Deadwood - Here Was a Man lyrics

FADE IN: INT. BELLA UNION - NIGHT An exhausted Hickok faces an exhausted and anxious McCall at poker. McCall's wearing a new suit he'd bought after Bullock threw him in the mud, but he hasn't washed. The other players have folded but await the game's outcome. Tolliver and Sawyer, and gamblers at various gaming tables, also watch. McCall pushes a substantial pile of chips into the center of the table -- MCCALL Raise a hundred. HICKOK Back a hundred. MCCALL (to the onlookers re Hickok) Man's overplaying his hand. McCall pushes all his remaining chips into play -- MCCALL Whatever the f** I've got left. Joanie Stubbs, dealing, counts McCall's chips -- JOANIE (to Hickok) Four-twenty back to you. Hickok counts out the appropriate chips, eyes never leaving McCall, turns his cards over -- a pair of fours. McCall laughs emptily -- MCCALL As advertised. More nerve than sense, huh Bill? JOANIE (to McCall) What've you got? McCall tosses his cards into the center face-down -- MCCALL (to the onlookers) He stays on fours -- and they call this a game of sk**. (to Hickok) You gutted me, didn't you Bill, you son-of-a-b**h. At McCall's profanity Tolliver steps forward -- TOLLIVER (to McCall) You were told about the talk. HICKOK Go eat Jack. Hickok tosses a dollar chip to McCall, who, recognizing in Hickok's eyes something like a pitying fellow-feeling, knows at that moment he must k** him. He pushes his chair back, rises, pocketing the dollar -- MCCALL All right, thank you for that kindness. You just bought something with that. As he moves past, Tolliver avers to Sawyer -- TOLLIVER (re McCall) Some boys can't be near a cliff without jumping off. Hickok's pushed his chips toward Joanie -- HICKOK Twenty for the dealer -- much appreciated. She gazes at him evenly -- JOANIE Any ideas for the rest? Hickok shakes his head no -- HICKOK (politely) I believe I'll stay with cash. Off which -- CUT TO: EXT. MAIN STREET - NIGHT Bullock is up carpentering. Hickok's exited the Bella Union -- HICKOK Montana. Bullock's a little embarra**ed to be found working at three in the morning -- BULLOCK No rest for the wicked. HICKOK (grins) But what're you doing up? BULLOCK It's cooler working now. Quieter. Bullock decides to enlarge this oblique apology -- BULLOCK Sorry you had to listen to them drunken fools before Mr. Hickok, when you and Mr. Utter was helping us. HICKOK I come through unharmed. And "Bill"'d be easier on my nerves. "Mr. Hickok" makes me look for the warrant in your hand. BULLOCK (grins) All right. Hickok's tied back his hair, climbs up to where Bullock's working -- HICKOK "Montana" okay with you? BULLOCK (nods) Only other nickname I ever had was "Sloth" HICKOK Don't seem to fit. BULLOCK Choice was among the Seven Sins. I guess I got out before the others surfaced. As they're up in the air and can see around a little, Hickok reacts to the growth of the settlement -- HICKOK Camp looks like a good bet. BULLOCK My wife and boy are with her people in Michigan. I hope I can bring 'em out soon. HICKOK They'll get the Sioux making peace. Pretty quick you'll have laws here and every other damn thing. BULLOCK I'll settle for property rights. HICKOK Will you? Hickok's tone is friendly, leaves to Bullock how to take this -- HICKOK I'm recently married myself. BULLOCK Is that so. HICKOK The missus operates a circus. She's in Cincinnati waiting for word of my success. BULLOCK Sol and I put our last sifting cradle aside for you. Hickok studies Bullock, touched -- BULLOCK Why don't you go ahead and use it Bill. HICKOK What slows me down is thinking about freezing my balls off in a creek working for the co*ks**ers I'd lose the gold to at poker. Bullock looks down. Hickok looks away -- HICKOK I'm flat out tired. BULLOCK Turn in. I've got her covered. HICKOK I believe I will. 'Night Montana. BULLOCK 'Night Bill. Hickok's climbed down -- HICKOK My Pop called me "Kite." -- makes an erratic bobbing movement with his hand. He walks away. Off Bullock -- CUT TO: INT. GRAND CENTRAL HOTEL - UTTER'S ROOM - NIGHT Utter's up waiting for Hickok, who's entered -- UTTER I was supposed to leave for Cheyenne two damn hours ago. HICKOK What kept you Charlie? UTTER You don't f**ing sleep. I don't know what the f** is happening to you. HICKOK So you stayed in camp to tuck me in? UTTER If you don't want to prospect Bill, I could put you in charge of this mail route I'm getting -- HICKOK I'm doing what I want to do. UTTER Bullsh**. HICKOK 'Some goddamn point a man's due to stop arguing with hisself and feeling twice the goddamn fool he knows he is 'cause he can't be something he tries to be every goddamn day without once getting to dinnertime and not f**ing it up. I don't want to fight it no more, understand me Charlie? -- and I don't want you pissing in my ear about it. Can you let me go to hell the way I want to? Utter turns away, crying -- UTTER Yeah I can do that. He gathers up his things -- HICKOK Good luck in Cheyenne. Utter's gone. Off Hickok -- TIME CUT TO: INT. THE GEM - SWEARENGEN'S OFFICE - FALSE DAWN Swearengen is looking out the window onto the street. Farnum is seated -- FARNUM You know me Al, I don't scrutinize or second guess. (chuckles theatrically) If you wanted to explain why I'm to buy the Dude out of a worthless claim I'd surely listen. Swearengen reacts to what he sees outside -- SWEARENGEN Jesus Christ. FARNUM What is it? SWEARENGEN (indicates outside) The Dude must've had some kind of accident. Farnum joins him at the window -- THEIR POV -- EXT. MAIN STREET - CONTINUOUS Dority leads a pack mule with Brom Garret's body slung over its midsection toward the Grand Central Hotel -- RESUME -- SWEARENGEN AND FARNUM Farnum keeps his voice neutral -- FARNUM My word. SWEARENGEN Looks dead, don't he. FARNUM Yes. SWEARENGEN My reasoning was, get the Dude his money back to keep him from asking in the Pinkertons. Farnum thinks he's got the play -- FARNUM Appears now that's unnecessary. SWEARENGEN Make the offer to his wife. An incredulous Farnum doesn't think he's got the play anymore -- CUT TO: INT. ALMA'S HOTEL ROOM - MORNING Alma Garret during her all-night vigil has moved a chair to the window and seated herself, at some time thereafter has rested her arms on the ledge and lowered her head; as she has at intervals since, prompted from shallow sleep by sudden unease of spirit, she raises her head, eyes opening to see -- ALMA'S POV SHOT - MAIN STREET Dority ties the mule's lead-rope to a post, moves toward the hotel entrance -- FARNUM (O.S.) Al, once that dope-fiend throws her skirts over her head and high-tails back to New York, you think she's going to give one wet fart about what happened at this camp, let alone send the Pinkertons out? And twenty thousand's a lot of money. RESUME - ALMA as she rises, having recognized the body on the mule as her husband's. Her hand covers her mouth, she turns away from the window. She is at the mirror. She does not look at her reflection, or at her hand as it moves to the laudanum bottle. The shaking hand draws the opiate, delivers it to the water gla** beside the bottle -- SWEARENGEN (O.S.) Let me say several things to you E.B. First, twenty thousand is a lot of money. Second, it's my f**ing money. Alma's face stays turned away as the hand collects the gla**. She returns to the window, looks again at her husband's body on the mule. Hears Dority's knock, in a spasm of shame drinks the liquid. She shudders, moves to the door and opens it. He holds his hat in his hands. His clothes are covered with her husband's blood. His eyes are mournful and deferentially solicitous, but she does not meet his gaze. Moves past him into the hallway and down the stairs. Dority, relieved by this thinning-out of his role, follows at a respectful distance -- SWEARENGEN (O.S.) Third, the widow, being a dope-fiend, might let matters rest. But fourth, when this camp holds a lot more than twenty thousand for me as long as I don't get murdered by the f**ing Pinkertons, why take the chance? RESUME - SWEARENGEN'S OFFICE SWEARENGEN Now go see to the f**ing widow. FARNUM All right Sir. Farnum heads for the door. Off Swearengen, content, as the dawn breaks, at not yet having spoken a word of truth -- CUT TO: ALMA - ON THE STREET beside the mule, examining her husband's body as if doing a penance; Brom's face is bloodied and crushed. Dority, who has followed Alma out, still holding his hat in his hands, notes Farnum exiting the Gem, crossing the street -- RESUME - SWEARENGEN'S OFFICE Swearengen's watching, brings his suspenders to his shoulders and moves away from the window -- EXT. MAIN STREET - MORNING Farnum's stopped at a demonstratively deferential distance from Alma -- FARNUM Mrs. Garret. What a tragic turn. Do you require Doctor Cochran? She looks to him -- FARNUM To treat your terrible grief. ALMA Yes, I would like to see the Doctor. FARNUM Of course. Who wouldn't. I'll get him right away. ALMA Ask him before he comes please to examine my husband's injuries. I'd like his opinion how they were sustained. FARNUM I a**ume your husband died in a fall. ALMA All I asked you to do was get the goddamn Doctor. FARNUM Of course Madam. Alma starts up the stairs of the hotel porch, stops to consider Dority -- ALMA Is that what happened Mr. Dority? -- a tragic turn? -- a terrible, accidental fall? DORITY I'm sorry. ALMA Oh yes. She enters the hotel. Dority heads for the Gem, only the most inscrutable of glances pa**ing between him and Farnum, who, having paused to observe the exchange, now yanks at the mule's reins -- FARNUM On, Stupid. As Farnum leads the animal bearing Brom's body toward Cochran's office -- ANGLE - BULLOCK working on the hardware store building, watching Farnum's progress -- CUT TO: INT. THE GEM - SALOON - DAY Dority enters. Swearengen's at the bar -- DORITY She wouldn't have nothing to do with me Al. Told E.B. to have the Doc go over the body. SWEARENGEN I hope E.B. went to get him. DORITY He went. SWEARENGEN Her strong shoulder in time of need. Dority's pouring himself a drink -- DORITY Think he smells the gold? SWEARENGEN (shakes his head no) E.B.'s too busy sniffing what he can steal being go-between. (looks to Dority) Whereas you show me foresight Dan, and loyalty, how you handled making the find. DORITY I just know when I'm out of my depth. Off which -- CUT TO: EXT. STREET OUTSIDE COCHRAN'S OFFICE - DAY Farnum, having led the mule bearing Brom's body along the main thoroughfare to Cochran's office and gone inside, emerges with the Physician -- FARNUM (indicates body) Amateur. Comes on a lark to dabble and falls to his d**h from the ridge. As they lift the body from the mule and carry it toward Cochran's office -- FARNUM Yet the widow suspects foul play. INT. DOC COCHRAN'S OFFICE - CONTINUOUS As they enter. They place the body on Cochran's examining bench -- FARNUM I know Al wants her leaving here with as least of a sour taste in her mouth as possible Doc... Cochran's taking in the injuries to Brom's skull -- COCHRAN Wouldn't you expect her husband's d**h to be tart on her tongue no matter how it happened? FARNUM Question's whether it's Fate she blames or people in the camp. Now Cochran's going over Brom's still-clothed body -- FARNUM What're you looking for? COCHRAN Bullet wounds. FARNUM Any on him? COCHRAN No. Cochran covers the body, prepared to head back to the hotel. As they exit -- CUT TO: EXT. MAIN STREET - DAY Bullock's still working. Star joins him -- STAR 'Morning Seth. When'd you get up? BULLOCK I didn't go to sleep. Bullock indicates Cochran and Farnum's progress toward the Grand Central Hotel -- BULLOCK The woman that newspaperman pointed out to us yesterday just lost her husband. STAR 'Fella 'bought the gold claim at Swearengen's saloon. BULLOCK (nods) Innkeep just took the body down to the Doc's. Almost quiltily, Star allows his attention to turn to the result's of Bullock's labors -- STAR You weren't twiddling your thumbs overnight, were you. The partners consider the structure with growing pride. CUT TO: INT. GRAND CENTRAL HOTEL - LOBBY - DAY Merrick, serving himself at the buffet as Cochran and Farnum enter, feels a surge of hope he'll have company at breakfast. Disappointedly watches them ascend to the second floor. Returns to probing the coagulated oatmeal -- INT. SECOND FLOOR HALLWAY - CONTINUOUS Cochran and Farnum stand outside the Garret's room. Cochran's already knocked. She opens the door -- FARNUM I've brought the Doctor. ALMA Please come in, Doctor. She closes the door on Farnum as Cochran enters -- INT. ALMA'S ROOM - CONTINUOUS Alma and Cochran -- COCHRAN I'm very sorry about your husband. ALMA Was he murdered Doctor? COCHRAN I was told he fell from the ridge. He had skull fractures consistent with that. He'd not been wounded by bullets or strangled -- no other sign of foul play. ALMA Leaving how he came to fall. COCHRAN As to that I've no opinion. ALMA And yet in treating me Doctor you were full of opinion. You took the most comprehensive view. COCHRAN I said you needn't make up symptoms to get the laudanum you wanted. ALMA Perhaps you don't feel at such perfect liberty to opine on my husband's case as you did on mine. Do other considerations constrain you? Do other men? COCHRAN I don't know how his skull got caved in. Cochran collects his bag -- COCHRAN You're a bright woman, aren't you? You must've been going through hell here. He puts a bottle of laudanum on Alma's dressing table, moves toward the door -- COCHRAN Get on home Mrs. Garret. He leaves. Alma looks at the bottle -- INT. SECOND FLOOR HALLWAY - CONTINUOUS Farnum, waiting in the hallway, watches Cochran exit the Garret's room and close the door -- FARNUM What's her mood? Cochran only stares at him as he pa**es. Farnum's about to knock, pauses as he hears gla** smashing inside -- INT. ALMA'S ROOM - DAY Having thrown the container of laudanum against the wall, she stands weeping in futile confusion. After a beat, at the sound of Farnum's timid knock -- ALMA Who is it? FARNUM (O.S.) Mr. Farnum, Mrs. Garret. May I be of further service? ALMA Once I've determined my plans I'll certainly need a coffin. FARNUM (O.S.) I'll see to it. ALMA Thank you. A silent beat. She's not sure if he's gone away. Another knock, a little less timid -- ALMA What is it? FARNUM (O.S.) Would you open the door Ma'am? I'd like to say something to your face. She collects herself, opens the door -- FARNUM I'm overcome with remorse Mrs. Garret that I failed to change the course of events. She stares at him -- FARNUM It was me your husband outbid for the claim. She parodies his elevated locution -- ALMA You who could've bought it later, but begged off on grounds you'd been drunk. FARNUM Intemperately raising my offer was what I begged off on Ma'am. I've never doubted drunk or sober the claim was worth my original bid. Against the deep intuition it's a mistake, she lets herself pursue this -- ALMA Which was what, Mr. Farnum? FARNUM Twelve thousand dollars Mrs. Garret. -- feels an inevitable logic develop -- ALMA And do you offer me that now? Farnum acts as if he hadn't till this moment considered the possibility -- FARNUM If it will simplify your situation in any way -- yes, I renew my offer at twelve thousand. She studies him -- FARNUM I know it won't bring him back. ALMA No. We both know that. (beat) You'll have my answer shortly. FARNUM All right Madam. Farnum leaves. Alma looks at the place on the floor where the contents of the laudanum container have darkened the wood. This instant's inaction compounds her fear. She quickly moves into the hall -- INT. SECOND FLOOR HALLWAY - CONTINUOUS Alma crosses to Hickok's room. She knocks on the door. It's answered by Jane -- ALMA Is this Mr. Hickok's room? JANE Who's asking? ALMA My name is Alma Garret. My husband's just died under suspicious circumstances... JANE Suspect someone else. When Bill's k**ed a man he says so and states his reasons. ALMA I don't suspect him. My husband had tried to engage Mr. Hickok just before his d**h, and I thought, though they hadn't come to terms, perhaps he'd be willing to advise me in my present situation. I'd pay whatever fee he thought appropriate. JANE To talk to you. ALMA (looks away) I've no one else in the camp. A beat -- JANE I'll get him -- he's sleeping one off. ALMA Thank you. JANE Sorry about your husband. ALMA May I ask your name? JANE Jane. ALMA Thank you Jane. JANE (moving off) Wait in your room -- it'll take him awhile to get the phlegm situated. Alma nods agreement -- CUT TO: INT. BELLA UNION - DAY Cochran's with Tolliver and Joanie Stubbs somewhere on the main floor. Tolliver's looking to build the relationship on a broad base of bullsh** -- TOLLIVER I'm sure you don't need me explaining, place like outs, a Doc in frequent attendance can sow the seeds of doubt. COCHRAN All depends on your standards of hygiene. TOLLIVER Oh we want 'em shiny, make no mistake -- COCHRAN There's a wide range of normal. Stubbs cuts through it -- STUBBS Friday and Saturday morning and a midweek day of your choice'd be right for us. Cochran appreciates her directness -- COCHRAN I can work that out. TOLLIVER What does Swearengen pay for a visit? COCHRAN Twenty dollars per routine call, all girls in. TOLLIVER And what's his idea of routine? -- once every three or four months? Cochran just stares at him -- STUBBS Lubricants. Whereas he likes her -- COCHRAN Armed and ready Madam. Cochran goes, pa**ing a just-entered gambler in a black frock coat, maybe fifty, whose attire's the worst for the trail; that it's not better dusted off, particularly as the gambler seems to value an impression of focus and intention, suggests some defect in his concentration or energy. The gambler, CRAMED, carries his own valise; his portmanteau's deposited by some just-hired idler, whom while visibly thinking of more important things, he politely tips a dollar -- CRAMED Thanks very much. Tolliver approaches him as a stranger, greets him affably -- TOLLIVER Howdy. CRAMED (a busy man) Howdy yourself -- are you the operator? TOLLIVER Cy Tolliver. CRAMED Name's Cramed. I'd like a room, I'd like exclusive use of a safe, and I'd like to shoot some dice. TOLLIVER And I'd like to think this is the first day of a long friendship Mr. Cramed -- we'll get you a room and if you'll step into my office we'll meet your needs for a safe. Help you with your luggage? CRAMED Suitcase can go to the room. TOLLIVER I expect you'll keep the valise. CRAMED Keep what you expect to yourself and you'll improve our chances at that friendship. Which has taken them out of public hearing -- TOLLIVER Young man. CRAMED How are you Cy. Did some nice job with this place. Tolliver indicates the just-arrived Sawyer -- TOLLIVER Eddie's work. JOANIE (O.S.) Hey Andy. CRAMED Hello Sweetheart. Which is the first of his greetings Cramed has seemed to utter with genuine pleasure. He wipes his mouth, looks back to Tolliver -- CRAMED Let's go, let's get something working. SAWYER We could rob Cy. Tolliver laughs -- TOLLIVER (to Cramed) How about a bath first and a nap and some s** with an unfamiliar woman. CRAMED Sure. SAWYER Signal when ready Commander. Cramed's banter has sounded forced. He starts out, looks to Sawyer -- CRAMED If I didn't make my point I would like to get something f**ing working. SAWYER Sure Andy. Cramed heads up the stairs. Tolliver looks to Joanie -- TOLLIVER How's Andy look? JOANIE Like he spent three weeks on a wagon. Joanie likes Cramed, knows any perceptual consensus of an individual's weakness begins to invalidate him. Tolliver looks to Sawyer -- TOLLIVER Doesn't Joanie have kind eyes. Off which -- CUT TO: INT. THE GEM - SALOON - MORNING Farnum and Swearengen at a table -- FARNUM I'm optimistic Al. And she's promised a prompt reply. SWEARENGEN I'd've thought she'd say yes on the spot. A thought seems to occur to Swearengen -- SWEARENGEN You did offer the whole twenty. Farnum appears to take umbrage -- FARNUM How can you even ask me that? The tone of Farnum's reply seems to prompt further doubt in Swearengen -- SWEARENGEN E.B. Farnum can't hold it in -- FARNUM I offered twelve -- Swearengen slams his hand on the table in a show of exasperation -- SWEARENGEN Did I ask you to play her? Can't you follow one simple f**ing instruction? FARNUM She will take the twelve Al and be happy to get it, and all you'll have to decide is how much of that eight you saved should go to me. SWEARENGEN You're incorrigible. Perceiving Swearengen as resigned, Farnum's cheerfully relieved -- FARNUM I do my best. Swearengen produces several bags of gold dust -- SWEARENGEN Weigh out the twelve. If she says yes, there'll be something in it for you. FARNUM Hint at the amount. SWEARENGEN Don't get ahead of yourself E.B. When she's signed a bill of sale, once you've come back and signed that over to me... FARNUM (chortles) It is your twelve after all... SWEARENGEN When all that's done I'd expect you'd walk out with two thousand. FARNUM Fair recompense. SWEARENGEN For saving me money in spite of myself. Off which -- CUT TO: INT. GRAND CENTRAL HOTEL - ALMA'S ROOM - DAY Where Jane has brought Alma for an audience with Hickok -- ALMA I suggested to my husband last night that we should try to view our time here as one experience bought at a single price. Even now that he's murdered I feel that -- to stake the boundaries at just that fact isn't possible. For one, this camp hasn't laws or courts, and if it did I've no evidence. I'd've tried to take it all whole if they hadn't offered on the claim. To receive their money would be a separate matter -- make me an accomplice of a different sort. HICKOK How've you been an accomplice till now? ALMA A wife inevitably feels she's had some part in whatever befalls her husband. She'd averted her gaze, now looks back -- ALMA I'm answerable hereafter on different terms. I need to know what I'd be selling them. HICKOK You don't believe the money's to keep the Pinkertons away. ALMA Why pay me? If it were ransom to keep the Pinkertons off why not pay it to Brom, instead of k**ing him? A beat -- HICKOK It's this saloon operator you think's pulling the strings. ALMA Al Swearengen. It was certainly he manipulating Brom. JANE A slimy limey co*ks**er. HICKOK All right Ma'am. True sounding's not guaranteed, but I'll try for a feel of the bottom. ALMA What shall I pay you Mr. Hickok? HICKOK I'd prefer you pick the figure. ALMA Is a hundred dollars enough? HICKOK Perfect. Hickok's past caring. Off which -- CUT TO: INT. GRAND CENTRAL HOTEL - LOBBY - DAY Farnum, behind the counter, watches Hickok descend, exit. Watches him cross toward the Gem. Impelled by curiosity but slowed by foreboding, Farnum starts this way himself. Merrick, watching from the dining area, begins to hurry through his meal -- CUT TO: INT. THE GEM - SALOON - DAY Hickok enters. Walks to the bar, addresses Dority behind it -- HICKOK Whiskey. Dority pours the drink as Johnny Burns heads up the stairs to tell Swearengen. Farnum, entering, confirms Hickok's presence -- FARNUM (to himself) Boy oh boy. My my my. He takes a table near the door -- CUT TO: INT. THE GEM - SWEARENGEN'S OFFICE - DAY Leon, the disinforming dope-fiend faro dealer from the Bella Union, has been briefing Swearengen -- LEON Good now great, is how I'd describe it Mr. Swearengen. Well-attended, but we wasn't overrun. SWEARENGEN How did they take to the craps game? LEON Like chimps at their first fire. Burns knocks, looks in -- BURNS (to Swearengen) Downstairs. As Swearengen takes this in -- CUT TO: INT. THE GEM - SALOON - DAY Farnum, at the end of the bar farthest from Hickok, receives a drink from Dority -- FARNUM Thank you Dan. He means for Hickok to hear this, to announce his presence as benign. Hickok doesn't react. Farnum returns to his table as Swearengen comes down the stairs. Merrick enters from the outside, joining Farnum at his table as Swearengen approaches the bar -- SWEARENGEN I'm Al Swearengen Mr. Hickok, and the last few days I've been locked in my room weeping, searching my memories where my path might've crossed yours previous and how I might've given offense, that you'd stay in this camp not fifty feet from my joint and never once walk in. HICKOK No poker. SWEARENGEN It it that simple. (eyes never leave Hickok's) Dan! Dismantle the titty-corner and set up a poker table! HICKOK Not necessary Mr. Swearengen. SWEARENGEN I've always felt poker slows a joint's action, been a liquor, p**y and faro guy my entire f**ing career, but certain people are due respect. HICKOK This man Garret that fell off the rocks? SWEARENGEN The Eastern Dude? HICKOK (nods) His widow's had an offer on his claim from that innkeeper sitting in the corner. She's reluctant to sell till she understands what's behind it. Hickok never looks in Farnum's direction, nor does Swearengen -- SWEARENGEN Why have you ask me? HICKOK She believes you'd know. A beat -- SWEARENGEN Her husband come here with childish ideas. Buys himself a gold claim with me an honest broker. Claim pinches out, which will happen, but he won't take that like a man. Needs someone to blame, and the seller's left camp, so the husband picks me, says he'll bring the Pinkertons in if I don't make restitution. I've got a healthy operation here. I didn't build it brooding on the right and wrong of things. I don't need the Pinkertons descending like locusts, so I bend over for the tenderfoot co*ks**er: "Reconnoiter the claim fully," I say, "and if then you're still unhappy I will give you your f**ing money back." And the tenderfoot agrees, and as he's completing his reconnoiter the co*ks**er falls to his d**h. A pure f**ing accident, but up jumps the widow in righteous indignation. Wants the Doctor to examine him for murder-wounds. My visions of locusts return, I see the Pinkertons coming in swarms -- HICKOK Commissioned by the widow. SWEARENGEN Who I recognize is grieving, and has better intentions probably then a hold on the truth. HICKOK How does the innkeep come to make the offer? SWEARENGEN (lowers his voice) Under-bid when I brokered the sale, and still believes in the claim -- HICKOK (lowers his voice too) Even though the gold's pinched out. SWEARENGEN The camp's expanding, and we just had a hotel close. He sees the property as real estate... A beat. Their voices stay down -- HICKOK I'll take this back to the widow. SWEARENGEN I only hope you show it to her in a favorable f**ing light. HICKOK What's that worth? SWEARENGEN What? HICKOK The light I show it in. What's it worth to you? A beat, then -- SWEARENGEN Why, Wild Bill. ANGLE - MERRICK AND FARNUM trying at their considerable remove, to construe what's been transpiring -- MERRICK They certainly don't appear at odds. Off which -- CUT TO: INT. GRAND CENTRAL HOTEL - HICKOK'S ROOM - DAY Alma and Jane await Hickok's return. The child's resting on the bed. A beat, then Jane attempts to bridge the chasm between her experience and Alma's -- JANE What happened to that Little One was the same, exact co*ks**er. Alma takes this in as best she can. Jane senses she has more work to do -- JANE Same as he was pulling the strings on your husband's fleecing and getting him k**ed, this Swearengen operated the road agents that done for this Little One's people. ALMA The poor child. To lose her family. To see them slaughtered. Jane feels some provisional sense of accomplishment at having successfully communicated her thought -- JANE Very same co*ks**er. She notes Alma's shifting uncomfortably -- JANE If you people drink you look like you could use one. A knock -- HICKOK (O.S.) It's Bill. Jane rises, lets him in -- JANE You didn't happen to put one right between that sh**head's eyes, now did you Bill? HICKOK Unless you need the money right away Mrs. Garret, I'd defer a decision 'til someone honest and competent did a second reconnoiter. ALMA May I commission you? HICKOK (shakes his head no) Some'd question my fitness on either count but I'll guarantee you I'm not competent. I do know someone I'd trust to ask. ALMA I'd be very grateful. HICKOK Name Bullock. I'll go talk to him now. He starts for the door -- JANE How'd you leave it with the co*ks**er Bill? HICKOK On terms he'd understand. He's gone -- ALMA (to herself, re Penelope's ploy in the Odyssey) Maybe I should start weaving my husband's funeral pall. Without knowing what she's talking about, Jane knows it would be good for Alma to keep busy -- JANE Sure, go ahead. Want company? -- I'll bring the Little One over. ALMA I didn't actually mean I'd... JANE Or be by yourself if you want to. Off which -- CUT TO: INT. THE GEM - SALOON - DAY Farnum's joined Swearengen at the bar -- FARNUM Al, watching you even at a distance was a pleasure and privilege. SWEARENGEN If she don't come to you with her answer inside an hour, you pay a call on her. FARNUM But Hickok's an ally, am I right. I mean if that wasn't a f**ing ally leaving my eyes completely deceived me. SWEARENGEN An hour E.B. FARNUM Yes Sir. Farnum's gone, past Ellsworth, who's entered, approaches Dority at the other end of the bar -- ELLSWORTH Pour me a drink Dan and ask me the key to long life. DORITY What is it. ELLSWORTH Most important human quality for a person to reach old age. Dority puts the whiskey in front of Ellsworth -- DORITY Buy you a drink if you'll tell me. Ellsworth downs his shot, grimaces -- ELLSWORTH Same as a dog keeps his nose -- don't poke it where it don't belong. Dority whiffs where this may be going -- DORITY Wise words. Dority refills Ellsworth's gla** -- ELLSWORTH A lesson hard come-by, but thoroughly learned. Ellsworth looks around the saloon as if ruminating -- ELLSWORTH But something else I know -- is my knowing what I know and someone else knowing it are two entirely different things. DORITY I'm near losing the trail Ellsworth. ELLSWORTH Say someone thought I saw something I shouldn't have -- DORITY Whereabouts? ELLSWORTH On a ridge or wherever the hell else. If it took me leaving camp to prove I can mind my own business, it'd be a friend who told me that instead of throwing me to the pigs. Ellsworth looks away, against a spasm of fear, and resolve not to beg -- ELLSWORTH Is my whole philosophy and outlook. Make use of it as you will. He leaves. Off Dority -- ANGLE - ANOTHER PART OF THE BAR when Nuttall, ma** of fears and mistaken certainties, has found Swearengen -- NUTTALL If he was here sealing an appearance arrangement, I'm glad it was you tied him up Al and not that new f**ing operation with their fancy signs and cleaned-up women where I heard he was gambling all night. SWEARENGEN We made no appearance agreement. NUTTALL You and Hickok didn't. SWEARENGEN No. NUTTALL I see. 'Cause his game at my place yesterday was this far from coming to lead, him and this droop-eyed hoople-head, and I had to shut it down. And if that gave him offense, or umbrage, I can't worry about his plans, where he decides to gamble elsewhere, or this new joint overwhelms the camp. SWEARENGEN We made no agreement. Nuttall nods -- NUTTALL What do think of that new joint? SWEARENGEN Nice sign. Nuttall rubs his neck, makes ready to leave -- NUTTALL (thumb and forefinger) This far from f**ing gunplay. Off which -- CUT TO: INT. NUTTALL'S NUMBER TEN - DAY Con Stapleton, Lou Varnes, and McCall, still in his new-bought green suit. Stapleton and Varnes are playing double-solitaire. In McCall's exhaustion is an incoherence both vicious and subdued -- MCCALL Jack-f**ing-high. That's what I held, and I bet every f**ing cent. STAPLETON Miracle to me's you sit here bragging about it. MCCALL I'm not bragging, or a braggart or a blow-hard. I state a fact and I live by a fact. VARNES Anyways, it's over. MCCALL And you believe that because you're a walking f**ing c*nt with your c*nt and eye moving. VARNES No matter now your day's gone Jack, you're always fun to talk to. MCCALL Give me a buck then Lou -- send me off for a meal. Give me a buck and see what part of you gets shot, because I possess a f**ing gun I didn't bet. Thought of a gun in McCall's hand unsettles both Stapleton and Varnes -- STAPLETON I'll pay five dollars for that gun, sight-unseen, because what you need Jack is a stake to make your comeback. That's what'd get you out of this brown-study you're in. MCCALL I believe not. STAPLETON Or show me the gun and name a price and if it's close to fair I'll pay it. MCCALL I believe not. I believe no. He's gone, past the arriving Nuttall, who casts a morose eye on the card game, which generates in revenue for the house, - i.e. Nuttall, exactly nothing -- VARNES (to Stapleton, re McCall) He too is God's handiwork. Nuttall's joined them -- NUTTALL Double f**ing solitaire. Where's your f**ing ball-gowns? Break out the chips boys, and let's get a poker game going. As Nuttall takes a seat -- CUT TO: EXT. MAIN STREET - BULLOCK AND STAR HARDWARE - DAY Hickok, Bullock and Star inside the partly constructed building -- BULLOCK I don't know this camp. I'd have to bring someone from Montana. STAR Would the widow give it that much time? HICKOK (nods) She don't want to be stupid or fooled, wants to stand up for her husband better'n he did for himself. Not that she ought to stick around. BULLOCK 'Far as that goes she could sign a proxy. HICKOK There's her hundred in it and what the saloon-keeper gave me if you'd want to take it on. BULLOCK All right. Hickok understands Bullock's agreement is a gesture of respect to him. He gives Bullock Alma's hundred dollars and Swearengen's hundred and fifty -- HICKOK I guess she's all right 'til the saloon-keep decides I'm not trustworthy. STAR Trust ain't his long suit -- she ought to be looking for a wagon. Off which -- CUT TO: INT. THE GEM - SALOON - DAY Trixie and Dority. Ellsworth drinking in the corner. Dority's miserable -- DORITY I like Ellsworth too. TRIXIE There's a difference between talking a lot, which Ellsworth does enjoy, and overstepping. DORITY He don't get into other people's business. TRIXIE Then what are we talking about Dan? DORITY My own standards on who's reliable ain't the same as Al's. TRIXIE So Ellsworth has to leave camp over the difference? DORITY He does if it's that or k** him. He said to tell him if those were the choices. TRIXIE Don't you do it. DORITY Which? TRIXIE Either. Dority rises, moves away. Off Trixie, at the table -- NEW ANGLE - FARNUM AND SWEARENGEN Swearengen's gaze is murderous, fixed -- SWEARENGEN Asks a bribe to do something he never intends. Takes my hundred fifty, then tells her not to sell. FARNUM Why are you so sure he told her not to Al? SWEARENGEN You went back there. You knocked on her door. FARNUM She said he reported to her his conversation with you but she wasn't prepared yet to give me an answer. SWEARENGEN Does that make sense to you? That she'd hire Hickok to come talk to me, he'd go back and tell her to sell, and then she'd say she wasn't ready to make up her mind? (wipes his mouth) That idiot couldn't put one in his ear. FARNUM If you're talking about Tom Mason, I'd say that's water under the bridge. SWEARENGEN And I'd say Hickok has to die if I have to k** him myself. FARNUM Jesus Al. Jesus. With all that's going on? How would it sit with the widow, for one thing. How would that dispose her toward us? SWEARENGEN Let me pose you a question E.B., you f**ing c*nt. If someone comes at you, what're you supposed to do about it? Farnum marshals all his minimal nerve -- FARNUM And I'll pose you a question back, Al Swearengen. If a friend or at least a professional colleague has a mistaken impression of who's coming at him and who isn't, what're you supposed to do then? The frightened screech with which Farnum concludes, first emitted by the common ancestor of the bird and reptile, seems to penetrate Swearengen's paranoid resolution -- SWEARENGEN You don't think he's coming at me. FARNUM I don't think Hickok's coming at you Al, no I don't. I think you're a man with so many different responsibilities you sometimes get feeling beset, and in that frame of mind take things personal. Swearengen rubs his forehead -- SWEARENGEN I'd sooner the co*ks**er was dead. Simplify working the widow. FARNUM We don't get to choose the world we live in. SWEARENGEN Bella Union co*ks**ers to worry about and every other damn thing. FARNUM You've got a full plate. SWEARENGEN I need to f** something. Swearengen's gaze finds Trixie; he nods perfunctorily, first at her then at his second-floor office. Trixie heads for the office as Swearengen goes to the bar to collect a bottle. Farnum rubs his neck, calling after Swearengen -- FARNUM That's using the old noggin Al. Get yourself some relief and let the world do its own spinning. ANGLE - DORITY who's taken over from the other bartender, as Ellsworth hails him uneasily -- ELLSWORTH What's new Dan? DORITY Nothing. ELLSWORTH No news? DORITY If I had something to tell you Ellsworth one way or another I'd tell it to you. ELLSWORTH Then I guess I better have another drink. Off which -- CUT TO: INT. BELLA UNION - ROOM NUMBER EIGHT - DAY Cramed lies asleep on the bed. He's fully dressed, still has his boots on. Starts, shamed, at Joanie's knock, struggles to get his boots off -- CRAMED Who is it? JOANIE (O.S.) Joanie. CRAMED Wait a second Honey, give me just a second. He give up trying to get his boots off. He splashes water on his face, opens the door. Joanie enters -- CRAMED I fell asleep. JOANIE I broke up three cat-fights Andy, girls wanting to give you a bath. CRAMED I fell right to hell asleep. JOANIE You ready to get some strange? His lower lip quivers -- CRAMED Tell you the truth Joanie, I feel out of sorts. JOANIE You had a long trip and I've heard worse confessions. CRAMED That's gospel truth which I hope you'll keep to yourself. JOANIE Sure I will Andy. CRAMED I feel f**ing unwell to myself. JOANIE Why don't you lie back and let me get your boots off? He's getting fever, which makes his fear and worry more conscious -- CRAMED I'm not sure you ought to touch me Honey, is the gospel on that score. JOANIE No girl in the world ever got sick pulling off a pair of boots Andy, but if you want I won't take more liberties. Off which -- CUT TO: INT. BELLA UNION - CASINO - DAY Tolliver and Sawyer with Merrick somewhere on the floor -- TOLLIVER Fifty dollars an issue. Merrick's red-faced with pleasure -- MERRICK Frankly Sir, that would purchase your advertisement an amount of space wildly incommensurate with the accompanying articles. TOLLIVER (to Sawyer) See I've never heard that word in my life -- SAWYER That's his trade -- he's a wordsmith. TOLLIVER You shoot craps Mr. Merrick? MERRICK Excuse me? Oh, no, I haven't shot the craps in some time. SAWYER (friendly) Like ever? MERRICK If you'll keep my secret, no I've never shot them. They wait. Merrick gets an interesting idea -- MERRICK (to his Muse) I wonder if that would be an article? -- a man learns to shoot the craps? Tolliver's seen Stubbs coming down the stairs; instinctively sensing trouble, he wants to get Merrick out -- TOLLIVER Anyway, we're agreed on fifty an issue -- Merrick senses he's on an unprecedented roll of luck -- MERRICK Had we? -- actually agreed? I feel almost duty-bound to remonstrate... TOLLIVER (to Sawyer) Three months advance Eddie, fifty an issue -- Sawyer's seen Stubbs too and had he same premonition -- SAWYER Let's see the man in the cage. He's already steering him in this direction -- MERRICK Seriously? Tolliver calls after the journalist -- TOLLIVER Don't let him take your monry Mr. Merrick while he's teaching you that game. Stubbs is beside Tolliver -- TOLLIVER Who'd you give to Andy? JOANIE Nobody. He's poorly. SAWYER Does he need a Doctor? JOANIE Maybe he does. TOLLIVER Goddamnit. I told you I didn't like the way he looked. Tolliver's waved two underlings toward him; as the arrive -- TOLLIVER (to Minion #1) Stand outside room eight. No one in or out. (to Minion #2) Get the Doc. Tell him someone fell. As the minions act on his orders, Tolliver looks back to Joanie -- TOLLIVER I told you. Off which -- CUT TO: INT. GRAND CENTRAL HOTEL - ALMA'S ROOM - DAY Hickok's finishing his report to Alma -- ALMA Thank you so much Mr. Hickok. I'll look forward to Mr. Bullock's contacting me. HICKOK May I ask Ma'am when you'd expect to leave the camp? ALMA I'm not certain. He takes this in -- HICKOK Bullock's honorable Mrs. Garret -- you can trust him to see to your interests. ALMA He couldn't come more highly recommended. He studies her for a beat -- HICKOK You know the sound of thunder, don't you Mrs. Garret. ALMA Of course. HICKOK Can you imagine that sound if I ask you to? She bridles a little -- ALMA Yes I can Mr. Hickok. HICKOK Your husband and me had this talk, and I told him to head home to avoid a dark result. But I didn't say it in thunder. Ma'am, if you linger in this camp, you've got a real good look at getting k**ed. His voice suddenly takes on a admonitory intensity -- HICKOK Listen to the thunder. A beat, then he rises -- HICKOK Very good luck to you. ALMA Thank you for all your help. He's gone. Off alma, in that first stage of opium withdrawal which is the nervous anticipation of physical sickness -- CUT TO: INT. THE GEM - SWEARENGEN'S BEDROOM - DAY Swearengen f**s Trixie. His gaze is distracted. He's got her arms raised as if he's robbing her, pins her hands. She watches him -- CUT TO: INT. BELLA UNION - CASINO - DAY Tolliver being joined by Doc Cochran -- TOLLIVER Thanks for coming Doc. COCHRAN The boy said someone fell. TOLLIVER Room eight. Cochran follows Tolliver's gaze to the second floor, notes the underling standing guard outside Cramed's room. CUT TO: INT. UTTER'S ROOM - DAY Hickok labors at his spelling and penmanship, writing a letter to his wife -- HICKOK (V.O.) My own darling wife Agnes: I never was as well in my life, but you would laugh to see me now. Look a fool, as I just got in from prospecting. A knock at the door, Hickok looks up -- JANE (O.S.) It's Jane Bill. HICKOK Come ahead. He puts down the pen, pushes the paper forward on the desk. Jane enters holding the Metz child -- JANE The Little One is cool as a cucumber. HICKOK Is that so. Jane's brought the child to Hickok -- JANE Feel this Little One's forehead. Hickok does so -- HICKOK Fever and you have parted ways Young Lady. The child smiles, answers in Norwegian -- HICKOK (to Jane) Did she just ask to borrow money? Jane laughs, inexplicably blushes -- JANE Anyways, how'd it go with Bullock? HICKOK He'll help the widow. JANE Good for him. Good for you. Did you tell her so? Hickok nods -- JANE I'd keep her company but she's working on her husband's funeral pall. HICKOK She wasn't about it when I was with her. JANE No, huh? HICKOK Nope. JANE Think she'd want company? HICKOK I'll bet she'd enjoy yours. JANE Maybe she'd enjoy feeling the Little One's forehead. Jane lingers, as always, in his company -- JANE You're probably enjoying your damn privacy with Charlie headed for Cheyenne. HICKOK (nods) I'm writing my wife. JANE Why didn't you say something, damn you! She's heading for the door -- JANE (to the child) Owe you a penny. HICKOK See you later Jane. JANE See you later Bill. She goes. Hickok sits at the desk again, resumes his letter -- HICKOK (V.O.) Will go out prospecting again tomorrow. I'm almost sure I will do well. We will have a home yet. Then we will be so happy. Here the man is, hurrying me to get off the letter. Goodbye my dear Agnes. J.B. Hickok, Will Bill. (beat) P.S. -- if such should be we never meet again, while firing my last shot I will gently breathe the name of my wife, and I will make the plunge and try to swim to the other shore. Off which -- CUT TO: INT. BELLA UNION - ROOM NUMBER EIGHT - DAY With Joanie b.g., Cochran completes his examination of Cramed, who's now delirious with high fever -- CRAMED Oh my back. Oh my aching back. Tolliver's entered -- COCHRAN (voice raised) I'll give you something to ease that. Cochran turns to his medical bad to produce this -- TOLLIVER What's he got Doc? COCHRAN I guess his back's what he landed on when he fell. CRAMED My back's split and broken. TOLLIVER I don't know when he landed on. (to Joanie) Who said he fell? Cochran has no patience for the bullsh** -- COCHRAN (to Tolliver) 'Course if pus-sy sores raise up on his face and trunk, more likely he's got other trouble. Joanie looks away -- CRAMED Get me a game, the way I ache. JOANIE Okay Andy. CRAMED Did you lose your friend in the fire? Off which -- CUT TO: EXT. MAIN STREET - DAY Hickok exits the Grand Central; he's dressed to play cards, heads for Nuttall's -- EXT. AN ALLEY - A CHINESE-OPERATED FOOD TENT McCall's served an American meal. Doesn't like any part of the set-up -- INT. NUTTALL'S NUMBER TEN - CONTINUOUS Hickok enters. Nuttall, at the poker table playing with Stapleton, Varnes and a man we'll come to know as Capt. William Ma**ey, rises, delighted at Hickok's arrival, joins him at the bar. Hickok's produced his wallet, removes the cash he won from McCall, puts it on the bar to repay Nuttall's advances and buy chips for the game. Nuttall's manner conveys that the repayment was the last thing he had on his mind. Given the owner's happy relief at what Hickok's re-appearance augurs for the future of his saloon, this may even be true. Nuttall's called to his bartender for chips, during which Hickok comes to the poker table. Ma**ey's in the chair, with a full view of the saloon's front entrance, which Hickok would normally occupy, but Hickok chooses not to make a point of this, taking instead the seat already vacated by Nuttall, who, now jubilantly rejoining Hickok, stacks before the gunfighter the chips he's purchased. Stapleton's already dealing -- CUT TO: INT. GRAND CENTRAL HOTEL - ALMA'S ROOM - DAY Jane's brought the child with her; they keep Alma company. Alma's at the window -- ALMA He was the best company, from the time I was ever so little. Problems or difficulties or even sadness... No such things. Not permitted. The evening I was presented to society, I later found out he'd been able to attend only by physically fleeing some dismal legal difficulty. In that sense, me marriage to Mr. Garret was a tremendous solution. Tremendous. At the ceremony I remember Father whispering to me, "Darling, I can never repay you for what you're about to do, but I can repay everyone else." And he said, "To think of you, with him, in that godforsaken place, is almost unbearable." JANE Meaning your husband. ALMA And I said, "Maybe he'll die." She looks to the street -- CUT TO: INT. THE GEM - SWEARENGEN'S BEDROOM - SAME TIME His head turned to one side, Swearengen finishes fornicating. Wondering at what she takes to be her destiny, Trixie comes with him -- CUT TO: EXT. MAIN STREET - DAY Bullock and Star come to some milestone in the construction of their building -- INT. NUTTALL'S NUMBER TEN - DAY McCall enters Nuttall's. If Hickok senses his approach, he gives no sign. McCall reaches the poker table, produces his pistol and shoots Hickok in the back of the head -- MCCALL Take that goddamn you! McCall trains the weapon on the others in the saloon, moving toward the back door; then he flees -- CUT TO: INT. BELLA UNION - ROOM NUMBER EIGHT - SAME TIME As Joanie stands in the corner, gaze averted. Pustulating sores area raised on Cramed's face. With his eyes open, he hallucinates some horror short of what is overtaking him -- CUT TO: EXT. ALLEY BEHIND NUTTALL'S NUMBER TEN - DAY McCall runs toward a saddled horse he intends to steal, jumps to mount; the saddle is loose, and he brings it down upon him as he falls to the mud. Of those who've pursued him from the saloon, Nuttall is first to reach McCall, who, trapped beneath the saddle, feels in the mud for the pistol he's dropped; Nuttall grabs the weapon, yanks the saddle off McCall, punches him once in the face as he brings him to his feet -- EXT. BULLOCK AND STAR'S HARDWARE - DAY Bullock and Star look in the direction of Nuttall's outside which a commotion has begun; as moves toward them -- INT. GRAND CENTRAL HOTEL - ALMA'S ROOM - DAY Jane has come beside Alma, watches with her this beginning of focused activity on the street. Jane's eyes show some premonitory sense of doom. She nods to Alma, indicating the child, as she moves toward the door -- CUT TO: INT. THE GEM - SWEARENGEN'S BEDROOM - DAY As part of the slow, post-coital resumption of vigilance his soul-sickness demands, Swearengen's wandered to the window, sees Nuttall and the others from the Number Ten bring McCall from the alley onto the street -- EXT. MAIN STREET - DAY Bullock sees this too. He's already covered half the distance from the hardware store. He's close enough to recognize McCall -- ANOTHER ANGLE - JANE comes running out of the Grand Central, past Farnum, who stands on the porch of his hotel, content to be no closer. Jane rushes up to the group who restrain McCall -- JANE What happened? STAPLETON He shot Wild Bill Hickok. Off her -- INT. NUTTALL'S NUMBER TEN - DAY Into which Bullock has been drawn by his Marshall's intuition or some deeper fate. He approaches Hickok, slumped dead on the table, blood pooling from the mortal wound in his head. An after-d**h spasm shifts the body's balance; Hickok falls to the floor. As Jane appears at the entrance to the bar, Bullock kneels beside Hickok -- FADE OUT.