FranklyWrite

Practice Writing

This blog post is about writing a television spec script and contains the first part of a spec script written for the HBO show DEADEWOOD. It contains strong language and adult themes.

From time to time I decided I should share some of my work on this blog. Overall, I don’t think it’s a good idea to share current projects on the internet, but I see nothing wrong with sharing work that has served its purpose. This may help other writers who want to write a spec script. I know it would have helped me.

This is how I went about writing this script. Looking for a show to write for, I watched the first episode of Deadwood and was turned off by the language. The story was, well, Shakespearean. Watching an interview with David Milch, the creator of Deadwood, he said he wanted to bring a sense of the violence of the times. He used the language to do that. It was like a calling card, a way of establishing status. It was about toughness. He said it was like how Shakespeare used poetry.

That’s all I needed to hear. I could work for this guy. I got it. I watched the show again. It was there. Each character swore in a different way. This was my show; Shakespeare and using language as a tool–I could do that.

The entire first season was available on DVD. I studied the structure, character and tone. Each episode had a three act structure and so did the entire season. The episode where Swearengen kills the preacher out of kindness was the climax of season for me. I typed the entire episode, line by line, into Screenwriter. It is the best way to get inside a series and it’s characters. Writing an original for the series is easy after this because you have already written an episode.

Next, I created an outline for a possible second season and wrote one of the penultimate episodes of the season. It took me two weeks to write.

Not long after I sent this spec to HBO, I heard that Deadwood had been cancelled. But the script opened many doors for me. It won awards.

The feedback that was given on the script was they liked how I took the given circumstances and  wove original storytelling and characters into it. The storyline about the dinosaur hunters was the most talked about and they wished I had made it the main thrust of the episode. (That storyline came to a head in the next episode of my season.) The original characters of William and Cope got much praise.  For the existing characters, they  liked  Calamity Jane and Swearengen, but not E.B. Farnum and Bullock; that was a blow since I love the actor who played Bullock, Timothy Olyphant, and usually write well for actors I like. They loved the idea of Innocencia, but thought the storyline was not as good as the dino hunters; more Gun Smoke than Deadwood. But on the thematic side, they thought I was dead on with bricks coming to Deadwood.

I got so caught up in writing for this wonderful cast, it was a real blow when I heard the show was cancelled. I was depressed for weeks and contemplated giving up writing altogether. Had I followed up differently, I may be living in Cali today writing for TV.

I never saw a dime for the script directly, but I got so much more out of it.

I’ve never tried to publish a script on this blog. It is in screenplay format. I’ll do my best to retain the formatting as it should be. I haven’t read the script in years and will try not to make changes to it, so you can see the script as it was.

Deadwood

“Brick By Brick”

By Cynthia Franks

(A tall man with a weathered face enters the Gem and moves directly to the bar. DORITY doesn’t know him, but there is something different and familiar about this stranger. DORITY swallows hard when he realizes the man resembles Wild Bill Hickok, killed in DEADWOOD by Jack McCall not long ago. DORITY and the stranger, COPE, size up each other. Another stranger, JOHN REED, busts in.)

REED
Pussy! Whiskey! Goddamnit! I don’t know which I want first? What’s first, Cope, pussy or whiskey?

(COPE is silent. REED’s ignorance to the importance of keeping his presence unknown is a constant thorn in his side.)

DORITY
How about both?

REED
You are my kind of cocksucker!

(DORITY laughs. COPE regards DORITY. His smile dissolves and he pours two whiskeys.)

COPE
You see to the stock?

REED
Yep.

(COPE downs his whiskey. Motions to DORITY to pour another drink.)

COPE
I’d feel better if you’d stayed with the kid.

REED
He’ll be okay. It’s about time he earned his keep. I need this, Cope. A man can’t live for months on end looking at you and a sissy kid and bones–

COPE
What the fuck did I tell you?

REED
Shit, who’s going to know what the fuck I’m talking about?

COPE
You know.

REED
Him and his crew of of pansy asses aren’t within a fucking furlong of here.

(COPE notices DORITY listening.)

COPE
May I help you?

(DORITY pours two more shots.)

DORITY
On the house.

COPE
For what?

DORITY
Welcome to Deadwood.

COPE

Thanks.
(To REED)
You see what the fuck I mean.

REED
Okay, okay, I got it. Fucking shit.

(REED downs his drink; laps the whiskey from his renewed lips.)

COPE
Go do what you gotta do. But we’re going out in the morning. You hear me?

REED
I hear.
(Running toward the whores.)
Pussy! Pussy! Pussy! Here I come!

(REED is taken in by a whore.)

(COPE scopes out the place, making mental notes on everyone. DORITY notices. COPE locks eyes with him. DORITY is unnerved and looks away first. DORITY looks to SWEARENGEN’s office.)

COPE
Where’s the telegraph?

DORITY
Two down.

COPE
Can I get one sent tonight?

DORITY
Could if it’s important.

COPE
You know where I might find the man?

DORITY
Nope.

 

INT. GEM–SWEARENGEN’S OFFICE — NIGHT

CUT TO:

(CY TOLLIVER, owner of the Belle Union and AL SWEAREGEN’S chief competition in camp, sits in a chair in front of SWEARENGEN’s desk; disheveled; no hat; and drunk. He holds a whiskey glass tightly in his hands.)

SWEARENGEN
What do I want with another Goddamn fucking pussy patch?

TOLLIVER
Joanie’s place is high tone. You could have the top end and the bottom.

SWEARENGEN
I got everything I fucking need right the fuck here.

TOLLIVER
Damnit, Al– If Charlie fucking Utter buys the place we’ll be up to our assholes in shit. Fuck, we’re not friends, but we get the fuck along, don’t we? It behooves you as a businessman to do what I’m asking you nicely to do.

SWEARENGEN
And why doesn’t it behoove you to buy it?

TOLLIVER
Fucking cocksucker! You damn well know why–
(TOLLIVER calms himself.)
Okay. I’m asking you personal now. Not business. Please, Al. I can’t–

SWEARENGEN
What?

TOLLIVER
Fucking Charlie Utter. Fucking ugly-ass cocksucker. Joanie’s mine. Fucking dead is what he’ll be! Fucking dead!

SWEARENGEN
The truth.

TOLLIVER
What if it were Trixie?

SWEARENGEN
What if it were?

 

EXT. BALCONY OF GEM — CONTINUOUS

(TRIXIE, hearing her name, listens to the conversation as she smokes a cigarette.)

 

INT. GEM–SWEARENGEN’S OFFICE — CONTINUOUS
(Same.)

SWEARENGEN
I’d get me another cocksucking whore. One fucking whore is as good as another.

TOLLIVER
Fuck you!

(TOLLIVER throws the glass. Goes for his gun. SWEARENGEN readies the gun under the desk.)

SWEARENGEN
I hope that was one of yours.

 

INT. GEM–BAR — NIGHT

CUT TO:

(DORITY, nervous about the stranger at the bar, decides to go to SWEARENGEN with it, when he sees BULLOCK climbing the stairs.)

DORITY

He’s busy.

BULLOCK
Official business.

(BULLOCK shows him the paper dismissively and continues.)

 

CUT TO:

INT. GEM–SWEARENGEN’S OFFICE — NIGHT TOLLIVER decides not to draw.

TOLLIVER
Loan me the fucking money then?

SWEARENGEN
Oh, business that fucking good?

TOLLIVER
Fuck it, Al, any interest you want. Twenty-five percent off the top the house and cunt. Booze, too.

SWEARENGEN
Booze, too?

TOLLIVER
Whatever you fucking want– just please–she’s– all I got left…

(TOLLIVER gets down on his knees.)

TOLLIVER (CONT’D)
I’m on my knees to you, Al. My fucking knees…

(Long pause. TOLLIVER visibly crumbles into the chair. SWEARENGEN looks TOLLIVER dead in the eyes.)

SWEARENGEN
I don’t fucking remember owing you any fucking favors.

TOLLIVER
Fucking cocksucker!

(TOLLIVER draws. SWEARENGEN doesn’t flinch.)

SWEARENGEN
Come on, cocksucker! I’ll fucking enjoy it and I’m not fucking drunk!

(TOLLIVER holds the gun on him.)

TOLLIVER
Fuck you!

SWEARENGEN
You dead, do us all some good. If I were sure our sheriff would see things my way, I’d blow your fucking head off without provocation.

(A knock on the door.)

(BULLOCK opens the door. TOLLIVER lowers his gun. BULLOCK takes in the scene.)

SWEARENGEN (CONT’D)
Sheriff.

BULLOCK
I’ll come back.

SWEARENGEN
No, no, Cy was just leaving. Weren’t you, Cy?

(TOLLIVER puts his gun away. BULLOCK notices. TOLLIVER pushes BULLOCK aside to leave the room. BULLOCK looks to SWEARENGEN and then at the door. SWEARENGEN smiles broadly.)

BULLOCK
Something I need to know about?

SWEARENGEN
Have a fucking drink, Sheriff.

BULLOCK
I’m here on official business.

SWEARENGEN
Have a drink anyway. The good stuff.

(BULLOCK and SWEARENGEN drink. BULLOCK does not sit.)

BULLOCK
Here.
(BULLOCK hands him a paper.)

SWEARENGEN
A fucking warrant? You got to be fucking kidding me.

BULLOCK
More of a summons.

(SWEARENGEN reads. He begins to laugh.)

SWEARENGEN
Fire code violations! You bring me fire code violations from Charlie fucking Utter?

BULLOCK
He is the fire commissioner.

SWEARENGEN
And I didn’t think you had a fucking sense of humor, Mr. Bullock.
(Hard-pressed to keep a smile off his face.)

BULLOCK
I assure you, I don’t. This is serious. One small fire in your place or in mine and the whole fucking camp could go up. It–

SWEARENGEN
I’ve heard Charlie Utter’s fucking litany a thousand fucking times. I don’t need you spouting, too.

BULLOCK
Get it done.

(SWEARENGEN still amused.)

SWEARENGEN
Yes, sir.

BULLOCK
One more thing. We’re in need of a jail.

SWEARENGEN
For what? You expecting a crime wave?

BULLOCK
All I’m saying is with the Celestials unsettled we may need a place to keep prisoners.

SWEARENGEN
You can use my storeroom. Problem solved.

BULLOCK
We need a jail.

SWEARENGEN
Out of brick?

BULLOCK
That is the usual way. You raise the money for materials, and Sol and me will do the labor.

SWEARENGEN
How the fuck am I supposed to raise the money?

(BULLOCK Levy the businesses.)

SWEARENGEN
You got it all fucking figured out, what do you need me for?

BULLOCK
I guess I don’t.

SWEARENGEN
Still, it’s nice to be asked. A fucking brick building. Here? In Dead-fucking-wood.

BULLOCK
Well, what’s your mind?

SWEARENGEN
I’ll consider it.

BULLOCK
Fair enough.

SWEARENGEN
Next you’ll want a fucking brick shithouse.

BULLOCK
Good night.

SWEARENGEN
Good fucking night.

(SWEARENGEN laughs. Then his face becomes series as he looks past the summons in his hands.)

SWEARENGEN (CONT’D)
A brick fucking building…
(To TRIXIE off camera.)
Trixie! Get in here!

(TRIXIE enters from the balcony, a slow burn moving across her face as she looks at SWEARENGEN. SWEARENGEN unzips his pants. TRIXIE kneels before him and begins the blowjob. SWEARENGEN searches through his desk.)

SWEARENGEN (CONT’D)
With all the fucking shit you have to do in life. Once, once in a fucking while you win. Just…oh…fucking…but when you do win, you’re constantly fucking waiting for the other fucking boot to drop right the fuck down on your fucking head….

(SWEARENGEN finds what he’s looking for in the desk. He pulls TRIXIE’s head up and slips two chinese marbles in her mouth. TRIXIE knows what to do.)

SWEARENGEN (CONT’D)
I’m on my fucking knees to you, Al…Ah…oh…a brick fucking building…

(There is a knock on the door.)

SWEARENGEN (CONT’D)
Not now!

DORITY (O.S.)
Al, I think–

SWEARENGEN
NOT FUCKING NOW….

 

INT. GEM — NIGHT

CUT TO:

(BULLOCK walks down the stairs as DORITY and JOHNNY BURNS pass him. COPE and BULLOCK make eye contact. BULLOCK is struck still, not so much by the familiarity of face but by the expression. He’s seen it before and it causes him to shudder–Wild Bill. BULLOCK walks down the stairs and toward the stranger, his eyes locked on COPE.)

(Pause.)

COPE
Do I know you?

BULLOCK
I thought so, but I think not.

COPE
Edward Smith.

(COPE holds out his hand.)

BULLOCK
Seth Bullock.

(BULLOCK shakes his hand.)

COPE
Are you certain we’ve never met?

BULLOCK
I don’t believe so. No. I’m from Montana.

COPE
Pennsylvania. You’re the sheriff?

BULLOCK
Yes.

COPE
In a camp with no law?

BULLOCK
Welcome to Deadwood.

COPE
Thank you.

BULLOCK
Sorry to have bothered you.

COPE
No bother. Always good to know the sheriff in a camp with no law.

BULLOCK
‘Night.

COPE
You know where I might find the man with the key to the telegraph office?

BULLOCK
Grand Central Hotel. Names Thomas. Ion Thomas.

COPE
Thanks.

(COPE tips his hat. BULLOCK walks out, at the door he turns to look back at COPE. For a moment he thinks he sees Wild Bill standing at the bar. BULLOCK shakes it off.)

 

CUT TO:

EXT. IN THE WOODS OUTSIDE THE CAMP — NIGHT

(A wagon, three horses and a fire sit guarded by a solitary young man, WILLIAM BURKE, with a shotgun cradled in his arms. The sounds of the night make WILLIAM jump. He sees bears and hears savages in every tree ready to pounce on him and take his scalp. He is blonde and pale-looking; the last person that should be out in this wild land of beasts and Indians. To keep from going crazy, he recites to himself.)

WILLIAM
O blessed breeding sun, draw from the earth rotten humidity; below thy sister’s orb infect the air!

(DORITY and BURNS see the fire and hear the muttering.)

DORITY
That’s gotta be it.

BURNS
Are you sure Al’d want us to do this?

DORITY
We’re taking initiative. Collecting information. Heard ’em say they left one.

(BURNS and DORITY move closer.)

WILLIAM
Twinn’d brothers of one womb, whose procreation, residence, and birth, scarce is deviant, touch them with several fortunes; the greater scorns the lesser: not nature to whom all sores lay siege, can bear great fortune, but buy contempt of nature. Raise me this beggar, and deny’t that lord; the senator shall bear contempt hereditary, the beggar native honor.

BURNS
What’s he saying?

DORITY
How the fuck do I know.

BURNS
Is he praying? Or preaching to the fucking trees?

DORITY
Shut the fuck up!

WILLIAM
Who’s there? Who is it? I have a gun.

(DORITY and BURNS are quiet. WILLIAM, still on alert, continues his recitation, but is a different voice.)

WILLIAM (CONT’D)
Who’s there? Nay, answer me: stand, and unfold yourself. Long live the king! Bernardo? He. You come most carefully upon your hour. ’tis now struck twelve; get thee to bed… get thee to bed…
(Back to previous voice)
…approbation with Senators– No! Who seeks for better of thee, sauce his palate with thy most operant poison!
(Stands and recites the following as if acting the scene.)
What is here? Gold? Yellow, glittering, precious gold? Wrong right, base noble, old young, coward valiant… coward valiant… approbation with Senators… No. That’s not right.

(WILLIAM smacks himself as if to say, “Get it right.”)

DORITY
Gold?

BURNS
A new strike?

DORITY
Could be.

BURNS
Al’d want to know about that. You hear of any new strikes?

DORITY
No.

BURNS
Think Al has?

DORITY
Can’t say. Let’s take a look in the wagon.

BURNS
Something’s not right with…him.

(Gestures toward WILLIAM.)

DORITY
I’m going to take a look.

BURNS
Al says you don’t know what an addle brain cocksucker will do.

DORITY
Stay here and be quiet.

BURNS
He reminds me of the Reverend. Let’s just report back to Al what we heard.

DORITY
We have to be sure.

WILLIAM
What is here? Gold? Yellow, glittering, precious gold? Ha, you gods! Why, this? What this, you gods? Why this will lug your priests and servants from your sides, pluck stout men’s pillows from below their heads; this yellow slave will knit and break religions, bless the accursed….gold…

(DORITY approaches the wagon. WILLIAM keeps reciting. He doesn’t hear DORITY, who looks in the wagon and sees large plaster covered mounds. He breaks off a piece. WILLIAM hears the noise and starts rocking as he clumsily raises the gun barrel, making shaky circles.)

WILLIAM (CONT’D)
Who is it!

(DORITY scurries away leaving the canvas pulled back. He runs past BURNS. Stops.)

DORITY
Let’s go!

BURNS
What is it!

DORITY
Come on!

BURNS
Never tells me fucking nothing.

(They both run off, not worrying about the noise they make. WILLIAM fires a shot into the woods. The kick of the shotgun knocks him backward.)

WILLIAM
Shit! Kill me. Just kill me.

(WILLIAM lays there silent a moment. Recites–)

WILLIAM
COWARD valiant! COWARD valiant! Make the whore leprosy adored, place thieves and give them title, knee and approbation with Senators… approbation with Senators

(He sits and goes about, for him, the arduous task of reloading the gun. Tears streaming down his face.)

 

CUT TO:

EXT. GEM — NIGHT

(A broken CY TOLLIVER fights his way across the quagmire that is Deadwood’s main street. Outside the Belle Union he sees the well-appointed mounts of Hearst’s henchmen COLLECTORS. He contemplates heading out of the camp. But then the former CY TOLLIVER returns: powerful, determined, with a plan of action. It is this man that enters the Belle Union. LEON approaches TOLLIVER–

LEON
Mr. Tolliver. I tried to keep them out–

(The old easy smile crosses TOLLIVER’s face, the old easy charm. LEON is stunned.)

TOLLIVER
Hello, gentlemen. Come to put the final nails in my coffin?

(The COLLECTOR is a thin weasel like man who thinks the world revolves around him. His MAN is a big, burly Polish immigrant.)

COLLECTOR
It is only our job to collect a debt duly incurred.

TOLLIVER
True. But that doesn’t mean you can’t have a drink or two, does it?

COLLECTOR’S MAN
Drink.

TOLLIVER
I understand. And perhaps a whore?

COLLECTOR
I don’t think there’s a singular harm in that.

TOLLIVER
No harm at all.

COLLECTOR
But then we will have to transact our business.

TOLLIVER
While you’re taking care of your business I’m going to be taking care of some of my own. I will then be better prepared to transact our business.

COLLECTOR
Okay, Mr. Tolliver. Do you suppose I could try my hand at–
(Points to the craps table.)

TOLLIVER
Craps? Sure. Leon, fifty dollars credit at the tables for our friends here.
(Aside to Leon)
Send the virgin up to my office, alone. Keep these dickless cocksuckers busy till you hear from me.

LEON
Sure thing, Mr. Tolliver.

COLLECTOR
You are a most understanding man, Mr. Tolliver.

(The COLLECTOR takes his chips.)

TOLLIVER
Business is business.

COLLECTOR
I wish they could all be like you, Mr. Tolliver.

TOLLIVER
Don’t you now.

(The COLLECTOR’S MAN, speaking in his native Polish, is already sampling the merchandise with the whores. LEON leads the collector to his table.)

 

CUT TO:

INT. GRAND CENTRAL HOTEL–LOBBY DESK — NIGHT

(COPE enters the hotel. E. B. FARNUM is at the desk. His radar goes up when he sees it’s a newly arrived stranger.)

FARNUM
May I be of service to you, Sir?

COPE
I need a room.

FARNUM
I’m sorry, our accommodations are full–

(COPE, no-nonsense, slaps down a twenty-dollar gold piece on the desk. It’s more than FARNUM expected.)

FARNUM (CONT’D)
I do think I may be able to accommodate you after all.

COPE
I’d like to see Ion Thomas.

FARNUM
Is your purpose in wishing to see Mr. Thomas business or pleasure?

COPE
Is he in this hotel?

FARNUM
He does reside here.

COPE
What room?

FARNUM
I don’t mean to be contrary with you, Sir, but I must know the purpose for which you wish me to disturb Mr. Thomas at this hour?

COPE
I need to send a telegraph?

FARNUM
I’ll need to know the nature of the telegraph.

COPE
That’s none of your goddamn business.

FARNUM
I’m not trying to pry into your affairs. Far be it for me to meddle in the affairs of others, but Mr. Thomas gave me explicit instructions he is not to be disturbed for the sending of telegraphs. Unless of course it’s of an urgent nature. And Mr. Thomas is a very well respected and well-paying patron of this establishment. So you see, it is my business to know of the nature of the communique in order to discern for myself and my guest its urgency.

COPE
Show me to my room.

FARNUM
Yes, Sir. May I ask your name? For the register.

(COPE takes the book from FARNUM and writes.)

FARNUM (CONT’D)
Ah, Mr. Smith. Or would it be Smith? Some do use the long ‘i’ I know.

COPE
Just plain Smith.

FARNUM
From?

COPE
The great outdoors.

FARNUM
May I take your valise?

COPE
No.

FARNUM
Fine then. Follow me.

(FARNUM leads him to the room.)

FARNUM (CONT’D)
That’s the way to travel. Light. Light as a feather and unencumbered. That’s the way I travel. When I have occasion to travel, which is rarely. Those that have to leave places in a hurry especially like to travel unencumbered. You might to say it’s a necessity for them.

(COPE is silent.)

FARNUM (CONT’D) Yes. Sir. Here it is.

(COPE goes in. FARNUM tries to follow to show him the room.)

COPE
I think I got it from here.

FARNUM
Okay.

COPE
Can you tell me where I might find the sheriff?

FARNUM
The sheriff?

COPE
Yes. The sheriff. I believe his name is Bullock?

FARNUM
May I inquire as to why–

COPE
No.

FARNUM
Hardware store. Down that way. Messrs. STAR & BULLOCK.

COPE
Thank you.

(FARNUM extends his hand for a tip.)

FARNUM
May I ask, that insignia on your valise, University of Pennsylvania? Would you be a doctor?

COPE
No!

(COPE slams the door on FARNUM’s hand. The door bounces back. COPE looks at FARNUM without a sound and closes the door.)

FARNUM
Goddamn cocksucker!

 

INT. BELLE UNION — NIGHT

CUT TO:

(TOLLIVER, drinking, moves the large pieces of furniture in the room near the door. There is a quick, almost inaudible knock on the door. TOLLIVER sets his gun on the desk in plain site.)

TOLLIVER
Come in.

(INNOCENCIA, a girl with the glow of youth beaming from her pores, quietly walks in. She keeps her head bowed.)

INNOCENCIA
Leon said you wanted to see me, Sir.

TOLLIVER
Come in, come in.

(She takes only one step more into the room.)

TOLLIVER (CONT’D)
I don’t usually bite, but if you keep that up I may have too. Sit down.

(She sits in the chair.)

TOLLIVER (CONT’D)
I have a little job for you.

(INNOCENCIA’s faces goes pail and she makes a motion as if to kneel at an alter, but instead steels herself for the inevitable. GINA bursts into the room–)

GINA
I think if you wait a little longer, Mr. Tolliver, her worth will only increase. Circulate her virginity more; let them see her. Look at her skin; it’s perfect. Not a mark or a blemish. You’ll get more if you wait–

TOLLIVER
Did I request your fucking presence at this meeting?

(INNOCENCIA winces. Both girls’ eyes keep moving to the gun on the desk and TOLLIVER’s hand in proximity to it.)

GINA
She’s my only sister. The only family I got left. She’s not ready. Not yet.

INNOCENCIA
I’m not ready, Mr. Tolliver. I need another week. Another week–

GINA
A month. At least a month, Mr. Tolliver.

TOLLIVER
Shut up or I’ll fuck you right here and now and be done with it!

(INNOCENCIA starts to cry.)

GINA
See. I told you.

TOLLIVER
The fucking shit I have to put up with. You fucking whores aren’t fucking worth it. I have a single simple fucking task for the cunt– Listen to me. This is what you’re going to do, cunt. I saw you talking to Trixie the other day–

INNOCENCIA
I wasn’t doing nothing, Mr. Tolliver, honest. We was talking about–

TOLLIVER
You think I fucking care what a couple of whores were talking about? You are to go over to the Gem and get Trixie to come over here.

INNOCENCIA
How do I do that?

TOLLIVER
I don’t know. But get her over here or I’ll blow your fucking head off
(To GINA.) and hers, too, and the whole family will be together in fucking heaven. Now get going.

(INNOCENCIA and GINA head for the door.)

TOLLIVER (CONT’D)
Gina, if I see you leave this place with her I’ll blow your fucking head off. It’s time she did something to earn her keep. I’m not running a goddamn charity here.

 

INT. GEM–BAR — NIGHT

CUT TO:

FARNUM rubs his hand and takes a seat next to DOC COCHRAN. The bartender pours him a whiskey. DOC COCHRAN signals for another.

FARNUM (To himself.)
Goddamn educated asshole.
(To DOC)
Evening, Doc.

COCHRAN
E. B.

FARNUM
You’re an educated man aren’t you, Doc?

COCHRAN
I don’t know that I can say that.

FARNUM
More educated than most.

COCHRAN
Suppose I am.

FARNUM
Do you think being an educated man gives you the right to be rude and maim a person who although may not have your education may still have something to offer in the way of brains?

COCHRAN
Men don’t need an excuse to be cruel.

FARNUM
True. But still, doesn’t make it smart any less.

(FARNUM rubs his hand.)

COCHRAN
Something wrong with your hand?

FARNUM
This cocksucker slammed it in a door.

COCHRAN
Let me have a look at it.

(COCHRAN takes his hand.)

FARNUM
The cunt cocksucker had University of Pennsylvania on his valise.

COCHRAN
Hmmm….

(Some miners are pointing and laughing at COCHRAN holding FARNUM’s hand.)

FARNUM
Maybe this isn’t the place, Doc.

COCHRAN (To the onlookers.)
The man may have a broken hand for god’s sake, but I don’t really see how that’s any of your fucking business.

(COCHRAN and FARNUM turn toward the bar.)

FARNUM
You think it may be broken?

COCHRAN
Doesn’t look like it.

(DORITY and BURNS enter and go straight to SWEARENGEN’s office. INNOCENCIA enters the Gem. She starts asking everyone for TRIXIE.)

INNOCENCIA
Where’s Trixie? Please, where can I find Miss Trixie?

FARNUM
Doc, the cherry. I may put a bid in on her. How about you?

COCHRAN
What the hell are you talking about?

FARNUM
The silent auction. On her.

(INNOCENCIA asks the group of miners.)

INNOCENCIA
Do you know where I can find Trixie?

MINER 1
Hey, I like what I see.

REED
I want that one next.

(REED grabs INNOCENCIA’s tit. COCHRAN can’t take it no more. He walks over and hits REED.)

COCHRAN
She’s a goddamn fucking kid! For Christ sake!

REED
Fuck you!

(COCHRAN notices the University of Pennsylvania pin on REED’s hat.)

REED (CONT’D)
I think you knocked my fucking tooth loose. Who the fuck do you think you are?

COCHRAN
Look. I’m sorry. It’s just– I’m a doctor. Come to my office. I’ll look to it.

(REED stands.)

REED
I think it’s okay. But you have a hell of right for a doc.

COCHRAN (to INNOCENCIA)
You are getting the fuck out of here and staying the fuck out of here.

INNOCENCIA
I got to find Trixie. You don’t understand. I got to find– he’ll kill my sister–

COCHRAN
Trixie is with Al Swearengen. And if he sees you flaunting yourself giving free feels in his place, I don’t want to see the result. Get out of here.

(COCHRAN puts her out the door. Then he grabs her arm again.)

COCHRAN (CONT’D)
How old are you?

INNOCENCIA
I got to get Trixie!

COCHRAN
How old are you?

INNOCENCIA
Fourteen!

(She spits in the COCHRAN’s face. She pulls away and tries to go back in.)

COCHRAN
You stay the fuck out of here.

(COCHRAN gives her a push. She falls onto the boardwalk.)

INNOCENCIA
No…God…
(She gets up and runs to the street and yells up at the Gem.)

INNOCENCIA (CONT’D)
Trixie! TRIXIE!

TRIXIE
What the fuck you want?

INNOCENCIA
You got to come. With me. He’ll kill her if you don’t come.

TRIXIE
Calm the fuck down and tell me plain!

INNOCENCIA
Mr. Tolliver. He said I was to come and get you and if I didn’t come back with you he’d kill my sister and me.

TRIXIE
Shhh! Stay there. I’ll be down. Stay out of site.

END OF ACT ONE

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