True enough this is the first image we see of the Kid. But what's different is the Kid is not wearing knickers and suspenders. He has on scruffy but neat pants, white shirt and a vest.

Also there is no voice over from an old man. All we get is a variation of the series' score.

There is no shopkeeper either. Kid does pass by a man selling apples. We see Kid looking at the apples hungrily, but, of course, he can't afford to buy food.

Also, the Kid sees the boxing ring, as well as Paddy McGirk and the Irish pugilist before he even finds Katy. I'll explain later why this is important.

CREDITS: Pictures on this page where generously lent by Beth from Saddles n' Spurs.

A small town on the endless prairie. A boy walks into view. He comes out of the red dust into town; he wears knickers and suspenders, scuffed high shoes and a shirt patched in three places. His wide-brimmed hand-me-down hat flops to one side; a shock of sandy-colored hair protrudes from beneath the brim. The boy's face is young, strong, fair and freckled, with blue eyes, a small and plain nose. The expression is kindly-natured, a curious combination of naiveté and hard experience. He is broke and hungry. He is 16 years old.

We hear the voice of an OLD MAN (voice over), an interesting and eccentric resonance with a Western twang.

OLD MAN (V.O.)
I remember it clear .. clear as that blue sky day in April 1860. He come in out of the red dust, from nowhere in particular. Nobody knew his real name. And I never heard him called anything 'cept ... THE KID.

The boy walks down the crude board sidewalk and stops at the window of a store marked provisions.

ANOTHER ANGLE
Inside, the shopkeeper is busy with his wares. The Kid hesitantly speaks to him from the doorway.

THE KID
Need any work done?

SHOPKEEPER
Nope. Five young 'uns of my own to do that.

ANOTHER ANGLE
The shopkeeper takes notice of the boy's resigned expression, picks up a small, freshly-baked bread.

SHOPKEEPER
But, if you're hungry, you can have this.

THE KID
No, thanks ...

His hunger and pride intact, the Kid continues through town.

The Kid walks past a barn, fenced pens of livestock and a sign: Johnson's Livery -- Horses -- Bought/Sold/Traded

ANOTHER ANGLE
There, inside a wood post corral, is an animal of rare beauty. It is a paint horse, a brown and white Indian pony with a speckled mane. She is sleek, lean and wiry, much like the Kid. She stands easily alone in the corral.

The Kid stops and stares, forgetting his hunger. The horse turns and looks at him. It is a simple, touching contact.

ANOTHER ANGLE
Johnson, the stable owner, is a mercenary sort with a mustache.

JOHNSON
Get away from there, sonny.

THE KID
Just lookin'.

JOHNSON
Look someplace else.

The Kid cannot take his eyes from the Indian pony.

THE KID
How much?

JOHNSON
That's not just any horse. I never had a better one, and don't 'spect to. (A beat) She's twenty five dollars ... and cheap at that.

The boy stands silently, just looking at the wonderful animal.

JOHNSON
Don't set your heart on 'er, sonny. You prob'ly won't never see twenty five dollars.

The Kid takes a last look, fixing her in his mind, and moves on.

If Kid saw the boxing ring earlier, then he already had an idea how to get $25 needed to buy Katy. That's why in the episode, we saw the Kid pushing through the crowd of boxing spectators, with seeming purpose. He may not have been familiar with the rules of the game (that he didn't have to beat the Irish boxer), but he knew he'd get $30 if he won.

Again, this scene is pretty much shot the way it was written. The spectators may have ad libbed a bit, but it was mostly the 'Get up, sonny' type of thing.

Any difference would probably lie in the look of the scene, rather than the feel. For one, I didn't see 'cauiliflowered' ears on the Irish pugilist. And second, the scene didn't feature a prized ring of roped canvas, as described in the script. The enclosure looked more like a corral to me.

The Kid proceeds down the street and hears a COMMOTION, the sounds of a SPORTING EVENT. In a clearing is a prize ring of roped canvas and a small crowd of townspeople. Near the ring is a small enclosed wagon the side of which is an artfully lettered sign:

IRISH JOHNNY McCLARNEN
THE SHAMROCK ASSASSIN
PRIZE RING CHAMPION -- PUGILISTIC EXHIBITIONS
Paddy O. McGirk, Mgr.

ANOTHER ANGLE
The Kid moves closer and observes two men contesting with bare knuckles. The larger of them is an unshaven bear of a man.

The Kid studies the smaller combatant with interest. He has reddish, curly hair, is bare-chested and wears a pugilist's waist to ankles leotard and ring shoes. His 21, of average height and weight. His young face reveals his craft, a slightly flattened nose, ears a bit cauliflowered. IRISH JOHNNY McCLARNEN'S eyes observe, seem to anticipate the other man's every move.

The big man swings again, again. The pugilist 'slips' the punches, then WHAP! WHAP! He counters. The big man staggers and falls.

ANOTHER ANGLE
the boxer's manager, PADDY O. McGIRK, is a wiry man n his 50s. He wears a tweed cap and a ring-scarred face. He hits the RINGSIDE BELL with a hammer, puts the bills of wagered money into his pocket and enters the ring. Paddy speaks with an Irish brogue.

PADDY
Two minutes and twelve seconds.

A bucket of water is tossed onto the seemingly dead challenger. He raises his head and is dragged out. Paddy surveys the crowd.

PADDY
Thirty dollars to any man that can stand three minutes to the finish with Irish Johnny McClarnen. Next!

There are no more takers, except for ...

ANOTHER ANGLE
The Kid, He climbs into the ring.

PADDY
Hey, get out of there, boy!

THE KID
You said 'anybody'.

ANOTHER ANGLE
Paddy walks quickly over to speak to the youth, quietly, with almost paternal concern.

PADDY
You ever fight, bucko?

THE KID
Not in a ring.

He surveys Irish Johnny.

THE KID
Do I have to beat him?

PADDY
(amazed at his guts) No, you don't have to beat him ... thirty dollars if you're still standing after three minutes.

The Kid nods his understanding. Paddy speaks more privately.

PADDY
(alarm) There's nothing here for you, sonny. Don't you understand? He's a professional. Nobody needs money that bad. He'll kill you.

The Kid holds McGirk's gaze ... and waits in his corner. A VOICE calls from the crowd:

BYSTANDER (O.S.)
Give the lad a chance!

Several others echo his sentiments.

ANOTHER ANGLE
There is a moment of eye contact between Paddy and the Kid. Paddy knows what is about to happen.

THE BELL RINGS. The Kid comes out of his corner ...

EXT. THE RING -- DAY
The fight is in progress. There is an audible reaction from the crowd. The Kid is down on one knee, his face turned away from view.

PADDY
Stay down, boy! Are you crazy?

ANOTHER ANGLE
The Kid gets to his feet and turns TOWARD THE CAMERA. His face is pocked with bloody welts, one eye swollen shut. He is taking a terrible beating. McClarnen slams a right into his ribs. The Kid's knees buckle, but he refuses to go down. He clinches.

PADDY
Get out, damnit, get out before he kills you.

McClarnen pushes him away. The Kid comes back swinging. McClarnen bats his punches away, and hits him at will. With the crowd cheering and Paddy exhorting him to stay down, the Kid refuses to give up though he is beaten, refuses to be knocked out though he is half senseless. Second by second, he stands his ground and takes what is meted out to him.

ANOTHER ANGLE
The Kid swings a clumsy left and a right. Johnny looks sidelong to a hapless Paddy, as if to signal what he is bound to do. Then he does it. He slams a hook into the Kid's ribs and then a staggering right. The Kid stiffens with a jerk, his eyes roll back and he falls heavily on his face. The pugilist walks away from him. 

ANOTHER ANGLE
From somewhere beyond courage or consciousness, the Kid's eyes open, though hardly focusing. His last measure of endurance long gone, he slowly, agonizingly drags himself to one knee.

Then, he stands up.

The crowd falls to a hush. The bell sounds. The Kid is still standing after three minutes. The crowd begins to cheer.

EXT. JOHNSON'S LIVERY -- LATER -- DAY
Johnson, sweeping out a stall, senses another presence, and turns.

ANOTHER ANGLE
There is the Kid. He stands painfully erect, but can hardly talk. He looks more than half dead. He holds a fistful of bills.

THE KID
Twenty-five ...  dollars.

ANOTHER ANGLE
Johnson stares at him for a moment, dumbfounded, then slips a bridle on the paint horse and leads her out of the stall. He hands the reins to the Kid and takes his money without counting it. Johnson is a hard man, but even he is touched by the price that the boy has paid.

ANOTHER ANGLE
The Kid takes the pony's lead. He strokes the animal's velvet nose, she whinnies softly. He smiles at her and leads his horse away.

FADE OUT

END OF PROLOGUE

This scene is interesting, especially to Kidettes, because we see right away how skilled Kid is in horsebackriding and shooting. We never actually see that until later in the episode when Jimmy "challenges" Kid with the cans. Even in the training sequences later, Kid didn't have a montage of his own.

The scene also established solidly Kid's unusual bond with Katy. As it is, we see a mere hint of it. There's a line on the right that says Kid doesn't tie Katy to the hitching post. And if you look closely at that scene, he really doesn't. He just kinda drapes them over. I think that said a lot about the relationship. Katy was pretty much a "new" horse, but Kid knew she wouldn't leave. Getting stolen is another matter ;-)

FADE IN: 

EXT: SWEETWATER -- DAY
Sweetwater is another town on the endless prairie. It is a bright day of vast blue skies. From the far background, MOVING SLOWLY TOWARD THE CAMERA, a boy and his horse RIDE INTO VIEW.

ANOTHER ANGLE
The Kid's face has completely healed. He still wears knickers and suspenders, patched shirt and wide hand-me-down hat. He and "Katy" ride easily. The Kid has acquired a saddle and an old, blued Remington "horse pistol" which he now wears on his hip.

ANOTHER ANGLE
He rides slowly down the main street and reins the mare in by an office near a salon. The office window is etched: CENTRAL OVERLAND EXPRESS." Tacked on the wall by the window is a poster. The Kid keeps his mount and silently reads.

CLOSE-UP -- THE POSTER

WANTED
Young, skinny, wiry fellows, not over 18.
Must be expert riders, willing to face death daily.
Orphans preferred, Wages $5 a week.
Apply Central Overland Express.
Russell, Majors and Waddell

ANOTHER ANGLE
The Kid dismounts. He does not tie Katy's reins to the hitching post, but simply drapes them over. She stands easily as he enters the office.

INT. THE OFFICE -- CENTRAL OVERLAND EXPRESS -- DAY
The Kid enters quietly. A gray-haired man in gartered shirtsleeves, vest and green eye shade sits behind a darkly polished wooden desk, busying himself with paperwork, He is the Overland Express Agent, HENRY LOVELL. He Looks up.

LOVELL
Help you, sonny?

(a pause)

THE KID
It's me on the sign outside

He looks the Kid up and down, taking his measure.

ANOTHER ANGLE
Lovell wordlessly opens a drawer and takes a green apple out of it. Carrying the apple, he comes from behind his desk and the Kid follows him out of the office through the back door. 

EXT. BEHIND THE OFFICE -- SAME SCENE -- DAY
The whole of the endless prairie is behind them

LOVELL
get your mount.

The Kid whistles, a sound like a cardinal's call

ANOTHER ANGLE
Katy suddenly appears, trotting around to the back of the office where she stops beside the kid. This unusual affinity registers with Lovell. 

LOVELL
I need to see you shoot on horseback

The Kid swings up onto Katy's back. He pats her neck.

LOVELL
Hands in the air. At full gallop, then fire.

ANOTHER ANGLE
The Kid rides Katy to a distance of forty yards, the turns. He holds the reins in his teeth and his hands in the air. 

LOVELL
Come ahead.

The Kid spurs Katy on. Abruptly, Lovell tosses the apple high to his opposite side. In one motion, the kid draws his old Remington and FIRES, the apple exploding into fragments as he charges past.

Lovell eyes the Kid without emotion or approval.

INT. CENTRAL OVERLAND EXPRESS OFFICE -- SAME SCENE -- LATER -- DAY
Lovell looks at the Kid for a long moment to discern his character.

LOVELL
No parents?

THE KID
(quietly) No.

LOVELL
Relatives? Friends? Anyone to speak for you?

THE KID
(a beat) No.

ANOTHER ANGLE
Lovell studies the Kid and makes his decision. He opens his desk drawer and produces an printed sheet of paper. He gives it to the Kid.

LOVELL
You can read, can't you, sonny?

THE KID
Yes sir.  (reading) I ... Pony Express .. Rider ...

He does so with difficulty. Lovell takes it from him and reads it aloud.

LOVELL
"I, Pony Express Rider, do hereby swear before the great and Living God that during my engagement and while I am an employee of Russell, Majors and Waddell, I will under no circumstances use profane language, that I will not quarrel or fight with an other employee of the firm, and that in every respect I will conduct myself honestly, be faithful to my duties, and so direct all my acts as to win the confidence of my employers. So help me God."

Lovell dips a quill pen in ink and hands it to him.

LOVELL
Make your mark. Right under "So help me God."

There is a moment of eye contact between them. The Kid signs.

ANOTHER ANGLE
Lovell produces a cloth-bound Bible, then places a five-dollar bill on top of it. He presents both to The Kid. 

LOVELL
One for your soul and one for your pocket. (a beat) An advance in pay. Dangerous work shouldn't be done for nothing'.

Henry Lovell and the Kid shake hands. The agreement is sealed.

LOVELL
My boy, you are now a Pony Express rider. 

The Kid shyly nods his thanks. 

ANOTHER ANGLE
The agent regards the contract which the Kid has signed. He opens a desk top drawer and places it atop half a dozen others. He looks after the Kid has already gone.

We also see where those firecrackers came from. There is actually a line from the filmed scene where Teaspoon helps Kid prepare for his first ride. 

Teaspoon says, "Don't forget my bag of tricks, Kid."

And Kid responds, "Got a few of my own."

Now we know what's inside of those bag of tricks.

STOREKEEPER
Something you want?

THE KID
Maybe.

INT. SAME SCENE -- LATER -- DAY
The Kid stands at the counter, the storekeeper about to figure his purchases. The Kid puts down a set of handmade, bead-worked buckskins and moccasins.

STOREKEEPER
Those are good buckskins. Made by a squaw outside of town.

THE KID
How much?

STOREKEEPER
Three dollars.

Without comment the Kid pushes them aside. 

STOREKEEPER
Two fifty.

The Kid wordlessly puts them back in the center of the counter. He will take them. The storekeeper, now wise that the boy will not be trifled with, begins to total his other purchases.

STOREKEEPER
One deluxe blanket, beef jerky, three boxes of .44 caliber, half box of cigars, one leather saddlebag and seven mats of Chinese firecrackers. Anything else?

THE KID
Chewin' tobacco.

STOREKEEPER
(setting a couple of plugs down) a mite young to chew, ain't ya, son?

THE KID
Don't chew. Horse do.

STOREKEEPER
Four dollars ninety.

The Kid give shim his five dollar bill and accepts the dime change. Transaction completed, the storekeeper becomes less businesslike. 

STOREKEEPER
You just hire on down the street?

The Kid nods. Carrying his purchases, he begins to exit. 

ANOTHER ANGLE
The storekeeper calls after him. 

STOREKEEPER
Good luck.

THE KID
Thank you.

The Kid exits.

STOREKEEPER
(to himself) You're sure goin' to need it.

EXT. OUTSIDE THE GENERAL STORE -- DAY
the Kid comes out to the sidewalk and walks over to Katy. He rubs her nose, she nuzzles his hand.
The Kid and Katy ride off.

This scene also showed that there are other riders aside from our boys, well, at least one other rider, and that Emma feels maternal toward all of them. 

I agree with the editors' decision to cut this scene. Emma made so much more impact in that scene where she tells Teaspoon "They're not orphans while I'm around." I thought that line said a lot about how she viewed herself and the boys in her care.

The door to the cabin flies open and a young woman storms out. EMMA SHANNON is no more than twenty give, though a live of overwork has made her appear older. Her face is plain but attractive, with Scottish/Irish features. She wears a proper dress and buttoned shoes. Emma has dragged a protesting sixteen-year-old boy abruptly of out of the cabin by his ear. 

EMMA
Don't you ever use language like that in my station again. I'll take a switch to you like your folks should have done. 

BOY
Ain't got none. 

EMMA
All the more reason to show some character. You'll give boys like you a bad name.

He tries to wriggle from her grasp to no avail. 

BOY
Aw, I'm sorry, Emma. It won't happen again. 

EMMA
You bet your britches it won't. (outraged) I'm a lady, damnit!

BOY
Okay, okay.

EMMA
(softens) Now, go inside and finish the food I made for you.

Teaspoon also identifies Buck as half-blood right away.

There's also this one line about the ride killing the horses. The script says Kid said it, but it was Cody who actually uttered the line. Kid stays quiet until Teaspoon talks to him.

Anyway, it seemed to me Teaspoon was a whole lot harder on Hickok in the original version of the script. 

He picks up a can of foul-looking brown goo and begins to smear it on his hair, chest and under his arms. 

TEASPOON
Bear grease. secret o' health.

He is speaking to SOMEONE OFF SCREEN.

WE PAN Teaspoon's audience, a line of boys who stand in front of the corral shoulder. All are similarly dressed in the style of the American Plains, some in buckskins with fancy Indian beadwork. Their faces are tanned and strong though still boyish. They range in age from 15 to 18. The Kid, having made a complete visual change, now attired in his handsome new buckskins and moccasin boots, is last in line.

ANOTHER ANGLE -- THE BOYS
The boys catch the scent of the bear grease, some of them wrinkling up their noses all the boys.

TEASPOON
This here Pony Express is two thousand miles from St. Jo., Missouri all the way to Sacramento, California. There's one hundred the ninety way stations and five hundred of the best Injun ponies. (a beat) You will ride seventy-five miles. One day. Flat out. 

It is a horrendous suggestion. The boys are taken aback.

THE KID
That would kill the horses.

TEASPOON
You'll change mounts five, maybe six times a day. We figure you shouldn't run any animal more 'n fifteen miles at the most. 

BOY #2
How many riders?

TEASPOON
All told, about eighty ... should you here pass muster.

ANOTHER ANGLE -- THE LINE OF BOYS
(During the following, we INTERCUT between THE LINE OF BOYS as TEASPOON meets them, and TRAINING SEQUENCES which are underscored by Music and Teaspoon's Voice Over.)

Teaspoon scrutinizes the FIRST BOY. He is BUCK CROSS, a half-blooded Indian, handsome, with angular features. His black hair is shoulder length, his eyes are light green. He wears a medicine bag amulet around his neck and seems a peaceable sort, the knife in his moccasin boot top notwithstanding. 

TEASPOON
Paiute?

BUCK
Paiute.

ANOTHER ANGLE
Teaspoon walks a few paces to the corral, fence where a quiver of Indian arrows has been hung. He returns, slips one arrow from the case and holds it out.

TEASPOON
What kind is that?

BUCK
Teton Lakota ... Sioux.

Teaspoon nods, replaces the feathered missile and chooses another. He holds it out. 

TEASPOON 
That one?

BUCK
Comanche.

Teaspoon nods, slips it back into the quiver and chooses a third. He holds it out. 

TEASPOON
That one?

Buck looks at it askance.

BUCK
That one YOU made. 

Teaspoon purses his lips for a moment and grudgingly nods his head. The boys in the line smile.

EXT. TRAINING SEQUENCE
Buck charges on horseback across the flat land near the station. 

TEASPOON (V.O.)
Amongst our white brethren out here, there's rabble scum and cutthroats of every kind ... so, I'm here to learn you my bag of tricks, and you will learn 'em good.

TEASPOON signals and Buck hauls in the reins. The animal glides down and falls harmlessly. Buck lands in prone position behind his mount with gun drawn, FIRES a quick ROUND over the animal's side and in an instant is back on his mount and racing away. Teaspoon indicates his approval. 

EXT. THE LINE OF BOYS
Teaspoon walks over to the SECOND BOY in line. This one is the tallest of the riders, lean in build, hard-boned and square-jawed with black hair and blue brooding eyes which seem rarely to blink. The youth wears his sole possession of value on his hip ... an ivory handled Colt .44. Of all the boys, he seems most the man.

TEASPOON
Wearin' that Colt a mite low, ain't you, boy?

SECOND BOY
Feels about right.

TEASPOON
That got a hair trigger.

SECOND BOY
(a cocky grin) Yup.

Teaspoon explodes

TEASPOON
You're a damn fool. What's your name?

SECOND BOY
Jimmy.

FULL NAME
Hickok ... James Butler Hickok.

TEASPOON
Get this, Hickok. I don't like no hair trigger weapon around me. You're here for ridin', not gunfightin'. If its fightin' you want, you'll get a belly full. You'll yell for your mama 'fore this is over with.

CLOSEUP -- HICKOK

He is unafraid. The smile reappears.

ANOTHER ANGLE
Teaspoon surveys Hickok and the boys.

EXT. TRAINING SEQUENCE
Hickok and a blonde boy (Cody) are practicing the transfer of the Express pouch. While at full gallop, the blond rider throws the pouch to Hickok. Bad throw. It hits him in the face and knocks him off his horse. The blond youth reins in, looks down and laughs. Hickok springs up, pulls him off his horse and they begin to fight. They are as undisciplined as stray dogs. 

TEASPOON (V.O.)
Hardcases, all of 'em ... Baby hardcases.

Teaspoon shakes his head with chagrin, casually dips a bucket into the nearby horse trough ... and douses them.

Also, check out the scene with Ike and Lou. It seemed very interesting, the first time I actually saw Lou and Ike work closely together. They are not characters one usually sees in a shot together. I think the only time they spoke privately in the first season was when Lou gave Ike the ring for that girl he liked, remember the mail-order bride.

Teaspoon also has a whole line about Nez Perce, the American Indian group which pursued Kid later in the episode.

TEASPOON
Name?

The boy does not respond

TEASPOON
Speak up.

BUCK
He can hear, but he can't talk.

Ike is embarrassed by his lack of speech. He looks down at his feet.

TEASPOON
What's his name?

BUCK
Ike McSwain. He's real good around horses.

TEASPOON
That so? (regarding him with increased interest) Ike.

The boys looks up to him.

TEASPOON
It don't much matter if you can't talk ... just as long as you can ride.

Ike brightens, relieved.

EXT. TRAINING SEQUENCE
Teaspoon and the boys are gathered near some tall wild grass waving in the breeze. 

TEASPOON (V.O.)
Silence and savvy with animals. I like that.

There is seemingly no one else around. Teaspoon puts his fingers to his mouth and whistles.

Ike and his mount suddenly appear, rising up out of the tall grass, sprinting away. Teaspoon has taught them to blend with the scenery.

EXT. THE LINE OF BOYS

TEASPOON (To the boys)
I 'spect some of you won't be so lucky as Ike, to lose their hair from scarlet fever. More likely an Injun will get some of your'n. (turns to the next boy in line) You for instance.

ANOTHER ANGLE
The FOURTH BOY'S long blond hair is tied back, as if to tempt fate. He is a bit smaller than the others, but his buckskins have already seen several seasons. He stands with a Sharps buffalo gun at his side. Though baby-faced, he is all business.

TEASPOON
What's your name?

FOURTH BOY
Cody. William F. Cody. Billy, if ya like.

TEASPOON
I don't like. (a beat) How old are you, Cody?

CODY 
Eighteen

TEASPOON
Cow pies. You ain't seen a day over fifteen.

Cody spits tobacco juice in reply.

TEASPOON
By the way you stand, Cody, you must think you're hot stuff. 

CODY
I get by.

TEASPOON
I seen hotter stuff come out of a buffalo's hindquarters.

ANOTHER ANGLE
Without warning and with lightning speed, Cody brings up the sharps and fires directly overhead.

ANOTHER ANGLE
A crow has been circling above. Cody has shot a few of its tail feathers Off. The feathers flutter down as the bird continues in flight. It is an incredible piece of marksmanship.

TEASPOON
(Unmoved). You don't have to impress me, Cody. I ain't gonna be chasin' you.

EXT. TRAINING SEQUENCE
With Teaspoon looking on, three abreast, Cody, Hickok and the Kid race on horseback across the flat space.

TEASPOON (V.O.)
Out here you don't stand and fight ... you run like hell! Understand? Run like hell!

Teaspoon tries to sight a rifle on them. The three boys suddenly become disappeared targets, hanging off the other side of their horses. As they charge past, Hickok's hand slips from the saddle; he falls into the dirt and bounces, is riderless horse races on. The other two boys return to upright when out of range. 

Hickok gets up, his face covered with dust. Livid, he grabs a handful of dirt and flings it with rage. 

Teaspoon shakes his head with disapproval.

EXT. LINE OF BOYS
Teaspoon moves to the NEXT BOY in line. LOU McCLOUD is built like the prototype jockey, small, not heavily muscled. Lou has short brown hair, a small nose and a few freckles. His eyes are intent, a bit nervous as Teaspoon stands looking at him.

TEASPOON
You sure you can cut this work?

LOU
I got this far. 

TEASPOON
(Objectively) You seem a mite puny.

There is a moment of eye contact between Teaspoon and Lou, a possibility that he may not pass muster.

ANOTHER ANGLE
Abruptly, Lou breaks rank and does a no-handle running mount onto a saddled horse that is a few yards away. He spurs the horse, cuts the mustang in and out, trick riding in a short circle, an improvised arena. Lou has the acrobatic skill on horseback of a professional equestrian.

He pulls the horse up a few inches in front of Teaspoon, jumps off and wordlessly takes his place back in line. 

ANOTHER ANGLE
Teaspoon removes his hat and brushes away the small cloud of dust. 

TEASPOON
(A straight face). Puny ... but spry.

Lou half smiles. He has passed muster. 

EXT. TRAINING SEQUENCE
Teaspoon stands holding an open pocket watch as Lou is seated with a Colt revolver and a reloading kit. Teaspoon signals and begins to time him. Lou's hands work expertly; ball, powder, was, tamper, percussion cap. 

TEASPOON (V.O.)
Guns are bad things, boys. If you get yourself in a fix where you need a gun for a way out ... you done something stupid. (A beat) However, there's worse things than stupid. There's dead.

ANOTHER ANGLE
Ike, better with horses than firearms, fumbles under the time pressure as Teaspoon peers over the watch at him. Unnerved, Ike presses the shot into the cylinder, and tries too hard. A shower of .44 caliber shot and percussion caps fly out of his hand. Teaspoon raises an eyebrow. 

Lou goes over to Ike and begins to show him the shortcuts. Teaspoon represses a smile and studies his watch as a sweating Ike persists. 

TEASPOON (V.O.)
You got to reload that quick, boys. Out here, trouble don't never come in ones.

EXT. LINE OF BOYS
Teaspoon stands before THE KID. Half expecting another show of youthful skill or pretense. 

TEASPOON
I guess you're a dead shot, too. And hard as nails. 

The Kid shrugs. There is no swagger in him. 

THE KID
Need the work. 

Teaspoon takes notice of his old 'horse pistol.'

TEASPOON
You got a rifle?

The Kid shakes his head

TEASPOON
I can issue you one.

THE KID
No, thanks. Just as soon save the weight. 

It is a sound judgment. Teaspoon eyes the Kid more closely.

TEASPOON
You don't seem quite as thick as some of these bucks ... we'll see

EXT. TRAINING SEQUENCE
The Kid and the others demonstrate all that they have learned ... Changing horses at speed ... 'disappearing' to the mount's opposite side ... the 'drop-and-shoot' ... hiding in tall grass ... rapid reloading ... the pouch transfer. Hickok, Cody and the others have set enough of their differences aside to function expertly together. Rugged individualists and loners, Teaspoon's boys are finally becoming a unit. 

CLOSEUP -- TEASPOON
He registers stoic approval.

EXT. THE LINE OF BOYS
Teaspoon pauses and scratches his ear. 

TEASPOON
One more thing. (Motions to the far distance west of them). Out yonder if you should come upon strange Injuns, beautiful to the eye, mounted on blue-gray animals. Well, you met up with the pride of the Injun Nations ... Nez Perce. Boys, you see Nez Perce, you ride and pray. (He smiles darkly). Why, even I'm scared of the Nez Perce ... And I ain't scared of nothin'.

The boys exchange uneasy glances. 

ANOTHER ANGLE
TEASPOON
(Brightens). You, young fools, can't see it now, but you're ridin' into history. Mark my words. 

CODY
(Unable to contain himself) Yiiiiihaaaaa!

TEASPOON
You bucks gonna ride thousands of miles day and night and not even the devil hisself gonna make no never mind. You're gonna tie these United States together, a high adventure to tell your grandchildren ...

ANOTHER ANGLE
The boys all toss their hats high into the air at the prospect. 

THE BOYS
Yiiiiiihaaaaaaaaaa!

TEASPOON
One small condition ... That you live to tell the tale. 

WE PAN the boys. Their enthusiasm suddenly tempered there is a weighty, collective silence.

CLOSEUP -- THE KID
The warning is written on The Kid's face. 

ANOTHER ANGLE
Reveals that we are in a cabin. SCARFACE is the leader of a gang of a dozen marauders, itinerant buffalo hunters and thieves, who have surprised a lone trapper during his meal. A plate of warm food is still on the table. The trapper is defenseless. They have descended upon him like locusts. 

SCARFACE studies the victim with a casual gaze. The frightened trapper has already had everything of value taken from him. and his men have loaded their two large wagons which are visible beyond the open door. (One wagon is for hides, the other for loot.)

The trapper protests as one of the men is carrying a last bundle of hides out the door. 

TRAPPER
(To). Please, mister. I worked for two years for what I got. You've no right to take it ...

CLOSEUP -- SCARFACE
He looks at the trapper, expressionless. There is a loud gunshot. 

ANOTHER ANGLE
The smoking Starr revolver is in Scarface's hand, the trapper slumped over a chair. 

SCARFACE
(Under his breath). I do now.

ANOTHER ANGLE
The thievery at hand completed, brushes the awkwardly sprawled trapper's hand off the chair, picks up the plate of still warm food and walks casually out of the cabin eating the man's dinner. 

END ACT 1

Several of the boys are readying their gear. Lou is a few yards distant, off by himself, grooming a horse.

The Kid sits on the ground with his back against the cabin wall, resting. It is like the calm before the coming storm. 

ANOTHER ANGLE
Enough distance away to be private, but within The Kid's view, Buck and Ike are seated on the ground. Ike studies the movements of Buck's hands with rapt attention. It is the Indian Hand Sign. For the first time, the mute is learning a method of communication.

ANOTHER ANGLE
The Paiute boy's hands move with practiced and fluid motions. 

BUCK
Water.

Ike is a quick study and mimics him, learning the sign.

CLOSEUP -- BUCK'S HANDS
They move again.

BUCK
(O.S.) Earth.

Ike is very bright and mimics him, learning the sign.

ANOTHER ANGLE
Ike smiles eagerly. Buck, elated with his progress, takes off his hat and playfully swats him with it. The lesson continues.

ANOTHER ANGLE
The Kid smiles and puts his hat over his face.

ANOTHER ANGLE
Cody peeks around the cabin wall with an impish smile that signals an imminent practical joke. He reaches out with a long stick over the end of which is draped a non-poisonous snake. Braced for the uproar, Cody sets the snake down ... on the Kid's chest.

ANOTHER ANGLE
As if always aware of his surroundings, the Kid remains undisturbed, hat over his face. His hand casually moves, picks up the snake and releases it to slither through the grass.

ANOTHER ANGLE
Cody withdraws with a foiled prankster's disappointment.

ANOTHER ANGLE
Nearby, Hickok has three cans atop an equal number of fence posts. He sets himself, draws and FIRES. BLAM, BLAM, BLAM. He hits the cans, three for three. He looks around confidently. The other boys acknowledge his leadership, and none will even look him in the eye for very long. All but ...

ANOTHER ANGLE
The Kid, sitting against the cabin wall, his hat over his face has ignored Hickok's performance.

ANOTHER ANGLE
His agreed status as top gun incomplete, Hickok strolls over to the Kid.

HICKOK
Kid

The Kid raises his hat from his face with a forefinger.

HICKOK
I just hit three for three. Can you do that?

The Kid regards him for a moment, then matter-of-factly nods in the affirmative. He puts his hat back over his face.

HICKOK
Let's see.

THE KID
(Through his hat) Lead costs money.

ANOTHER ANGLE
Hickok drops a coin into the Kid's lap.

HICKOK
(Insistent, almost threatening) Let's see.

ANOTHER ANGLE
The Kid rises wordlessly and walks to where Jimmy had been doing his target practice. Hickok puts three more cans up.

ANOTHER ANGLE
The Kid sets himself, draws and fires. With amazing speed, he empties his revolver into the cans and before they fall, the BLASTS them AGAIN into the air or skitters them across the ground. He has hit six for six with uncanny skill.

ANOTHER ANGLE
The other boys look on. It is a startling display. Even Hickok cannot match that kind of shooting.

The Kid matter-of-factly reloads his Remington. He holsters the reloaded sidearm and looks up as ...

ANOTHER ANGLE
Hickok has now turned to face him, his expression suddenly changed. He is ready to draw, for them to do it for real, for one or both of them to die. The other boys stand absolutely still.

ANOTHER ANGLE
The Kid regards Jimmy with calm. Then, abruptly, The Kid turns away and goes back to his previous position with his back against the wall and his hat over his face. Hickok looks at the other boys with satisfaction. It appears that the Kid has backed down. His ego preserved, Hickok strolls over and crouches in front of the Kid. He speaks out of earshot of the others.

HICKOK
(Quietly) You ain't afraid of me. 

The Kid raises his hat again and looks at him.
THE KID
You could get me in trouble. (A beat). I don't want no trouble. And I don't want to hurt nobody.

HICKOK
(softens). Aw, I was just foolin'.

The Kid searches his expression.

THE KID
No, you weren't.

HICKOK
(A pause, then admitting). No, I weren't.

THE KID
Why do you act like that?

HICKOK
I dunno.

ANOTHER ANGLE
Defused for the moment, Hickok sits with him, the two side by side like bookends with their hats over their faces.

HICKOK
Six for six. You sure can shoot cans.

THE KID
Ain't much. they don't shoot back.

PLAINSMAN (O.S.)
Supplies!

A PLAINSMAN has come in leading a train of three pack mules.

ANOTHER ANGLE
Emma exits the house, and after a perfunctory greeting to the man, she begins checking off the supplies that have been delivered. Teaspoon and the boys come over to assist. There are sacks of flour, sugar and horse liniment. The Plainsman takes down a five-foot long narrow crate. 

EMMA
What's this?

PLAINSMAN
I dunno. They said to deliver it.

She signs the voucher and the Plainsman departs.

ANOTHER ANGLE

EMMA
(To Teaspoon and the boys). It's probably the tools I ordered.

One of the boys pries the crate open, and all gather around with interest, staring at its contents.

ANOTHER ANGLE
the kid reaches into the crate and produces an odd looking object. It is a weapon which appears to be a hybrid between a rifle and a percussion shotgun; it's one awesome barrel has seven large fluted bore holes running its length. Emma and the boys regard it with curiosity.

CODY
I heard about 'em, but I never seen one.

EMMA
What is it?

CODY
It's a Beckwith Volley Gun.

EMMA
What's it do?

TEASPOON
Plenty. It's got seven barrels in one, each fifty caliber. And they all fire at once.

EMMA
Good grief.

THE KID
There's a whole crate of 'em in here.

ANOTHER ANGLE
Teaspoon picks up another volley gun from the crate, scrutinizes it.

TEASPOON
(To Emma) Back up for a lone stationkeeper. They'll want you to hand these out down the line, Emma.

EMMA
When I get around to it. You just put 'em back in the crate, and nail it shut ... before these children hurt themselves.

ANOTHER ANGLE
Two boys carry the crate of guns off screen. Emma and Teaspoon speak more privately.

TEASPOON
Emma, they're here to do a man's job. If'n you coddle 'em, you'll do 'em no good.

EMMA
they're just boys. Somebody's got to look out for them.

TEASPOON
(Defensively) I learned 'em what I could, and I hope it's enough. But, this outfit didn't hire orphans for nothin'.

EMMA
(Eye contact) They're not orphans while I'm around.

ANOTHER ANGLE
The Kid leads Katy into the corrals.

Lou McCloud is there tending to a horse. He uncinches the anima's saddle and pulls it off. It is heavy for Lou. The Kid walks over and helps him haul it into the horizontal top of the corral fence. Lou is strangely defensive.

LOU
I coulda done it myself.

THE KID
I know that.

LOU
Thanks just the same.

ANOTHER ANGLE
Lou is curiously standoffish. The Kid is quiet for a moment.

THE KID
You like doin' everything by yourself?

LOU
Used to it.

THE KID
Me, too. (A beat) Some ways we're the same, Lou. You don't hardly talk to nobody. It ain't my business, but ...

LOU
You're right. It ain't your business.

Lou's strong rebuff causes the Kid to fall silent. He returns to Katy. Lou continues with his work.

The scenes with the Nez Perce, though, were pretty much shot as they were written.

There's a whole scene missing between Emma saying the boys aren't orphans while under her care and the scene about Kid's first ride. Wanna take a guess which scene that is?

Yep, the boys' town excursion. They visit the town proper and get to meet "the law," the dashing gunfighter-turned-defender of the people Marshall Sam Cain! 

ANOTHER ANGLE
Teaspoon is beside him. They survey the vast expanse before them. In a display of almost parental concern, Teaspoon tightens the already secure cinch on Katy's saddle.

THE KID
Done that.

TEASPOON
Know ya did.

There is a cloud of dust on the horizon. The rider, a boy of no more than seventeen, comes in at full tilt.

TEASPOON
First ride, Kid. You ready?

The Kid nods in the affirmative. 

ANOTHER ANGLE
The Kid makes his running mount with the skill of a Plains Indian as the mail pouch is thrown between the moving horses, hand to hand. The Kid and Katy barrel off into the distant flat country.

ANOTHER ANGLE
TEASPOON (looking after him) You might have the makin's.

EXT. THE PLAINS -- DAY
The vision of the boy and his horse at breakneck speed embodies the very essence of an American dream. They are creatures of a simpler time, fast as the wind, too young to know fear, a life of adventure before them.

ANOTHER ANGLE -- THE HORSE AND RIDER
... amidst the enormity of a landscape as flat as a calm ocean.

EXT. THE PLAINS -- DUSK
Katy and The Kid ride into a setting sun, under a red and purple sky. They pass ... buffalo ... coyotes ... prairie dogs which stick up their heads and then disappear ... American eagles which soar overhead against a setting metallic orange sun, dark kites in search of a meal. 

EXT. THE PLAINS -- DAY
The Kid and Katy ride over green velvet hills which roll as far as the eye can see. They come up over a rise and stop. Katy has already run many miles, her back lathered with sweat.

CLOSEUP -- THE KID
His expression registers surprise, repressed fear and curiosity.

ANOTHER ANGLE -- LONG SHOT
There, off in the far distance, on top of a hill are five riders on fresh mounts. Their faces are brown with slightly Oriental eyes; their exotic clothes are mixtures of earth-tone colors. They carry feathered lances. All five are mounted on identical mottled gray Appaloosa horses. Motionless, with the vast Great Plains behind them, we are struck by their beauty and timelessness. 

ANOTHER ANGLE -- THE KID
He has run into that very circumstance that Teaspoon had warned against ...

THE KID
... Nez Perce.
(leans down and speaks quietly to Katy). Katy, I know you're tired ... but you gotta run now.

ANOTHER ANGLE -- THE NEZ PERCE
They start down after him; there is no hurriedness in their pursuit. Fluid and steady, they are frighteningly intent. 

ANOTHER ANGLE
Katy is tired , but the Kid urges her forward. 

ANOTHER ANGLE
The Nez Perce close the distance. Steadily, steadily, they come on.

ANOTHER ANGLE
They pass into rough country. Katy is faltering. Blood drips from her nose, the equine sign of exhaustion. If she runs much further she will burst her heart. 

THE KID
Easy, Katy ... easy.

ANOTHER ANGLE
The Kid has boxed himself in. Ahead lies a deep crevice with a wide space between its sides. Katy is run out. Seizing their only chance, the Kid takes her back, circles and urges her on. They jump. Horse and rider sail over. Katy stumbles and barely makes it, the Kid hanging on with one hand.

ANOTHER ANGLE
The Kid looks back. In single file, the five glue-grays clear the chasm with room to spare. They close to five hundred yards.

ANOTHER ANGLE
Abruptly, the Kid stops and takes an object from his saddle pouch. It is a cigar. He lights it and puffs, coughs. He does not smoke. The Nez Perce close to two hundred yards. The Kid spurs Katy forward. The pony stumbles, but keeps going. The Kid looks back. One hundred yards. In a line of five, the Nez Perce lower their lances. 

CLOSEUP -- THE KID
The Kid reaches into the saddle pouch and with a free hand pulls out a mat of large Chinese firecrackers. With the cigar still in his mouth, he puffs the tip to a red glow. He lights the fuse, waits for the last moments and flings the mat high into the air.

ANOTHER ANGLE
The war party runs right onto the firecrackers, which EXPLODE under their hooves like a volley of a hundred pistol shots. Two of the Appaloosas balk, tossing their rides headlong. The other three blue-grays buck wildly about, running of in a different directions.

EXT. SAME SCENE -- DAY
At a distance of a half mile, the Kid reins Katy up on a bluff. Atop a distant knoll, one of the mounted Nez Perce looks at him. The Indian waves, a gesture of respect. The Kid waves back. He and Katy continue on. They will ride another day.

EXT. A MOUNTAIN RANGE -- DAY
Katy and the Kid stand on the edge of a plateau. The panorama which lies ahead is extraordinary, green and wild before them. They continue across the unspoiled and seemingly endless Great Plains.

DISSOLVE

ANOTHER ANGLE
The Kid leads Katy to the corral, pulls her saddle and leads her to Ike McSwain.

THE KID
Rub her down, will you, Ike?

The mute nods his understanding. Katy goes to his hand willingly.

INT. EMMA'S WAY STATION -- LATER -- NIGHT
The boys are in the cabin; Cody, Hickok and several others. The Kid sits silently, head slightly bowed, eating slowly as if still not recovered from his ordeal. 

Intuitively, Emma understands.

EMMA
Hard week, Kid?

THE KID
(Without looking up). 'Bout average.

ANOTHER ANGLE
Cody, Hickok and the others wolf down bread and stew. Their table manners are atrocious. With Emma's back turned to them, the boys playfully engage in a few potshots of food fight. Cody catapults mashed potatoes from a spoon; a dollop lands between Hickok's eyes. 

Emma turns with a good-natured scowl.

EMMA
You gents want to take your meals elsewhere?

Under her threat, the boys sheepishly desist as ...

ANOTHER ANGLE
The door opens and Ike enters on unsteady fleet, in pain. There is a wound on his head. Emma and other others turn with concern.

THE KID
He's been horse kicked. 

Hickok walks over, examines Ike's damage with an angry expression.

HICKOK
The new mustang?

Ike nods, but pats his own chest, improvised sign language. 

HICKOK
Your fault? No, it ain't. That animal's no good. I'll bet he waited 'till you turned your back.

Ike nods in the affirmative. Hickok starts out the door. 

HICKOK
I'm gonna put him down.

Ike stops him, pats his own chest again, taking responsibility. He refuses revenge on a frightened animal. Ike motions his thanks, but for Hickok to return to the table. Reluctantly, he does so.

ANOTHER ANGLE
Emma has taken her medicines down from a shelf. Her seeming irascibility vanishes. She is kindhearted to a fault. She sits Ike down and puts antiseptic and bandage on his wound. He suffers this, along with the indignity of its cause, with gritted teeth and a silent whimper.

ANOTHER ANGLE
Her first aid completed, Emma, though a scant ten years older than he, spontaneously puts her arms around Ike and rocks him for a moment, comforting.

ANOTHER ANGLE -- THE BOYS
The sight of Emma with her arms around the injured mute, this display of maternal caring causes the room to fall to an awkward silence. This moment is as close to a mother's love as many of them can remember. despite their guns and buckskins, they are boys, mere children after all.

The boys react in disparate ways, each for his own reasons. Several look down at the floor. Hickok views Ike's acceptance of comforting as weakness. He turns his back with distaste.

EXT. EMMA'S WAY STATION -- LATER -- NIGHT
The Kid is bedded down alone on the ground, twenty feet from the corral. There, he can be in close proximity to Katy who is in the corner of the pen nearest to him.

CLOSEUP -- THE KID
He looks up at a sky of endless twinkling stars. 

Emma exits from the cabin, and walks to where the Kid is bedded down. She puts another wool blanket over him and looks down at the boy with affection.

EMMA
It's going to be cold tonight.
 

THE KID
(He accepts it with a nod of genuine thanks.) Thanks, Emma.

She motions to the b.g.; there is a bunkhouse with a light on and the SOUND of the other RIDERS ROUGHHOUSING inside.

EMMA
There's a bunk for you inside.

THE KID
No, I ... prefer it here. More private.

ANOTHER ANGLE
Before returning to the cabin she takes one backward glance, a wise and good natured appreciation of him.

EMMA
You always sleep near your horse?

THE KID
She's all I got.

EMMA
Good night , Kid.

THE KID
'Night, Emma.

With a soft smile, Emma returns to the cabin and closes the door. After a moment, the small glowing light goes out.

ANOTHER ANGLE
The Kid looks up at Katy, the paint pony framed against a backdrop of moon, stars and black sky.

The Kid pulls the blanket over his shoulders against the night chill and drifts off to sleep.

DISSOLVE TO: 

Scarface casually oversees their work, while cutting and eating pieces of stolen sausage with a large, shiny knife.

ANOTHER ANGLE
The station master lies dead, partly visible near the cabin.

EXT. THE WAY STATION -- LATER -- DAY
Lou McCloud rides into the station and reins in his mount. He becomes suspicious. There are horses in the corral, but an eerie stillness about the place. It seems deserted; there is no one to meet him, no horses saddled and waiting.

ANOTHER ANGLE
ONE OF SCARFACE'S MEN suddenly appears, steps into the clear, having used the cabin as cover. He is Wesley, a small and desperate looking man with ferret-like eyes. 

Lou is startled by the very sight of him.

WESLEY
'Lo, Sonny.

OTHER ANGLES
ANOTHER OF SCARFACE'S MEN appears at the opposite end of the cabin. ANOTHER near the corral.

ANOTHER ANGLE
Lou quickly surveys the scene. No exchange of words is necessary. Lou's eyes dart for a way out.

ANOTHER ANGLE
 appears, standing on the corner of the porch, just looking at Lou. He cuts another piece of sausage with his knife.

(Casually) What's in them bags, sonny?

ANOTHER ANGLE
There is no way out for Lou, but he makes his move, spurs his tired mount forward trying to run for it. He only rides a few yards as ...

ANOTHER ANGLE
 casually draws one of his Starr revolvers from its shoulder holster, aims and FIRES.

ANOTHER ANGLE
Lou is knocked out of the saddle, falls in the dirt and lies still. The horse stops and stands near the fallen rider.

ANOTHER ANGLE
 motions for one of his men to take the horse and pouches. He does so.

EXT. THE WAY STATION -- SAME SCENE -- DAY
Without a backward glance at the boy lying in the dirt, and his men ride out with their wagons, herding the stock.

ANOTHER ANGLE
Among the horses stolen from the corral is Katy.

EXT. THE WAY STATION -- LATER -- DAY
The Kid, on a black mustang, is the next to ride in. He quickly surveys the scene and finds Lou. He jumps off his mount ...

THE KID
Lou.

ANOTHER ANGLE
The Kid struggles to hoist Lou on his shoulders, and carries him into the cabin.

INT. WAY STATION -- THE CABIN SAME SCENE -- DAY
The Kid carefully turns Lou over and feels for a pulse at the neck. Lou's eyes flutter open. He is alive semi-conscious. There is a bloody wound at his ribs.

THE KID
(Shaken) Hang on, Lou.

The Kid looks at his hand with revulsion; Lou's blood is on it.

THE KID
It'll be okay, Lou, lemme see how bad ...

The Kid begins to carefully open Lou's shirt. Though semi-conscious, the injured rider uses his feeble strength to push the Kid's hands away.

LOU
No. Don't

The Kid, presuming delirium, persists and quickly rips Lou's shirt partly open to get at the wound.

CLOSEUP -- THE KID
He draws back in shock, stares at Lou, stunned.

CLOSEUP -- LOU
Lou, through half-closed eyes, looks up at the Kid with fear. 

ANOTHER ANGLE

THE KID
(Stunned revelation) Lou, I ...

LOU
What's the matter, Kid? Never seen a girl before?

END ACT II

Click here to read the second part of the script.