David Milch - Deep Water lyrics

FADE IN: EXT. MR. WU'S - DAY Wu, muckraking outside his pigpen, always glad to see a Caucasian in logistical difficulty, considers the labored approach of E.B. Farnum, who, hara**ed by a mongrel cur, wheels an overloaded laundry-trundle through the deep-rutted goop. The winded hotelier unloads the piled linens into Wu's wash-tub -- FARNUM (to Wu) Wash-ee. When removed from the trundle, the last of the sheets, bloodied, reveals Tim Driscoll's quartered corpse. The dog yaps with deepened yearning. Farnum, raising his gaze from Driscoll's body to Wu, indicates the pigs -- FARNUM Eat-ee. Wu understands. Farnum looks from the pigs to he dog to Driscoll's remains -- FARNUM His dog-ee. (points to the pigs) Them eat-ee dog-ee too -- Farnum lacks intellectual rigor to pursue further the logic of pidgin grammar -- FARNUM -- or eat-ee him yourself you leering Heathen. Hand to the trundle for balance, Farnum yanks his left boot out of the goop's suction, moving off as the cur keeps barking, and the CAMERA HOLDS ON, among the trundle's unspeakable contents, Driscoll's face -- CUT TO: CLOSE ON SWEARENGEN seen from a further remove but at the same angle as Driscoll, eyes coming open, a vigilance immediately animating him, getting him to his feet, to his piss-pot, hurrying his pissing; he looks to the sleeping Trixie, comes to the side of the bed, takes up the gun Trixie has laid there; wakes her up -- SWEARENGEN (re the gun) Was this for me? TRIXIE I brought it for you. Their eyes hold a beat, then -- SWEARENGEN Get out. He holds her sleeping gown out to her. She rises, naked, takes the gown. As she pulls it over her head he pushes her toward the door, grabbing up his suspendered pants -- CUT TO: INT. THE GEM - SALOON - FIRST FLOOR - DAY where Jewel is sweeping. Swearengen comes down the stairs -- SWEARENGEN Coffee. She heads for the kitchen. Farnum's entered -- FARNUM (carefully) 'Morning Al. SWEARENGEN I'd like someone to tell me what in f** is going forward in this camp. FARNUM Tim Driscoll's checked out -- I can tell you that much. This placates Swearengen -- SWEARENGEN Left your hotel has he? FARNUM Moved to Wu's pigsty. -- but only briefly -- SWEARENGEN And what was that shootout about? FARNUM At sunup? SWEARENGEN Yes at f**ing sunup. FARNUM 'Far as I heard Al, Hickok and one of them hardware guys you're renting to threw down on the fella 'brought word in of that Squarehead family's ma**acre -- suspected he was in on the k**. SWEARENGEN What's it to Hickok or that hardware guy either how them Squareheads come to die? FARNUM I couldn't agree with you more. Jewel returns with Swearengen's coffee -- SWEARENGEN If you don't stop dragging that f**ing leg. JEWEL (to Farnum) Coffee? FARNUM I might have one cup. He glances sideways at Swearengen to make sure this is okay -- FARNUM (to Swearengen) Did you know one Squarehead lived? Little Squarehead girl. They took her to the Doc's. SWEARENGEN In what condition? FARNUM I don't know Al. (beat) If she was to make it wouldn't she have a story to tell. CLOSE ON SWEARENGEN features working, vigilant, as when he awoke, against a still- encroaching fear -- CUT TO: CLOSE ON BULLOCK no less haunted then Swearengen, seen in a shaving mirror. His cheeks are lathered, though he hasn't brought the razor to his face; instead observes in the mirror's reflection one prospector enacting for another, while glancing in Bullock's direction, Bullock's and Hickok's shooting of End Mason. He starts involuntarily at -- STAR (O.S.) Should we test that hotel's kitchen Seth? ANGLE - STAR returning to their tent from his ablutions at the creek. Bullock towels off the lather -- BULLOCK I'll meet you. ON Star, as Bullock moves away -- CUT TO: EXT. STREET - DAY Rev. Smith is carpentering a coffin, kibbitzed by a seemingly idle Johnny Burns. They note Bullock's pa**age -- SMITH Men like Mr. Seth Bullock there raise a camp up. BURNS (indicates the coffin) Fella going to be staying in that box might argue with you Reverend. SMITH Mr. Bullock did not draw first. And I point to his commissioning me to build The Departed a coffin, and see to his Christian burial. BURNS Any idea on The Departed's name? SMITH In his effects I found a letter addressed to Tom Mason -- BURNS I know a Tom Mason but this ain't him. SMITH (patiently) -- which, having prayed, I decided to open. The sender, Mrs. Walter Mason, writes "I have asked your brother Ned to bear this to you," from which I conclude The Departed's name is Ned. BURNS Ned Mason, huh? SMITH Possibly the Tom Mason you know is the dead man's brother. If he's in the camp he should be notified. BURNS No, I ain't seen Tom around. Burns sustains his innocuous tone, but averts his gaze from the minister -- CUT TO: EXT. DOC COCHRAN'S OFFICE - DAY Jane, a blanket around her shoulders, sleeps sitting against the side of Cochran's small, rough-hewn cabin, splay-legged like an unmastered puppet. Cochran's come out -- COCHRAN Wake up. Jane does, getting to her feet -- JANE How's that Little One? COCHRAN Still among us. JANE I'm asking you what her prospects are. Cochran lets himself trust a fellow outcast -- COCHRAN If her wounds don't fester she might could have a fighting chance. -- and Jane's feeling for the child permits a brief, blessed breaking-free from the manacling belligerence of her own personality -- JANE Good. Cochran notes Bullock's approach -- COCHRAN Nothing of that to him. JANE He's all right. COCHRAN (insistent) Not a word. Bullock's reached them, tips his hat to Jane -- BULLOCK 'Morning. JANE 'Morning Bullock. BULLOCK I was wondering how that child fared. COCHRAN It's iffy. Touch and go. I'm not optimistic. BULLOCK Has she spoken? COCHRAN No. She's not conscious. I'd be surprised if she ever is. Ordinarily, Bullock, the former lawman, might be made suspicious by such over-emphatic insistence; in this instance he discounts it as irritable misanthropy -- BULLOCK I'd like to hear, whichever way it goes. Cochran nods, looking away. Bullock tips his hat to Jane -- JANE If you see Bill Hickok or that sore- a**hole Charlie Utter, could you say I looked to the stock? BULLOCK Sure. I'll let 'em know. When he's gone -- JANE You're wrong not to trust him. He formed the party that found this Little One, among all the dead of her family. COCHRAN Didn't he? And didn't he shoot a man he suspected in the murders? And if I confided, wouldn't he circulate my optimism? Wouldn't he say "When that Little One speaks you'll find out I was right -- not the Sioux 'k**ed her family but road-agents." Cochran turns to her -- COCHRAN And s'pose it was road-agents, and they hear his talk. Where does the Little One stand then? Grudgingly, Jane acknowledges a sense in this -- JANE You got a dark turn of mind. COCHRAN I see more misery out of them moving to justify theirselves as them that set out to do harm. Off which -- CUT TO: INT. GRAND CENTRAL HOTEL - DINING ROOM - DAY Utter and Hickok preparing their breakfasts at the hotel's version of a buffet. Star's seated at one of the tables b.g. Utter rejects the first roll he's selected -- UTTER Same dead roach in the same damn biscuit. A hungover Hickok agrees -- HICKOK He stuck to his position. Bullock enters -- BULLOCK (to Hickok) 'Morning. HICKOK 'Morning Montana. Hickok doesn't trust his hand with the coffee pot. Utter quickly takes it up -- UTTER (to Bullock) Joe? BULLOCK Much obliged. As Utter pours -- BULLOCK (to Hickok) Your friend asked me to say she's looked to your stock. HICKOK Thanks. BULLOCK She's back now keeping watch on that child we found. Hickok studies Bullock unimposingly -- BULLOCK 'Far as her chances, the Doc's not optimistic. HICKOK From the look of him, would you think that Doc's been wrong once or twice in his life? Which brings from Bullock an appreciative grin -- BULLOCK Maybe once or twice. Utter senses that his friend's contact with Bullock elevates Hickok's spirits, calls after Bullock as he drifts toward Star's table -- UTTER We'll likely be by your tent later -- STAR Good. UTTER -- get Bill here outfitted with some prospecting gear. FOLLOW Hickok and Utter as they move toward their table -- HICKOK Don't do that Charlie. UTTER Do what? HICKOK Trumpet my intentions -- herd me like a damn steer. UTTER (defensive) Ain't you here to prospect for gold? Hickok busies himself with his bacon -- UTTER If you're just going to gamble Bill let's get it said -- I'll arrange appearance money for you at one of these joints. HICKOK That ain't gambling -- it's shilling for the house. UTTER It's getting you a regular damn source of income -- Utter notes the arrival in the room of the newspaperman Merrick, lowers his voice -- UTTER -- so this don't wind up like Cheyenne. ANGLE - BULLOCK AND STAR at their table, also noting Merrick's arrival, his serving himself at the buffet -- STAR (re the child) You did your part Seth. She wouldn't have lived the night. Bullock wants to let it go -- BULLOCK What offer should we make on the purchase of that lot? STAR That barber next to us paid six hundred for his lot ten days ago. BULLOCK Seller's market. STAR (nods) I'd say we're well-bought at seven- fifty and we don't go past a thousand. They register Merrick's approach -- MERRICK May I join you? There's nowhere else to sit. They make room. Merrick, taking a chair, addresses Bullock, voice raised so Hickok will hear -- MERRICK Well Mr. Bullock. After the events of last night, for an ink-stained wretch like me to come upon you and Mr. Hickok in the same dining room is luck indeed. Bullock meets his eyes -- BULLOCK I don't want to talk about last night's events. MERRICK I see. Fair enough. I know how to pocket my notebook sir. As they commence to eat -- MERRICK These same wretched biscuits. Off which -- CUT TO: INT. GRAND CENTRAL HOTEL - LOBBY - DAY Farnum's behind his desk. Alma Garret descends -- FARNUM Mrs. Garret. ALMA Mister Farnum. Alma joins him. He can see she's jonesing, smells money -- FARNUM I hope you slept well. ALMA As it happens, I did not. FARNUM I'm very sorry. Do you require the Doctor? ALMA Yes. Please. Alma gives him some dough -- FARNUM Certainly ma'am. Of course. Sorry you're poorly again. She walks on. HOLD ON Farnum, exhibiting the predator's innocent pleasure at sighting weakened prey -- FARNUM (to himself) Somebody's low on dope. Off which -- CUT TO: INT. GRAND CENTRAL HOTEL - DINING ROOM - DAY The men rise at Alma's stiff-moving entrance. She nods perfunctory, polite acknowledgment as they resume their seats -- ANGLE - MERRICK, BULLOCK AND STAR Merrick watches her prepare her breakfast plate -- MERRICK That is Mrs. Alma Garret, whose husband, I'm told, while standing at the bar of Al Swearengen's Saloon, bought a gold claim last night for twenty thousand dollars. STAR We rent a lot from Al Swearengen. MERRICK I'm not surprised to hear it Sir. Merrick's distracted, looking around the room -- MERRICK Tim Driscoll, the claim's seller, lives here at the hotel. He must be sleeping in. ANGLE - HICKOK watching Alma's hands shake as she pours her coffee. He recognizes a fellow sufferer. She feels Hickok's eyes on her, doesn't look up -- CUT TO: EXT. CLAIM NUMBER NINE ABOVE DISCOVERY - DAY Brom, with Dority's half-hearted a**istance, pans his claim for gold. Ellsworth's come by -- ELLSWORTH 'Morning boys. DORITY Ellsworth. ELLSWORTH (to Brom) Name's Ellsworth. I hear you bought these digs. BROM (nods) Brom Garret. How do you do. ELLSWORTH My claim's one over. BROM (miserable) I see. ELLSWORTH Cleaning up any yellow? DORITY (feigned optimism) Day's young. BROM (to Ellsworth) How's it running at your claim? ELLSWORTH I've met my quota for whiskey, p**y and food. DORITY Get on over to the Gem then Ellsworth. ELLSWORTH (to Brom) Further efforts'll only benefit the faro dealers. BROM This exact spot showed a fistful of nuggets two night ago. ELLSWORTH Don't weaken Pilgrim. 'Tween nuggets and nothing she's usually going to show you some flake. He's gone. Brom glumly resumes his efforts -- BROM She hasn't even showed me any flake. -- earning the fish-eye from Dority. Off which -- CUT TO: INT. THE GEM - SALOON - DAY Behind the bar, Swearengen, striving for patience, receives Johnny Burns' report -- BURNS "No," the Bible-thumper says, "the dead man's named Ned Mason -- maybe the Tom you know's his brother." "Oh I doubt that, Reverend," I say, "the Tom Mason I know's nowhere near here." SWEARENGEN Johnny. BURNS But what was I thinking? -- "Damned if Al didn't center-shoot the bulls- eye: 'wasn't Sioux k**ed them Squareheads but Persimmon Phil, Tom Mason, and the croaker headed for this coffin, who must be some f**- up younger brother of Tom's." Swearengen's noted the entrance of Bullock and Star -- SWEARENGEN (to Burns) Listen to me. Go get Doc Cochran. Burns wants some love -- BURNS And I never tipped the Thumper to none of it Al. Played it dumb as a pile of rocks. SWEARENGEN Bring the Doc. Say I want him to see to the who*es. BURNS All right Sir. Burns, moving past the new arrivals, amiably acknowledges their different paths -- BURNS S'cuse me fellas. BULLOCK Mr. Swearengen? SWEARENGEN That's right. STAR Sol Star. BULLOCK Seth Bullock -- SWEARENGEN How do you do men? Bullock hands Swearengen twenty dollars in currency -- STAR Rent on Lot Four. Swearengen's eyes widen theatrically -- SWEARENGEN Lot Four -- the hardware boys. I want to buy you fellas a drink. You do drink don't you? Star finds something off-putting in the way this is asked -- STAR Sure. Swearengen's turned to collect a bottle -- SWEARENGEN How's business on that lot? Hell of a spot isn't it? Any more foot traffic you'd have to call it a riot. -- suddenly adopts a tone of exaggerated caution -- SWEARENGEN I'm turning back slow, nothing in hand but this whiskey bottle -- Star and Bullock exchange a look. Swearengen, turning now to face them, grins amiably at Bullock as he fills the shot gla**es -- SWEARENGEN -- they say you're not a man I'd want mistaking my intentions. Bullock's temper starts rising -- BULLOCK Who says that? I'd like to ask 'em what they mean. STAR That fella drew on Seth this morning. SWEARENGEN I never heard different. BULLOCK No one mistook his intentions. SWEARENGEN Let's leave it all alone. I'm stupidest when I try to be funny. A beat, then Bullock and Star both down their shots. Swearengen refills their gla**es -- SWEARENGEN These're still free. (to Bullock) Sorry for hitting a nerve. BULLOCK We'd like to offer on that lot we're renting. SWEARENGEN I'll sell my back teeth for the right money. STAR Would six hundred get the job done? SWEARENGEN You've been talking to Kerrigan beside you. STAR We met him to say hello. SWEARENGEN Values've went up since Kerrigan and me did business. Folks pouring in every day. I tear my hair and gnash my teeth I sold to that barber so cheap. BULLOCK What would you take for the lot? SWEARENGEN (considers) I guess before I made a price I'd want to know if you boys have unnamed partners. BULLOCK Why? SWEARENGEN (to Star, benign) I think specifically of Wild Bill Hickok. (to Bullock) Didn't you and Hickok act together in the street this morning? STAR We just met Wild Bill Hickok. BULLOCK (over Star, and to him; re Swearengen) What business of that is his? The angrily flustered Bullock's garbling his thought prompts a friendly smile from Swearengen -- SWEARENGEN You mean what business of mine is that. Bullock's further goaded -- BULLOCK Don't tell me what the f** I mean. Swearengen seems taken aback -- SWEARENGEN That's not the tone to get a deal done. Star wants to get Bullock out, finds opportunity in the entrance of two figures we'll come to know as Persimmon Phil and Tom Mason -- STAR (to Swearengen) Should we sort it out another time? SWEARENGEN Sure. STAR (re new arrivals) Thirsty people. SWEARENGEN (to Bullock) And you and me'll find our proper stride. BULLOCK All right. Star expands on Bullock's minimal civility -- STAR (to Swearengen) Good luck on the day's trade. Swearengen amplifies further -- SWEARENGEN (to Star) I won't even wish you luck, 'cause I can tell you ain't the type that needs it. I marked you for an earner the minute you come in my sight -- Under which Bullock and Star have started away -- SWEARENGEN (under his breath) -- Jew ba*tard. Swearengen's features transmute yet again as Persimmon Phil and Tom Mason reach him -- SWEARENGEN Two wayfarers, when I'd heard you were three. PERSIMMON PHIL How 'you doing Al? SWEARENGEN Shall we all let's drink upstairs? TOM I can be persuaded. Swearengen puts his arm around Tom -- SWEARENGEN And will you have a who*e Tom? Or are you still staying true to that heifer? TOM It's over with her and me. PERSIMMON PHIL He went sweet on a buffalo by Yankton. SWEARENGEN (to Tom) Where's brother Neddy anyway? TOM (suddenly evasive) f** if I know, that f**er. Tom sees Trixie on the second floor -- TOM I'll take her. Swearengen's features are inscrutable -- SWEARENGEN Pick another. As they climb -- CUT TO: EXT. MAIN STREET - DAY Bullock and Star head toward their tent, Star watching his friend stew silently. After a beat -- BULLOCK I don't like that son-of-a-b**h. STAR Thank God you didn't let him see it. BULLOCK Calls me loose with a gun. Was he there? STAR We'll just get the lot bought Seth and have nothing more to do with him. Buy the lot, then we give him a wide berth. Bullock stops, studies Star, lets him know he's aware he's being handled -- BULLOCK Or we could just forget about putting money in the co*ks**er's pocket. Star meets his eyes -- STAR It's a hell of a location, but we could let the whole thing go. A beat, then a compelling antagonism toward Swearengen beyond will, logic, justice or injustice a**erts itself in Bullock -- BULLOCK No. Smith's been standing outside their tent, noted their approach, come to meet them -- SMITH I've acted on your commission Mr. Bullock -- built a coffin and dug a grave. BULLOCK Thank you. SMITH (to both men) Will you join me now for the burial service? It's just what Bullock and Star want to do -- CUT TO: INT. GRAND CENTRAL HOTEL - HICKOK'S ROOM - DAY Utter and Hickok in different corners of the room. Maybe Hickok's looking out the window, Utter's seated at the edge of the bed, looking in the opposite direction. After a beat -- UTTER All's I was saying Bill, till you start your prospecting, if you're gonna gamble, let's get you protected a little. Hickok doesn't look back -- HICKOK I know what you were saying. UTTER Extra business you bring a joint, interruptions you stand for off folks wanting to glad-hand, that all deserves compensation. HICKOK Don't shop me to those places Charlie. A knock -- FARNUM (O.S.) E.B. Farnum gentlemen. Mr. Utter's room is ready. Utter rises, looks to his friend with saddened resignation -- UTTER Go ahead and do it your way then Bill. Off Hickok, as Utter collects his valise and moves toward the door -- TIME CUT TO: INT. GRAND CENTRAL HOTEL - DRISCOLL'S OLD ROOM - DAY E.B Farnum shows Charlie Utter into the murdered Tim Driscoll's former room -- FARNUM Cleaned and thoroughly aired -- Chuckling unctuously, Farnum gestures grandly toward the open window -- FARNUM -- the previous guest was Irish. Utter just stares at him. Farnum decides not to linger, hands Utter the key -- FARNUM No tip necessary sir. I operate the hotel. Farnum exits. Off Utter, forlorn, sitting on the bed, taking in the empty room, noting a blood-spot the circumference of his hat brim on the floor beside the bed -- CUT TO: INT. THE GEM - SWEARENGEN'S OFFICE - DAY Swearengen and Persimmon Phil drink. Shouts and thumps against walls announce Tom Mason's banging a prostitute in the adjoining room -- PERSIMMON PHIL Listen to Tom carry on. Swearengen doesn't seem interested -- SWEARENGEN Bad luck you wasn't here yesterday. PERSIMMON PHIL What did I miss? SWEARENGEN A Squarehead family leaving I could've tipped you to. Heading back to Minnesota. PERSIMMON PHIL Well off? Are they worth still trying to catch? SWEARENGEN Sioux already caught 'em. Did for 'em last night on the road to Spearfish. PERSIMMON PHIL Those heathen co*ks**ers. So we missed a good score. Swearengen studies Persimmon Phil -- SWEARENGEN Keep lying and I'll murder you in that chair. PERSIMMON PHIL What's wrong Al? What're you talking about? Swearengen just stares at him. After a beat -- PERSIMMON PHIL All right, I'm going to tell you what happened, which is the God's truth. We come on that family by accident. No one was looking to hold your end out or anything of the sort, or conceal a goddamn thing. Persimmon Phil, failing to dissemble his fear, produces a leather pouch filled with gold dust -- PERSIMMON PHIL You end, weighed to the ounce. And my only problem, because we hadn't cleared it with you... You know how you get Al, you know that yourself, so my problem was raising the subject. I had it all weighed out. He's put the pouch before Swearengen, who ignores it -- SWEARENGEN You know why I get how I get? PERSIMMON PHIL You want to go over the job. You don't like loose ends. I appreciate that. SWEARENGEN I don't like messes, or things done half-a**ed, or bags of sh** left to hold -- PERSIMMON PHIL There was no loose ends Al, I guarantee you that much. SWEARENGEN -- 'cause I've got a whole operation to consider. A beat. Persimmon Phil, shifting uneasily, hoping against hope he's put matters to rest, reacts to a whoop -- PERSIMMON PHIL Listen to Tom. SWEARENGEN One of the Squareheads lived. PERSIMMON PHIL No. SWEARENGEN No? PERSIMMON PHIL I'm saying it's hard to believe . I mean I believe you, but we saw to 'em pretty good. SWEARENGEN They brought the kid back to camp. It's over at the sawbones'. PERSIMMON PHIL Is it talking? Can it even speak English? When we was seeing to 'em they all screamed in Squarehead. SWEARENGEN Where's Ned Mason? Persimmon Phil wipes his mouth -- PERSIMMON PHIL What a f**ing story that is Al, if you only knew the f**ing problem he was. Swearengen just stares. Persimmon Phil tries to get his spit up -- PERSIMMON PHIL Comes the Squareheads' time, Ned spooks and rides off, as full as Tom's and my hands were doing what we had to do. So God knows where he's got to. (indicates pouch) Anyways, your cut reflects he's out, there's no cut in there for Ned. SWEARENGEN He came here. PERSIMMON PHIL No. SWEARENGEN Say "no" again I'll murder you where you f**ing sit. PERSIMMON PHIL He swore he'd head for Cheyenne. SWEARENGEN But here's closer, isn't it? -- and every one of you co*ks**ers goes for the easiest chance. PERSIMMON PHIL So where's Ned now? SWEARENGEN Where he is now is he stirs the whole camp up last night with his ma**acre story, till I'm giving liquor away and c*nt at half-price to keep my crowd controlled, and a party makes up from Nuttall's to ride back out to Spearfish -- Wild Bill Hickok and them two guys 'walked past you downstairs and several other meddling pains-in-the-balls that save the Squarehead kid and tell Ned to Stick around till they see what the kid has to say about him. PERSIMMON PHIL Wild Bill Hickok? SWEARENGEN And Ned throws down. PERSIMMON PHIL (incredulous) Against Wild Bill Hickok. SWEARENGEN Against Hickok and this other co*ks**er that draws almost as fast, so it's a toss-up who blew Ned's head off. PERSIMMON PHIL Jesus Christ Al. I'm sorry for all the bother. SWEARENGEN You let Ned run, leave a Squarehead alive, and me to clean up the mess. Those were the only loose ends. PERSIMMON PHIL I want you to take my share. Honest to f**ing Christ -- Swearengen gets to his feet, approaches Persimmon Phil -- SWEARENGEN I don't want your share, and I don't want that kid telling people in English or Squarehead or drawing pictures in the sh** with twigs how it wasn't Indians k**ed her people but whites. Swearengen punches Persimmon Phil in the ear, knocks him to the floor sideways -- SWEARENGEN This camp could be up for grabs. God knows what these co*ks**ers are here for, Hickok and the rest, and what I'm going to have to do about it. And just when I need to keep my head clear, you give me these sh**- bags to hold. Swearengen looks up as, from the next room, Tommy Mason shouts announcement of his orgasm -- TOMMY (O.S.) Yahoo! Yahoo! Swearengen's mouth is at Persimmon Phil's ear -- SWEARENGEN I should cut you f**ing throat for you. PERSIMMON PHIL Please. Don't cut my throat. Let me help you straighten it out. A pounding on the door. Swearengen's eyes never leave Persimmon Phil as he admits Tommy Mason, who stands before them, pants around his ankles, wielding a fistful of prick -- TOM That snatch is branded! SWEARENGEN Attaboy Tom. Swearengen looks in at the adjoining room's open door to see the sullen, bedraggled who*e -- TOM She's branded with the Flying T! SWEARENGEN Attaboy. Put your iron away now. Swearengen, patting Tom on the back, moves past him into his own office -- SWEARENGEN (to Persimmon Phil) All right. You help me straighten it out. Off which -- CUT TO: INT. DOC COCHRAN'S OFFICE - DAY Cochran and Jane flank the Norwegian child, who lies, eyes- closed, on a wooden pallet. Jane's customary preemptive belligerence is tempered by sheepish appreciation as Cochran supervises her poulticing of the child's leg wounds. A knock on the door -- BURNS (O.S.) Doc, you'll get me in Dutch with Al. Cochran addresses the door -- COCHRAN Just another damn moment. (to Jane, re the dressing) Don't press down -- just lay it on light. JANE If it look like I'm pressing I'm not. Cochran watches. Jane begins to trust herself -- JANE I'm not putting any goddamn pressure. COCHRAN Very good. BURNS (O.S.) Doc! COCHRAN I have to go. JANE I expect caring for them who*es' business areas is a big damn part of your income. Some private drama enacts itself in Cochran to which Jane is oblivious, a primitive, shaming fear. Cochran moves to collect his bag -- JANE So this is what you want me to do? COCHRAN Yes, and don't let anyone in. JANE Believe me, anyone tires getting in here that's not you is going to be damn f**ing sorry. COCHRAN All right. Inexplicably, uncomfortably, Jane finds herself liking Cochran enough to try cracking a joke -- JANE I may not let you back. Cochran studies her a beat, leaves. Off Jane, looking at the Little One -- CUT TO: INT. THE GEM - SWEARENGEN'S OFFICE - DAY Swearengen and Persimmon Phil flank Tom Mason, who's sh**- faced now and tearful -- TOM That poor f**ing kid. My poor f**ing brother. SWEARENGEN Terrible. TOM (to Persimmon Phil) We should've stopped him from running Phil. Every damn thing that kid does on his own, he gets himself in trouble. Persimmon Phil gestures vaguely, hoping to convey resignation -- SWEARENGEN Anyways, he's gone, and rest his soul. PERSIMMON PHIL That's all. SWEARENGEN They shot him off his f**ing horse. TOM Rest his poor f**ing soul, and let him rest in f**ing peace. SWEARENGEN They bu*t into other people's business, and make the business of others their own, these bought-out no-good co*ks**ers. Tom is forced to consider this -- TOM Hickok, you're talking about? SWEARENGEN Big f**ing shot that he is -- Swearengen, behind Tom, impatiently prompts Persimmon Phil to run with this -- PERSIMMON PHIL When he's standing in front of somebody. SWEARENGEN Oh, one in his ear from behind I'd like to see how f**ing tough he was. PERSIMMON PHIL That's right -- the co*ks**er. A knock from Burns and his entrance interrupt Swearengen and Phil's momentum -- SWEARENGEN (to Tom) Hey. Rest your brother's soul. PERSIMMON PHIL That's all. BURNS Condolences Tom. TOM He's gone Johnny. I don't think you ever met him. BURNS No. (to Swearengen) Doc's here Al. Swearengen nods, moves toward the door -- SWEARENGEN (to Tom) f** Hickok and what he did to your poop f**ing brother. Swearengen's gone. Tom looks to Burns -- TOM My mother'll never f**ing forgive me. Burns nods, taking his cue from the expression of solicitude on Persimmon Phil's mug. Off which -- CUT TO: INT. THE GEM - who*eS' ROOM - DAY Trixie observes Cochran, who's examining an abscess on who*e #1's arm -- COCHRAN (to who*e #1) This is festered now, 'cause you won't take a flame to your damn needle. who*e #1 I do Doc, every time before I use it. COCHRAN Stop lying. who*e #1 Anyways, I'm quitting. TRIXIE They say you're looking to a Little One Doc. Cochran appears not to hear, looks to who*e #2, who's lubricating her chamber of commerce -- COCHRAN How's that unguent work? who*e #2 It's nice and cool on me Doc. COCHRAN I'm trying more lanolin. who*e #3 (to who*e #2) Give me a dollop of that. Under which Swearengen's come in, addresses who*e #1 -- SWEARENGEN How's that p**y-lotion feel? Should I try some on my a**? Cochran addresses Swearengen without looking at him -- COCHRAN Al. Swearengen talks to the back of Cochran's head -- SWEARENGEN Will she live? A beat -- COCHRAN Who? SWEARENGEN The Norwegian kid. How many children 'you caring for? COCHRAN I'm not optimistic. SWEARENGEN I see. Cochran hates himself for being too afraid to look Swearengen in the eye -- SWEARENGEN Does she speak English? What's she got to say for herself anyway? COCHRAN Hasn't said a word Al, or been conscious a second. SWEARENGEN Too bad. She could settle who k**ed her family -- if it was road-agents or the Sioux. COCHRAN I don't know nothing about that. SWEARENGEN But she does, see. That's the point. She could settle it. COCHRAN I doubt she'll settle anything. I doubt we'll ever even know what language she spoke. Cochran can't meet Swearengen's eyes, and it's this that tells the saloon-keeper what he needs to know -- SWEARENGEN Give every one of these girls a good going-over Doc. Look to 'em like they're your own. COCHRAN Don't you tell me my job. I see to them I can see to the way I'm goddamn able, and that's all I can goddamn do. Swearengen nods, exits. Cochran turns to Trixie -- COCHRAN (re her bruises) Let's see your face. TRIXIE Are you poorly Doc? Cochran's shame and fear still work on him -- COCHRAN Don't worry about me. I know what I am and what I'm not. who*e #2 This extra lanolin's cool on me Doc. Off which -- CUT TO: EXT. DEADWOOD GRAVEYARD - DAY Smith presides at Ned Mason's burial. Bullock and Star witness -- SMITH Our Christ as he was crucified addressed the thief who was hinging by his side: "Verily, I say unto thee, This day shalt thou be with me in paradise." (looks to Bullock and Star) Your ways are not our way O Lord. We abide, the just and unjust alike, under your tearless eye. Tearless not because you do not see us, but because you see what we are so well, (eyes raised) Lamb of God, who takest away the sin of the world, send your angels to welcome this body into paradise. Lamb of God who takest away the sin of the world, grant this soul eternal rest. Amen. Smith smiles his thanks to the witnesses, begins to shovel dirt over the coffin. Bullock and Star move away. For several beats Smith's sermon works in them -- its message of a divine, indifferent forgiveness -- without rising to the level of consciousness or an organizing principle. Then -- BULLOCK Let's get that lot bought. STAR Let it sit some Seth. We'll go back and see him tonight. Off which -- CUT TO: INT. GRAND CENTRAL HOTEL - GARRETS' ROOM - DAY Cochran, having examined Alma, applies a compress to her head. He puts a dark-colored bottle on the bedstand -- COCHRAN I've replenished your medicine. At the window, a shamed Cochran sees Swearengen leave the Gem -- COCHRAN'S POV Swearengen heads for the dispensary where Jane watches over the child -- ALMA (O.S.) Thank you Doctor. I'm very grateful for your attention. I only wish my symptoms would subside. RESUME - COCHRAN AND ALMA Cochran turns to her -- COCHRAN If I said I would see to your requirements whether you had symptoms or not, do you suppose that would help you to heal? She opens her eyes -- ALMA I don't understand. COCHRAN I believe you do Madam. I believe we understand each other. There are people in this camp in genuine need of my attention. He indicates the bottle of laudanum -- COCHRAN Make this adequate to your purpose for the next several days. ALMA Thank you Doctor. Cochran contemplates leaving, pauses, hating himself, to give Swearengen a clear field -- COCHRAN Let me examine your eyes again. Off which -- CUT TO: INT. DOC COCHRAN'S OFFICE - DAY Jane hears the door open. She leaves her post by the sleeping girl to go see swearengen enter -- JANE What do you want? SWEARENGEN Doc asked me to see your patient. JANE What for? What do you know about it? Who the f** are you? Swearengen moves by Jane to see the girl -- JANE Don't you f**ing ignore me. Swearengen turns to her, smiles -- SWEARENGEN You don't want to interfere with me. JANE You think I'm scared of you? His smile grows more friendly -- SWEARENGEN Sure you are. And if I take a knife to you you'll be scared worse and a long time dying. JANE I ain't scared to die. I ain't scared of nobody. But she is afraid, and they both know it. Swearengen turns, stares down at the pale and still Norwegian girl -- JANE Get away from her. Leave that Little One alone. Swearengen ignores her. Jane puts her hand over her mouth, starts crying -- JANE Leave her alone you co*ks**er! His hand PINCHES the little girl on the underside of her wrist. Her eyes open, stare up at him in pain -- SWEARENGEN Hello. Jane sobs hysterically, shamed at her terror of Swearengen, her inability to help the girl -- JANE Do it to me if you have to! Go ahead and do it to me! Swearengen, having found out what he needs to know, moves past her -- SWEARENGEN Why would I do it to you. Off which -- EXT. THOROUGHFARE BETWEEN COCHRAN'S OFFICE AND THE GEM - DAY Cochran comes around the corner, see Swearengen, who's come twenty paces or so from Cochran's office. As if Swearengen were the apparition of Cochran's every failure of will and flinch from human contact or its living and embodied consequence, approaching him now to call him to account for leaving the little girl to Jane's protection so that Cochran might protect his own fear. Cochran is moved forward by some sense of relief that his failure and inadequacy are now finally called to judgement, to find that, as he moves, some contrary sense enters into him, even some hope that what approaches him may not be judgment executed on his shortcomings but possibility, this hope quickening his stride until, as he reaches Swearengen, his movement is purposeful -- COCHRAN Did you hurt her? Swearengen considers him familiarly and with a rea**uring tone -- SWEARENGEN No. No Doc. And she's better than you thought. Her eyes are open. Cochran considers Swearengen a beat, until it comes to him that possibility is not in the thoroughfare but the improvised wooden structure ahead of him. As he hurries toward this, off Swearengen -- DISSOLVE TO: EXT. THE CAMP - DUSK Ellsworth stirs the contents of a stew pot hanging over his fire. Snags a piece of meat from the pot, tosses it over his shoulder -- ELLSWORTH Don't think I don't know you're in back of me, either. Majority of the great Indian scouts learned their craft at my knee. He checks out the corner of his eye, confirming Driscoll's dog is still behind him -- ELLSWORTH Where's you boss anyhow? Did he sell that New York City Dude a pinched- out claim and head off somewhere with the proceeds? Ellsworth tosses another piece of meat over his shoulder not quite so far away from him -- ELLSWORTH I wouldn't've though him the sort to leave a dog behind. He pokes at the embers of his fire, notes the mongrel, whose fear of him as diminished, in closer proximity -- ELLSWORTH Even one ugly as you. Off which -- CUT TO: INT. DOC COCHRAN'S OFFICE - DUSK Cochran and Jane -- JANE I fell apart. I couldn't look out for the Little One. That f**er looked at me and I fell apart in front of him. COCHRAN All right. You're not the first. JANE No I'm not the first. Who said I was the first? You think he's the f**ing first? I've been f**ed plenty, and tougher f**s than he was, and littler than her by plenty. They f**ed me plenty, so you can go f** yourself. He looks away, the only comfort he can give her -- COCHRAN Go ahead now. Leave her to me. JANE Was he a road-agent? Was he among them that did for her family? COCHRAN (shakes his head no) He owns the Gem Saloon. JANE Then what's it to him if she can open her eyes. COCHRAN Go ahead. JANE Does road-agents work for him? COCHRAN (emphatic impatience) I'll take care of her. She readies to leave -- JANE I'm sorry. I apologize. COCHRAN You got nothing to apologize for. You got a gift for this. You cared for her real good. JANE Don't be mean. COCHRAN No, you got a gift. Jane leaves. Off Cochran -- CUT TO: INT. GRAND CENTRAL HOTEL - LOBBY - NIGHT Farnum at the lobby desk. Brom comes in, dirty and tired -- FARNUM Mr. Garret. How was your day at the digs? -- doing his best to dissemble both abject despair and a scheme to unload his troubles -- BROM A mixed experience Mr. Farnum. My claim retains every bit if its promise, but I'm afraid I've injured my back. FARNUM All that twisting and turning. BROM It's wrenched at least, and I fear something worse. I may not be cut out for this sort of activity. FARNUM Many aren't. Brom leans in to confide -- BROM Under the circumstances, perhaps I should reconsider. Farnum leans in as well -- FARNUM What, Sir? BROM However reluctantly. In light of my physical difficulties. FARNUM I don't take your meaning Mr. Garret. BROM I refer to your offer on my gold claim. FARNUM My offer? BROM Last night Mr. farnum, before witnesses at the Gem Saloon, you offered sixteen thousand dollars. FARNUM I see. BROM I'm prepared to reconsider. FARNUM I have a confession to make Mr. Garret. I have a weakness for spirits. Brom studies him -- BROM Are you saying you were drunk last night? FARNUM I must've been Sir. I black out. No memory at all of my actions. Please ignore any offers made while in my condition. BROM And yet you didn't seem drunk. FARNUM I suppose that's why I'm such a danger to myself. Farnum only half-tries to sell this; Brom begins to sense how utterly he's beyond his depth -- CUT TO: INT. NUTTALL'S NUMBER TEN - NIGHT Hickok's playing cards with the same crew from the night before. Utter comes in, careful not to look in Hickok's direction, bellies up to the bar. Tom Nuttall comes to serve him -- NUTTALL There you are. UTTER 'Evening. NUTTALL I've been wondering where you got to. I seen Mr. Hickok come in but then I didn't see you. Utter nods, downs the shot Nuttall's poured him -- NUTTALL You fellas had a busy time of it last night. UTTER Busy enough. Utter keeps himself from looking in Hickok's direction. Nuttall notices -- NUTTALL D'you raise that topic with Mr. Hickok you and me talked about? -- UTTER It's not going to work out. NUTTALL 'Far as him gambling here exclusive? UTTER He wants to be a free agent. Come and go as he pleases. NUTTALL I could raise the ante a little. UTTER I said it's not going to work. (beat) How's he doing anyway? NUTTALL He took a hundred twenty-five credit. Fifty, fifty again, and then twenty- five. Utter nods, unsurprised, puts down money for his drink -- UTTER I'm good for the one twenty-five. Anything past that, you're on your own hook. He walks out. Off Nuttall, looking toward Hickok -- CUT TO: INT. THE GEM - SWEARENGEN'S OFFICE - NIGHT Dority's with him -- DORITY Jesus Christ Almighty Al. SWEARENGEN 'Far as that sewer-mouth friend of Hickok's that's playing nurse, you can tip her over with a feather. DORITY A little girl -- that's a tough one on my conscience. SWEARENGEN We could let her spread word folks got road-agents to fear more'n Indians -- breed mistrust, one white for another, through the whole f**ing camp. That'd be another option. Persimmon Phil comes in? SWEARENGEN Is he ready? PERSIMMON PHIL Tom's ready Al but he's awful drunk. I don't trust him to pull it off. SWEARENGEN It's not a bank-job. He walks up to the co*ks**er and puts one in his ear. PERSIMMON PHIL If he runs his mouth like he is now, Hickok'll never let him close enough. A knock. Swearengen slams his hand on the table -- SWEARENGEN Who in f** is it? Johnny Burns looks in -- BURNS Them hardware guys are asking for you downstairs Al. SWEARENGEN Tell 'em I'll be f**ing down. Cowed, Burns nods, closes the door. Swearengen gets to his feet -- SWEARENGEN (to Persimmon Phil) Pour coffee in Tom then bring him to see me, 'cause he is going out tonight to murder that son-of-a-b**h. Swearengen heads for the door, look to Dority -- SWEARENGEN Where do you and me stand? DORITY (nods, defeated) We're all right. Swearengen exits -- PERSIMMON PHIL (to Dority) What're you supposed to do? DORITY Nothing. Off Dority, averting his gaze -- CUT TO: INT. DOC COCHRAN'S OFFICE - NIGHT Cochran and the little girl. He's changing her compresses. The Little One's eyes are open. She's more comfortable -- COCHRAN Never speak to nobody. If you can understand me, don't show it. After a beat, the girl speaks, frail-voiced, in her native tongue -- COCHRAN All right. If you have to talk, talk like that. Cochran moves his shotgun closer to him -- COCHRAN You're going to be all right. CUT TO: INT. THE GEM - SALOON - NIGHT Bullock and Star at a table, note Swearengen's coming down the stairs -- STAR See if this makes sense to you Seth. I do the talking. BULLOCK Fine with me. STAR Some people don't get along. If they have business to do with each other, they find a way around it. BULLOCK Don't talk to me like I'm five Sol. Swearengen's reached them -- SWEARENGEN Boys. Bullock gets to his feet -- BULLOCK 'Evening. Sol's got my proxy. Swearengen takes this in -- SWEARENGEN Meaning him and me should talk without you. BULLOCK That's what it means. Bullock heads for the bar. Swearengen exchanges a look with Trixie as he and Star seat themselves. B.g., we see Trixie move in Bullock's direction -- SWEARENGEN What's your partner so mad about all the time? STAR He's not mad. SWEARENGEN Then he's got a mean way of being happy. STAR 'Far as offering on your lot Mr. Swearengen, we'd probably go seven- fifty. SWEARENGEN You'd probably go a thousand. STAR Say we would. Does a thousand get it done? A beat -- SWEARENGEN My concern Sol -- you mind if I call you Sol? STAR Please do. SWEARENGEN My concern, anything can happen under a tent. A hardware operation could turn into a gambling joint, ain't that right? STAR That's not going to happen Mr. Swearengen. SWEARENGEN Sell to you boys outright, I could be installing my own eventual competition in a prime location, with the A number-one man-k**er in the west holding an unnamed piece of their action. STAR We met Hickok by coincidence. He's not an unnamed partner. SWEARENGEN So you say. But a camp like this Sol, no law or enforceable contracts, you want to watch a man a little while 'til you see what his word counts for. So s'pose we value the lot at a thousand, you boys pay me five hundred, and whatever use you put that lot to between now and the first snow, I'm in for half the net. Come October we finish out the deal, all knowing each other better. STAR Seth won't accept it Mr. Swearengen. SWEARENGEN I thought you had his proxy. STAR Just up to a point. SWEARENGEN See that ain't my sense of a proxy. That's what I'd want these few months for, till we agreed what things mean. STAR I'm telling you, we're just a hardware operation. SWEARENGEN You heard my offer. Star moves off. Trixie joins Swearengen -- TRIXIE (re Bullock) He didn't want to drink and he didn't want to f**. Swearengen looks toward Bullock -- SWEARENGEN Anyone, or just you? TRIXIE Anyone. Swearengen doesn't like it -- ANGLE - STAR AND BULLOCK at the bar -- STAR We pay five hundred now, he gets fifty percent of our net till the first snow, then we buy out the rest of his interest. BULLOCK No. STAR It's a great location Seth. He wants to be sure we don't turn it to gambling, or Hickok's not in with us. BULLOCK I won't be partners with him. STAR We wouldn't be after October. BULLOCK I won't be partners. Bullock heads for Swearengen -- SWEARENGEN You've got Trixie all distressed, she wanted to give you a ride. BULLOCK A thousand now. If anyone in that tent or the building we put up turns a playing card or pours a drink or offers a woman's services, you get title back and keep our f**ing money. Under which Persimmon Phil has brought the provisionally sobered-up Tom Mason downstairs for Swearengen's approval -- TOM I'm ready to go Al. SWEARENGEN (re Bullock) Let me finish with him. PERSIMMON PHIL C'mere Tom. TOM I'm absolutely f**ing ready. They move away. Swearengen considers Bullock -- SWEARENGEN What makes you talk to me in that tone of voice? BULLOCK I'm making a counter-offer. SWEARENGEN (rubs his neck) You come into camp, rent my lot, inside six hours you put one in a guy's eye, with Wild Bill Hickok backing your play. Next day I'm supposed to sell you my lot and put you in business and not ask who in f** you are and what the f** you're doing here. BULLOCK 'Far as what happened in the street with Bill Hickok being involved, that was a turn of events. SWEARENGEN What? BULLOCK It was a turn of events. SWEARENGEN A turn of events. Your partner called it a coincidence. So with this coincidence and turn of events involving you and this man-k**er staring me in the f**ing face, and while I've got five other f**ing things I'm supposed to be paying attention to, even so I make a sensible proposal, and you answer by insulting me in my own joint. Star's come to join them -- STAR Seth didn't mean to insult you Mr. Swearengen. SWEARENGEN You don't know nothing about it. You weren't here and you don't have his proxy, so why don't you do whatever you people do when you're not running your mouths and trying to cheat honest people out of what they earn by Christian work. BULLOCK You don't want to be talking that way. SWEARENGEN Don't tell me how to talk in my own f**ing place! It explodes from Swearengen -- SWEARENGEN And here's my counter-offer to your counter-offer: go f** yourself. STAR Come here Seth. They could go at each other right then -- STAR (quietly) Seth. Swearengen's eyes never leave Bullock -- SWEARENGEN (to Star) Get him away from me. But Star knows better than to intercede further. Another beat, then -- TRIXIE (to Bullock) Mister, the best bath and blow-job you ever had's not twelve steps up those stairs. She says it, not expecting Bullock to accept, but, by interposing herself, to disrupt whatever magnetism draws Bullock and Swearengen violently toward each other. It works. Bullock turns, walks away. Star follows. As Persimmon Phil and Tom Mason move to rejoin him -- TOM Phil talked to me Al -- SWEARENGEN Shut up. TOM -- I got the play. PERSIMMON PHIL Just listen to Al Tom. Swearengen Addresses Johnny Burns -- SWEARENGEN Is he still over there? BURNS Hickok? At Nuttall's? He's still there Al -- still playing cards. SWEARENGEN Make it simpler Johnny -- go find that newspaper co*ks**er and announce the entire f**ing plan to him so he can put it in his paper. As Burns averts his gaze, shame-faced, Swearengen looks to Persimmon Phil and Mason -- SWEARENGEN (to Tom) You walk up to Hickok, you're an ordinary guy. TOM He don't know I'm the guy whose brother he k**ed -- SWEARENGEN That's your edge. TOM The co*ks**er. SWEARENGEN You don't want to lose that edge. That's what to keep in mind. 'Much as you may want to say something, your big opportunity is keep your f**ing mouth shut till you do what you're there to do. TOM I only wish someone'd point out the other co*ks**er that did for Ned with Hickok, 'cause I'd settle that co*ks**er's hash for him too. This lack of focus in Tom's thinking discourages Swearengen -- SWEARENGEN Jesus Mary and Joseph. PERSIMMON PHIL Don't worry about that now Tom. SWEARENGEN Give him another f**ing cup of coffee. (to Tom) One more cup of coffee, then Phil's going to walk you to Nuttall's. TOM I'll take it from here. Only I'd just like to say to him one f**ing time while he still draws f**ing breath Al, "Here Hickok, this is for my brother Ned." Swearengen suppresses the impulse to k** Tom Mason where he stands -- SWEARENGEN Wait. Wait. When you're covered with his blood and brains say those exact words. Off which -- CUT TO: EXT. NUTTALL'S NUMBER TEN - NIGHT Bullock and Star walking. After a beat, Star stops, considers his friend -- STAR Listen to me Seth. This camp is a going concern. We could secure our futures here. Hardware could just be the start. Top of my head, we could set up a freight operation, pay to restock our inventory off the fees from other freight... BULLOCK Camp needs a bank. STAR The camp also needs a bank, is exactly damn right. BULLOCK Every tent with a scale charges interest on exchange. STAR Five percent, gold to currency and currency back to gold. BULLOCK Charge one percent, you'd have capital to make loans. Now Star studies his friend -- STAR Seth, if you see all these possibilities, why get sidetracked by that saloon-keeper? We just want to buy his lot. A beat, then -- BULLOCK What about what he called you? STAR I've been called worse by better. BULLOCK Get it in writing from the son-of-a- b**h, we buy the other half in October. STAR You just leave it to me. Bullock looks away, to where Charlie Utter, pissing against the side of Nuttall's, leaning forward, one hand braced against the side of the building, has just achieved a stentorian emission of flatus, renewing the strength of his stream; Utter, looking over his shoulder with an animal's guilty pleasure to determine if he's been heard, meets Bullock's gaze -- UTTER 'Evening. BULLOCK 'Evening. UTTER Bill and me didn't make it to your tent. BULLOCK Tomorrow's another day. Utter shakes his head -- UTTER Prospect -- his express purpose coming to this camp. Make a stake for his new wife -- his idea. But don't suggest buying a shovel or a sifting cradle. Don't herd him like a damn steer. (pa**ing gas again; possibly mudding his longjohns) Uh-oh. Tom Mason and Persimmon Phil walk past them, enter Nuttall's -- STAR Anyways, have a good evening. UTTER What's the secret Bullock? BULLOCK What do you mean? UTTER You've got some of Bill's qualities, but then you got something he's missing. Utter situates his schwanz inside his pants, liberating his hands -- UTTER (itemizes on his fingers) Get along in the world. Turn a dollar. Look out for yourself. (raises his eyes) He don't know how to do it. See what I'm saying? I'd like to know your secret and then I could tell it to Bill. BULLOCK I don't know any secrets. UTTER Don't tell me if you don't want to. Find occasion and tell him yourself. He likes you. Utter turns, supported now by the side of Nuttall's as he swigs from his bottle -- UTTER Just don't wait too long. Bullock and Star tip their hats to Utter, head into the saloon. HOLD ON Utter a beat, looking up at the night sky -- JANE (O.S.) They throw you out? She drunk too, clambering up the incline from the creek behind the saloon -- UTTER No they did not. I left on my own steam. I choose to be out here. JANE Well I was drinking by the goddamn creek out of my own f**ing free will. Where's Bill? UTTER Inside, losing at cards. Jane nods, swigs from her bottle, heads for the adjoining alley -- JANE Someone I need to go k**. EXT. ALLEY - CONTINUOUS Jane appears. Utter follows -- UTTER Who? JANE You are not my target but keep bothering me and I'll add you to the list. UTTER Who're you talking about, damnit! She nods vaguely in the direction of the Gem -- JANE The greasy-haired limey co*ks**er that runs the Gem saloon. UTTER What do you need to k** him for? JANE To show him it's two different things between a coward and a lapse of momentary fear. UTTER You listen to me Jane. I don't know what you're talking about, but I can guaran-f**ing-tee 'you have at that man you won't come out of that joint alive, so I suggest you don't do it. JANE The sun ain't rose on the day when I pay heed to what you say. Jane struggles not to cry. Utter panics -- UTTER What's this now? She looks away -- JANE He scared me Charlie. I ain't been scared since I was a little girl. She weeps -- UTTER Oh Jesus. He looks away, pats the air in the general direction of her shoulder -- UTTER All right then. There there. Off which -- CUT TO: INT. NUTTALL'S NUMBER TEN - NIGHT Hickok, Con Stapleton, Jack McCall, Lou Varnes playing poker -- ANGLE - PERSIMMON PHIL AND TOM MASON at the bar. After a beat -- PERSIMMON PHIL How do you feel? TOM One more shot. And maybe one more cup of coffee. Hickok sees Bullock, rises -- HICKOK I'm out for a couple. MCCALL (breaking balls) Go get you some more ammo Wild Bill, that kind of luck's bound to turn. Hickok studies him -- HICKOK Your name's Jack? MCCALL Correct. HICKOK What're you in the game for Jack? MCCALL What'm I in it for? HICKOK If irritating me's what you're after, you can quit playing now, 'cause you got the job done. Hickok moves toward the bar. HOLD ON McCall as his features transmute from frightened intimidation to a triumphant grin; looking to his comrades, he widens his eyes as much as his drooped left lid permits, puckers his mouth like a fish out of water -- ANGLE - HICKOK joining Bullock and Star -- HICKOK Montana (to Star) 'Evening. STAR 'Evening. HICKOK (to Nuttall) What'd be your opinion 'far as me getting another fifty? NUTTALL You want another fifty in credit? HICKOK If that's all right with you. NUTTALL I suppose. Nuttall's tone is identifiably less solicitous and supportive. He turns to get the chips -- HICKOK (to Bullock) Play poker? BULLOCK I'm not good at it. HICKOK And you let that slow you down? At the edge of his field of vision, Hickok notes what Tom Mason himself does not realize -- that Mason so getting up nerve to make his move. For a coward like Mason, this means, not entering into readiness, but being gradually overwhelmed by an anxiety which only striking out can relieve -- HICKOK (to Bullock) Fella over in the corner intends me harm. Come to that, would you keep an eye on his friend? BULLOCK Yes. HICKOK See who I mean? BULLOCK Yes Sir. HICKOK Thanks Montana. Nuttall's back with Hickok's chips -- NUTTALL I wouldn't want the water getting no deeper then this Mr. Hickok. HICKOK Fair enough. Hickok nods to Bullock, moves away -- BULLOCK Stand away from me Sol. Over by my right. Star's thrilled -- ANGLE - THE POKER TABLE Jack McCall, eyeing Hickok's approach, resumes his fish imitation -- STAPLETON Don't get too stupid Jack. McCall makes his mouth more human -- MCCALL (to Hickok) Restored to our bosoms. As Hickok resumes his seat -- CUT TO: EXT. CORNER - NIGHT Jane and Utter on post at the crossroads of the camp thoroughfares. Dority exits the Gem on his murderous route to Cochran's cabin. Noting Jane at the corner of his vision, he glances at her in cursory fashion, dispensing any concern that, As Swearengen had warned, she might be protecting the child -- JANE The f** you looking at? She doesn't know Dority, a**umes his gaze expresses the intrusive, unwanted curiosity her appearance has prompted since she was twelve. Dority's got no business with her, moves past -- JANE (mutters to Utter) He's no f**ing Adonis himself. INT. DOC COCHRAN'S OFFICE - NIGHT A knock on the door. Cochran takes up the shotgun, goes to the door and opens it. It's Dority -- DORITY Go on away from here a little while Doc. COCHRAN I won't. Dority studies him -- DORITY Go on away. Go up and see to the who*es. COCHRAN No. DORITY You know I'll go through you if I have to. It's not a hundred percent persuasive -- COCHRAN Let me remind you of something. k** me, you're up to your elbows in snatches again like before I got to this damn camp; caring for 'em, nursing 'em day in and out, taking Al's heat every time one of 'em's poorly. Dority looks to the night sky -- DORITY Between that and a slit throat Doc, which Al will give me if I tell him I left that child here alive, you know what I'm going to pick. COCHRAN Then do what you have to, 'cause I ain't letting you past. DORITY Jesus Christ Doc. Jesus Christ. You're pitting me against Al! COCHRAN So the f** be it! Dority wipes his mouth -- DORITY I ain't going it alone -- you're coming with me to make the case! Off which -- CUT TO: INT. NUTTALL'S NUMBER TEN - NIGHT Tom Mason rises, downs what's left in Persimmon Phil's gla** of whiskey -- TOM Here I go. PERSIMMON PHIL No words, and no gun till you're on him. TOM Here I go. Tom moves in Hickok's direction, silent and true to Persimmon Phil's instruction. He's three steps away, just at the point his brain has sent the signal to draw, when Hickok pulls his gun and shoots him in the belly -- ANGLE - BULLOCK hand to his gun, watching Persimmon Phil, who never makes a move -- RESUME - THE POKER TABLE The others have ducked; McCall's first to find his voice -- MCCALL What the f**. STAPLETON That man's gun never left his holster Mr. Hickok. HICKOK (evenly) He meant me harm. TOM (dying, to Hickok) You k**ed my brother you mother f**er. HICKOK And now I k**ed you. Tom dies. Bullock's come beside Hickok -- BULLOCK (to the others, re Tom) He was going for his gun. I saw it. Jimmy Irons has seen it all, splits. Stapleton wants Hickok to know he's not against him -- STAPLETON A revenge-seeker. I guess he did mean you harm. Off which -- CUT TO: EXT. ALLEY - NIGHT Jane and Utter, still waiting at the "triangulation" point, note Dority and Cochran moving away from Cochran's dwelling -- JANE Jesus Christ. Jesus Christ Charlie. Have we been asleep at the switch? Jane starts in Dority's and Cochran's direction -- UTTER What's wrong? He follows her -- JANE (re Dority, to Utter) Has he got his arm on the Doc? Jane stops twenty paces or so away from Cochran and Dority -- JANE Are you with that ugly f** of your own free f**ing choice Doc? ANGLE - COCHRAN COCHRAN (calls to Jane) Yes I am. (to Dority, more conversationally) And I'd rather be lucky then smart. Off which -- CUT TO: INT. THE GEM - SALOON - NIGHT Swearengen's at a table, has received Jimmy Irons' report -- SWEARENGEN Word for word, what the hardware guy said. IRONS The hardware guy? SWEARENGEN The hardware guy. Did you not f**ing tell me the hardware guy was standing next to Hickok? IRONS The hardware guy says something like, "Hickok's right, he was going for his gun, I saw him go for it too." SWEARENGEN Something like. IRONS My tooth was paining me awful Sir -- but I'm certain that was the gist. Swearengen's noted Persimmon Phil's approach -- SWEARENGEN Get some dope from Johnny. IRONS Thanks an awful lot Mr. Swearengen. This tooth's about brought me to my knees. Irons tips his hat to Persimmon Phil, moving away. Swearengen looks to Persimmon Phil -- SWEARENGEN Tell me one thing. When that idiot made his move did he tip it? PERSIMMON PHIL Tom didn't say boo Al. Hickok just must've smelled him. Swearengen shakes his head, looking away, notes Cochran and Dority as they approach the table -- DORITY You're not going to believe what f**ing happened Al. SWEARENGEN What. COCHRAN That lunatic that runs with Hickok absconded with that child. She must be under his protection. Swearengen takes this in, looks to Persimmon Phil -- SWEARENGEN C'mere. Off which -- CUT TO: INT. GRAND CENTRAL HOTEL - GARRETS' ROOM - NIGHT Brom's dirty, tired and discouraged. He's washing. Alma's at her dressing table -- BROM I may as well confide in you Alma. Loaded, she has infinite patience -- ALMA Of course. BROM I'm beginning to fear we've been duped. Our gold claim may be worthless. ALMA Really. BROM Driscoll, the seller, has vanished. Dan Dority, my inside informant and fount of all conviction, seems now to have lost his enthusiasm. And Farnum, our damp-handed host, who last night bid against me, tonight proclaims he was drunk. (wipes his mouth) I've begun to think even Al Swearengen's name should be added to the conspirator's list. ALMA How disappointed you must be. BROM I know -- I told you I believed I'd found a friend in Al, but as I now look back, Al not only presided at the sale, he facilitated my involvement at every turn. ALMA I suppose a community such as this draws a certain type of man. BROM Alma, I've mentioned to you exchanging hellos with Wild Bill Hickok in the hotel hallway. ALMA You've said he seemed very civil. BROM Very friendly, in the hallway and on the stairs. (beat) Do you suppose we might enlist him in our cause? ALMA Is that the sort of thing he does? BROM For a fee and percentage of monies recovered? I'd think it's exactly his line. The thought of Hickok as an ally makes Brom's imagination more punitive and confrontational -- BROM I may well include the name of Al Swearengen, when Wild Bill and I confer. Off which -- CUT TO: INT. THE GEM - SWEARENGEN'S OFFICE - NIGHT Persimmon Phil and Swearengen -- SWEARENGEN You're sure that child doesn't know what you look like. PERSIMMON PHIL To a moral damn certainty Al. We never laid eyes on each other. SWEARENGEN (friendly) She told you? PERSIMMON PHIL What do you mean? SWEARENGEN You know you never laid eyes on her. But how in f** can you be sure she'd never laid eyes on you unless she told you. PERSIMMON PHIL I misspoke. I'm confident that child don't know what I look like, but I can't guarantee it to a moral certainty. Persimmon Phil know's he's playing for his life -- PERSIMMON PHIL And I know you've got a whole operation to consider here, and you don't need being worried or distracted 'far as her possibly recognizing me even if it's the slimmest of slim possibilities. So what should I do -- stay out of the camp till you deal with this? Why don't I do that, and you can have Johnny check under the rock -- I'll put messages for you under the rock... And I'll check under the rock every day in case you sent messages for me. SWEARENGEN Very prudent. He's putting gold into the safe. Persimmon Phil rises -- PERSIMMON PHIL Have I got time for a quick blow-job before I go? Swearengen turns back with a dagger, stabs Phil in the heart -- INT. THE GEM - SALOON - CONTINUOUS Cochran and Dority have taken a table while awaiting the outcome of Swearengen's private interview with Persimmon Phil. After a beat, during which one or both might furtively gaze in the direction of Swearengen's office where the interview is taking place -- COCHRAN It occurs to me, with Tom Mason dead, Persimmon Phil's the last man upright Al might worry that child could identify. The see Swearengen emerge for his office. He calls down to Dority -- SWEARENGEN Get up here. Bring the sled. Dority rises, winks at Cochran with his right eye, the eye Swearengen can't see. Off which -- CUT TO: EXT. THE WOODS - NIGHT The wagon Utter and Hickok and Jane came in on. Hobbled stock nearby -- INT. UTTER AND HICKOK'S WAGON - CONTINUOUS Utter prepares a pallet for the Little One, as Jane sings to her -- JANE Row row row your boat Gently down the stream Merrily merrily merrily Life is but a dream. She looks to Utter -- JANE Goddamnit. He's forgotten to take up the round. Now commences -- UTTER Row row row your boat Gently down the stream -- Jane begins her round as Utter continues -- UTTER Merrily merrily merrily Life is but a dream. Off which -- FADE OUT.