Gunsmoke:
Kitty's Injury
aired September 19, 1959
Written by John Meston
Story by Marian Clark
Directed by Buzz Kulik
Guest Cast: Don Dubbins, Anne Seymour, Karl Swenson
(Made available through
the courtesy of Heidi Kactro)
1. INT. LONGBRANCH FULL SHOT DAY
Chester stands alone at the bar, drinking a beer. It's a dull
afternoon and very few customers are about. Doc enters, sees Chester
Fade in:
walks over.
2. MED. SHOT
As Doc comes up to the bar. Chester is dreaming into his beer and
doesn't notice him. Doc glances at him, and at the beer, and calls to Clem.
DOC
Bring me a beer, will you?
CLEM
Coming up, Doc
The barkeep draws Doc a beer. Chester comes out of it.
CHESTER
Oh...hello, Doc.
DOC
I hope I'm not disturbing your siesta.
CHESTER
I was just standing here ---thinking,,,
DOC
Mmm... Then you should be complimented for a hard day's work, Chester.
Chester glares at him. Clem brings the beer
CLEM
Here you are, Doc...
DOC
Thanks
3. ANOTHER ANGEL
Doc lifts the beer.
DOC
Here's how...
Chester drinks with him, somewhat unwilling. Doc looks around.
DOC
Where's Kitty today?
CHESTER
She's with Mr Dillon.
Doc looks around the room.
DOC
I don't see them.
CHESTER
Doc, you'd have to see through buildings, and around corners, and
across miles of prairie...
DOC
What're you talking about?
CHESTER
Miss Kitty had to go up to Salt Creek. A friend of hers got sick.
A woman>
DOC
Well, Kitty wouldn't likely be riding twenty miles out onto the prairie
to visit a man.
CHESTER
Nope.
DOC
But why'd Matt go with her?
4. MED. CLOSE SHOT
CHESTER
Oh my goodness, Doc, what if she got lost, or it blew up a storm,
or the Indians stole her, or..well ..anything
DOC
Then if she does get lost, or it storms, or the Indians attack, I
guess they'll both be in the same fix, won't they???
CHESTER
You got a twisted brain, Doc. It goes...
Chester describes the horrors of Doc's brain with his hands. Doc
watches.
DOC
You're making me dizzy, Chester. Let's drink up...Matt and Kitty
are all right..They'll be back before dark.
CHESTER
(still not convinced)
Sure
But he drinks up with Doc
DISSOLVE TO:
5. EXT PRAIRIE LONG SHOT DAY
Matt & Kitty are riding across the prairie. Kitty points toward
some trees off-trail, and they pull up.
6. MED. SHOT
Kitty looks o.s.
KITTY
There's got to be water in there, Matt.
MATT
I'm sure there isn't Kitty. But there's a house beyond. I don't know
who lives in it, but they'll have water. Come on...
KITTY
I hate to be such a nuisance.
MATT
It's my fault for not bringing a water-bag.
They start off toward the trees.
7. ANOTHER ANGLE
They ride away, then suddenly SOUND of rattler is heard near Kitty's
horse. Her horse shies.
MATT
Rattlesnake! Hold his head, Kitty!
Sound of snake again. And Kitty's horse bogs his head and she
flies off.
8. ANGLE ON MATT
He jerks his gun and fires twice...hitting the snake o.s.
9. MED. SHOT
Matt holsters his gun, rides to Kitty, jumps off.
10. ANGLE ON MATT, KITTY
He puts a hand under her head, She's pretty groggy.
MATT
Kitty...Kitty...
KITTY
I'm sorry, Matt...fell off...
MATT
Where does it hurt, Kitty...break any bones?
KITTY
My head...it's my head...
Matt feels her head over quickly, finds lump.
MATT
yeah...there's a lump there already.
KITTY
I can't see very well...
MATT
Now Kitty, don't you worry...you'll be all right...
KITTY
Matt...you'll get me home?
MATT
Of course, I will
KITTY
I'm scared, Matt...
MATT
You know I'll get you home.
She passes out. Matt lays her head down.
11. MED. SHOT
Matt gets up. looks around, starts toward the horses.
DISSOLVE TO:
12. EXT JUDSON PLACE MED. FULL SHOT DAY
The House has a living room, bedroom, kitchen... but it's run-down,
falling apart. A wagon stands off to one side, some distance away.
13. ANOTHER ANGLE
Matt has ridden up and stopped and got down. He stands by his
horse, Kitty in his arms. Her horse is tied to Matt's. He steps away form
them, finds a place to put her down..then walks quickly toward the house.
14. ANGLE ON HOUSE
As Matt walks up, pounds on the door. CAMERA PANS to corner of
hte house and we see LUTIE JUDSON, who sneaks up, peeks at Matt and then
glances toward Kitty, Lutie is about 20, retarded, delinquent. He's dressed
in ragged overalls. He's no good and he can get worse fast. CAMERA PANS
back to Matt at the door. He pounds again.
MATT
You in there! Open up!
He pounds harder. Finally the door opens a crack. Matt shoves it
violently the rest of the way.
MATT
Open up, I said...
15. CLOSER ANGLE
RAFE JUDSON stands a few feet back, holding a rifle on Matt. Raff
is Lutie's natural father, but no quite as hopelessly retarded. He's about
45, lazy, vicious, worthless...and dressed in rags and patches.
MATT
Put the gun down, mister. I'm a U.S. Marshal. I need shelter for
an injured woman.
RAFF
That don't give you no right to bust in here...
MATT
You didn't hear me...I've got a woman out here...badly hurt...
RAFF
It ain't none of my doing.
MATT
Now look here...
Behind Raff CORA JUDSON appears. She, too, is about 45, but looks
a whole lot older, dired out; but not quite defeated. It's been a long
time buried, but there's good in this woman, and courage.
CORA
Let him bring her in, Raff...
RAFF
There ain't no call for it...
CORA
Let him bring her in.
RAFF
I said no...
Matt looks at Cora.
MATT
Thanks, ma'am. I'll go get her.
Matt turns to go.
16. MED SHOT
Matt stops as Lutie comes hurrying up. Raff steps outside; Cora
stands in the doorway.
LUTIE
Paw! Paw! There's a woman out there! Just laying there, Paw!
CORA
Hush, Lutie, She's hurt.
LUTIE (confidentially)
Paw...she's real pretty...
CORA
Lutie!
Matt moves up to him, takes him by the arm.
MATT
Come on, Lutie. You take care of the horses while I carry the lady
in...
LUTIE (holding back)
Paw...?
RAFF
Do like he says, Lutie. He's a big U.S. Marshal, moving in on poor
folk.
Matt drags Lutie off.
17. ANGLE ON RAFF, CORA
She goes into the house. Raff follows her.
18. INT LIVING ROOM FULL SHOT DAY
Slobsville. A showplace for those who want to keep up with the
Jukes and the Kallikaks. Once it was not bad, but the mice and the Judson's
have been at it. There's a table and a few chairs and a lot of dirt. A
door leads to the bedroom. Cora heads for the bedroom.
RAFF
Where are you going, Cora?
CORA
I'm gonna get the bed ready.
RAFF
You aint gonna put that woman in our bed!?
CORA
She's been hurt. You want to lay her out on the floor?
She disappears into the bedroom.
RAFF
Now doggone it...
He crosses the room and follows her.
19. INT BEDROOM FULL SHOT DAY
The bed is nice -- if you like torn, greasy sheets and pillows
with the feathers leaking out ---but the rest of the room is rather messy.
A cracked mirror hangs over a slanting chest of drawers, some open, some
closed. The only solid piece of furniture in the room is a small trunk
or chest, securely locked. Cora enters an dbegins pulling the dirty sheets
off the bed. She finds a blanket and puts that down as they talk. Raff
comes in, stands near the door.
RAFF
What're you doing messing up our bed...?
CORA
I wouldn't sleep a pig here...let alone a sick woman.
RAFF
It's been good enough for you, ain't it?
CORA
Anything's been good enough for me since the day I married you, Raff
Judson.
RAFF
That's a fine way for a wife to be talking.
CORA
It's the only way for your wife to be talking.
RAFF
Cora, I'll fetch you a clout on the head in a minute.
CORA
That's your answer for everything, ain't it?
Raff starts for her
RAFF
Now by golly...
20 ANOTHER ANGLE
Raff stops as Matt appears in the doorway, Kitty in his arms.
MATT
Can I put her down there, ma'am?
CORA
Sure, Marshal. I'll find a pillow somewhere.
Matt crosses to the bed as he speaks and puts Kitty down on it.
MATT
Don't bother. She's better off without one.
Kitty moans a little.
CORA
She is hurt bad, ain't she?
MATT
Yeah. (glances around) You got something to cover her with?
something ...clean?
RAFF (snicker)
Ain't been nothing clean around here in a mule's age, Marshal...
CORA
Ain't been nobody clean enough to notice neither. (to Matt)
I'll get you something...
She goes to the trunk, takes a key out of her pocket and opens
it. Matt bends over Kitty.
CLOSE ANGLE ON MATT, KITTY
Kitty stirs, opens her eyes a little.
KITTY
Matt...
MATT
You're all right, Kitty. Mrs Judson'll take care of you. You'll be
fine here 'til I get back with Doc.
22 MED SHOT
Lutie has appeared in the doorway behind Raff.
LUTIE
You hear that, Paw?? He's gonna leave that woman right here with
us!
RAFF
Shut your mouth, Lutie.
LUTIE
She's awful pretty...
Raff turns to belt him.
RAFF
I told you...
Lutie disappears.
RAFF
You come here, Lutie...
Raff goes out after him.
25. ANGLE ON BED
Kitty isn't wholly conscious.
KITTY
Matt...
MATT
What, Kitty?
KITTY
Don't leave me...please...
MATT
I'm just going to town to get Doc, Kitty...
KITTY
No...please...
Cora has found a tablecloth in her trunk and brings it to the
bed.
CORA
Here's the cover, Marshal.
Matt looks at it curiously.
MATT
Well...that will do fine.
CORA
It's rightly a tablecloth...but it's clean. I don't never use it
---I keep it in my trunk there.
MATT
Well, I ...I thank you, Ma'am...
They cover Kitty with it.
CORA
It was my mother's. Her things was always clean … I kinda gave up...being
around Raff...
MATT
Yes, ma'am...
CORA
There. She'll be fine now. It gets cold I'll put a blanket on her.
MATT
yeah...
CORA
In fact, I'll go get ready right now so's it'll be ready. It's in
the other room Marshal.
MATT
All right. Thanks.
She walks off.
24 MED CLOSE SHOT - MATT, KITTY
KITTY
Matt...
MATT
She'll take good care of you, Kitty. She seems like a good woman.
KITTY
Don't leave me, Matt...
MATT
But, Kitty, I've got to go after Doc. You need him.
KITTY
No, Matt...please ...please don't leave me...
MATT
Well...all right. I'll stay here, Kitty. I'll make one of them go.
KITTY
Thank you, Matt...
MATT
You rest now. I'll be back in a minute.
25. MED SHOT
Matt goes out into the other room.
26. INT LIVING ROOM - FULL SHOT - DAY
As Matt enters. Cora is in one corner trying to find a blanket.
Raff sits indolently in a chair. Lutie stands by the fireplace. Matt glances
from one to the other.
MATT
One of you is going to have to ride into Dodge and fetch Doc Adams
out here.
RAFF
Well now, Marshal, I just ain't especially feeling like no ride today...
CORA
Raff! That's a terrible way to act.
Matt crosses to Raff, jerks him out of the chair with one hand.
27. ANGLE ON MATT, RAFF
Raff struggles helplessly
RAFF
Here now...you let me go...
MATT
You listen to me, mister---I've had a bellyful of you. You're going
to do as I say, and do it fast. That woman needs a doctor, and you're going
to see she gets one. Right now, you understand.
Matt shakes him a bit. Raff is a little scared
RAFF
Well, I guess maybe Luties could go.
Matt throws him back into his chair.
MATT
That's better.
28. MED SHOT
Lutie comes forward.
LUTIE
No, Paw...not me. I want to stay here. I want to stay here and watch
the woman.
Raff gets up, crosses to Lutie.
RAFF
I said you was to go to town...
He cuffs him a couple of times on the ear.
LUTIE
Owww...paw...don't go beating me no more...
CORA
Not on the ear again, Raff! You're making the boy addleheaded!
Matt steps up, shoves Raff aside.
MATT
Leave him be, Raff.
RAFF
He's my boy... I'll do what I want with him...
Matt steps up close, faces him.
MATT
Am I going to have to knock you sideways, Raff?
RAFF
You wanted him to ride to town, didn't you?
Matt turns to Lutie.
29 ANGLE ON MATT, LUTIE
MATT
You know the way to town Lutie?
LUTIE
Oh, I know the way all right. Paw let me go in there two, three times...
MATT
Then you go find Doc Adams and bring him back with you. You understand?
LUTIE
Well sure, I understand all right. But I don't see why I have to
ride all the way to Dodge.
(He sneaks a glance toward the bedroom) I ain't never seen
a woman...a young, pretty one...out here before.
MATT
You forget about her.
30. MED SHOT
Cora moves up.
CORA
She'll be here when you get back, Lutie. You go along now...
LUTIE
Paw...? Paw... do I have to...?
RAFF
You want me to cuff you again...?
Then he remembers, looks at Matt, backs off. Cora steps up to
Lutie, takes him by the arm and propels him toward the door.
CORA
Come on Lutie. Get your orse start riding. And don't tarry along
the way, you hear me?
LUTIE
Okay, ma.
31 ANGLE ON DOOR
Lutie opens it, turns back with a leer.
LUTIE
I'll ride fast. I want to get back. (glances toward bedroom)
For certain I do.
He goes out.
32 INT LIVING ROOM - MED SHOT - NIGHT
Raff is sleeping and snoring in a chair near the fireplace, His
boots stand nearby. Matt is dozin in another chair. Matt's gunbelt hangs
on a peg near the fireplace. CAMERA PANS TO BEDROOM.
33 INT BEDROOM - FULL SHOT - NIGHT
Cora sits by the bed tending Kitty. She has a basin of water and
some cloths. She wrings one out and puts it on Kitty's forehead. Kitty
is half conscious, but has a fever and is wet and fuzzy.
34 MED SHOT
As she puts the fresh cloth on Kitty's forehead
CORA
There...that oughta cool your head some, miss.
KITTY
Thank you...
CORA
My...the fever sure has took over.
KITTY
The Marshal...he's still here?
CORA
He's right there in the other room.
KITTY
You're sure....?
CORA
Why, of course I'm sure. Now don't you fret. It aint good for your
fever.
KITTY
I want to see him...please...
CORA
Well, all right...I'll fetch him. You just lay quiet.
Cora gets up.
35 ANOTHER ANGLE
Cora walks out into the living room.
36 INT LIVING ROOM - MED SHOT - NIGHT
Cora enters, goes to Matt.
CORA
Marshal...
Matt comes instantly awake.
MATT
Yeah... what is it..? What's the matter?
CORA
The lady ...she wants to see you...
Matt gets up.
MATT
Is she all right?
CORA
About the same. But she's burning up with fever, Marshal.
MATT
I'll go see her.
Matt goes to the bedroom, followed by Cora.
37 INT BEDROOM- FULL SHOT - NIGHT
Matt goes to the bed
38 MED SHOT
Kitty's eyes are closed.
MATT
Kitty...Kitty, you wanted me..?
She opens her eyes for a brief moment...then closes them.
KITTY
Matt...
MATT
Kitty...Kitty...
Cora has come up and is standing behind Matt. Matt speaks over
his shoulder.
MATT
She doesn't look too good, does she?
CORA
She ain't rightly conscious, Marshal.
Matt straightens up, turns to her.
39 ANGLE ON MATT, CORA
MATT
That boy of yours. He should've been back here with Doc Adams a couple
of hours ago.
CORA
Yes Marshal. He should've.
MATT
(pause) Tell me, Mrs. Judson -- do you think he went to Dodge at
all?
CORA
I'll tell you the truth, Marshal. I don't rightly know. I never seen
him out and out disobey his pay, but... Lutie's strange... I just don't
know.
MATT
Well, Kitty needs a doctor, and we can't wait for Lutie any longer.
CORA
But, Marshal, she'd be real upset if you was to leave. (beat) She...don't
seem to feel comfortable here alone.
MATT
I...mean to send Raff, Ma'am.
CORA
All right, Marshal. I'll be trying to keep her head cool best I can.
Matt nods.
40 MED SHOT
Cora goes to the bed. Matt goes back into the living room.
41 INT LIVING ROOM - MED SHOT - (NIGHT)
Matt walks up to Raff who's still asleep in the chair. He shakes
him.
MATT
Raff...Raff...wake up--
RAFF
Ha...What's that? What's going on?
MATT
Come on...get up...
Raff looks around.
RADD
Why, it ain't even daylight yet...
MATT
No, but it's late enough. That son of yours has been gone six hours.
RAFF
Oh? Well --- you never can tell about Lutie.
MATT
I'd better be able to tell about you.
RAFF
About me?
MATT
Get your boots on. You're going to Dodge.
Matt kicks his boots over nearer him.
RAFF
Now doggone it, Marshal...
MATT
Put them on. And if you don't have Doc Adams back here within four
hours, I promise you'll need him a whole lot worse than Kitty does.
42 ANOTHER ANGLE
Raff reluctantly begins to pull his boots on.
RAFF
All right, Marshal...all right. (stops) Wait --- Lutie took the only
horse we got.
MATT
You're forgetting we came here with two horses. You can ride Kitty's.
RAFF
I oughta at least get paid for it -- a ride like that in the middle
of the night...
MATT
You won't be fit to ride even for free if you don't quit complaining
and get moving.
Raff gets his boots on...stands up.
43 FULL SHOT
Matt watches while Raff finds his coat and hat and starts out
the door. Cora appears in the bedroom door.
RAFF
Fine thing when a man ain't got no rights in his own home...
MATT
You just ride straight and fast, Raff. If you're not back here with
Doc in four hours, I'll make real trouble for you.
Raff gives Matt a look, and goes out.
CORA
He shames me, Marshal, acting like he does...
MATT
Tell me --- do you think he'll come back?
CORA
Yes, Marshal, he'll come back! He ain't got the courage not to.
MATT
All right.
CORA
I better get back to the lady.
She goes back into the bedroom
44 INT BEDROOM - MED SHOT (DAYBREAK)
Kitty is asleep, a damp cloth on her forehead. Cora sits by the
bed watching her. Matt enters and walks up. An empty pail stands near the
bed.
CORA
I don't know this is doing any good at all Marshal.
MATT
Well, it's daybreak. Raff ought to be here with Doc any time now.
CORA
I need some more water. Would you fetch some from the well?
MATT
Of course. I'll be right back.
Matt picks up the pail and goes out.
45 INT LIVING ROOM - MED SHOT -(DAY)
Matt crosses to the door; opens it...stops...then stands back.
(NOTE: Matt is unarmed)
46 MED SHOT
SHOOTING FROM BEHIND Matt, we see Lutie standing outside about
twenty feet from the door ---a rifle in his hands, pointed at Matt. A coil
of rope is over his shoulder.
LUTIE
It's pointed right at your belly, Marshal.
MATT
Put that thing down, Lutie.
LUTIE
Not hardly I'll put it down. You stand still now...
Lutie backs off as Matt steps outside.
47 EXT HOUSE - MED SHOT - (DAY)
MATT
You didn't even go to Dodge, did you?
LUTIE
Sure I did. I stole me a wagon there. I got it hid around back.
MATT
What're you talking about?
LUTIE
(leer) I got me a plan. A real good plan.
MATT
Well, I'm not interested.
Matt takes a couple of steps --- stops as Lutie fires a shot close
to him,
LUTIE
Next time I'll hit you plumb center. I'm good with a rifle.
MATT
All right, Lutie -- what're you trying to do?
LUTIE
I'm gonna run off with that woman.
MATT
what---
Cora appears in the doorway behind Matt
CORA
Lutie!
LUTIE
You stay in there, Ma...
Lutie moves to an angle where he can shoot Matt without hitting her.
48 ANOTHER ANGLE
LUTIE
Don't you try nothing now, Marshal...
MATT
Listen, Lutie --- you can't take that woman out of here. She's badly
hurt.
CORA
So that's what he's fixing to do...
LUTIE
I got is all figured out in my head. I'll put her in the wagon and
take her away, and when she gets all right she'll be my woman.
CORA
Lutie, Lutie, ...please
LUTIE
I got a right to a woman like anybody else, ain't I?
MATT
Lutie, listen to me --
Lutie moves toward Matt, rifle ready, as he speaks.
LUTIE
The minute I seen her laying there on the ground I knowed she
was the one I wanted. And I'm gonna carry her away with me - Right now.
You get into the house, Marshal -- go on now, or I'll shoot you dead --
Its hopeless. Matt turns and enters the house. Lutie follows cloes
behind.
49 INT LIVING ROOM - FULL SHOT - (DAY)
As they enter. Cora draws back, watches Lutie carefully. Lutie
indicates a chair to Matt.
LUTIE
You set there. Go on now...
Matt sits. Lutie takes the coiled rope off his shoulder.
LUTIE
Here, Ma -- take this and tie him up. And you tie him up good, too.
CORA
Marshal, I...
MATT
Do what he says, Mrs. Judson...
CORA
Well...
LUTIE
Hurry it up, Ma...
She takes the rope, goes to the chair.
50 ANTOHER ANGLE
Cora starts tying Matt to the chair. Lutie glances around.
LUTIE
Where's your gun, Marshal? (sees it) Oh... I see it.
51 ANGLE ON LUTIE
He goes to where the gunbelt is hanging; pulls the gun out, inspects
it, then stuffs it into his belt.
LUTIE
I'll take it along just in case...
He walks back to the chair.
52 ANGLE ON CHAIR
LUTIE
Hurry it up, Ma...
He puts his rifle down, takes the rope from her.
LUTIE
Lemme have that...
Lutie finishes the job. Then recovers his rifle.
LUTIE
Now just you stay quiet, Marshal. I'm gonna bring the wagon up.
CORA
Lutie...please...
LUTIE
Now don't you go fretting, Ma. And don't you try to help him---
I wouldn't want to do it, but I'll kill you , too if I have to.
53 MED SHOT
He goes to the door, opens it.
LUTIE
I ain't looking so foolish now, am I Marshal?
MATT
No, Lutie... you look fine.
Lutie goes out.
54 ANGLE ON MATT, CORA
Matt looks at her, wondering what she is going to do.
CORA
Marshal...he means it. He'll kill me if I help you. He's...he's clean
out of my reach. Nothing's gonna stop him now.
MATT
Then you'd better not do anything, Ma'am...
CORA
(pause)
No..no, I got to. I don't care what he does...
She gets to work untying him. When she finishes, Matt stands up.
55 ANOTHER ANGLE
MATT
Thank you, ma'am. You take care of Kitty, will you?
Cora nods. Matt starts toward the door. Cora makes a hard decision.
CORA
Wait,. Marshal...
MATT
Yeah...?
CORA
Wait right there. I'll be back in a minute.
CAMERA FOLLOWS her to bedroom door. She enters.
56 MED CLOSE SHOT - MATT
As he waits impatiently, wondering.
57 MED SHOT - BEDROOM DOOR
Cora reappears. She holds the gun in her hand at her side, but
it is not seen. CAMERA PANS her over to Matt.
58 ANGLE ON MATT, CORA
She holds out the six-gun.
CORA
It was in the trunk. Belonged to my father. Take it, Marshal.
Matt takes it.
MATT
You're giving me a gun?
CORA
It'd be plain murder to let you go out there without one .. the way
Lutie is … I couldn't do it.
Matt checks the gun.
MATT
Thank you, Mrs. Judson.
CORA
Marshal...
MATT
Yeah...?
CORA
Try not to hurt him too bad.
MATT
I'll try. I promise you that. But...Like you say...the way Lutie
is...
CORA
I understand, Marshal...
59 MED SHOT
Matt turns and goes out to the door.
60 CLOSE SHOT - CORA
As she watches Matt o.s. SOUND of door being closed -- and her
face breaks and she covers it with her hands.
61 EXT HOUSE - MED SHOT - (DAY)
Matt makes his way to the corner of the house...stops...and carefully
looks around it.
62 POV
About a hundred yards away, Lutie is coming up, leading a team
and wagon.
63 BACK TO MATT
He pulls back, waits a moment, then steps boldly around the corner.
64 WIDE ANGLE - MATT, WAGON AND LUTIE
Lutie doesn't see Matt at first.
MATT
Drop the rifle, Lutie...
Lutie drops instead his hold onteh horses and jumps to one side,
his rifle hip high.
MATT
Don't try it... I can kill you before you even get a shot off.
LUTIE
You ain't gonna stop me, Marshal -- nobody is.
MATT
I am stopping you, Lutie...
LUTIE
No you ain't. You get your hands up and walk over here now...
MATT
Not a chance, Lutie...
65 ANOTHER ANGLE
Lutie becomes more and more disturbed and excited. He takes a
few steps forward.
LUTIE
You do what I tell you...don't stand there like that...get your hands
up, Marshal... you ain't gonna stop me...not now you ain't..do it.. do
it, I tell you.
MATT
(over him, trying to stop him)
No, Lutie...wait...listen to me...
Lutie fires a shot. It misses and Matt jumps back into cover,
just as Lutie fires again.
66 ANGLE ON MATT
As he waits. Lutie, o.s., FIRES another shot and the bullet kicks
up nearby.
LUTIE'S VOICE
I'll kill you, Marshal,.. I'll kill you sure, you don't come out...
Another SHOT and another bullet. Matt suddenly gets an idea, pulls
his hat off and pokes it around the corner. Nothing happens.
LUTIE'S VOICE
(Closer now)
That don't fool me, Marshal. I got three bullets left and I'm gonna
put them all in you ... not your hat...
Matt puts his hat back on..and waits grimly.
67 ANGLE TO INCLUDE BOTH MATT AND LUTIE
Lutie is moving steadily toward the corner of the house. Matt
waits.
LUTIE
I'm gonna get you, Marshal...I'm coming right after you...you ain't
got a chance now...
Lutie comes on. Just as he reaches the corner of the house and
jumps arond it firing blindly ahead... Matt dives it the ground. Lutie
brings his rifle down to shoot him, and Matt fires tow shots -- Lutie goes
down, dying.
68 ANOTHER ANGLE
Matt moves over to him. Lutie looks up at him bitterly.
LUTIE
You wouldn't let me take her, would you? You went and killed me...I
wanted her...bad..
He dies. Matt stands up.
69 MED SHOT
Matt walks toward the front door and enters.
70 INT LIVING ROOM - FULL SHOT - DAY
Matt enters, looks around. It's empty so he walks to the bedroom.
He stops at the door.
71 MED SHOT
SHOOTING PAST Matt we see Cora by the bed slowly, automatically
putting cloths on Kitty's forehead. Kitty is asleep. Matt hesitates, then
enters and walks up to the bed.
72 ANGLE ON BED
Cora has of course heard the gunfire and knows the meaning of
it. She holds herself tight, and doesn't look up at him.
MATT
Mrs. Judson... (pause) Ma'am...
CORA
I knew it was you, Marshal.
MATT
Yes ma'am...
CORA
You had to kill him, didn't you?
MATT
I had to kill him. I'm sorry, ma'am.
CORA
(to herself) There wasn't no chance for him in this world...just
wasn't no place for his kind...
MATT
Please, ma'am..
CORA
He's ... laying out there?
MATT
I'll take care of him. Right now...
CORA
No, Marshal. He's my boy -- I'll take care of him.
MATT
Look, Mrs. Judson -- there wasn't anything else I could do... if
I'd let him kill me, he'd have come in here and...
She stands up, faces him.
73 TWO SHOT - MATT, CORA
CORA
Marshal...you'd of saved him if you could. I know that.
MATT
Thank you, ma'am.
CORA
He wasn't always so bad. It's been getting worse the last few years.
But there weren't no help for him. No help at all. He got things all twisted
up in his mind. I tried, but there wasn't nothing I could do about it...
nothing...
MATT
Nobody can blame you, Mrs Judson.
CORA
Lutie's all right now, aint he, Marshal? I can think he's all righ
now, can't I?
MATT
Yeah...you can think that.. But let me take care of him, ma'am..please...it's
no job for a woman.
CORA
Well...all right.
MATT
Good.
74 MED SHOT
Matt starts toward the door.
CORA
Doc Adams'd better get here soon, Marshal. She needs him.
MATT
Yeah...
He goes out.
75 INT LIVING ROOM - MED SHOT - DAY
Matt enters, crosses to the door and goes out.
76 EXT HOUSE - MED - SHOT - DAY
Matt comes out. He starts toward Lutie's body when his eye is
caught o.s. and he stops.
77 POV
Doc's buggy is approaching. Raff rides horseback alongside.
78 WIDE ANGLE
Matt waits for them. Raff suddenly notices Lutie's body, rides
up near it, dismounts. Doc pulls up a little way off, gets down and walks
up to Matt.
79 MED SHOT - DOC, MATT
MATT
Morning, Doc.
DOC
Matt...How is she?
MATT
About the same as far as I can tell. Mrs Judson's with her.
DOC
Is she conscious?
MATT
No. Not for a long time.
DOC
I'll go right in to her. (glances o.s.) I see you had some
trouble here.
MATT
Yeah.
Doc nods and goes back to the door...turns back.
DOC
Matt...
MATT
What?
DOC
I'll do everything I can for her.
MATT
I know you will, Doc.
Doc enters the house, closes the door.
80 ANOTHER ANGLE
Raff walks up to Matt, angry.
RAFF
You shoot that boy, Marshal?
MATT
I did.
RAFF
Murdered him, huh?
MATT
Not exactly, Raff. He was trying to kill me.
RAFF
I don't believe it.
MATT
He went into Dodge, and stole that wagon out there. He was going
to kidnap Kitty in it. I had to stop him.
RAFF
(impressed) He stole that wagon? Say now, there'll be trouble
about that…
MATT
No..not now. We'll drive Kitty back to Dodge in it. I'll find the
owner.
RADD
You can't blame me for it, Marshal. I didn't have nothing to do with
it. You tell them it was Lutie.. and Lutie's dead..
MATT
Raff -- go find a shovel, will you?
RAFF
What for?
MATT
For Lutie.
RAFF
Oh..Well, all right. But you tell them, Marshal…you tell them how
it was him stole that wagon.
MATT
Get going, Raff…
Matt walks off toward Lutie.
81 EXT PRAIRIE MED LONG SHOT - DAY-
Matt is driving the wagon. Tied behind it is Doc's buggy and the
two saddle horses. Doc is in the wagon box with Kitty who is lying down
o.s.
DOC
Matt...Matt... pull up, will you?
Matt pulls up.
82 MED SHOT
MATT
Something wrong?
DOC
She's conscious now. She wants to see you.
MATT
I'll be right there.
He wraps the reins around the brake and climbs over the seat.
83 ANGLE ON WAGON BOX
Kitty lies wrapped in a blanket, her eyes open. Matt climbs over
to her.
DOC
She's going to be all right, Matt. But she'll have to lie flat and
take it real easy for a few days. Real easy, Matt.
Matt gets the point, turns to Kitty.
84 MED CLOSE SHOT MATT, KITTY
KITTY
I just wanted to apologize for all the trouble I've been. I guess
I was pretty silly about it.
MATT
What do you mean?
KITTY
Why - insisting you stay there with me and send somebody else for
Doc. I don't even remember why I did that. Nothing would've happened to
me, Matt. I guess I was just spooky about it...
MATT
Mmm … well, I was a little spooky about it myself before we got through,
Kitty.
KITTY
You were? Why?
MATT
Oh... no reason, Kitty. No reason at all. But you rest now, huh?
85 MED SHOT
Matt turns to Doc.
MATT
Okay to go now, Doc?
DOC
Sure, Matt. Everything's fine.
Matt climbs back to the driver's seat , and they start off.
We watch as the three of them ride slowly back towards Dodge.
FADE OUT
