The Unforgiven Page #3

Synopsis: Western about racial intolerance focuses around Kiowa claim that the Zachary daughter is one of their own, stolen in a raid. The dispute results in other whites turning their backs on the Zacharys when the truth is revealed by Mother. Cash, the hotheaded brother, reacts violently upon learning his "sister" is a "red-hide Indian." He leaves the family but returns to help them fight off an Indian raid.
Director(s): John Huston
Production: United Artists
 
IMDB:
6.7
APPROVED
Year:
1960
125 min
822 Views


so thick you could see it.

Hellfire, there's only three of them!

We can kill them before breakfast!

All right, Cash.

Let's first make sure they're after our scalps.

I'm gonna waste one.

They don't scare for nothing, do they?

Medicine!

They think they've got bulletproof medicine.

I'm going to parley.

- Don't shoot unless you have to.

- When is that?

- When they break the peace and kill me.

- No, Ben!

You ain't to go out there!

I got shirts on my bed that need fixing.

You ain't to go out there!

I'd hate to have to shut you in your room.

Rachel, get away from that window. Now!

I come in peace.

My land.

My sky.

You are welcome.

Young horses.

Good for fighting.

Good for hunting.

You take.

I am ashamed.

I have nothing as good

to give you in return.

You have...

in your house, woman.

One of our women.

Who told you this?

Man of your tribe.

Old man.

Carry long knife.

Him crazy.

Crazy man. Sun...

speak through him.

Dead people speak through mouth.

He speak...

woman...

my sister.

I her brother.

He lies!

How much...

woman worth?

There are not enough horses to pay for her.

Not all you can own, or all you can steal.

We want see.

You show her...

to us?

The woman in my house is white.

Father white. Mother white.

They burned to death, by you!

Kiowa!

Ben, you scared them.

They're running away.

- I told you to stay away from that window.

- I ain't afraid.

- I am.

- What'd he want?

He wanted to buy a woman.

You.

Did you sell me?

I held out for more horses.

- Why would they want to buy me?

- Because you're a girl, my pretty.

Horses and women

are all the same to a Kiowa...

to be bought or traded.

- But how'd they hear about me?

- They must've seen you sometime.

Kiowas are like panthers!

Always sneaking about

when you can't see them.

That one in the white buckskin,

I'll never forget him.

- He was beautiful!

- A Kiowa?

You're daft, child!

Look! He's coming back!

Just like the one that killed Papa.

He's out of range. Save your lead.

Cash.

Ben, we could've killed him!

I reckon you better take the drive to Wichita.

I'd like that fine, but if trouble's coming,

I want to be here for it.

We got 6,000 cows.

A lifetime's work.

I'd take it most kindly

if you'd take the drive to Wichita.

Put it that way, I guess I got to.

Injuns, Papa!

- Kiowas!

- Injuns!

- Kiowas!

- Red Injuns, Papa!

- Kiowas for sure, from down under the hill!

- A whole passel of them, Papa!

Running across the swale

in front of Snake Creek.

- We just come on them sudden like.

- Charlie!

Yes, Papa?

- You two been drinking?

- No, Papa!

That's the truth, Papa, I'm telling you!

We could've lost our hair,

right then and there!

- I even seen war paint.

- You get back on them irons.

But, Papa...

Git!

Come on. How many were there?

If I was to guess, it'd be anywhere from...

To tell the truth, they were four.

But they weren't running.

They were taking the time of day,

brazen as can be.

- They see you?

- They must.

Must've seen our dust. Paid us no heed.

Hunting party, most likely.

Probably back in the hills already.

I told you, Zeb.

Indian sign all over the range.

If you spent more time

with these cattle instead of sign...

maybe we'd get this drive started.

All right, let's run them through.

Come on!

Why don't that old man come round to us...

instead of sidling up to our womenfolk

when we're away?

- But if there be any truth at all...

- It's got to be faced up!

We got to go to Zeb, all of us,

and tell him what...

Let's keep those brands high on the hip,

so we can see them from a long ways off.

Did you hear me, Tom?

I heard you.

Ben!

The word is out.

Kiowa scare talk, that's all.

They've heard the lie.

It's sitting on their stomachs.

- They don't know what to do.

- It's still a lie.

We got nothing to be ashamed of.

Ben, what're you gonna do

when they say it?

What're you gonna do when they say

it to Rachel's face?

Kill them, I guess...

or anyone else who says it.

That's all I wanted to hear.

What's on your mind?

We want to talk to you, Zeb.

Later.

Now, Zeb. While they ain't here.

- Who ain't here?

- The Zacharys.

Well?

Don't it seem queer them Kiowas pick

right now to move down out of the hills?

Maybe the old man be loony.

Maybe they be lies

he be telling our womenfolk...

but we got a stake here...

in this land, in these cattle.

Maybe not as big as you, but still a stake.

We got our families to think of, Zeb.

Our wives, the children.

Them red devils move down on us now,

all because...

Well, because...

Say it.

Go ahead, say it!

Speak up, why don't you?

Anyone here just say she be Injun blood...

you'll get from me

just what her brothers would give you.

You wait till Ben's back's turned. Ben...

who put your hog high for four years...

when you might've had nothing to chew on

but buffalo grass.

You take this filth.

You believe this filth from an old man...

and then you take it up with me

instead of Ben.

Jude!

Take over here.

We'll make two more tonight?

Ought to finish branding before daylight.

If the weather holds out, we could

start the drive to Wichita tomorrow.

You hear something?

Get back, Rachel.

Andy.

You there!

Put your hands on your hat.

Both of them.

It's me. I ain't fooling you. It's only me.

What in hell are you doing out here?

Sir, I saw Rachel standing in there.

I guess I'm too shy to come forward.

Does your old man know you're here?

Sure. He gave me his courting hat.

Claims he won't have any more use for it.

You can put your hands down now.

Thank you, sir.

- And go on home. It's getting late.

- No, sir. I can't do that.

I come to ask the question.

Hoping she'll say yes, and if she don't,

I ain't coming back here no more.

I'm gonna leave home,

go to San Francisco...

get a job on the first vessel I see.

Maybe go to China.

I ain't thought that far ahead yet.

- Rachel!

- I'm right here.

You ain't about to shoot Charlie, are you?

I've been thinking about it.

But as long as I'm so shorthanded, no.

Aren't you going to kiss me?

Ain't he kind of close?

You're going to kiss me, not him.

Ben! I just kissed Charlie.

So I'm going to have to marry him,

I suppose.

So how do you say?

- I'll think on it.

- No!

Say yes or no right now,

right this minute, Ben Zachary.

- It's come to pass, Mama.

- What, Ben?

There's going to be the biggest,

noisiest, most devilish, glorious...

drinking and dancing wedding

ever celebrated...

- in this godforsaken part of the world!

- Wedding?

Cash and Georgia!

Not me, Mama.

- I'm talking about Rachel, Mama.

- Rachel?

Give me some.

Now that's Wichita whiskey.

It's been aged about four minutes.

That ain't long enough to cure

what they put in it.

- I know, but I need it.

- So do I.

My own little baby.

My own little baby, getting married!

Charlie, he said yes!

Rachel...

now, tell me truth, girl.

Do you love him?

Of course I do. Wouldn't any girl?

Ain't he the handsomest man walking?

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Ben Maddow

Benjamin D. Maddow (August 7, 1909 in Passaic, New Jersey – October 9, 1992 in Los Angeles, California) was a prolific screenwriter and documentarian from the 1930s through the 1970s. Educated at Columbia University, Maddow began his career working within the American documentary movement in the 1930s. In 1936 he co-founded the short-lived left-wing newsreel The World Today. Under the pseudonym of David Wolff, Maddow co-wrote the screenplay to the Paul Strand–Leo Hurwitz documentary landmark, Native Land (1942). He earned his first feature screenplay credit with Framed (1947). Other screenplays include Clarence Brown's Intruder in the Dust (1949, an adaptation of the William Faulkner novel), John Huston's The Asphalt Jungle (1950, for which he received an Academy Award nomination), Johnny Guitar (1954, credited to Philip Yordan, God's Little Acre (1958, an adaptation of the Erskine Caldwell novel officially credited to Philip Yordan as a HUAC-era "front" for Maddow), and, again with Huston, an Edgar Award for Best Mystery Screenplay) and The Unforgiven (1960). As a documentarian he directed and wrote such films as Storm of Strangers, The Stairs, and The Savage Eye (1959), which won the BAFTA Flaherty Documentary Award. Maddow made his solo feature directorial debut with the striking, offbeat feature An Affair of the Skin (1963), a well-acted story of several loves and friendships gone sour and marked by the rich characterisations which had distinguished his best screenplays. In 1961, Maddow and Huston co-wrote the episode "The Professor" of the 1961 television series The Asphalt Jungle. In 1968 he wrote a screenplay based on Edmund Naughton's novel McCabe; while a film adaptation of the novel was ultimately produced as McCabe & Mrs. Miller (1971), Maddow wasn't credited on the film. His final screenplay was for the horror melodrama The Mephisto Waltz (1970). more…

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