“Thanks for the very positive response to this review of my
saga, a poetic screenplay series. When a project spreads
out over several years, it requires special scrutiny; just saying.”
Eleven: Elegy--Buck is recalling his mother’s funeral as he stands in
his family cemetery staring at the three headstones--his mother,
Sarah Elizabeth Buck, in the middle--his father, William Tyler Buck,
on the right--& his little brother, Jackson Issac Buck, on the left. He
noticed that someone had put flowers in fruit jars in front of each of
them. He talked quietly with his departed ones, announcing that he
had come back for good this time. Then, arms open wide, he announ-
ced to the air, “Hey, all you sons of bitches--I’m home.”
Twelve: Provisions--Detailed introduction to Wallace’s General Store,
with the aged storekeeper bustling about filling that morning’s orders.
Buck entered & gave him a grocery & provisions list. Wallace said he
would get to it in an hour, or so, offering him biscuits & gravy while he
waited. Buck said that what he needed was a stiff drink & a woman.
Wallace sent him across the street to Bronson’s CHINA DOLL saloon.
Thirteen: Gates of Gomorrah--Buck carefully crossed the wide street,
booming with mid-morning traffic, as a bright red & yellow stagecoach
rolled by with BRONSON STAGE LINES stenciled on the doors. He
entered the saloon, followed by Cheewa, his dog. There is a description
of the large ornate saloon. A bearded guard said, “Hey, get that fucking
mutt out of here!” Buck complied, but he flashed an angry look at the
guard as he made his way to the bar.
Fourteen: Bartering--Buck notice three saloon angels at a table as he
passed by. He gets to the bar & orders a short beer. They all preen for
him as h sips it. A plump redhead with a pretty face, Millie, approaches
him. They move to a table, where he buys her a “breakfast drink”. She
informs him that she will take the ride for five bucks, “You get me & a
bottle.” They head upstairs & no one takes any notice. On the sound-
track we hear a coronet playing the Deguello.
Fifteen: Prelude--Millie’s room is tidy & clean. She has two teddy bears
on the bed, that she puts in a basket. Buck opens the red curtain & slides
up the tall window. He unbuckles his wide gun belt, & places it on a chair,
where it coils up like a serpent. She is now naked, pretending to want
his attentions. His mind wanders, thinking about a white buckskin teepee
by a gurgling creek, & a young raven-haired maiden’s laughter.
Sixteen: Cathouse--Daydreaming about a Comanche maiden, his eyes clear
& he focuses on Millie, with her Rubenesque charms, but beauty & grace
were replaced with bloat & bovinity. Buck asked her if she had ever made love
outside, “with a butterfly on your butt?” She talks about her farm girl youth,
followed by a “classy” sex scene, as we hear their coital bliss, but the camera
pans slowly around the room. Cut to a white bull bison standing on a ridge
above town, who bellows. Buck looks up as if he heard it, then stands in the
open window. He sees a cat on the roof. He said, “Cats are not very good to
eat, even if you’re hungry.”.
Seventeen: Samaritan--Suddenly the room shakes as something hits the wall
in the adjoining room. Millie said, “Not that bastard again.” Buck, wearing only
his breechclout rushes into the hallway. He hears screams coming from the
room. He kicks the door open. A gambler is choking a blond whore, with his
belt around her neck. Buck intervenes, & the man pulls a small hide-out
pistol. It discharges as Buck slaps it out of his hand. Buck is slapping the
gambler around, when the coward pulls a knife. Buck disarms him, then picks
him up onto his shoulders, spins around, & tosses the man out through the
closed window, out onto the roof, where he rolls across it, & falls off the edge.
Eighteen: Pursuit--Buck returns to Millie’s room & buckles on his gun belt, &
strides down the staircase, barefoot & bellicose. He charges through the
saloon, knocking some chairs over before he gains the door--no one attempted
to stop him. Reaching the street, he looked both directions--but no gambler.
Some people were noticing his near-nakedness. Then he saw a cloud of dust
rising out of the alley, with Cheewa barking & running circles in front of it. He
moved to the alley, finding it empty except for splintered wood & broken glass.
A small crowd had gathered. “Anyone happen to see where that son of bitch
made off to?” No one replied, so he walked back up to the saloon entrance.
Nineteen: Treachery--People cursed him as he made his way to the stairs,
which he ascended two at a time; but the bully guard was on the first landing
holding a shotgun on him. The blond whore “victim” stood behind him,
screeching obscenities. The guard accused him of assaulting one of their
best customers. The prostitute hollered that Buck might have killed, “My
Paully”. Then she attacked him, pummeling him with harmless fists. He did
not defend himself, just kept watching the guard. Finally he tired of her tirade
& punched her in the face, while drawing his Colt .41 with the other hand.
We hear two pistol shots & a shotgun blast as the camera shows us the
whore passing out.
Twenty: Self-Defense--The prostitute was out cold, & Buck had shot the
guard in the hand. Holstering the Thunderer, he tried to push past the
guard, but the obstinate bully jumped him. Buck punched him to his
knees, where he said through bloody lips, “You’d better finish it, Buff--
you’re a dead man already.’’ Buck smacked him over the head with
the heavy Colt barrel--but the tough guard still wanted to fight, so
Buck obliged him, beating him senseless. Standing up he faced down
a younger guard & twenty men at the foot of the stairs. The guardlowered his weapon, & Buck climbed the rest of the way upstairs.
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