assassination of jesse james by the coward rober ford script

8/11/2019 Assassination of Jesse James by the Coward Rober Ford Script

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Rev. 08/26/05 (Blue)Rev. 11/03/05 (Pink)

THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD

Screenplay by

Andrew Dominik

based on the novel by Ron Hansen

This script is the confidential and proprietaryproperty of Warner Bros. Pictures and no portion ofit may be performed, distributed, reproduced, used,quoted or published without prior written permission.

FINAL WHITE

JJ Pictures, Inc. - Domestic August 17, 2005JJ Films Inc. - Canadian 20054000 Warner Boulevard WARNER BROS. ENT.Burbank, California 91522 All Rights Reserved


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FADE IN:

INT./EXT. WOODLAND AVE. COTTAGE - DUSK

NARRATOR (V.O.)

He was growing into middle age andwas living then in a bungalow onWoodland Avenue.

Green weeds split the porch steps, a wasp nest clingsto an attic gable, a rope swing loops down from a dyingelm tree and the ground below it is scuffed soft asflour.

NARRATOR (V.O.) (CONTD)He installed himself in a rockingchair and smoked a cigar down in

the evening as his wife wiped herpink hands on an apron andreported happily on their twochildren. His children knew hislegs, the sting of his mustacheagainst their cheeks. They didntknow how their father made hisliving, or why they so often moved.They didnt even know theirfathers name.

EXT. STREET (KANSAS CITY) - DAY

JESSE, from a distance, a dandy in his gentleman'sclothes and cane. Everyone seems to know him.

NARRATOR (V.O.) (CONTD)He was listed in the city directoryas Thomas Howard, and he wenteverywhere unrecognizedand lunched with Kansas Cityshopkeepers and merchants, callinghimself a cattleman or commodities

investor, someone rich andleisured who had the common touch.

MONTAGE

JESSE'S scars and wounds:

NARRATOR (V.O.)He had two incompletely healed

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bullet holes in his chest andanother in his thigh. He wasmissing the nub of his left middlefinger and was cautious lest thatmutilation be seen.

EXT. PRAIRIE WHEAT - AFTERNOON

JESSE looks out beyond the prairie wheat, to the dying sun.

NARRATOR (V.O.)He also had a condition that wasreferred to as granulated eyelidsand it caused him to blink morethan usual, as if he found creationslightly more than he could accept.

Rooms seemed hotter when he was inthem.

TIMELAPSE CLOUDS

NARRATOR (V.O.) (CONTD)Rains fell straighter.

A ROCKING CHAIR

NARRATOR (V.O.) (CONTD)Clocks slowed.

WHEAT BLOWING IN THE WIND

NARRATOR (V.O.) (CONTD)Sounds were amplified.

ON JESSE

NARRATOR (V.O.) (CONTD)He considered himself a Southernloyalist and guerrilla in a CivilWar that never ended. Heregretted neither his robberies

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NARRATOR (V.O.) (CONTD)

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nor the seventeen murders that helaid claim to.

CLOSE ON JESSE

His eyes impossibly blue.

NARRATOR (V.O.) (CONTD)He had seen another summer underin Kansas City, Missouri, and onSeptember fifth, in the year 1881,he was thirty-four years old.

FADE OUT.

FADE IN:

EXT. BLUE CUT (AS SEEN FROM THE SOUTHERN RIDGE) - DAY

Thirty feet below is a cinder roadbed, the sickle curveof rails, the grade that is hard work for a locomotive.Beyond that is the northern ridge -- a lower elevation --rising ten feet above the cut.

SUPER:BLUE CUT, MISSOURISEPTEMBER 7, 1881

EXT. SOUTHERN RIDGE - DAY

FRANK JAMES (stern, 38) stands back in the greendarkness, studying the terrain. O.S. we hear the soundof some fool CRASHING THROUGH THE WEEDS to the rear ofhim. FRANK opens his coat and slides his hand over hisrevolver.

VOICE (O.S.)Excuse me, but I see I've traipsedright on in and interrupted you.

FRANK turns to see a boy in a stovepipe hat and anoverlarge black coat thats cinched by a low-slungholster. His hands are overhead as if a gun is upon him.

FRANKWho are you then?

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NARRATOR (V.O.) (CONTD)


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BOBBob Ford.

FRANK

Charley's brother?

BOBYeah.

BOB receives this as an invitation to lower his hands.He hunkers down next to FRANK and takes off his hat.

BOB (CONTD)I was lying when I said I justhappened down here. I've beenlooking for you. I feel lousy

that I didn't say so at theoutset.

FRANK digs in his pockets and extracts cigarette makings.He's not inclined to converse.

BOB (CONTD)Folks sometimes take me for anincompoop on account of theshabby first impression I make,whereas I've always thought ofmyself as being just a rung down

from the James brothers.And I was hoping if I raninto you aside from thosepeckerwoods, I was hoping I couldshow you how special I am. Ihonestly believe I'm destined forgreat things, Mr. James. I've gotqualities that don't come shiningthrough right at the outset, butgive me a chance and I'll get thejob done - I can guarantee youthat.

EXT. WOODS - DAY

Dick, Charile, Wood, and Ed sit around a fire.

CHARLEYHey, Dick, you ever diddled asquaw?

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DICKShhhhh...

CHARLEYCome on, you can tell me. Ive

always wanted to lay down with aredskin.

DICKWell, Charley, theres a feelingthat comes over you gettin insidea woman whose hands have scalped acongregation.

WOODTheres a thunderous sound thatcomes from their cooch on accountof the fact that they birth a child

standing upright like a wildanimal.

CHARLEYWhats it sound like?

WOODWhatever a thunderous cooch soundslike, Charley. I dont know.

DICKNo, they got a noisy quim onaccount of the fact that they use

their cunnies as a saddlebag tocarry tundries across the plains.

CHARLEYCome on, whatd it really feellike? It feel good? Come on. Fessup, now.

DICKI like you, Charley.

WOOD

I like you, too, Charley.

EXT. SOUTHERN RIDGE - DAY

FRANK slimes his cigarette and strikes a match off hisboot sole.

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FRANKYou're not so special, Mr. Ford.You're just like any other tyrowho's prinked himself up for anescapade. You're hoping to be a

gunslinger like those nickel booksare about, but you may as wellquench your mind of it. You don'thave the ingredients, son.

BOB slaps a mosquito and looks at his blood-freckledpalm.

BOBI'm sorry to hear you feel thatway since I put such stock in youropinions.

He stands and rehats himself.

BOB (CONTD)As for me being a gunslinger, I'vejust got this one granddaddyPatterson Colt and a borrowed beltto stick it in. But I've also gotan appetite for greater things. Ihoped joining up with you wouldput me that much closer to gettingthem.

FRANKAnd what am I supposed to say tothat?

BOBLet me be your sidekick tonight.

FRANK examines his cigarette, sucks it once more, andflips it onto the roadbed.

FRANK

Sidekick?BOB

So you can examine my grit andintelligence.

FRANKI don't know what it is about you,but the more you talk, the more

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you give me the willies. I don'teven want you anywhere withinearshot this evening. Youunderstand?

BOBI'm sorry --

FRANK(interrupting)

Why don't you just get now? Scat.

And, after a beat, BOB tramps up the hill, slapping weedsaside.

14 EXT. WOODS - MOVING WITH BOB TO THE GANG'S CAMP - DAY 14

BOB passes a number of horses reined to a piece of ropefixed between two trees. He passes MEN aged in theirlate teens and early twenties -- hooligans mainly, boyswith vulgar features and sullen eyes. They cradleshotguns and wear patched coveralls and foul-looking suitcoats. They are known collectively as THE CRACKERNECKBOYS and are just here to provide "atmosphere" at therobbery and easy prey for the sheriff afterwards. BOBclears this group and arrives to a view of JESSEsurrounded by the inner gang; the current apostles:

ROBERT WOODSON HITE (WOOD) is JESSE'S cousin, sulking and

mooning over some imagined slight.

CHARLEY FORD is BOB'S older brother, who chuckles andbrays and hee-haws and who covers his left boot with acoat in order to conceal a clubfoot.

DICK LIDDIL and ED MILLER can be seen in the b.g.,working over a cast-iron pot:

ED MILLER is the anxious type; has a streak of spit wherehis spine ought to be.

DICK LIDDIL is a good-looking horse thief.BOB eyes this group hungrily, coveting admission.

EDI was with a girl once. Wasnt asquaw, but she was purty. She hadyellow hair, like uh... oh, likesomething.

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DICKLike hair bobbed from a ray ofsunlight?

ED

Yeah, yeah. Like that. Boy, youtalk good.

DICKYou can hide things in vocabulary.

EDMaybe you and me could write her anote, send it by post?

DICKSee, all you gotta do, Ed, ispredict her needs and beat her to

the punch.

EDWell, this girl, she had a realspecific job.

DICKSpecific?

EDWes only together once. Shesafraid of lightning. She came upinto the wagon and just cuddled

right up to me. She gave me a kindprice, too.

DICKWell I be! That is specific.

EDYeah, sure, she been with otherpeople. But the kind of things shesaid to me, people just dont sayunless they really mean it.

DICKMy love said she would marry onlyme and Job himself could not makeher care, for what women say tolovers, youll agree, one writes onrunning water or on air.

EDMy God thats good. Lets write herthat.

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DICKNaw. Poetry dont work on whores.

EXT. WOODS - GANG CAMP - DAY

JESSE takes a heaped bowl from DICK LIDDIL in hisgunnysack apron. He lowers himself onto a stump andBOB squats in the dirt at his feet.

BOBAm I too late to wish you a happybirthday?

JESSEHowd you know?

BOB

Oh, youd be surprised at what Igot stored away. Im an authorityon the James boys.

JESSEIs you?

BOBYour brother Frank and I just hada real nice visit, just chit-chattin about this and that, rightover there. Must've been ahundred subjects entertained --

JESSEGood Lord. Do you know what thisstew needs?

BOB is perplexed:

BOBDumplings?

JESSENoodles. You eat yourself somenoodle stew and your clock willtick all night. You ever see thatwoman over in Fayette could sucknoodles up her nose?

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BOBDon't believe I have.

JESSE

You never heard of her? You've gotcanals in your head younever dreamed of.

BOB is dumbfounded.

BOBI don't like to harp on a subjectbut --

JESSE

I don't care who comes with me.Never have. Thats why they callgregarious.

FRANK JAMES is drinking coffee and scowling as he sits onthe far side of the fire. JESSE raises his voice:

JESSE (CONTD)I hear you and young Stovepipehere had a real nice visit.

FRANK looks askance at BOB and flings the dregs of his

coffee onto the ground.

FRANK(terse)

Your boys have got about an acreof rock to haul, Dingus. You'dbetter goose them down yonder.

EXT. BLUE CUT RAILBED - DAY

A cottonwood tree is skidded down the bank and heavedover the polished steel rails. The CRACKERNECK BOYScarry boulders of lime and sandstone which they fortaround the tree as SHOVELS SING and picks splinter.JESSE supervises the rock piling, recommending land to bemined for stone, chewing his green cigar black.

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NARRATOR (V.O.)The James gang committed over 25bank, train, and stagecoachrobberies from 1867 to 1881. Butexcept for Frank and Jesse James,

all of the original members werenow either dead or in prison. Sofor their last robbery at Blue Cut,the brothers recruited a gang ofpetty thieves and country rubes,culled from the local hillsides.

Shadows grow long and die. Clouds brick overhead andbrindle pink. Then crimson. Then violet. Then black.

EXT. BLUE CUT RAILBED - NIGHT

Jesse hops down the bank in three plunging steps, shakes outhis trouser cuffs, and kneels to put his ear to therails. The HUM of the LOCOMOTIVE is like insects in ajar.

JESSEShe's right on schedule, Buck!

EXT. SOUTHERN RIDGE - NIGHT

FRANK stubs out his cigarette.

FRANKSnuff those lanterns. Look at thosefools. Theyre going to trip andshoot each other into females.

DICKI bet you I can find them husbandsif they do.

EXT. BLUE CUT RAILBED - NIGHTJESSE raises the blue bandana over his nose and placeshis right boot on the rail as DICK slides down thesouthern cliff. DICK ties a red bandana over his faceand ambles over, shaking the dust from his shirt.

The LOCOMOTIVE'S CHUFFING is GROWING LOUD.

JESSE'S right foot tickles with rail vibrations.

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The headlamp's aisle of white light fills the forestpassage, streaks across scrub and bush, then bends andfloods towards JESSE. He swings his red lantern in ayard master's signal to stop. The brakes are engagedwith an ear-splitting scream. Couplings bang. Sparks

slice off the rails as the ENGINE swiftly DECELERATES.And a great cloud of steam breaks over JESSE.

Then the GANG is running and bounding and skidding downthe embankments.

BOB FORD slides down like a debutante in petticoats, hisleft hand snatching at roots while his right unveils hiseyes long enough to peek around at the commotion:

MEN rush alongside the train levering their rifles in amanner they fancy is ghoulish and frightening.

JESSE hops out of the steam and up onto the cab step andcocks his revolver. The ENGINEER cringes down behind hishands.

EXT. BAGGAGE/EXPRESS CAR - NIGHT

The BAGGAGEMASTER and EXPRESS MESSENGER have their headstilted out the door at radically different heights.

BAGGAGEMASTERDo you think that lock will hold?

EXPRESS MESSENGERNo I dont.

The door slams.

INT. BAGGAGE/EXPRESS CAR - SAME TIME

The wood screams and folds inward from the blow.

JESSE socks the door open, heaves his chest onto thethreshold and knees himself into the room. DICK LIDDIL,ED MILLER and the come-lately CHARLEY FORD follow him. Alantern is passed up as JESSE lifts packages and shakesthem and guesses at their contents:

JESSEYou got anything good in here?

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MESSENGERCould be.

JESSE smashes another box on a nail and snags it open,finding inside a photograph of a child in an oval frame,

the cheek torn by a nail. He looks at it a moment andthen glares at the frightened MESSENGER;

JESSEOpen that safe. Do it!

The MESSENGER looks to the BAGGAGEMASTER for council --but the man's head is down. He looks back at JESSE withhis nervous smile. CHARLEY FORD steps forward andstrikes him over the skull with his pistol. The mandrops to his knees, blood shoelacing his face. TheBAGGAGEMASTER backs to wall in horror.

ED MILLERYou didn't have to bop him,Charley.

JESSEYes, he did. They need theconvincing. They got theircompany rules and I got my meanstreak and that's how we getthings done around here.

CHARLEY grins with accomplishment and JESSE clears someregisters off the only safe he can see.

JESSE (CONTD)Get on over here and attend to thisthing.

We hear a wild and scrambled O.S. FUSILLADE and DICKleans outside to see what's going on.

INT. BAGGAGE/EXPRESS CAR - NIGHT

The EXPRESS MESSENGER jerks the company vault door open.CHARLEY FORD empties the contents of the safe into agrain sack which he hands to JESSE. JESSE puzzles overits contents.

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JESSE (CONTD)Isn't no hundred thousand dollarsin here, Dick.

JESSE turns on the EXPRESS MESSENGER:

JESSE (CONTD)Get down on your knees.

MESSENGERWhy?

JESSEYou oughta pray; I'm going to killyou. Get down!

MESSENGERYou'll have to make me.

JESSEAll right.

JESSE socks the man with his pistol and he drops likeempty clothes. JESSE looks at him for a moment, thencocks his pistol and puts it against the unconsciousman's head. ED MILLER reacts with horror:

ED MILLERDon't shoot him! Dont... shoothim.

JESSE grins, uncocks the pistol, and picks up the grainsack.

JESSEDon't you tell me what I can and

can not do, Ed.

EXT. BLUE CUT RAILBED - NIGHT

The gang rides through the rain on horseback.

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NARRATOR (V.O.)Chicago newspaper publishers made agreat deal of the Blue Cut trainrobbery, alleging that in no statebut Missouri would the James

brothers be tolerated for twelveyears.

INT. WOODLAND AVE BARN - NIGHT

Charlie and Wood sit in the corner, while Frank stands alone.

CHARLIEHey, can you keep a secret?

WOODDepends on what youre concealing.

CHARLIEAre you afraid of the dark?

WOODNo.

CHARLIEAre you superstitious?

WOODNuh uh.

Jesse stands just inside the sloshing eave, peering at hisolder brother with meloncholy. Its a moment before heperceives that BOB FORD is standing to his right.

JESSEYou mustve creeped up on catspaws.

BOBIll wager thats the first andlast time youll ever be caught offguard.

JESSEHow old are you?

BOBTwenty.

(beat)Except I won't really be twentyuntil January.

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(scratches his sleeveapologetically)

I'm nineteen.

JESSE

You feel older than that, though,don't you?

BOBYes, I do.

JESSEYou enjoy yourself this evening?

BOB

I was strung too high for muchpleasure.

JESSE seems to think this an appropriate remark.

JESSEDo you like tea?

INT./EXT. WOODLAND AVE. BARN - LATER

FRANK gathers two horse blankets and makes his way to anempty stall.

CHARLEYHey Frank, do you think thesheriff's outalready?

FRANKMore than likely.

CHARLEY slinks over to the stall and watches as the grimman hangs his coat.

CHARLEYI had a real fine time tonight.

FRANKYou think so?

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CHARLEYI wasn't just flapping my lipsabout my kid brother and me. WhatI figured was if you and Jessecould gauge our courage and

daring, you just might make usyour regular sidekicks.

FRANK shoots him a look of umbrage as he spreads out awool blanket on the straw.

FRANKYour courage and your daring. Iabout heard all I want to aboutsidekicks. You sound like your damnbrother.

CHARLEY

I'll be square with you: it wasBob who put me up to it. He's gotplans for the James boys that Ican't even get the hang of,they're that complicated.

FRANK settles into repose, wrapping another horse blanketaround him.

FRANKYou might as well forgeteverything about that because after

tonight there'll be no moreshinanigans. You canjot it down in your little diary:September seventh, eighteeneighty-one; the James gang robbedone last train at Blue Cut andgave up their nightriding forgood.

CHARLEYHow will you make your living?

FRANK is smoking a cigarette with his eyes shut.

FRANKMaybe I'll sell shoes.

EXT. WOODLAND AVE. PORCH - NIGHT

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JESSE and BOB come out onto the porch with a candle andtwo cigars. JESSE lowers into a rocker and BOB takes themating chair. BOB bends forward over the flame andlights his cigar.

BOBI can't believe I woke up thismorning wondering if my Daddywould loan me his overcoat, andhere it is just past midnight andI've already robbed a railroadtrain and I'm sitting in a rockingchair chatting with none other thanJesse James.

JESSEYeah, it's a wonderful world.

Bob reaches into his pocket.

BOBOh, whats this? I was realagitated this morning, wondering ifId be able to tell you and Frankapart. So I had the clipping thatdescribed you both. You want me toread it?

JESSE

Go on.

BOBWell, I gotta find... here. JesseJames, the youngest, has a face assmooth and innocent as aschoolgirl. They blue eyes, veryclear and penetrating, are never atrest. He form is tall and gracefuland capable of great endurance andgreat effort. Jesse is light-

hearted, reckless, and devil-may-care. There is always a smile onhis lips --

JESSEAll right, all right.

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BOBWell, yeah. Then its Frank,Frank, Frank... You know what Ivegot right next to my bed? The TrainRobbers, or a story of the James

Boys, by R.W. Stevens. Manys thenight Ive stayed up with my mouthopen and my eyes open, readingabout your escapades in the WideAwake Library.

JESSEThey're all lies, you know.

BOB'Course they are.

JESSEYou don't have to keep smokingthat if it's making you bungey.

BOB is relieved. He reaches over the banister and dropsthe cigar in a puddle.

EXT. WOODLAND AVE. - HOUSE - DAY

FRANK JAMES and family are assembled in traveling clothesaround a PHAETON CARRIAGE. ZEE hugs ANNIE RALSTON JAMES

and then grasps three-year-old ROB to her bosom. FRANKreceives her kiss like medicine, and then turns to thebackyard to see his younger brother angrily looking away.

NARRATOR (V.O.)Alexander Franklin James would bein Baltimore when he would read ofthe assassination of Jesse James.He had spurned his younger brotherfor being peculiar andtemperamental, but once heperceived that he would never see

Jesse again, Frank would be wroughtup, perplexed, despondent.

INT. WOODLAND AVE. HOUSE - DAY

BOB watches from the kitchen window as the Phaeton pulls

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away, then drops his cup in the sink and heads out to thebackyard.

EXT. WOODLAND AVE. - BACKYARD - DAY

JESSE sits in a rocker that is submerged to its seat ingrass and weeds. Beat.

JESSEMy brother and me are hardlyon speaking terms these days.

BOBI wasn't going to mention it.

JESSE reaches into a tin under his chair and hauls up two

writhing snakes. BOB flinches.

JESSEYou scared?

BOB (CONTD)Just surprised a little.

JESSEThey aren't as succulent as I likeand they're the devil to clean but

if a man skins them and fries themin garlic and oil -- mercy, themsgood eating.

BOBWell, I've never been that hungry.

JESSE unfolds a four-inch knife and lifts the head of asnake on the blade.

JESSE

I give them names.

BOBSuch as?

JESSESuch as enemies. I give them thenames of enemies.

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He lays the snakes on the arm of his chair and carefullysaws off their heads with his knife. The bodies curl andthrash. He flicks the heads into the grass.

JESSE (CONTD)

Go tell Wood and Charley to gettheir gatherings together.

BOBMe too?

JESSEYou can stay.

INT./EXT. BARN (WOODLAND AVE.) - DAY

Charley and Wood are talking in the barn when Bob enters.

BOBHey

WOODWhat you want, peckerwood?

BOBNothing, except to tell you twoJesse wants you to gather yourparts and get on your horses andget out of town. And me to stickaround.

The dismissal hits WOOD hard:

WOODWell, I'm his cousin! My momma washis daddy's sister!

BOBWas that how they described it to

you, Wood?

WOODYou better watch your tongue, youngsapling. So how come it's me whohas torattle his hocks out of town?

CHARLEY is already packing.

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CHARLEYIf I know Jess, there's some realnasty sad-suzie work that's got tobe done around here and Bob's the

ninny that has to do it.

BOBOh yeah, Im sure thats it,Charley.

CHARLEYYou only met him twelve hours ago.He doesnt even know your name.

EXT. WOODLAND AVE. - BACKYARD - DAY

When they exit JESSE is at the compost crib, drooling thesnake bodies onto the mulch.

JESSEWood? You tell your daddy I'll bein Kentucky in October and maybewe can hunt some birds together.

WOODSo how come it's Bob who gets tostay?

JESSEBob's going to move my gear to ahouse down the street.

CHARLEY winks at his brother.

CHARLEYSee.

BOBI don't mind.

(though of coursehe does)

Sounds like an adventure.

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EXT. TROOST AVE. - HOUSE - NIGHT

NARRATOR (V.O.)

They moved to 1017 Troost Avenueat night so that the neighborhoodcouldn't get a good look at themor their belongings.

BOB does all the lifting, JESSE provides direction.

NARRATOR (V.O.) (CONTD)And then Bob thought Jesse wouldgive him eight hours sleep and adaydreaming goodbye --

INT. TROOST AVE. HOUSE - DAY

The FAMILY are assembled around the dining table. BOBseems to be hoping his continued presence won't benoticed.

NARRATOR (V.O.) (CONTD)-- but with a second day in theThomas Howard house, Bob thoughthe might never go but might bebrought in as a good-natured

cousin to the boy and a gentlemanhelper to Zee.

INT. TOPEKA EXCHANGE SALOON - DAYAction as per V.O.:

NARRATOR (V.O.) (CONTD)He went everywhere with Jesse. Theymade trips to the Topeka Exchange

saloon, where Jesse could spendnearly sixty minutes sipping oneglass of beer and still complainabout feeling tipsy.

ANGLE ON BOB

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seat.

JESSECan't figure it out: Do youwant to be like me, or do you wantto be me?

BOBIm just making fun is all.

EXT. FRONT YARD - DAY

Bob is on horseback, while Jesse and Zee say goodbye.

NARRATOR (V.O.)Bob was sent away cordially thenext day, with a goodbye fromJesse, but nothing from Zee beyondwhat good manners demanded. It wasforty miles from his sisters farmto Kansas City, and it was wellinto the afternoon by the time hearrived there. Mrs. Martha Boltonrented the Harbison farm in 1879,just after becoming a widow, andshe made a good income giving roomand meals to her brothers Charley,

Wilbur, and Bob, and the members ofthe James gang who would appearwhen they needed seclusion.

EXT. HARBISON FARM - YARD - DAY

DICK LIDDIL is at the yard swing with Bob's niece, IDA(12 years old), twisting the seat until the ropes areraveled. He releases her and she twirls, squealing, herauburn hair flying out.

WOOD HITE stands on the kitchen porch, stern as John theBaptist.

WOODYou're gonna make her sick! She'sgonna upchuck, you don't watchout!

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NARRATOR (V.O.)Wood had been spurned by Martha andher affections and his attempt toswitch his pursuit to her daughterwas currently being thwarted by

Dick Liddil.

DICK cuffs the girl's dress so that it blooms and revealsher thighs.

DICKWait a second. You assured me thatyou were not ticklish. Whats goingon, now?

IDAYoure not supposed to peek, Dick!

DICKBut youre so pretty! I cant helpmyself!

BOB, approaching, calls:

BOBHowdy!

But they ignore him. WOOD, jealous, slams the screendoor shut.

INT. HARBISON HOMESTEAD - KITCHEN - DAY

BOB can be heard before he's seen:

BOB (O.S.) (CONTD)Howdy!

Neither CHARLEY nor MARTHA BOLTON (BOB AND CHARLEY'SSISTER) look up.

BOB (CONTD)Howdy!

BOB enters, making a beeline for the staircase and hisbedroom.

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BOB (CONTD)I'm finally home!

MARTHA

I'm real glad, Bob.

CHARLEYI'm in that room too, Bob. Don'tmess up my things.

BOBAlright, grandpa!

HARBISON HOMESTEAD - 2ND FLOOR BEDROOM - DAY

BOB reaches under his bed and hooks out a shoebox. He

opens the lid and lays it on the bed. From his pocket heremoves a cigar butt and wraps it in the eye-holed whitehandkerchief. He tucks this little bundle into the boxalongside lurid nickel books about the James gang, CivilWar photographs, yellowed newspaper articles, and otherJames brothers' mementoes. Then he squirms his boots offand strips out of his month-old clothes.

EXT. HARBISON FARM - DAY

Two calves stare with worry as BOB takes a bath in thebroad water tank. BOB bends over to rinse soap from his

hair and then shakes water like a hound. Then he noticesan amused DICK LIDDIL standing as close as a tailor.

BOB (CONTD)How long you been there?

DICKJust now arrived. Did I missmuch?

BOB

Not unless you've never seen a manwash his dirty carcass before.

DICKYou've got a big old pecker forbeingsuch a little squirrel.

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BOBIs that what you come over here tosee?

DICK bends for the towel and some of the good nature

slides from his face.

DICKNo. Your brother said Jesse keptyou in Kansas City some extra days.What was the reason?

Bob rubs his hair wild.

BOBWell, I'm not at liberty to say

exactly.

BOB straddles the tank and surrounds himself with thetowel.

DICKLet me ask you this: did Jessemention that me and Cummins werein cahoots?

BOBIs that so?

DICKOh dear. I've went on and saidtoo much, have I?

BOBWho else is partners with you two?

DICKSee, he'll cut our throats if hefinds out. You don't know him likeI do. You do Jesse dirt, youconnive behind his back, he'll

come after you with a cleaver.BOB

So what are you three cahootscooking up?

DICKDon't know that I should say.

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BOBI don't want to wheedle the dangnews from you, Dick.

DICKThen how about let's leave it amystery and we won't neither oneof us regret our little chat.

BOB rolls his eyes in exasperation.

DICK (CONTD)Can you hand me that six-gun,Bob.

Dick cocks the gun and presses it against Bobs head.

DICK (CONTD)You so much as mentionmy name to Jesse; I'll find outabout it, you better believe that.And I'll look you up, I'llknock on your door, and I will beas mad as a hornet, I will be hot.

BOBYou be careful with that iron,Dick.

Dick lowers the gun.

DICKYou know where I stand on thesematters and that's all there is toit. We can be friendly as pigsfrom now on.

INT. HARBISON HOMESTEAD - MARTHA'S BEDROOM - DAY

BOB dresses in his new clothes, selected according to

Jesse's sartorial preferences. But while these clothesmight suit Jesse James, they do not particularly suitROBERT FORD.

62 INT. HARBISON HOMESTEAD - 2ND FLOOR BEDROOM - DAY

BOB enters to find CHARLEY and WOOD rooting through hismementoes:

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BOBYou two have some nerve!

BOB elbows them aside and begins repacking the shoebox.Charley holds up a photograph.

CHARLEYWe were just reading about theJames boys among the Mexicans. Thisaint Jesse.

BOBYou don't know that.

CHARLEYNever wore no mustache; never wasanywheres near a cannon.

WOODI can't even calculate what I'mlookin' at.

CHARLEYEver since he was a child, Bob'scollected whatsoever he could findabout the James brothers. Gothimself a little museum in thisroom.

BOB rams the night-stand's door closed. He's humiliated,

angry, close to tears:

BOBNext time you snoop around up hereyou better strap on a shootin'iron.

CHARLEYOoh, You can see how scared I am.

BOBYou too, Wood Hite. You cross me

again and I'll put a bulletthrough your head.

WOOD pokes BOB onto the bed.

WOOD(sneers)

Son, you better recollect who mycousin is.

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You seem to've misremembered thatJesse loves me like the Good Book.You may play like you're adangerous person at the grocerystore, but don't you misrememberwho you'll be accounting to if I

so much as get my feelings hurt.

MARTHA (O.S.)Do I have to yell suwee?

CHARLEYWhy don't everyone make up and bepleasant for once? Why don't wepass the evening like pleasanthuman beings?

EXT. JESSES LAND - DAY

Jesse and his son are digging in the dirt together.

JESSEYou see something?

SONJust a bird.

EXT. TOWN SQUARE - DAY

Jesse slowly walks though town.

NARRATOR (V.O.)The month of October came, andJesse began seeing Pinkertonoperatives in every floor walker,street sweeper, and common manpoking about in a store. On themorning of the 11th, he would wakehis wife with scripture pertainingto the Holy familys flight intoEgypt. Overnight, the Thomas Howardclan vanished from Kansas City.

Shortly thereafter, four of theBlue Cut train robbers werearrested in shacks near Glendale.How Jesse could have known remainsa mystery.

INT. HARBISON HOMESTEAD - KITCHEN - DAY

DICK enters with his coat and bags. MARTHA kisses him on

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the lips and whispers in his ear.

NARRATOR (V.O.) (CONTD)There was a wandering existence.Men who choose to be outlaws cannotafford to be in one place for very

long.

DICKOh, goodness! Maybe I'll changemy mind.

But then WOOD is behind him, jealously bumping himtowards the door.

WOODCome on.

EXT. COUNTRYSIDE (SOUTHWEST KENTUCKY) - DAY

They ride sullenly. WOOD reads a penny newspaper fourinches from his nose. DICK watches the geography sailby.

NARRATOR (V.O.)Wood and Dick bicker across theentire state of Kentucky, untilthey made Russelville, home ofMajor George Hite, Woods father,and uncle to Frank and Jesse James.

EXT. HITE PROPERTY (KENTUCKY) - AFTERNOON

DICK and WOOD approach the HITE family home. Two EX-SLAVES thresh corn in a field. A BLACK WOMAN pinslaundry on a clothesline.

MRS. SARAH HITE stands up from her weeding and excitedlywaves. She's pert and pretty.

WOODYou stay away from this one.She's my daddy's wife. You got it?

INT. HITE HOMESTEAD - DINING ROOM - NIGHT

Dinner in silence: SARAH sits next to her ancient andemaciated HUSBAND. The atmosphere is becoming strained,so DICK leans over his pot roast:

DICKYou cook this, ma'am?

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She shakes her head:

SARAHI've got a nigger woman.

MAJOR GEORGE HITE raises an ear trumpet and inclines ittowards his wife:

MAJOR GEORGE HITEHow's that?

SARAHDick asked if I cooked this.

MAJOR GEORGE HITEDid you?

SARAH

No.

WOODShe knew what he was like when shemarried him.

EXT. HITE HOMESTEAD - PORCH - NIGHT

MRS. SARAH HITE sits in a rocking chair with herneedlework. DICK comes out and leans on the porch rail.Finally, he says:

DICK

I guess we're the night owls, youand I.

She simpers but does not look up.

SARAHI'm glad.

DICKOh? How come?

SARAH

Youre interesting to look at; Youhave a real pleasant dispositionand, I don't know, you sort of makeme warm all over.

DICKI'm what they call a Enamoratu.

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SARAH (CONTD)Well, I knew there had to be aname for it.

DICK

You and the Hite family don't getalong, if I'm to trust Wood andhis version of the situation.

SARAHWe hate each other like poison, ifyou want to know the truth. Mostof the Hites wouldn't spit on meif I was on fire.

DICK grins:

DICK

They say when a woman's on fireyou're supposed to roll her aroundon the ground and cover her withyour body.

Sarah laughs and clamps her mouth.

SARAHYou are a naughty tease!

WOOD appears at the screen door, scowling, in hisnightshirt.

WOODIsn't it about bedtime?

DICKI'll just kiss those daintynubbins.

And, as he does so, SARAH giggles.

WOODGood night.

INT. HITE HOMESTEAD - NIGHT

DICK follows WOOD up to the second floor bedroom.

INT. HITE HOMESTEAD - BEDROOM - LATER

DICK is tucked under the bed sheet. He whacks hispillow. He rustles and stirs.

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WOOD (CONTD)Would you stop?

DICKI drank too much coffee.

He sits up to see WOOD glaring at him from the bunkopposite.

DICK (CONTD)I need to visit the privysomething terrible.

EXT. HITE HOMESTEAD - PORCH - NIGHT

DICK exits, careful not to let the screen door clapbehind him.

EXT. HITE HOMESTEAD - LAWN - NIGHT

He crosses the lawn to the outhouse in back: An interiorcandlelight can be seen through each severance and crack.DICK looks around him and then slips inside.

INT. HITE HOMESTEAD - OUTHOUSE - NIGHT

SARAH sits with her dress hiked up and collected likelaundry. Her eyes are downcast, but she seems lessshocked than amused.

SARAHThis is embarrassing.

DICKYou go ahead and do your duty; Idon't mind.

SARAHI've sort of got stage fright witha strange man in the commode withme.

DICKI aint strange. Im built justlike the rest of them. You lookawful pretty.

SARAHDo I?

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DICKI've never in my life seen suchwell-shaped limbs.

She glances fleetingly at the bent pronouncement at his

crotch.

SARAHIs Wood awake?

DICKJust me.

She considers her knees for a moment and then blows outthe candle.

SARAHAnd I bet you thought I was a lady.

EXT. ED MILLER'S CABIN - DUSK

ED MILLER at the screen door with a gun in his hand andfright in his eyes. Jesse James is riding down the trailtowards his house.78 INT. ED MILLER'S CABIN - CONTINUOUS ACTION

JESSE enters. The room is a mess: Mold-crusted dishesstacked on the kitchen table; newspapers shucked likecorn against the couch; a chair tipped over; a cat on the

kitchen cutting board licking something from the sink.

JESSEYou aren't much of a housekeeper,are you?

ED MILLERYou didn't just happen by.

JESSEWhy not?

JESSE looks at the gun and MILLER puts it on the kitchentable.

JESSE sits himself down on the ringed rug. He nodstoward the sagging couch:

JESSE (CONTD)Go ahead and take a load off yourfeet.

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MILLER does as instructed. His clothes are wrinkled ascrumpled paper, his fingernails are outlined with filth,a corner of his mouth is stained with tobacco juice.

JESSE (CONTD)You ought to get yourself a wife.

ED MILLERI was going to ask Martha --Charley's sister? I was going toask her if she could imagine it,but I guess Wood has plans of hisown, and there's always DickLiddil getting in the way. I'vegive it some thought, though.

MILLER can't seem to put his eyes on JESSE. His rightfoot rapidly taps the floor.

JESSEYour crops in?

ED MILLERI don't got much. A garden patchand pasture. I was sick atplanting time.

JESSEEd, how you feeling now?

A fleeting glance at JESSE:

ED MILLERWhy?

JESSEYou're acting queer.

ED MILLERWell, you and me, we aint beenjust real good friends lately.It's not your fault, youunderstand. You hear talk though.

JESSETalk?

ED MILLERPeople tell you things.

JESSEWhy dont you give me an example.

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JESSEHaven't heard a lick of gossiplately.

JESSE looks out at the road and at the sky which is pink

with sunset. The road he looks down seems never-ending.

ED MILLER (O.S.)I've got six hundred dollarsstashed away; I don't need anygovernor's reward.

JESSEIt's the principle, too.I'm glad I happened by.

ED MILLER (O.S.)Me too.

JESSEI want to put your mind at rest.

MILLER pulls himself to his feet and sweeps his hand overa plate to shoo away flies.

JESSE (CONTD)How about if we go for a ride? Wego into town and I buy you dinner?And Ill be on my way.

ED

Okay.INT. DICK'S BEDROOM (KANSAS CITY) - NIGHT

DICK doesn't know what wakes him. He looks from hissleeping wife (MATTIE) to the light spilling through thebedroom doorway. He seems transfixed by it. A SOUNDbegins to BUILD. Hairs stand up on the back of his neck.He retrieves his Navy Colt from under his pillow andslides quietly out of bed.

INT. DICK'S KITCHEN (KANSAS CITY) - NIGHTDICK enters and almost screams:

JESSE JAMES sits like an apparition at his kitchen table.

JESSEYou ready to go for a ride?

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But he's ignored as JESSE reconnoiters the yard and thengravely ascends the steps. DICK can see past the nervousALBERT to the kitchen where TWO WOMEN stir clothes in alaundry boiler. JESSE peers into the other rooms.

ALBERT (CONTD)Are you friends of my Pa's?

JESSEWe're friends of Jim Cummins.

ALBERTOh.

ALBERT gains thirty years -- becomes sullen.

ALBERT (CONTD)Well, it so happens he's been gone

since August and never said wherehe gone to.

DICKI'm Matt Collins.

DICK shakes the boy's hand.

ALBERTVery happy to meet you.

JESSE clenches the boy's hand and introduces himself.

JESSEDick Turpin.

ALBERTPleased to make your acquaintance.

JESSE smiles around the cigar but stalls the shake andcrushes ALBERT'S hand until the boy winces. ALBERT isabout to cry out when JESSE clamps his hand over theboy's mouth and yanks him into the yard. DICK softlyshuts the mahogany door.

EXT. BILL FORD'S FARM - YARD - DAY

JESSE manhandles the boy toward a red barn stopping toslam ALBERT into a cottonwood tree so that he loses hiswind. DICK shambles after them, looking apprehensive andashamed, checking the road.

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INT. BILL FORD'S FARM - BARN - DAY

JESSE throws the boy to the ground and steps a boot ontohis throat.

DICKJesus, Jesse! He's just a kid.

JESSE glowers at DICK for letting his name slip, thenreturns his attention to the choking boy.

JESSEHe knows where his Uncle Jim isand that's gonna make him oldpretty soon.

ALBERT brawls and kicks at JESSE.

DICKMaybe he doesn't know.

JESSEHe knows.

JESSE falls to his knees on the boy's biceps. ALBERTcries out. JESSE clamps the boy's mouth shut.

JESSE (CONTD)You need to ask and ask sometimes.Sometimes a child won't remember

much at first and then it'll allcome back.

He twists the boy's ear like a clock wind-up and ALBERT'Sbody racks wildly, his BOOTS THUD the earth. JESSE leansover to examine the injury.

JESSE (CONTD)My gosh, I believe it's about totear, sweetie. Just a little moreto get her started, then I can ripyour ear off like a page from a

book.DICK

Let the kid go.

JESSEHe's lying.

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DICKJesus; he can't even talk!

JESSE

Where's Jim?(beat)Where's Jim? Where's Jim?Where's Jim?

DICK(slapping JESSE'Shat off his head)Quit it!

JESSE sits back and rubs his hands on his thighs. ALBERTweeps but can't make words. He wipes his nose and eyes

and shudders with sobs as he gasps for air. When at lasthe speaks his voice is scaled like a child's:

ALBERTYou bastard! I don't know wherehe is and you won't believe me andyou never even gave me a chance.You kept my mouth shut! I neverknow where Jim is or when he comesso leave me alone, get off me, youson of a bitch!

(grunts and bucks

under JESSE andshouts)

Get off!

JESSE rises and ALBERT rolls over crying. DICK walks outin disgust.

EXT. BILL FORD'S FARM - YARD - DAY

DICK walks around the barn to the road, his facesplotched crimson with fury. He climbs onto his mount.

When JESSE comes forward, DICK looks away; squints downthe road in order to talk.

DICKI'm worn out. I can't --My mind's all tangled anyway.Little deals like this just makeme feel dirty.

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DICK turns to gauge JESSE'S reaction to this and isastonished to see him caved forward into his bay horse,his face flattened into its mane in a grimace ofaffliction, noiselessly crying.

DICK (CONTD)

You all right, Jesse?

JESSE nuzzles into the horse's hide and mutters words wecan't make out.

NARRATOR (V.O.)Jesse was sick with wounds andaches, and lung congestions.Insomnia stained his eye socketslike soot. He read augeries in thesnarled intestines of chickens, orthe blow of cat hair released tothe wind. And the omens promised

bad luck, which moated anddungeoned him.

FADE IN:

EXT. HARBISON FARM - MORNING

WOOD HITE approaches through the arctic wind. Hismoustache is jeweled with ice. Snow has made boards ofhis trousers and sleeves.

He sees ELIAS FORD (BOB AND CHARLEY'S ELDER BROTHER) in

the distance; throwing up his arm in greeting andpointing him toward the stables.

INT. HARBISON FARM - BARN - MORNING

WOOD walks his horse inside a stall and throws a moth-eaten blanket over it.

EXT. HARBISON FARM - YARD - MORNING

WOOD walks to the kitchen with WILBUR, who's teeteringwith a milk can. (WILBUR is another FORD BROTHER, inbetween BOB and CHARLEY.)

WOODHow come it's always you who doesthe chores?

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MARTHA (O.S.)Cover the kettle, Ida.

Then he hears his sister say:

MARTHA (O.S.) (CONTD)What on earth did you and Dick getinto a fracas about?

And he bolts out of bed. He scoots his hand under DICK'Spillow and shakes him:

BOBDick!

LIDDIL automatically reaches for the Colt revolver but

finds it trapped. He looks at BOB'S worried face.

BOB (CONTD)Wood Hite's downstairs.

INT. HARBISON HOMESTEAD - KITCHEN - MORNING

MARTHAI-da! Don't stick your thumb inthe cream when you skim it!Goodness sakes!

WILBURDick told me a complete otherversion of that affray.

WOODYou mean he's here?

WILBURCame in late last night.

WOOD'S CHAIR SCREECHES on the floor as he stands up.

WILBUR (CONTD)Simmer down.

INT. HARBISON HOMESTEAD - 2ND FLOOR BEDROOM - MORNING

DICK cocks his Navy Colt and points it at the closeddoor. BOB extracts a loaded revolver from CHARLEY'Sholster.

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MARTHA (O.S.)Don't you boys get into a fracasup there. I've almost gotbreakfast cooked.

They listen as WOOD makes a RACKET on the STAIRS.

WOOD slams the bedroom door with his boot so that itbashes the wall and CHARLEY jolts up.

DICK FIRES a SHOT, missing WOOD and smashing a hole inthe doorjamb.

WOOD FIRES at DICK, strewing pillow feathers, and FIRES asecond time as DICK rolls off the mattress.

A terrified BOB cowers next to his bed and clicks back

the hammer of his revolver.

WOOD FIRES a SHOT through DICK'S thigh; swatting thefloorboards and bed sheets with blood.

DICK triggers a SHOT that snags WOOD'S right arm.

CHARLEY gets out of bed and dives for the windowsill,squirming under the sash.

WOOD SHOOTS at CHARLEY but misses.

98 EXT. HARBISON HOMESTEAD - ROOF - MORNING

CHARLEY slips on the eave and slides off the roof andwhumps into a snowbank twelve feet below.

99 INT. HARBISON HOMESTEAD - 2ND FLOOR BEDROOM - MORNING

DICK, in agony, raises his Navy Colt again but the hammersnaps against an empty chamber.

WOOD then switches his pistol to his left hand, steps

forward, and takes slow and careful aim at DICK.It is then that BOB FORD SHOOTS ROBERT WOODSON HITE: Theround goes in just next to his eyebrow and makes a smallbutton of red carnage that shuts WOOD'S motor off. WOODcollapses to his knees, his brown eyes jelly and reasonvanishes, and then he falls to the left with a concussionthat jostles the room.

DICK looks at BOB with consternation.

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BOB walks around to WOOD with sickness in his stomach, anapricot in his throat.

BOB is deafened by the gunfire

WOOD'S chest swells and relaxes. Blood pools wide as abirdbath under his skull.

BOBHe's still sucking air, but Ithink he's a goner.

INT. HARBISON HOMESTEAD - 2ND FLOOR CORRIDOR - MORNING

BOB steps shakily out into the corridor and looks down atMARTHA and ELIAS at the bottom of the stairs.

BOB (CONTD)(holding it together)Maybe you oughta come up and wishhim well on his journey.

Blood creeps away from WOOD and drools into board cracks.BOB stares at it as the STAIRS CREAK.INT. HARBISON HOMESTEAD - 2ND FLOOR BEDROOM - MORNING

MARTHA bumps past BOB, removes her apron, and carefullywads it under the exit wound. ELIAS squats next to her.

ELIASYou were a good fellow, Wood.

MARTHAI hope the pain isn't frightful,Wood. I'd fetch something for youto drink but I'm afraid it'd justmake you choke.

(beat)Little Ida's going to miss you.So is the rest of the family.

DICK collars his thigh with his hands.INT. HARBISON HOMESTEAD - KITCHEN - AFTERNOON

CHARLEY sits with his foot propped up on a chair, hissprained ankle as round as a melon.

CHARLEYOne thing's settled: can't takehim into Richmond.

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WILBURHow come?

CHARLEYOne: the sheriff will put Bob in

jail. And two: Jesse will findout his cousin Wood's been shot inour house and that'll be the endfor each and every one of us.

INT. HARBISON HOMESTEAD - 2ND FLOOR BEDROOM - DUSK

WOOD'S corpse, now naked, is laid out on BOB'S twin bed.DICK'S lips move as he reads a yellow book. BOB enters.DICK doesn't raise his eyes.

DICK

He ain't disappeared if that'swhat you were hoping.

BOBWhat chapter are you on?

DICKShe's seen some young swell andgot herself all agitated.

BOBHow's that leg?

DICKFull of torment, Bob. Thanks forasking.

EXT. HARBISON FARM - DUSK

Snow falls around BOB and ELIAS as they struggle withtheir cumbersome load.

EXT. HARBISON FARM - RAVINE - DUSK 107

WOOD'S naked body is rolled into a snow-filled ravine.The brothers begin kicking clods of earth down onto thebody.

ELIAS (V.O.)Blessed are the poor in spirit:for theirs is the kingdom ofheaven. Blessed are them that

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mourn: for they shall becomforted. Blessed are the --

EXT. HARBISON FARM - SLOPE ABOVE RAVINE - LATER

ELIAS stands with hat at his chest, petitioning BOB withhis eyes.

BOBMeek.

ELIASBlessed are the meek...

FADE OUT.

FADE IN:

INT. HARBISON HOMESTEAD - DUSK

BOB sits, spooked, in the living room. The CLOCK CLUNKS.A candle blows out.

BOB turns to lock eyes with an apparition at the windowglass: It's JESSE receding back into the darkness.

And then suddenly JESSE is filling up the kitchen, aslarge and as loud as a beer wagon: Rowdily swattingshoulders and biceps, receiving the other FORD BROTHERS'handshakes.

BOB scuttles up the stairs.

INT. HARBISON HOMESTEAD - 2ND FLOOR BEDROOM - DUSK

DICK is already hopping one-leggedly toward the closet.

BOBWhy'd he come by, Dick? Does heknow about Wood, do you think?

DICKI can't figure it, Bob. I onlyknow that he doesn't miss verymuch.

BOBWhat should I say about you if heasks?

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ELIAS (V.O.) (CONT'D)


52/102

DICKJust tell him I'm in K.C. withMattie.

Dick swaddles himself in yanked-down petticoats and

crinolines as BOB closes the closet door.

INT. HARBISON HOMESTEAD - KITCHEN - SOON AFTER

BOB shies into the kitchen.

JESSEWhy, it's the kid!

BOBHow's everything?

JESSE ignores question and takes off his hat and coat.No one talks as JESSE moves -- it's as if his acts aremiracles of invention wondrous to behold.

JESSEI never take off my gun belts.

WILBURGood thinking.

JESSE walks back to his coffee and CHARLEY hitches aside.

JESSE

Well, Charlie. Hurt your leg?

CHARLEYI slipped off the roof and smackeddown into a snowbank like a ton ofstupidness. One second I'mscreaming, 'Whoa, Nelly!' and thenext second, poof! I'm neck-deepin snow.

JESSEWhatever possessed you to climb the

roof in December?CHARLEY loses his smile and sees the criticism in BOB'Sexpression.

CHARLEY(stammering)

There was a kite -- what am Isaying? There was a cat. A catwas on the roof and I went after

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him. A tom cat. Yowling andwhatall; and I slipped.

CHARLEY rubs his eye and coughs into his fist.

JESSE

I thought maybe your clubfoot wasgaining on ya.

WILBUR and CHARLEY guffaw as if this is funny. MARTHAcarries a bowl of ham hocks to the table.

BOBDick went to Kansas City to be withhis wife. He was here for a littlebit.

JESSE gives BOB a look and then pretends he hasn't heard.

He begins to tickle IDA's side and stomach, saying"Kootchy Kootch" until the girl is sore with giggles, andthe fun is over.

MARTHAOh, quit it, you two.

CHARLEY casts about anxiously for something to say.

CHARLEYHere's a cute story, Jess. Bobbywas -- what -- eleven or twelve?And you were by far his most

admired personage. He couldn'tget enough. It was Jesse this,Jesse that, from sunrise to sunset.

JESSEFascinating.

CHARLEYNo; there's more. This is cute.We're at supper and Bob asks, 'Youknow what size boot Jesse wears?'

BOBCharley, Jesse doesnt want to hearthis.

CHARLEYShush now, Bob. Let me tell it.Bob says, he says, 'You know whatsize boot Jesse wears? Six and ahalf.' He says, 'Ain't that adinky little boot for a man five

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feet eight inches tall?' Well, Idecide to josh him a little, youknow, so I said, 'He doesn't havetoes, is why.'

BOB

Thats a really stupid story.

CHARLEY'He was dangling his feetoff a culvert and a catfishnibbled his toes off.' Well, Bobtaxed himself trying to picture it.

BOBThatd be a good story. If it wasfunny.

CHARLEY laughs and claps his hands.

CHARLEYIsn't that a cute story, Jess?

JESSE suppresses his opinion. He regards BOB in a waythat implies the sight is disappointing. He skewers acigar with the tine of his fork.

JESSEGive me some more conversations,Bob.

CHARLEYI got one. This one's about ascrackerjack.

JESSELet Bob tell it.

BOBI dont even know what youretalking about.

CHARLEY

About how much you and Jesse havein common.

JESSEGo on, Bob.

CHARLIETell a story.

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BOBNope. Nope.

CHARLEYEntertain Jesse. Hes here.

BOBWell, if you'll pardon my sayingso, I guess it is interesting, themany ways you and I overlap andwhatnot. You begin with ourDaddies. Your daddy was a pastorof the New Hope Baptist Church; mydaddy was pastor of a church atExcelsior Springs. Um. You're theyoungest of the three James boys;I'm the youngest of the five Ford

boys. Between Charley and me, isanother brother, Wilbur here (withsix letters in his name); betweenFrank and you was a brother,Robert, also with six letters.Robert is my Christian name. Youhave blue eyes; I have blue eyes.You're five feet eight inches tall.I'm five feet eight inches tall.Oh me, I must've had a list as longas your nightshirt when I wastwelve, but I've lost somecuriosities over the years.

JESSE is as still as a photograph. Smoke spirals fromhis cigar in a line and then squiggles above him likesloppy handwriting; but his eyes are active, cagey,calculating. He comes carefully to life and taps ashesinto his coffee cup.

JESSEAin't he something?

WILBUR sniggers.

JESSE (CONTD)Did I ever mention that scalawagGeorge Shepherd? George was one ofQuantrill's lieutenants and he gaveme a story like Bob's, is why Ithought of him, giving meeverything we had in common and soon, just so he could join thegang. How could I know he had agrudge against me and was lying to

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get on my good side? I said,'Come aboard, George. Glad tohave ya,' George thought he wassmart. 'Cept he wasn't. He rodeinto camp one morning and abouttwenty guns opened up on him. But

he only had one eye --and you need two eyes to getJesse.

BOB and WILBUR laugh for a suitable period of time, andJESSE laughs until tears come out of his eyes.

BOBYou oughtn't think of me like youdo George Shepherd.

JESSEYou brought him to mind.

BOBIt's not very flattering.

MARTHA waitresses around them collecting cups andsaucers.

JESSESure is good eating, Martha.

MARTHAWell, Im so glad you enjoyed it.

BOBHow come George had a grudgeagainst you?

JESSEHmmm?

BOBI said How come George had agrudge against you?

JESSE

Oh. George asked me to protectthis nephew of his during the warand it so happens the kid had fivethousand dollars on him. The kidwinds up killed, and all the moneyswiped from him, and when Georgewas in prison someone whispers tohim it was Jesse James slit theboy's throat.

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CHARLEYJust mean gossip, was it?

JESSEBob's the expert; lets put it to

him.

BOB rises from the table like a stamping boy in a snit.

JESSE (CONTD)Oh dear, I've made him cranky.

WILBUR snickers.

BOBIm not cranky. I've been throughthis before, is all. Once peopleget around to making fun of me,

they just don't ever let up.

MARTHASomeone's speaking awful freshover there!

BOBWoman, shut your face for once.

BOB is forced to walk past JESSE to get to the main room.JESSE kicks a leg across BOB'S path, clouting thefloorboards with his boot. BOB glances down at his bogusgrin -- the suggestion of malice beneath his antics.

JESSEI don't want you to skip off toyour room and pout without knowingwhy I dropped by for this visit.

BOBI suppose you're going to tell ushow sorry you are that you had toslap my cousin Albert around.

Such great heat seems to come then from JESSE'S eyes that

BOB glances away as if from sunlight, but in a second theman cools and says:

JESSEI come by to ask one of you twoFords to ride with me on a journeyor two. I guess we've both agreedit ought to be Charley; you've beenacting sort of testy.

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BOB stands pale and silent. Then he steps around JESSE'Sboot and calmly climbs the stairs to the upper room.

113 EXT. HOUSE ON THE HILL - ESTABLISHING - Day

JESSE and CHARLEY approach on horseback.

JESSE (CONTD)Have you seen Wood Hite lately?

CHARLEYNo, not at all.

SUPER: St. Joseph, Missouri

EXT. HOUSE ON THE HILL - PORCH - DAY

ZEE is in the doorway waiting for them.

ZEEYou're Charley Ford.

CHARLEYYes, ma'am, you've seen me once ortwice before.

ZEEI got a letter from George Hite.Hasn't seen hide nor hair of him.

JESSE squints at CHARLEY.

JESSEAnd you say you haven't seen Wood?

CHARLEYCan't imagine where he could be.

115 EXT. HOUSE ON THE HILL - SITTING ROOM - NIGHT

CHARLEY is woken by JESSE:

JESSEYou finished with your sleeping?

CHARLEYI could use a couple more hours ifit's no trouble.

CHARLEY sits up from his bedroll:

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JESSEI've been holding a discussionwith myself over if I ought totell you this or no. My good sidewon out and, well, I'd like to

make a clean breast of things.

CHARLEYMy mind is a little cobwebby yet,is the only drawback. I could use alittle more sleep.

JESSE crosses close.

JESSEYou knew I went to Kentucky?

CHARLEYYeah.

JESSEI come back through Saline Countyand thought to myself, 'Why notstop by and see Ed Miller?' So Ido and things aren't to mysatisfaction. Ed's gothimself all worked up oversomething and I can see he'slying like a rug and I say tomyself, 'Enough's enough!' and I

say to Ed, 'Come on, Ed, let's gofor a ride.' Do you understandwhat I'm saying?

CHARLEYGoing for a ride is like givinghim what-for.

JESSEExactly. Ed and Jesse, theyargued on the road...

EXT. COUNTRY TRAIL - NIGHT - FLASHBACK

Ed rides his mare down the road with Jesse following behind.

JESSEYou ever count the stars I cantever get the same number. They keepchanging on me.

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EDI dont even know what a star is,exactly.

JESSE

Well, your body knows. Its yourmind that forgot. You go on ahead,partner. Ill catch up with you.

Ed, terrified, rides ahead. Jesse aims his gun and shoots himthrough the chest. Ed falls off his horse and struggles onthe ground for a moment before Jess shoots him again in thehead.

EXT. HOUSE ON THE HILL - SITTING ROOM - NIGHT

Jesse continues his story.

JESSEAnd when push came to shove, Jesseshot and Killed him

CHARLEYJesse did.

JESSEYou got it.

CHARLEYYou.

JESSE pats CHARLEY'S knee.

JESSESo you see? Your cousin, he gotoff easy. I was just playing withAlbert.

CHARLEYI've made him squeal once or twicemyself. I'm just not as thoroughas you are.

JESSEYou want to swap a tale with menow?

CHARLEY(sudden fright)I don't get your meaning.

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JESSEIt seems to me, If you've gotsomething to confess in exchange,it'd only be right for you to spitit out now.

CHARLEYCan't think of a single thing.

JESSEAbout Wood Hite, for example.

CHARLEYI've been saying over and overagain I can't figure out wherehe's gone. I'm not going tochange my story just to havesomething to spit.

JESSEWhy was your brother so agitated?

CHARLEYWhich?

JESSEBob.

CHARLEY

It's just his way. He's antsy.

JESSE retreats. Sits in a chair.

JESSEYou can go on back to sleep now.

CHARLEYYou got me agitated now: you see?

JESSEYeah, just ain't no peace with old

Jesse around. You ought to pity mypoor wife.

CHARLEYEd Miller was a good friend ofmine. He introduced me to you atthat one poker game. I'm a littleangry with you, if you want theGod's honest truth.

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JESSE crosses his ankles and shuts his eyes. He pusheshis hands deep into his pockets.

JESSEYou ought to pity me too.

FADE OUT.

FADE IN:

EXT. COMMERCIAL DISTRICT (KANSAS CITY) - DAY

BOB stands in a street of mud and slush and manure. Hewatches a stern man in his 40s (HENRY CRAIG) cut betweentwo surreys and enter the Times Building. BOB waits foran agonizing moment -- crippled with indecision. Andthen he follows, grim-faced. As he enters the building

we come upon a window sign: "HENRY CRAIG, ATTORNEY ATLAW."

EXT. WOODS SURROUNDING HARBISON HOMESTEAD - DAWN

An ARMED POSSE crunches through the snow on foot,approaching the Harbison farm. They are led by HENRYCRAIG and SHERIFF TIMBERLAKE.

INT. HARBISON HOMESTEAD - 2ND FLOOR BEDROOM - DAWN 119

THROUGH the window, BOB sees 12 ARMED MEN coming out ofthe woods, as rounded over as hedgehogs.

NARRATOR (V.O.)As proof of his confederacy withthe James Gang, Bob told theauthorities that Dick Liddil wassleeping over at the farmhousewhile his ruined leg mended. Andthen he created a map of theHarbison property, leading to thecreek where Wood Hites remains now

mouldered.

EXT. HARBISON HOMESTEAD - DAWN

SHERIFF TIMBERLAKE has his mouth bracketed with hismittens. He's surrounded by CRAIG and the DEPUTIES.

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SHERIFF TIMBERLAKEYou boys are cornered! If youknow what's good for you, you'llcome out peaceably and no one willget shot up!

The kitchen door is pushed open and the MEN all crouchdown. BOB calls out:

BOB (O.S.)Don't shoot!

SHERIFF TIMBERLAKECome on out and show yourself!

BOB steps out with a smirk.

BOBIf this isn't a surprise!

SHERIFF TIMBERLAKEThat's how we intended it.

121 INT. HARBISON HOMESTEAD - 2ND FLOOR BEDROOM - SOONAFTER

The POSSE are gathered in the room. BOB and MARTHA watchas TIMBERLAKE whams the ceiling cover and points hisrevolver into the crawl space.

SHERIFF TIMBERLAKE (CONTD)You there! Give yourself up!

DICK climbs down. He is handcuffed.

HENRY CRAIG

Andrew James Liddil, this is awarrant for your arrest for themurder of William Westfall andparticipation in the Winston trainrobbery on the 15th of July, 1881.

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NARRATOR (V.O.)Snow storms would move overMissouri that Sunday, February 19,shutting down commerce for morethan two days. And yet this

wouldnt prevent Robert Ford frompresenting himself to GovernerCrittenden at the Craig Rifles Ballon Wednesday.

FADE OUT.

INT. ST. JAMES HOTEL - GRAND BALLROOM - NIGHT

GOVERNOR CRITTENDEN speaks to a large crowd of GENTLEMENin tails and LADIES in satin gowns.

CRITTENDENI deem it a great privilege onthis glorious occasion torecognize publicly the intelligentand efficient assistance thatCaptain Henry Craig has thus farprovided the State of Missouri andmyself in our joint quest toextirpate the James band fromJackson County. The task HenryCraig has assumed requires

fearless courage, extraordinaryvigilance, and an unerringselection of instrumentalities.

BOB lingers against a pillar on the fringes.

CRITTENDEN (CONTD)My wife has just signaled thatenough is enough. But before I sit,Ill ask you to join me in a toastto the great son of the state of

Missouri, my friend, Henry Craig.INT. ST. JAMES HOTEL - NIGHT

BOB jostles through the crowd, insinuating himself closerto CRITTENDEN. He raises his hand in a juvenile wave andis about to give his name when he's grasped by twoPOLICEMEN. They clamp his mouth shut and sock him in thegroin. He collapses in agony.

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INT. ST. JAMES HOTEL - CORRIDOR - SOON AFTER

The POLICEMEN shove BOB against a mahogany pillar. CRAIGis with them.

HENRY CRAIGYou're more goddamned trouble thanyou're worth, Bob.

BOBI was just going to say hello.

HENRY CRAIGYou werent going to do that, Bob.

You think youre the goddamned bellof the ball. That isnt why yourehere, you sill little bastard. Thegovernor will see you in good time.Take him upstairs, boys.

INT. ST. JAMES HOTEL - HENRY CRAIG'S SUITE - SOON AFTER

BOB enters, looking disheveled. DICK, guarded by TWOKANSAS CITY POLICEMEN, looks over the top of his paperand smiles.

NARRATOR (V.O.)Bob would later be cross-examinedrepeatedly about the exact natureof the deal he had made with theauthorities. And he was neverconsistent with his recollections.

INT. ST. JAMES HOTEL - CRITTENDEN'S SUITE - NIGHT 129

CRITTENDEN receives them in a red silk robe and directs

them towards wingback chairs:

CRITTENDENMy wife's asleep in the next room,so let's speak as quietly as wecan.

CRITTENDEN settles himself into a settee and his eyesglitter as he regards the two strangers:

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CRITTENDENJesse James sent me a telegramlast month, saying he was going tokill me if he had to wreck a trainto do it. He said that once I was

in his hands he was going to cutmy heart out and eat it in stripslike it was bacon.

(beat)I'm going to wreck his train first.

BOB emits a scoffing laugh. CRITTENDEN glares at him.

BOBI'm sorry, Your Excellency. I wasthinking of something else.

CRITTENDENJesse James is nothing more than apublic outlaw who's made hisreputation by stealing whatever hecould and by killing whoever gotin his way. You'll hear somefools say he's getting back atRepublicans and Union men forwrongs his family suffered duringthe war, but his victims havescarcely ever been selected withreference to their political

views. I'm saying his sins willsoon find him out. I'm saying hiscup of iniquity is full. I'msaying Jesse James is a desperatecase and may require a desperateremedy.

DICK looks to BOB to respond -- but sees that the boy isoverpowered by the situation, so he responds for him:

DICK

You've got the right man for thejob.

FADE OUT.

FADE IN:

EXT. FROZEN LAKE (SOMEWHERE IN NEBRASKA) - DAY

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JESSE walks like Jesus out onto the frozen water.

JESSEYou ever consider suicide?

CHARLEYCan't say that I have. There wasalways something else I wanted todo. Or my predicaments changed orI saw my hardships from adifferent slant; you know all whatcan happen. It never seemedrespectable.

JESSE squats and brushes snow from the ice: The dark

shapes of fish can be seen moving below.

JESSEI'll tell you one thing that'scertain; you won't fight dyingonce you've peeked over to theother side; you'll no more want togo back to your body than you'dwant to spoon up your own puke.

CHARLEY'S motor works in the silence:

CHARLEYSince we're looking to rob banks,I was wondering if I could go asfar as to recommend we add anotherfeller to the gang and sort of seeif we couldn't come out of ournext job alive.

JESSE seems transfixed by a stain on his glove.

CHARLEY (O.S.) (CONTD)Bob wanted to know could he ridewith us next time we took on asavings bank or --

Jesse fires his gun into the ice below his feet. The shotsecho hangs in the air.

CHARLEY (CONTD)A savings bank or --

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Jesse fires again.

CHARLEY (CONTD)A railroad.

Jesse fires a final shot.

CHARLEY continues hopefully:

CHARLEY (CONTD)Bob isn't much more than a boy tomost appearances, but there'sabout two tons of sand in him andhe'll stand with his shooter whenthat's what's called for. Andhe's smart too -- he's about asintricate as they come.

JESSEYou're forgetting that I'vealready met the kid.

CHARLEYHe surely thinks highly of you.

JESSEAll America thinks highly of me.

CHARLEYStill. It's not like you've gottwo million names you can snatchout of a sock whenever you need athird man.

JESSE sighs, gets up, and mounts his horse:

JESSE

I can see youre trying to wear medown on this.

CHARLEY(smiles)

That was my main intention.

Jesse walks away, leaving Charley alone by the edge of thelake.

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NARRATOR (V.O.)Robberies would be conceived, butnever carried out in Nebraska,Colorado, and Missouri. During thistime, Henry Craig had enjoined

Robert Ford in returning to EliasGrocery Store in Richmond and awaitinstructions from Sheriff JamesTimberlake.

INT. ELIAS' GROCERY STORE (RICHMOND) - DAY

BOB is busy with CUSTOMERS, SHERIFF TIMBERLAKE enters,prowls the store once, and then slips into the storeroom.

INT. ELIAS' GROCERY STORE (RICHMOND) - STOREROOM - DAY

TIMBERLAKE smokes. BOB enters.

BOBHaven't seen any sign of him.

SHERIFF TIMBERLAKEDo you know where he's living?

BOBNo.

TIMBERLAKE sighs.

SHERIFF TIMBERLAKEI can't guess how he does it, buthe's always knowledgeable aboutwhat's going on. He'll knowyou've been with me. You ought totake that for granted. And he'll

kill you if he gets the chance.BOB scratches at his neck and looks away.

SHERIFF TIMBERLAKE (CONTD)You willing to risk that?

BOBYes I am.

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BOB fastens his eyes on TIMBERLAKE and all theingratiation is gone from his face; only longing andmisery remain:

BOB (CONTD)I've been a nobody all my life. Iwas the baby; I was the one theymade the promises to that theynever kept. And ever since I canrecall it, Jesse James has been asbig as a tree. I'm prepared forthis, Jim. And I'm going toaccomplish it. I know I won't getbut this one opportunity and youcan bet your life I'm not going tospoil it.

TIMBERLAKE stands and grinds out his cigarette.

SHERIFF TIMBERLAKEWait for your chance. Don't allowyourself to be found alone withhim. And don't let him get behindyou.

TIMBERLAKE exits through the loading door.

BOB remains standing there.

133 INT. ELIAS' GROCERY STORE (RICHMOND) - ANOTHER DAY

BOB stands on a wooden stool, stacking ketchup bottles,in his clerk's apron. The afternoon sun blazes behindJESSE like a halo:

JESSEYou've been chosen.

BOB swivels and nearly slips. The color has leached fromhis face.

BOBWhat do you mean?

JESSEYour brother said that you wantedto join us. But maybe you like

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this grocery store more than yousaid you did.

He takes off his apron by way of illustration. JESSEsmiles.

JESSE (CONTD)So you missed me?

BOBI've been crying myself to sleepevery night.

EXT. ELIAS' GROCERY STORE (RICHMOND) - DAY

BOB comes outside with carrots for the horses. CHARLEYis already in the saddle:

CHARLEYDon't let him see us so much aswink at each other. He'ssuspicious as a danged coyote, andhe don't trust you one iota.

BOBI guess that makes us even.

CHARLEYHe's already put way Ed Miller.Said so like it was somethingpiddly he'd done.

The talk ceases when JESSE comes out. JESSE corrects thecrease in his black fedora and slips his boot into thestirrup. HE climbs into the saddle and hooks his horsearound:

EXT. ROAD TO ST. JOSEPH - NIGHT

They ride through a cold rain. In the distance they spota church and head towards it.

INT. LUTHERAN CHURCH - NIGHT

JESSE throws his greatcoat on a pew and lights an altarcandle that he carries into the sanctuary.

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JESSE (CONT'D)


73/102

BOB kicks his bedroll flat on the floor and says toCHARLEY:

BOBIf we're ever alone for more than

a minute, I'd like a chance tospeak to you further.

EXT. LUTHERAN CHURCH - CEMETERY - DAY

CHARLEY sits in the long grass smoking. BOB ambles up tohim with his palms cupping his elbows.

BOB (CONTD)

They gave me ten days.

CHARLEYFor what?

BOBArresting him.

CHARLEYYou and me, huh?

BOBIt's going to happen one way oranother. It's going to happen,Charley; and it might as well beus who get rich on it.

CHARLEY looks at him disparagingly.

CHARLEY

Bob, he's our friend.

BOBHe murdered Ed Miller. He's goingto murder Liddil and Cummins ifthe chance ever comes. Seems tome Jesse's riding from man to man,saying goodbye to the gang. Your

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BOB and JESSE enter. ZEE JAMES backs from the stove,sees BOB, and winces.

ZEE

You never mentioned Bob would behere.

BOBMaybe he was saving it as apleasant surprise.

MARY is submerged in the woman's skirt, glowering at BOB.ZEE combs the girl's hair.

ZEE

You've got two cousins for companynow.

INT. HOUSE ON THE HILL - SITTING ROOM - NIGHT

JESSE, on the sofa, weds his fingers over his stomach andcloses his eyes.

JESSEHow it will be is we'll leave herenext Monday afternoon and ride

down to Platte City.

BOBHow far is that from Kansas City?

Something in BOB'S enquiry makes JESSE resistant and heanswers around the question:

JESSEPlatte City's thirty miles south.

You and me and Charley will sleepin the woods overnight and strikethe Wells Bank sometime before thecourt recesses.

BOB(a little tooinsistent)

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What time will that be exactly?

JESSEYou don't need to know that.

BOB scrawls on the floorboards with his finger and JESSEarises to a sit.

JESSE (CONTD)You know Im real comfortable withyour brother. Hell, he's ugly assin and he smells like a skunk andhe's so ignorant he couldn't drivenails in the snow, but he's sortof easy to be around. I can't saythe same for you, Bob.

BOBI'm sorry to hear you say that.

JESSE is silent a moment.

JESSEYou know how it is when you'rewith your girlfriend and the moonis out and you know she wants tobe kissed even though she neversaid so?

BOBYeah.

JESSEYou're giving me signs that grievemy soul and make me wonder ifmayhbe your mind's been changedabout me.

BOBWhat do you want me to do? Swearmy good faith on the Bible?

CHARLEY enters with the firewood to see JESSE gloweringat BOB with great heat in his eyes.

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77/102

CHARLEYYou two having a spat?

JESSE

I was getting ready to be angry.

JESSE smiles and reaches out to coddle BOB'S neck.

JESSE (CONTD)Sit over here closer, Kid.

BOB vacillates a little, then scooches over, smirking athis brother with shyness. JESSE massages BOB'S neck andshoulders, communicating that all is forgiven.

JESSE (CONTD)Charley, You'll stay with theanimals. Me and The Kid willwalk into the bank just beforenoon. Bob will move the cashieraway from the shotgun that's underthe counter and I'll creep upbehind that cashier and cock hischin back like so...

JESSE snaps BOB'S skull back and slashes a skinning knifeagainst his throat. BOB is incapacitated by panic.JESSE is terrifying:

JESSE (CONTD)I'll say, 'How come an off-scouring of creation like you isstill sucking air when so many ofmine are in coffins?'

BOB'S eye lolls to the blade.

JESSE (CONTD)

I'll say, 'How'd you reach yourtwentieth birthday without leakingout all over your clothes?' Andif I don't like his attitude, I'llslit that phildoodle so deep he'llflop on the floor like a fish.

Then JESSE retracts the blade and shoves BOB rudelyforward. Then his temper abruptly alters and he slapsboth knees gleefully, laughing at BOB:

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JESSE (CONTD)My God, what just happened?I could hear your gears grindingrrr, rrr, rrr, and your little

motor wondering, 'My Gosh, what'snext, what's happening to me?'You were precious to behold, Bob.You were white as spit in a cottonfield.

BOB examines his neck with his hand.

BOBYou want to know how that feels?Unpleasant. I honestly can'trecommend it.

JESSEAnd Charley looked stricken!

CHARLEYI was!

JESSE'This is plumb unexpected!,' oldCharley was thinking, 'This is

done ruint my day!'

JESSE laughs and laughs, and when at last the two laughwith him, JESSE adopts a scolding look and slams out ofthe room.

INT. HOUSE ON THE HILL - CHILDREN'S ROOM - NIGHT

JESSE sleeps with BOB in the children's room, a revolverclutched in his left hand. BOB listens to each in-suckof air so he can tell when JESSE'S gone off.

NARRATOR (V.O.)Jesse slept with Bob in thechildren's room that night and Bobremained awake.

He could see that there was a gunon the nightstand. He couldimagine its cold nickel inside his

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grip, its two-pound weight reachedout and aimed.

Bob cautiously rolls to a sit and places his feet on theboards. The REVOLVER is cocked with THREE CLICKS.

BOBI need to go to the privy.

JESSEYou think you do but you don't.

BOB obediently returns to bed.

INT. HOUSE ON THE HILL - DINING ROOM - DAY

ZEE sets down a soup tureen and JESSE winks at BOB:

JESSEIs this fit to eat or will it justdo?

As ZEE retreats into the kitchen, JESSE inches the soupbowl under CHARLEY'S elbow and says to BOB:

JESSE (CONTD)That woman's cooking has always

been a scandal. Cut her meat andthe whole table moves.

JESSE laughs as CHARLEY stains his sleeve.

NARRATOR (V.O.)And so it went, Jesse wasincreasingly cavalier, merry,moody, fay, unpredictable. Hecamouflaged his depressions andderangements with masquerades ofextreme cordiality, curtesy, and

goodwill towards others.

INT. HOUSE ON THE HILL - SITTING ROOM - ANOTHER DAYJESSE hooks CHARLEY'S spurs together while he snores inthe sitting room and then screams the man off the couch,so that CHARLEY farcically sprawls.

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NARRATOR (V.O.) (CONT'D)


80/102

NARRATOR (V.O.) (CONTD)But even as he jested...

EXT. HOUSE ON THE HILL - PORCH - DAY 148

JESSE horses with TIM:

NARRATOR (V.O.) (CONTD)... or tickled his boy in theribs, Jesse would look over at Bobwith melancholy eyes, as if thetwo were meshed in an intimatecommunication that had little todo with anyone else.

ON BOB

Working at keeping his expression neutral.

NARRATOR (V.O.) (CONTD)Bob was certain that the man hadunriddled him, had seen throughhis reasons for coming along, thatJesse could forecast each of Bob'spossible moves and inclinationsand was only acting the innocentin order to lull Bob into stupidtranquility and miscalculation.

INT. HOUSE ON THE HILL - CHILDREN'S ROOM - DAY

Sunshine is diagonal in the room and curtains flirt inthe air. BOB isn't sure what woke him. He pivots in thechild's bed and sees JESSE in a spindle chair.

BOBHow long've you been studying me?

JESSEYou're gonna break a lot ofhearts.

BOB rolls to a sitting position.

BOBHow do you mean?

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JESSE reveals a black box from behind his back andreaches it over to BOB.

JESSEIt's a present.

BOB hefts it.

BOBIts Heavy.

JESSEYou going to look inside?

BOB crams a coin into the interstices and twists untilthe lid releases.

BOBIt's April Fools Day, you know.

JESSE

Aint no joke.

Inside the box, nestled in red velvet, is a pearl-handled.44 caliber revolver. BOB beams at JESSE.

BOBSuch extravagance!

JESSEDon't that nickel shine though!

BOBIt's more than I could hope for!

BOB clicks the chamber around, cocks and releases thehammer, cocks the hammer again and aims the revolver at ared ball on the floor. Squeezes the trigger.

JESSEI figured that granddaddy Colt ofyours might blow into fragmentsthe next time you squeeze the

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trigger.

BOBYou might have something there.

ZEE (O.S.)Tom? Suppers ready.

JESSEPretty soon, sweetheart.

BOBI might be too excited to eat.

Jesse smiles broadly and rises from the spindle chair.

JESSEYou know what John Newman Edwardsonce wrote about me? He said Ididn't trust two men in tenthousand and was even cautiousaround them. The government'ssort of run me ragged.I'm going the long way around thebarn to say I've been feelingcornered and just plain ornery oflate and I'd be pleased if you'd

accept the gun as my way ofapologizing.

BOBHeaven knows I'd be ornerier if Iwere in your position.

JESSENo. I haven't been actingcorrectly. I can't hardly

recognize myself sometimes whenI'm greased. I go on journeys outof my body and look at my redhands and my mean face and Iwonder about that man who's goneso wrong: I've beenbecoming a problem to myself.

BOB looks at the man in bewilderment and can't find thewords for an answer, so he says:

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JESSE (CONT'D)


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that was missing the top twoknuckles. He imagined himself atthirty-four. He imagined himselfin a coffin. He consideredpossibilities and everythingwonderful that could come true.

INT. HOUSE ON THE HILL - CHILDREN'S ROOM - NIGHT

C

assassination of jesse james by the coward rober ford script

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