Copper Canyon Page #3

Synopsis: A group of copper miners, Southern veterans, are terrorized by local rebel-haters, led by deputy Lane Travis. The miners ask stage sharpshooter Johnny Carter to help them, under the impression that he is the legendary Colonel Desmond. It seems they're wrong; but Johnny's show comes to Coppertown and Johnny romances lovely gambler Lisa Roselle, whom the miners believe is at the center of their troubles.
Genre: Western
Director(s): John Farrow
Production: Paramount Pictures
 
IMDB:
6.3
NOT RATED
Year:
1950
84 min
71 Views


Quite a woman.

And quite an idea.

Yeah, that's part

of our trouble.

Travis and the others

we can handle, maybe,

but how does one

fight a woman?

Women are difficult, sir,

but not invulnerable.

Somewhere along the line

there's always a weak spot

in their fortifications

and to find it requires

vast experience.

But having found it,

they'll fold up like army tents.

You certainly seem

to know your business.

And I might add that

their final capitulation

is always fraught with the most

charming possibilities.

But one question, sir.

Why am I being haunted

by the ghost of this...

this Colonel Desmond?

It's the simple arithmetic

of violence and oppression,

Mr. Carter.

My men are being killed

in the mines,

shot to death taking ore

to Mesa City...

the only smelter

that'll handle it.

They're panicked, ready to quit.

They need a man who'll put heart

and guts into them,

a man strong enough to blast

Travis and his men.

They need a leader.

Mr. Carter, won't you help us?

Me?

A vaudeville performer,

a trick-shot artist?

What chance would I have

with a box of toy pistols

against Travis and his guns?

Besides, I'm a man of peace.

I abominate violence.

I'm sorry, sir.

I wish I could have helped you.

Good night.

I thought I heard voices.

You did.

Tom used to sing that.

He was singing it

the last time he rode away.

Was that Tom's brother?

Was it Colonel Desmond,

Grandpa?

Was it?

I don't know.

I don't know.

Well, did you warn him

about the Yankee lieutenant?

Why, no, I didn't.

Anything I can do, ma'am?

Oh, I... I was looking

for Mr. Bixby.

Well, you'd hardly expect

to find him in there.

That, I suppose, is

meant to be amusing.

Oh, I'm a very

amusing fellow.

Oh.

Here, let me show you.

Here you are.

Are you interested in pistols?

Not in the least.

Well, that's too bad.

We might've had

something in common.

You know, personally, I think

there are only three things

worth living for...

fine guns, good horses

and beautiful women.

At least that's one item

we have in common.

Would you be kind enough

to let me get out of here?

Well, the obvious

answer to that, ma'am,

is why did you come in?

I told you I came

to see Mr. Bixby.

Oh, yes, Mr. Bixby.

That's right.

Well, as an excuse, ma'am,

that has a faint odorant

of fish.

You're impossible.

At least it entitles me

to a question.

Is this your establishment?

Why do you ask?

Well, if it isn't, it's an awful

waste of something or other

for such an attractive woman

to be here.

Oh, well,

it is not my establishment.

Oh.

What are you doing here?

That is none of your business.

Well, now, maybe it is, Lisa.

Maybe he's the fellow

we've been hearing about...

the Reb colonel.

I wouldn't try

any monkeyshines

with those cap pistols

of yours.

Wouldn't think of it.

Besides, I should tell you

that you've been misinformed

about my military rank.

It's Corporal Johnny Carter.

Corporal or colonel,

I got a piece of advice.

I wouldn't mix in things

that don't concern you.

Why not?

We don't like troublemakers.

We got a nice

little community here,

chock-full of law and order,

and we aim

to keep it that way.

We?

Mr. Travis

is from the sheriff's office.

Oh, well, now, I'm all in favor

of law and order.

I'm glad to hear that,

because if you wasn't,

I might start remembering

I never did like

Rebs anyhow.

Now we can talk more sociable.

That was quite a shot,

Mr. Carter.

Yes, it was...

quite a shot.

It's my business...

eyes closed, mirrors,

upside down.

You take one

of these things,

liable to kill people...

that's no good.

Here, take it.

I never liked them

because when you kill a man,

he dies just as bad

or just as stupid

as the moment you put

the bullet in him.

But if you let him live,

he's still got a chance

to learn things.

Well, that's smart,

provided he learns

the right things.

Take what I just learned.

You're as full of tricks

as a tame crow,

but tricks don't mean much

in a showdown.

Face to face, it's speed...

how quick you can throw out

pieces of lead like this.

Yeah, that's a point.

Ma'am.

Yes.

I hope you'll honor

my performance

with your presence this evening.

I think I will.

How about you?

I'll be there.

You reminded me of the old lady.

All right, all right.

Well, Mrs. Desmond, are

you here for the show?

No, I'm not.

If it's a church benefit,

I've got tickets coming

out of my ears.

Oh, no, it isn't.

I came to see one

of the entertainers.

By the name of Carter,

I'll bet.

Why, how did you know?

Oh, I had a husband once

looked something like him.

Drawed gals the way

molasses does flies.

He's in there by the stage

getting ready for his act.

Could I speak to him?

Sure, go right ahead.

Thank you.

Mr. Carter.

Yes, ma'am.

Could I speak to you

for a moment?

Why, certainly.

I'm Mrs. Desmond...

Mrs. Thomas Desmond.

How do you do?

Well, perhaps the name

doesn't mean anything to you,

but if it does,

I... I just want to warn you.

There's trouble here...

a Union officer

looking for Colonel Desmond.

A Union officer?

Yes, sir.

Could that be the one

standing there?

Your bet.

Oh, dear, I'd better go.

Oh, not on my account, please.

No, really, I'd better leave.

Hey, ain't you going

the wrong way, sweetheart?

I'm going out.

Hey, come on, have

a drink with me.

Please, let me go!

Oh, come on.

Oh, come on, princess,

we got business at the bar.

Let me go!

Why be so stubborn?

Please!

A couple of drinks won't...

I'd count it a privilege,

Mrs. Desmond,

if you'd let me escort you home.

Why, I appreciate

your kindness, Lieutenant...

If it's not wanting

to be seen with me,

well, I can walk

ten paces behind.

I don't suppose even

your grandfather

would object to that.

No, I... I don't

suppose he would.

Take back the heart

that thou gavest

What is my anguish to thee

Take back the freedom

thou cravest

Leaving the fetters to me

Drink deep

of life's fond illusion

Gaze on the storm cloud

and flee

Swiftly through strife

and confusion

Leaving the burden to me.

Thank you, Marie.

Lisa.

Come in.

Well.

Do you like my dress?

This time I'm asking permission.

And again you're being refused.

Couldn't be you're dressing up

for that Carter?

I always like to look

as well as possible.

What do you make of him, Lisa?

I don't know.

Why?

Kind of like to find out

if he's up to anything or not.

Why not wait and see?

Well, I'll tell you,

not waiting

is the main reason

I'm around today.

Found that out during the war,

when it was shoot or get shot.

Found out a lot of things.

Take what the fellow said

about not killing people

so they can learn.

He's wrong.

Is he?

The important thing is to stay

alive so you can learn.

That sounds reasonable.

It is.

And I'll tell you an even more

reasonable thing I found out.

What?

You never have to dodge bullets

from a dead man.

You're being too serious

for a man who's come

Rate this script:0.0 / 0 votes

Richard English

Richard Ludlow English, (born 1963) is a historian from Northern Ireland. He was born in Belfast. His father, Donald English (1930–1998) was a prominent Methodist preacher. He studied as an undergraduate at Keble College, Oxford, and subsequently at Keele University, where he was awarded a PhD in History. He was first employed by the Politics Department at Queen's University Belfast in 1990 and became a professor in 1999. He briefly left Queen's University Belfast for the University of St Andrews, but returned as Pro-Vice Chancellor for Internationalisation and Engagement in 2016. more…

All Richard English scripts | Richard English Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Copper Canyon" Scripts.com. STANDS4 LLC, 2024. Web. 4 Jul 2024. <https://www.scripts.com/script/copper_canyon_5931>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What does the term "beat" refer to in screenwriting?
    A The end of a scene
    B A brief pause in dialogue
    C A type of camera shot
    D A musical cue