The scene between the Kid and Lou is shot and edited pretty much the way it was written, except for a few lines.

Even the scene where the boys talk about following Scarface's gang was left alone.

But the montage where the boys ride out in search of Scarface and his gang seems different to me. I'm not sure if the ABC version had the boys finding the letters by the road, or even if the Odyssey version has that. The Family version -- the one that I have -- doesn't have this scene, so I'm marking it in color.

The Kid returns inside the way station.

INT. THE WAY STATION -- THE CABIN -- SAME SCENE -- DAY
Lou is sitting up in bed, a bandage around her waist, wearing a clean shirt. The Kid has taken care of her. She is now fully conscious. The Kid is unnerved, flustered; it is evident in his body language. After a weighty silence, he makes small talk.

THE KID
Uh ... the boys'll see the smoke. They'll be here soon ...

Lou doesn't respond. He awkwardly continues.

THE KID
You're lucky, just creased your ribs. Mighta cracked a couple, but you'll be okay.

LOU 
(Directly) You want to cut the small talk?

(A beat)

THE KID
(Angrily) What are you doin' here? This ain't a job for a girl.

LOU
I already showed I'm as good as you, Hickok, Cody, any of you.

THE KID
(More quietly) Lou, if those men woulda found out you were a girl, they'd ...

LOU
It don't matter. They didn't. Nobody knows ... but you.

Angry, fearful for her future, Lou now speaks as if not having made her true feelings known for a long time.

LOU
Listen, Kid ... I run away from an orphanage in St. Jo, Missouri. I got a little brother and a sister still in there. (A beat). A girl with no ma, no pa, no kin; what was left for me? Scrubbin' floors ... or worse.

THE KID
Ain't there somethin' else you can do?

LOU
Why should I? I know horses, always around 'em. My pa taught me lots of things before he died. I'm good at this work. But they won't let me ... if they know I'm a girl.

ANOTHER ANGLE

THE KID
What's your real name?

LOU
Louise. Louise McCloud.

THE KID
(Extends his hand). Pleased to meet ya, ... Louise.

LOU
(Slaps it away) You met me already.

THE KID
Only in a fashion. (A beat). You won't fool people forever.

ANOTHER ANGLE

LOU
(Intently) If I save all my money, I can find a place of my own. I can get my brother and sister out of there ...

THE KID
(Sympathetic). I'll give you what money I got, Lou. I think the others would, too.

LOU
(Appreciative) No, thanks, Kid. I quit takin' charity the day I left there. I got to do this by myself. (Urgently). Kid, you won't tell. They'd get rid of me for sure.

CLOSEUP -- THE KID
A profound moral dilemma is written on his expression.

THE KID
(A beat, troubled). Lou, don't ask me. If anything happened to you, I ...

LOU
That's my lookout.

THE KID
(Shakes his head) But, if you keep on and somethin' really bad happened, I'd ... blame myself, I'd ...

LOU
Kid, you can't tell

ANOTHER ANGLE
A moment of eye contact between Lou and the Kid.

Before Lou can respond, OFF SCREEN, WE HEAR THE SOUND of approaching riders outside. The Kid rises and leaves the cabin.

EXT. THE WAY STATION -- LATER -- DAY
Hickok, Cody, Buck and Ike are with the Kid. The boy's faces are set with resolution.

HICKOK
How many?

THE KID
Don't know. Lou didn't see 'em all.

ANOTHER ANGLE
Buck is kneeling in the dirt, reading hoof marks and sign.

BUCK
Twelve, maybe thirteen ... and two wagons.

CODY
Good. Wagons will slow 'em up.

HICKOK
How long a lead?

BUCK
Maybe three hours.

ANOTHER ANGLE

HICKOK
(Looks around) They get everything?

THE KID
Everything. And Katy.

HICKOK
Sorry, Kid.

CLOSEUP -- THE KID
He is bereft; quickly the expression changes to one of mission.

ANOTHER ANGLE
The boys are of one mind and heart. They ready sidearms and gear with quiet efficiency.

CODY
No one ever lost a pouch ...

LOU (O.S.)
... and I ain't gonna be the first.

ANOTHER ANGLE
Lou has come out onto the porch and stands on unsteady legs. 

THE KID
Lou, you should be resting ...

LOU
I'm goin'.

THE KID
(Concern) You can't, Lou. You're hurt.

HICKOK
Lou's got a right. If he thinks he's fit, why can't he?

THE KID
Because ...

CODY
Because, what?

ANOTHER ANGLE
A moment of eye contact between the Kid and Lou.

THE KID
Because he'll slow us down.

LOU
You said yourself, I'm not hurt that bad. I'm goin'.

HICKOK
(Smiles) I guess Lou's goin'.

ANOTHER ANGLE
Ike signs to Buck. Buck translates.

BUCK
Ike wants to know how we're going to go up against all those men.

THE KID
(Pensive) We'll even the odds. (To Ike, privately) Ike, we need you to go back to Emma's.

Ike shakes his head angrily, intent on not being left behind.

The Kid reasons with his arm around his friend. Ike calms himself and listens intently.

EXT. SAME SCENE -- DAY
The other boys are ready. The Kid swing up onto the saddle, then looks at Ike. Ike nods his assurance. He will not fail them. 

ANOTHER ANGLE
The Kid, Hickok, Cody, Lou and Buck ride north. Ike takes off in the other direction, towards Emma's place. 

EXT. THE PLAINS -- THE BOYS IN PURSUIT -- DAY
The young trackers race across the vast grasslands.

EXT. A ROCK AREA -- LATER -- DAY
While still mounted, Buck studies the ground, indicates the direction of the tracks. 

BUCK
That way.

ANOTHER ANGLE
The boys continue on.

CLOSEUP -- THE KID
He opens a bag marked "corn meal" and tosses several handful of the bright yellow stuff onto the ground, a visible sign.

EXT. A RIVER -- DAY
In single file, the boys and Lou follow Buck along the river bank. Buck reads the ground intently, indicating the way.

ANOTHER ANGLE
The Kid marks the trail with more bright yellow powder as ... the boys ride on.

EXT. THE PLAINS -- LATER -- DAY
CLOSEUP --A discarded LETTER stuck on some sagebrush.

The SOUND OF APPROACHING HOOFBEATS OFF SCREEN ... and a boy's hand reaches into the FRAME and snatches it up while at full gallop.

CODY (O.S.)
Hey, there's another one over here.

CLOSEUPS -- OTHER LETTERS
HOOFBEATS -- ANOTHER BOY'S HAND reaches down, plucks another letter OUT OF FRAME. ANOTHER HAND ... ANOTHER LETTER ... ANOTHER.

OTHER ANGLES
Riders at full gallop, retrieve the discarded contents of the pouch; they stuff the found mail into their shirts.

This line is not entirely missing from the episode, it was merely uttered by another character -- Marshall Sam Cain. Remember, when he saw Scarface and his gang in town? Jimmy asked Sam how he knew the bad man was going to back down and Sam referred to Scarface having a lot of guns and ammunition on him.

I just wanted to point this out. When Hickok makes the suggestion to "rush 'em," Buck reacts and says "He's crazier that we thought." I thought it was a really funny line (sorry Jimmyholics) and very telling. It means the other boys have been talking about Hickok's "craziness" among themselves! At least, that's my reading of that line ;-)

BUCK
They're over there

The boys look at him, incredulous.

CODY
How do you know, Buck?

BUCK
(In all sincerity) I can smell 'em.

The Kid and the others dismount.

EXT. THE RIDGE -- SCARFACE'S CAMP -- DAY
Having left the horses below, the boys belly crawl to the top and look over the ridge. Scarface and his men are camped on the other side.

ANOTHER ANGLE
The improvised corral of stolen horses. Katy is among them.

ANOTHER ANGLE
Lou looks blankly at the Kid and the others. They have now arrived, but are at a loss for what to do next.

LOU
Well, we found 'em.

Cody surveys the marauders.

CODY
Buck was right. Look at 'em all ...

CLOSEUP --
SCARFACE is near his wagons. The crossed shoulder holsters and revolvers, in nickel-plated shotgun over his shoulder and fearsome demeanor presents a riveting image.

ANOTHER ANGLE

BUCK
Oh, that's a bad one. Look at all those guns ...

The Kid offers a hint of encouraging smile.

THE KID
So many guns. He must be afraid of everything.

ANOTHER ANGLE

HICKOK
Let's rush 'em.

Bucks looks askance at Hickok and his suicidal suggestion.

BUCK
(Refers to Hickok) He's even crazier than we thought.

The boys consider the situation.

LOU
(Eyes on the corral) We gotta do something. Without mounts, we're outta business ...

Cody is not optimistic.

CODY
They got buffalo guns and fresh horses. We've got little firepower and not much cover ...

HICKOK
(Angrily) What's all that talk, Cody? You scared?

Cody meets his gaze. The time for boyish posturing has ended.

CODY
Damn right, I'm scared. Them ain't cans on a fence down there. 

HICKOK
(Derisively) So ride out.

The insult is too much for Cody; he loses his temper and goes for Hickok. The Kid moves between them; pushes Cody back.

THE KID
(To Hickok) You know better than that, Jimmy. (To both of them) Ain't the odds bad enough?

The point has scored. Hickok and Cody withdraw in silence.

ANOTHER ANGLE

LOU
So, what now, Kid?

The Kid looks back to the trail over which they have come. 

THE KID
We're gonna wait.

HICKOK
What for?

THE KID
(Adamant) Just ... wait.

In a huff, Hickok moves away from the top of the ridge, kicks the dirt and paces.

HICKOK
Lemme know when you're all though talkin'.

EXT. THE RIDGE -- LATER -- DAY
In the b.g., there is activity in Scarface's camp.

BUCK
(Urgently) They're startin' to break camp.

CODY 
(Watching) This is the only cover around, the best we're gonna get.

LOU
(Nods agreement) It's gotta be here.

ANOTHER ANGLE
The Kid turns and looks again to the trail over which they have come. Nothing. He turns back to the group.

BUCK 
What would Teaspoon say?

CODY
Run like hell.

THE KID
Too late for that.

CLOSEUP -- THE KID
He must act. Suddenly, he stands up on top of the ridge.

ANOTHER ANGLE

HICKOK
(Alarm) Kid, what're you doin'?

The Kid will stall for time; he will talk to. The boys draw their guns and lie prone, backing him up. 

EXT. THE RIDGE -- DAY
The Kid stands looking at.

CLOSEUP --
He reacts with surprise, looks back at the Kid for a long moment.

SCARFACE
(Calls to him) You want somethin', boy?

THE KID
Our horses and supplies.

Scarface's men walk over and look at the boy on the ridge.

Slowly, one by one, the other boys stand up beside the Kid.

CLOSEUPS -- & LOU
There is a hint of surprise in Scarface's recognition of Lou. She stares defiantly at him.

ANOTHER ANGLE -- WE PAN SCARFACE'S WILD ONES.

SCARFACE
(To his men/amused) We're surrounded ... by these five boys.

SCARFACE stands holding his cup of coffee. He speaks to the Kid with finality.

SCARFACE
Sonny, first I'm gonna finish my coffee. And then I'm gonna kill you, and leave you and your friends for the crows.

THERE IS A RIFLE SHOT, as one of Scarface's men impulsively pegs a shot at the Kid. It kicks up the dirt in front of him.

ANOTHER ANGLE
SCARFACE pushes the man's rifle away, and goes back to finish his coffee.

ANOTHER ANGLE
The Kid and the others scramble back to cover. Hickok checks his ivory-handled Colt.

HICKOK
Finish his coffee, hell. We'll settle him right now.

CODY
Anybody got a better idea?

None are forthcoming.

THE KID
Hold on.

HICKOK
(Impatient) We waited long enough, Kid. We're goin'.

His options gone, in a matter of seconds, the Kid will have to go with them. He takes a last look back to the trail, strains his eyes.

EXT. THE RIDGE -- DAY
Ike gallops in and dismounts. His horse and mule are covered with lathered sweat. e has runt hem to exhaustion to catch up. Ike pulls the tarp from the loaded mule. Beneath it is a long and narrow crate. The crate is opened. It is loaded with Beckwith Volley guns.

THE KID
(Profound gratitude) You done good, Ike.

CLOSEUPS -- HICKOK & IKE
Hickok, who had once derided Ike as weak, now looks at him with reappraisal. A moment of warm eye contact. Hickok smiles, a silent gesture of his respect. Ike beams.

ANOTHER ANGLE
The boys reach into the crate ...

EXT. THE RIDGE -- DAY
The Kid stands on the rise in the open and calls to Scarface.

THE KID
You better give up. That's my last warning.

Scarface looks at the Kid standing on the ridge. Scarface is amused.

SCARFACE
Ya hear that? His last warnin'.

Scarface tosses his coffee cup down. He and his heavily armed men begin walking towards the boys ...

EXT. SAME SCENE -- DAY
We DOLLY DOWN a line of awesome Beckwith volley gun barrels leveled ready to fire. 

ANOTHER ANGLE
The band of riders is in a row, each of the boys holds his firearm with silent purpose. Each has constructed a makeshift backstop of dirt, rocks and a saddle against which to brace himself. (Lou has the stock of her Beckwith braced directly against a saddle).

ANOTHER ANGLE
In a macho display, Hickok is standing in full view, the butt of the braced against nothing but his shoulder.

THE KID 
(Understatement) You might want to brace that gun, Jimmy.

Hickok replies with a disdainful smile, aims and ...

ANOTHER ANGLE
In one enormous DISCHARGE OF FIRE and black powder smoke, Hickok's Beckwith ROARS. He is knocked clear off his feet by the recoil and lands flat on his back.

ANOTHER ANGLE
One of Scarface's men is near a water cask lashed to a wagon. When the smoke clears, the entire cask has disappeared. A fine spray of water rains down on the startled outlaw.

ANOTHER ANGLE

THE KID
Ready

CLOSEUP - CODY'S VOLLEY GUN

THE KID
FIRE!

Cody FIRES. Seven shots of fifty caliber lead slam in with the effect of an artillery shell. The top section of a wagon flies apart.

ANOTHER ANGLE
Scarface and his men dive under the wagons, kicking one another out of the way for a place to hide. O.S. we hear VOICES from under the wagons, the sounds of surprise and fright.

SCARFACE (O.S.)
Now, hold on, boys ...

The Kid ignores him.

The other boys excitedly, give each other 'thumbs up'. Hickok scrambles back to the line and reloads.

THE KID
FIRE!

Lou braces herself, the butt of the Beckwith against a saddle ... and FIRES. Another chunk of wagon explodes as if hit by a field gun, a wheel flies apart.

ANOTHER ANGLE -- IKE'S VOLLEY GUN

THE KID
FIRE!

Round after round, despite the calls from under the wagons and the RIFLE SHOTS RETURNED. The boys load their Beckwith guns with single-minded purpose. The Kid stands in front of them like a general directing cannonade. The boys load and fire like men at war.

ANOTHER ANGLE -- BUCK'S VOLLEY GUN

THE KID
FIRE!

EXT. SCARFACE'S WAGONS -- SAME SCENE -- DAY
One of the wagons is half standing, parts blasted away, the other wagon is similarly damaged. There are calls to the boys.

WESLEY
Don't shoot no more.

OUTLAW #2
We had enough, boys.

ANOTHER ANGLE
Scarface's men come out from under and behind the wagons with hands in the air. Several are walking wounded. There are ugly and hardened men, but their faces now show abject fear. All have come out, except for ...

CLOSEUP -- SCARFACE
He is literally groveling in the dirt, hands over his ears, terrified. 

ANOTHER ANGLE
The Kid, holding his Beckwith Volley gun, stands silently a few feet away from him. Cody and Buck sidle up to the Kid, regard Scarface still under the wagon.

CODY
(Wryly) Well, I guess he finished his coffee.

WE PAN THE BOYS
Back-slapping. They are elated, almost surprised at their victory.

ANOTHER ANGLE
Hickok is mounted now.

HICKOK
(Matter-of-factly) Get a rope.

ANOTHER ANGLE -- THE BOYS
The smiles disappear.

CLOSEUP -- SCARFACE'S MEN
There is terror in their faces. WESLEY unashamedly runs from boys to boy.

WESLEY
Please, boys, please ... You can't just let him do that. (Falls to his knees) Please, boys.

HICKOK is matter-of-factly preparing a noose in a rope.

THE KID
Wait a minute, Jimmy, I ain't gonna hang nobody.

HICKOK
(Incredulous) Why?

THE KID
We all got five dollars and a Good Book. The Good Book says hangin' is wrong.

HICKOK
(While surveying Scarface & Company) They ain't never read it.

THE KID
There's a town a half day's ride. We'll give 'em to the law.

HICKOK
Out here, we're the law.

WESLEY
Please, sonny, I'm beggin' you ...

Hickok is unmoved. He motions to Scarface.

HICKOK
A man like that. Never leave him standing. Never.

THE KID
It ain't him I'm worried about.

LOU 
Listen to the Kid ... or we could all end up like this trash.

CLOSEUP -- THE KID
He looks at Lou with silent respect.

ANOTHER ANGLE
Lou's point is well taken. The other boys exchange glances, then nod their assent.

ANOTHER ANGLE

HICKOK
(To the Kid You ain't runnin' things, Kid.

Hickok looks to the other boys; they have sided with the Kid and Lou. Reluctantly, still brooding, Hickok recoils the rope, defers.

HICKOK
This is a mistake.

ANOTHER ANGLE
Ike has saddled Katy and brought her over to The Kid. He looks at her fondly for a moment. She nuzzles his hand. The Kid produces an apple and gives it to her, rubs her nose while she chews.

The Kid swings into the saddle. Wesley tearfully clutches at his pants leg.

WESLEY
Bless you, Sonny. (Runs to Cody) You won't regret it.

Cody looks down at him from horseback. Then, he expertly spits a squirt of tobacco juice onto the man's shirt.

CODY
Hell, I regret it already.

EXT. SAME SCENE -- LATER - DAY
The boys are putting the last of the letters in the reconstructed Pony Express pouch. Buck is already in the saddle. The Kid cinches the pouch closed.

THE KID
That's everything, Buck.

Cody slaps Buck's horse on the flank, and with a wave, and a group 'WAAAHOOO', Buck is off to deliver the pouch.

ANOTHER ANGLE
Nearby, a bound and his men are in one good wagon which has been hastily pieced together from the two.

CLOSEUPS -- SCARFACE/THE KID
He looks at the Kid who holds his gaze.

ANOTHER ANGLE
Scarface's cowardice makes him no less dangerous or intimidating. Before being taken away, he speaks to the Kid in a malevolent near whisper.

SCARFACE
I dealt with the law before, sonny. (An icy smile) And I can't be hung. I'll be back. You ain't seen the last of me.

CLOSEUP -- SCARFACE
His creepy smile as the wagon ROLLS OUT OF THE FRAME.

CLOSEUP -- THE KID
The threat registers on his face.

END OF ACT III

Speaking of fast ones, the original draft on the right doesn't mention anything about Kid moving his face so he could catch Lou's kiss on his lips. Interesting development there, don't you think?

Also, we see Kid and Lou's scene near the end of the episode, not in the middle of ACT IV as it is placed here.

EXT. EMMA'S WAY STATION -- NIGHT
The boys are in the station. Emma is standing over the stove. The Kid enters carrying his bedroll. He looks around, finds an empty bunk ... and throws his bedroll onto it. With this gesture, the Kid has now fully joined the rest of the boys.

There is a silent acknowledgment of this between Emma and the Kid. She smiles her approval at him and returns to her cooking.

ANOTHER ANGLE
The boys are seated at the crude plank table, their mood upbeat, playful. They are eating from large bowls of steaming stew and plates piled with biscuits. Standing at the stove, Emma looks at the boys with affection.

EMMA
You're good boys.

For Hickok, the words are a novelty.

HICKOK
I been called lots of things in my life ... but never "good."

Cody leans back in his chair. Hickok and Ike are seated on either side of him. Hickok winks at Ike, the two kick Cody's chair out from under him. Cody keels backward, hat flying.

ANOTHER ANGLE
Emma has turned to the sound. Hickok and Ike, playing gentlemen, help Cody up.

HICKOK
(Smiles) He slipped.

ANOTHER ANGLE
Buck speaks proudly for all of them

BUCK
Even Teaspoon would say we done a man's work today.

Lou and Kid make eye contact ... and smile.

LOU
Yup, a man's work.

ANOTHER ANGLE
Emma holds a bowl filled with stew.

EMMA
Had enough?

Only Cody is not finished.

CLOSEUP -- CODY
Emma walks over to him, takes his empty bowl as he finishes and puts another down in front of him, along with another dozen biscuits. Cody nods his thanks with a smile and unabated, begins the next helping with undiminished gusto.

ANOTHER ANGLE
Emma and all the boys stare at him. It is a kind of entertainment.

THE KID
How many is that?

EMMA
Six bowls and twenty four biscuits. (To Cody) You just ate a quarter of your body weight.

CODY
I'm hungry.

THE KID
We can see that.

Emma and the boys smile and shake their heads with wonderment.

EXT. EMMA'S WAY STATION -- DAY

LOU
Kid ...

THE KID
Yes, Lou?

LOU
Thanks for keepin' my secret.

THE KID
I didn't promise ...

LOU
No, but you could've said somethin' and you didn't.

THE KID
(Pensive) You got as much backbone as anybody out here. You got a right to make your own way. I won't tell, Lou. I give you my word.

Lou looks around to ensure that they are alone. She leans over and softly kisses him on the cheek, an expression of her thanks and respect.

CLOSEUP -- THE KID
He sits flushed and unmoving. Then, his face breaks into a soft smile.

THE KID
(Thoughtful) Gonna take some gettin' used to, ... now that you're a girl.

LOU
(A quiet smile) I always been a girl, Kid.

As the orange and red sun sets over Emma's place, the Kid and Teaspoon are waiting by the corral.

THE KID
(Curious) Were you ever married, Teaspoon?

TEASPOON
Yessir. Three times to white women and three times to Injuns.

THE KID
Then you must know a lot.

TEASPOON
(Nods) Kid, when it comes to human bein's, affair of the heart and such, the world is kinda like a wheel ... divided into three equal parts. And each of these parts wants a part that don't want it. Now, if one of these parts should desire the other and its mutual ... that's what's called a freak o'nature.

The Kid listens intently.

TEASPOON
People get married, and they call it 'love,' but it really weren't who they had in mind in the first place. So, years pass, and they find out they done married up to a stranger ... So, the questions is, Kid, if they's married to a stranger .. who's they with all that time before?

THE KID
(Blankly) This is very confusing.

TEASPOON
I daresay it is, Kid. I daresay.

THE KID
So, how come you married so many times?

TEASPOON
Well, see Kid, I got this problem with women. I never could figger out what they want.

ANOTHER ANGLE
Teaspoon and the Kid take notice of the dust in the distance as an Express rider comes into view.

TEASPOON
You're up, Kid.

Katy is saddled and waiting. The Kid springs into the saddle as the bag is tossed to him. He and Katy race into the sunset.

EXT. THE PLAINS -- LATER -- NIGHT
It is dark as the Kid comes upon a stretch of high buffalo grass which blocks his way and rolls in the night breeze. A small bison trail presents the only path through the thicket. He reins Katy in and surveys the corridor. It is a place of danger, of natural concealment. He watches the tall grass for a sign of any presence. Warily, he rides Katy into the corridor with its walls of high grass on either side of him.

ANOTHER ANGLE
A mounted rider suddenly emerges out of the wall of grass before him. The man is armed. It is.

Another bushwhacker appears behind him, WESLEY, who had so pitifully begged for his life.

SCARFACE
Hello again, sonny.

The Kid puts his hands in the air, his front and back clear targets.

THE KID
(Stunned) How did you ... ?

SCARFACE
A lawman turned his back. (His cold smile) See, I told you, I couldn't be hung.

WESLEY
(A mocking parody of his own words) Thank you, sonny, thank you (laughs).

THE KID
We could have finished you.

SCARFACE
You didn't. Your friend was right.

WESLEY
It's a hard lesson, boy.

SCARFACE
The last one you're gonna learn. Get off that horse.

There is a moment of eye contact between them. Wesley holds a revolver aimed at Kid's head. The Kid lowers one hand to the saddle horn as if to dismount. Then, before either of them can react, with one sudden motion he spurs Katy forward, quick draws his .44 Remington and FIRES. Wesley is shot dead out of the saddle as the Kid bursts past.

ANOTHER ANGLE
The Kid and Katy sprint out of the tunnel as the SOUND OF SCARFACE'S REVOLVER booms behind them. Katy stumbles and falls tossing the Kid to the ground. Though stunned, he rolls up onto one knee with his sidearm still in hand. 

ANOTHER ANGLE --
He rides out of the corridor with revolver blazing.

ANOTHER ANGLE -- THE KID
He sights on as a gunshot slices the brim of his hat. 

CLOSEUP --
He is about to shoot again.

CLOSEUP -- THE KID
A moment of eye contact. He FIRES.

ANOTHER ANGLE
WESLEY is BLASTED out of the saddle. He falls heavily into the mud and lies still. His horse runs off.
 

Anyway, I can't say I would have loved the DOG MAN. He seems eccentric, and we already have Teaspoon for that. I'd have to say I agree with whoever pushed for Sam's character.

THE KID
Katy, get up ... you'll be okay if you get up.

She whinnies and struggles; she cannot rise.

THE KID
Katy, get up ...

The animal thrashes out in pain.

THE KID
Get up ... please.

Tears streaming down his face, he takes the .44 pulls back the hammer and point it at her.

THE KID
Katy ...

O.S. There is an ODD JINGLING SOUND.

ANOTHER ANGLE
The Kid looks off into the darkness. It is a strange apparition coming towards him out of the night, a savage, ugly thing more beast than human. It appears half bear and half man; it walks upright on two legs.

The sight is all the more chilling because the creature is led by an animal vanguard, a pack of dogs, slinking furry shapes with shining yellow eyes which peer out of the blackness. The Kid aims his revolver at the DOG MAN. A voice stays is hand.

DOG MAN
Don't be afeared. I'm a terrible sight, but  ain't an evil man.

The DOG MAN comes into view. It is indeed a man, dressed mostly in a bearskin with the head and teeth still attached and perched atop his own head. Under the bearskin, he wears an all-purpose blanket poncho. His face is smeared with bear grease and Indian paint which shines in the firelight and his necklace of animal claws and feathers make a weird CLINKING SOUND. He is not a big man, but lean like the dogs that follow after him, a dozen large and small mixed breeds with tails wagging.

ANOTHER ANGLE -- THE KID
The Kid and the Dog Man stand looking at each other. The Dog Man's direct and piercing eyes shine like coals.

DOG MAN
Are ya still scared?

THE KID
Yes ...

DOG MAN
Don't mind me. I ain't fit to be near most folks. Maybe I'm crazy like they say, but I love these Plains.

He looks up at a sky of endless stars and shouts at the top of his lungs.

DOG MAN
I GIVE YA GLORY! YA HEAR ME, LORD?

ANOTHER ANGLE
The Kid is still frightened of him, thinking that the man is mad. The intruder takes notice of the horse lying wounded.

DOG MAN
I see yer pony's hurt. (A beat) Want me to fix 'er for ya?

The Kid is unsure if he should allow the man any closer though he is seemingly unarmed.

DOG MAN
I can y'know.

He approaches the fallen animal while motioning to his dogs to stay back. He kneels beside Katy who WHINNIES nervously, startled by his smell and JINGLING SOUND, but she is quickly soothed by the touch of his hands.

The Kid watches warily, uncertain as to what to make of him.

DOG MAN
Walk away from here for a while.

THE KID
(Suspiciously) You won't eat my horse, will you?

It is an appropriate question. The Dog Man answers in all seriousness.

DOG MAN
No, I ain't gonna eat your horse.

Still unsure, the Kid examines the Dog Man's face, then reluctantly leaves the campsite.

The Dog Man produces a long sharp knife from under his poncho. He runs his thumb down the edge and smiles wickedly. The dogs gather about.

DISSOLVE TO:

EXT. SAME SCENE -- LATER -- NIGHT
The Kid returns. He sniffs the air. There is an aroma of cooking food.

ANOTHER ANGLE
The Dog man and his dogs are squatting by the fire. They are eating meat.

ANOTHER ANGLE
The Kid runs forward in near panic, but stops. Katy is lying by the fire covered with a blanket and breathing easily. She picks up her head and whinnies softly. Relieved, the Kid sits by the fire opposite the Dog Man. The man in the bearskin winks at him.

DOG MAN
Fixed 'er. Just like I said.

He fingers the tip of his knife.

DOG MAN
Cut the slug right outta her side. Put herbs in the wound, too.

The Kid peers through the flames at the man chewing who knows what for dinner.

THE KID
Thank you, mister.

DOG MAN
Accepted.

THE KID
Someday I'll pay you back.

DOG MAN
No need of that, young 'un. I got everything already.

THE KID
How long have you lived out here?

DOG MAN
About ten years, as I recollect, though my time ain't in hours or days, but in seasons.

THE KID
Can I ask your name?

DOG MAN
You can call me "Dog Man." That's what the Injuns call me.

THE KID
And you live out here all alone?

He smiles in answer and pats the animals beside him.

DOG MAN
These furry creatures have a soul, just like you or I. Treat 'em fair, and a dog is a friend for life who will stay with you if'n you are a king or a beggar. Not so with man, who will shake your hand one day and stab you in the back the next.

He shakes his head with resignation.

DOG MAN
Men. They know the price on everythin' ... and the value of nothin'. (A beat) I'm tired. Mind if my animals and me sleep by yer fire?

THE KID
No, 'course I don't mind.

Several of the dogs trot over to the Kid, nuzzle his hand for an introduction, and rest beside him.

EXT. SAME SCENE -- DAWN
The Kid awakens. The Dog Man is observing Katy with some satisfaction; she is on her feet and grazing a few yards away.

He motions to two mounds of earth and rocks nearby.

DOG MAN
The men you shot.

THE KID
They gave me no way out.

The Dog Man nods his understanding and looks off into the distance, ready to take his leave.

THE KID
Will I see you again, Dog Man?

DOG MAN
Some time, maybe.

He surveys the wilderness around them as far as the eye can see. s

DOG MAN
Better look long and hard at all this, 'cause it's gonna be gone. You and me might be the last to see the Wild Plains like they is.

It is a prophecy with eyes burning from an inner fire, the vision of a mystic or a madman, or both.

THE KID
How do you know?

DOG MAN
I just know, that's all. 

THE KID
Long life to you, Dog Man ... and good luck.

The Dog Man smiles his good-bye, the civilized man in him now most evident. He recedes into the distance, journeying toward the far mountains with his dogs at his heels. 

ANOTHER ANGLE
Teaspoon holds a large peeled onion in his hand, regards it for a moment, takes a hefty bite, chews and swallows.

TEASPOON 
Anybody want an onion? Good for the blood.

Ike, seated, slightly behind Teaspoon, wrinkles his face at this unlikely snack. He silently 'signs' to Buck; both laugh at the joke.

Teaspoon 'double-takes' to Ike and reprimands him with a mock scowl.

TEASPOON 
Get over there. Stop talkin' behind my back.

ANOTHER ANGLE

TEASPOON
I want to congratulate you, boys.

CODY
For what?

TEASPOON
For stickin' together, for stayin' alive. And that ain't nothin', but dumb luck, so don't go gettin' smug ...

CODY
(Senses personal interest) Do you like us, Teaspoon?

Teaspoon takes another bite of the onion, hides his true feelings.

TEASPOON
Can't say. Ain't paid to like you. 'Sides this here Pony Express is job enough, and it ain't nothin' but ...

The boys all parrot him in unison as if they have heard him say it a hundred times before.

THE BOYS
Sweat and trouble.

TEASPOON
Yeah, that's right.

He takes another hefty bite out of the onion, spraying acrid juice. He swallows and shakes his head as if having imbibed hundred proof whiskey.

TEASPOON
Whew! Good onion.

ANOTHER ANGLE
Teaspoon sees a cloud of dust on the horizon. A rider is coming in.

TEASPOON 
You're up, Kid.

ANOTHER ANGLE
The Kid swings onto Katy who is saddled and waiting. He takes the pouch hand-to-hand from the incoming rider. The Kid and Katy gallop off onto the Wild Great Plains as

WE HEAR THE VOICE OF THE OLD MAN, resonant and very much alive despite his age and trials. THE VOICE is that of the Kid as an Old Man. 

THE KID (V.O.)
I was to live my young life with Katy, Hickok, Cody and Lou McCloud. And I was to see the Dog Man again. Teaspoon promised high adventure. He was more right than he knew ...

CLOSING CREDITS OVER BIG SCORE

EXT. THE KID & KATY ON THE GREAT PLAINS -- DAY

FADE OUT