Son. Speak frankly. BROM We needn't reach the question of whether my claim has "pinched out", as the saying goes, or whether it was a sham proposition to begin with. Let's just say I've lost faith in the property. SWEARENGEN Have you. BROM And I want my twenty thousand dollars back. SWEARENGEN In the heat you've confused me with Tim Driscoll. BROM I think that we are both aware Al that Tim Driscoll's no longer in camp. And because I believe you colluded with Driscoll, and perhaps were in cahoots with other parties as well, I require satisfaction from you. SWEARENGEN It's the heat again Brom. I don't collude and I don't cahoot. BROM Al, are you familiar with the Pinkerton Agency? Swearengen stares at him, rubbing his nose -- SWEARENGEN Why? BROM In pursuing its business interests my family's had several occasions to engage the Pinkertons. We maintain friendly relations. I'd prefer we two settle this as gentlemen, but if need be, the Pinkertons can be made party to our dispute. SWEARENGEN (to Dority) Has he reconnoitered the rims with you at all? DORITY Never. SWEARENGEN Did he ask to and you refused? Dority shakes his head no -- DORITY We hadn't got to it Al -- I a**umed he was in for the long haul. BROM What are you talking about specifically? SWEARENGEN The gold you found washed down from somewheres. That's the law of gravity. Your claim runs rim to rim the width of the f**ing gulch. That means the original deposit the gold you found washed down from is likely on your claim. Above, near one of the rims. BROM That's what you feel I should reconnoiter. SWEARENGEN It's the first thing the Pinkertons'll do, I promise you that much. (to Dority) Or am I f**ing wrong? DORITY No that's how they operate. SWEARENGEN (to Dority) If he wanted would you reconnoiter with him? DORITY I was waiting for him out there all morning Al. SWEARENGEN Is that a yes or a no? DORITY Yes, I'm happy to reconnoiter with him. BROM (to Swearengen) And if Dan's and my good-faith reconnoitering doesn't show the source of the gold, do you then make restitution Al? Or do I have recourse to the Agency? SWEARENGEN All right, yes, if at that point you ask, I'll make restitution... A lethal mirth at the corners of Swearengen's eyes -- SWEARENGEN Rights and wrongs aside, because you got me by the f**ing balls. BROM Fine then. -- stands his ground a self-satisfied instant longer before walking out. Swearengen looks to Dority -- SWEARENGEN Make it look like an accident. Off which -- CUT TO: INT. GRAND CENTRAL HOTEL - SECOND FLOOR HALLWAY - DAY At several steps remove from Hickok's sleeping form, Utter and Jane whisper in fierce colloquy -- UTTER Ain't this a pretty picture. JANE I can't remedy what I don't know about. UTTER Pa**ed out in a public hallway. Under which Brom Garret ascends to the second floor -- JANE He never knocked on the damn door. 'Time I looked out he was already snoring. Did you want me to drag him in by the damn heels? HICKOK I say leave him where he is and go about your own business. Hickok's eyes stay closed. Jane looks to Utter -- JANE He's up. I hope you're happy. Congratulations co*ks**er. Scrupulous to avoid what he takes to be a private drama, Brom knocks on his door and stares at it rigidly. Utter addresses the closed-eyed Hickok even as he allows himself a last fulminating look at Jane -- UTTER Dinner's canceled Bill. HICKOK All right. UTTER Those two fellas got their lot bought and they're starting right ahead with the building. HICKOK Sure. Alma admits Brom to their room -- JANE I was that shocked seeing you sleeping out here Bill. First saw you maybe an hour ago. (to Utter, re Hickok) Didn't want to disturb me or the child Charlie, why he must've sought entry to your room. Wherever the f** you were at. UTTER I'd like to know where the goddamn inn-keep was. He could've let Bill in. HICKOK You're not going to let me sleep, are you? Hickok's tone has more tolerance in it than anger. He opens his eyes -- JANE I'd've let you sleep as long as you wanted Bill. HICKOK How's that Little One? JANE Good, she's napping. More'n I can say for you. Hickok sits up -- HICKOK (to Utter) Was those hardware boys looking for extra hands? Utter decides to lie -- UTTER (nods) Inquiring in a roundabout way. Off which -- CUT TO: INT. GRAND CENTRAL HOTEL - GARRETS' ROOM - DAY Brom ponders modifying his mining outfit -- BROM I think leather boots rather than rubber, given the terrain. ALMA I don't agree with this plan. BROM Reconnoitering the rims is exactly the sort of due diligence Father will ask if I've done. ALMA Nor do I see the need to involve your father. BROM It was my mention of the Pinkertons Alma which brought Al Swearengen around, and the Pinkertons can't come into this unless Father does as well. I wouldn't even know where to look for them. ALMA Oughtn't we possibly to take a different view of all this Brom? -- consider we've had an adventure costing twenty thousand dollars and let matters rest there? BROM Let them rest? ALMA Yes. If you wish to see more of the West let's leave now and see it, or else return to New York. I don't think we should linger here. BROM I have no abiding affection for this camp Alma, but I won't leave without my money. He's dressed and ready for adventure. Notes Alma preparing a draught of laudanum -- BROM Why do you take that medicine? The words seem to escape from him -- ALMA You know why. To relieve my headaches. BROM The other day I had a whopper of a headache and I sampled a bit. I'd hardly call the dull, numbed, floating feeling I experienced "relief". His tone is uneasy and reproachful, as if, before addressing his suspicion she'd taken a lover, she'd inconsiderately forced him openly to expose his fear. She knows how to head off this subject -- ALMA Perhaps the s**es experience the medicine differently. She watches as, at the mention of s**, her husband colors and turns away -- BROM In any case, I hope you feel better. ALMA Thank you. He's gone. Off Alma -- TIME CUT TO: EXT. MAIN STREET - NIGHT Standing sentry on his second-floor balcony, Swearengen watches the last preparations for The Bella Union's opening. Hears behind him -- FARNUM (O.S.) I'll tell you what Al -- you've got a hell of a nice turnout downstairs. Hell of a Monday crowd. SWEARENGEN E.B. He turns, considers Farnum affably -- SWEARENGEN Thanks for coming. INT. THE GEM - SWEARENGEN'S OFFICE - CONTINUOUS -- Farnum's been brought by Johnny Burns -- FARNUM Whistle and I'm underfoot. Loyal's a damn dog. Swearengen's gaze returns to the street at the sound of gunfire. Four employees empty their six-shooters into the air as Cy Tolliver throws The Bella Union's doors open to admit a considerable waiting crowd. Even as he addresses Burns, Swearengen's eyes never leave the scene across the street -- SWEARENGEN (to Burns) What's the post for in the fart-area? BURNS Leverage. Should I take it down? Swearengen shakes his head no -- SWEARENGEN Give me and E.B. some privacy. Off which -- CUT TO: EXT. MAIN STREET - NIGHT At the lot formerly housing the barber's tent, Bullock, Hickok, Utter and Star put hammer to nail building the new hardware store. A kibitzer engages Hickok -- MAN #1 I'll tell you this much Wild Bill, and I'd say the same to the angels in heaven -- as a stage performer, you cannot act a single damn lick. Hickok appears to have made peace long ago with uninvited familiarities -- HICKOK I call that a fair judgment. MAN #1 I saw you on stage in Hartford Connecticut and I'd've bet U.S. currency you'd been strangled and k**ed and just didn't know you was dead yet. HICKOK (to Bullock) Was you born patient Montana, or did you cultivate it? BULLOCK I guess I'm patient for labor. HICKOK (grins) Back-and-forth with your fellow man don't have as much charm for your? BULLOCK (grins too) Not as much. A second man engages the first -- MAN #2 Why tell him that type story? MAN #1 I saw him perform with Buffalo Bill Cody and Texas Jack Omohundro on the stage in Hartford Connecticut. MAN #2 Who gives a f**? You think he was put on earth to hear you run him down? HICKOK I'm all right men. MAN #2 (to Man #1) Now why don't you get out of my sight before I do something I'll f**ing regret. The first man starts walking away -- MAN #1 I'll tell whatever kind of story I feel like telling. MAN #2 That's right -- tell it walking! The first man's gone -- BULLOCK Anyways, Sol and me are sure grateful you and Mr. Utter taking the time to help. MAN #2 Go ahead about your work Mr. Hickok, he won't bother you no more. Hickok ignores the man -- HICKOK (to Bullock, wry) Charlie encourages me being in your company. He feels you're a positive influence. MAN #2 No reason you'd remember me, but I saw you Marshal in Abilene -- saw you blow one co*ks**er's head right the f** off his neck... Hickok looks away, plainly losing patience -- MAN #2 I also saw you dead-center three bullets on an ace of spades playing card at twenty-five goddamn paces. UTTER We're working here friend. MAN #2 (to Hickok) Some other loudmouth like this loudmouth I just sorted out said you'd doctored that playing card before you ever tacked it to that tree. HICKOK And did you sort him out too? MAN #2 You're goddamn right. HICKOK Well thanks for all those efforts, but now it's time you moved along. MAN #2 Sorted him out proper -- gouged out the both of his f**ing eyes. UTTER All right Friend. MAN #2 All right what? Who was talking to you? HICKOK Move along. I'm tired listening to you. MAN #2 You're tired of listening? BULLOCK That's what he said. MAN #2 I guess everyone's talking to me now. HICKOK Get the f** out of here. MAN #2 All right. I hear you Wild Bill. My hearing ain't impaired like your sight's supposed to be. You don't need to insult me twice. He's moving away -- MAN #2 I'll tell you what -- I hope you get what's coming to you, and sooner rather than later. I hope they sort you out and I get to see it. I hope you're gut-shot and die slow. I hope they get you in this camp. The man's gone. Utter looks to Star -- UTTER Throw me some more of them nails. (to Hickok) You need nails Bill? Hickok disengages from the building -- HICKOK (to Bullock) I'm going to desert you. Play some poker and drink some whiskey. BULLOCK Thanks for your help. HICKOK See you later Charlie. UTTER All right Bill. Off which -- CUT TO: INT. THE GEM - SWEARENGEN'S OFFICE - NIGHT Swearengen's gazing out the window, eyes fixed on the lot where Hickok is a**isting the building of the hardware store. He gesture theatrically to Farnum -- SWEARENGEN For having nothing to do with him, those hardware co*ks**ers sure seem joined to Hickok at the hip. FARNUM You made your judgment on that Al, and I believe you judged correct. SWEARENGEN No connection with Hickok, or between any of 'em and them new saloon people. FARNUM You saw it like that and I did too, to the best of the both of our thinking. SWEARENGEN Which was important to me. FARNUM Which was? SWEARENGEN What? FARNUM When you said "which was", I didn't follow what you were asking. SWEARENGEN I wasn't asking nothing. I was saying, because I didn't have full information, your impression on this was important. Of someone I could trust. By now, Farnum's hands are dripping with perspiration. He takes out a rag and dries them -- SWEARENGEN What's wrong? FARNUM My palms are damp. SWEARENGEN Your palms are always damp. FARNUM Yes. SWEARENGEN So is something wrong? FARNUM No. Off which -- CUT TO: EXT. ELLSWORTH'S CLAIM - NIGHT He's sitting at the cooking fire, notes at a distance Brom Garret and Dan Dority climbing toward the top of Brom's claim -- ELLSWORTH (to the dog) The Great Prospector's found his second wind. Unless he's getting blowed along. Off which -- CUT TO: INT. THE GEM - SWEARENGEN'S OFFICE - NIGHT Neither Swearengen or Farnum's moved or even blinked -- FARNUM You tell me what's wrong Al. Have you a doubt of misgiving? You tell me. SWEARENGEN Generally, with my misgivings or doubts, I go ahead and k** the mother- f**er I have doubts or misgivings about. Farnum knows he's playing for his life -- FARNUM But these are special circumstances. Swearengen considers him -- SWEARENGEN I don't know what you mean by special circumstances. If I want to, I can burn the whole f**ing camp down. FARNUM Yes you can. SWEARENGEN Cut your throat first and then burn down the whole f**ing camp. FARNUM You can, that's right. SWEARENGEN So I don't know what the f** you mean. FARNUM I mean, short of burning it all down, you got to trust someone. A beat, then -- SWEARENGEN What were you doing over there? FARNUM Where? Swearengen stares at him -- FARNUM At The Bella Union? The instant the words are past his lips he knows he's erred, quickly offers -- FARNUM Gathering impressions. Scouting. -- knows he's still in error and almost out of chances -- FARNUM Listen to me. Listen to me. I was the go-between. It was me. But without malicious intention. CLOSE ON SWEARENGEN -- CUT TO: EXT. CLAIM NUMBER NINE ABOVE DISCOVERY - NIGHT Brom and Dority, attaining the summit at The Gulch's eastern rim. The disappointment Brom knows he ought to feel at not having found more gold is subsumed by his pride at having made the climb -- BROM I'll confess to being winded. Sees Dority come for him -- BROM Oh Dan, no -- -- struggles, moaning with juvenile terror -- BROM Mother. -- as Dority pushes him from the rim -- CUT TO: INT. THE GEM - SWEARENGEN'S OFFICE - NIGHT -- as if, in his extremity, supplanting the fear which has governed his every breath, the hotel operator has been suffused by Sawyer's admonition against loss of nerve -- FARNUM Simple greed. One less hotel in camp. Shorten up the room-supply. No conspiracy, and no betrayal. (beat) If you're going to murder me, I'd appreciate a quick dying and not getting 'et by the pigs, 'case there's Resurrection of The Flesh. A beat, then -- SWEARENGEN Stay friendly with them co*ks**ers. Swearengen walks past Farnum, out of his office. Farnum hears the door slam, realizes he's saved. All of his character defects return -- FARNUM With them Bella Union people? Off which -- CUT TO: EXT. BOTTOM OF THE GULCH - NIGHT Dority, descending from the rim to reach the spot where Brom has fallen, comes upon a gold outcropping, begins, amazed, to trace its extent. Hears Brom moan. Covers the outcropping with brush, moves to Brom's fallen form. He's nearly dead. Crouching, Dority raises Brom's head by the forelock, snaps his face down on a rock, k**ing him -- NEW ANGLE - ELLSWORTH watching, holding the dog, his hand over its mouth -- CUT TO: INT. GRAND CENTRAL HOTEL - HICKOK'S ROOM - NIGHT Jane and the Metz child. The child watches her. Jane feels her forehead for the hundredth time -- JANE If he comes, I'm going to move you to that nice palette only 'cause he's far too big for it and so would I be. So if you wake up on the palette that's what happened. And him and me being where we are is the circumstances of the room, period, and the grownups are just sleeping. But don't be afraid to wake me up. All right, Sweetheart, close your eyes. Jane takes her hand to her own face, moves her palm over her eyes to show the child it's time to go to sleep -- JANE Go ahead Child, I'm right here. The Child closes her eyes to show Jane she understands, opens them again to see if Jane has recognized her purpose. Jane nods, smiles -- JANE Go ahead. As the Child closes her eyes again -- CUT TO: INT. THE BELLA UNION - SALOON - NIGHT Full-swing. Tolliver watches from across the room as a small crowd has gathered to watch Hickok play poker. A Player approaches him -- PLAYER When it was a hotel this morning I was tossed out of this place on my a**. TOLLIVER Wasn't on our watch Sir, and I hope you got a compensation chit. PLAYER The chit was a nice f**ing touch -- TOLLIVER Have two more -- PLAYER (taken with his own wit) I may apply these toward a nice touch of f**ing. TOLLIVER All right now. The Player's about to move off -- PLAYER Wild Bill Hickok over there. TOLLIVER I believe that's him. And the snatch is over in this direction. Tolliver points the way, and the Player follows it. Joanie Stubbs has joined Tolliver. They consider Hickok across the room -- STUBBS Tina or Molly can be quiet, if you want him kept company. TOLLIVER That man's already doing all he wants to. She nods, agreeing -- TOLLIVER If I sent him anyone it'd be you. She smiles, moving off. Tolliver considers the room while drifting toward the faro table manned by Leon the dope-fiend -- TOLLIVER Are you loaded Leon? LEON Well on the path Mr. Tolliver. That man at The Gem's got some serious sh**. Sawyer's joined them -- TOLLIVER I know when you make your first report on us to him you'll remember to say thanks. SAWYER I hope you're not too f**ed-up to deal seconds for us Leon. LEON The opium ain't made yet Mr. Sawyer that can f** me up that bad. TOLLIVER Atta boy. Off Tolliver's POV of Hickok across the room -- CUT TO: INT. THE GEM - SWEARENGEN'S BEDROOM - NIGHT Swearengen and Trixie in bed. Swearengen's sitting up. His gaze is fixed, inscrutable -- SWEARENGEN Trust. That's a great way to operate. Learn all the ins and outs of getting k**ed. (beat) Every f**ing beating I'm grateful for. Every f**ing one. Get it all beat out of you, then you know what the f**ing world is. A knock at the door is followed by a loud whisper -- DORITY (O.S.) It's Dan Al, better open up. SWEARENGEN (to Trixie) Let him in. Swearengen sits up a little more as Trixie rises. She puts on her nightgown, admits Dority, walks out onto the balcony. Dority comes beside Swearengen, squats to confide -- DORITY It's a mixed report Al. Swearengen nods Dority in closer -- CLOSE ON THEIR LIPS -- SWEARENGEN Just tell me is it done. DORITY It's done. He's gone. INTERCUT WITH: EXT. MAIN STREET - THE GEM/GRAND CENTRAL HOTEL - NIGHT Trixie, on the balcony, looks across the thoroughfare, meets the eyes of Alma Garret, keeping watch for her husband at the window of her hotel room -- RESUME - SWEARENGEN AND DORITY - EXTREME CLOSE-UP SWEARENGEN What's the mixture? DORITY He went owning a hell of a f**ing gold strike. Off which -- FADE OUT. THE END