Don't Make a Scene: Silverado

The Story: We meet the four riders of Silverado in individually desperate straits: Emmett is given a wake-up call by armed gun-men; Paden is left for dead in the desert after a robbery; Jake, well, we haven't met him yet by this scene, but let's just say he's not in the best of situations.

Then, there's Mal. Like Emmett and Paden, he's been on a journey and the town of Turley is his best stop after not having "a shot of whiskey or slept in a bed in 10 days." He's real tired. But, not so tired that he can't take care of himself when the going gets rough, as, unfortunately, things get in the West of the post-Civil War era when your skin-color tends to something besides sun-burnt. And "that ain't right," a sentiment of Mal's that he uses all too frequently, as much as Paden's frequent assessment of the "luck" of a situation.

Paden has no control over luck, but Mal will have none of letting a situation that "ain't right," go uncorrected. So, he'll take action when required. All four of the riders will. They make a good team.

But, that may cause some disturbance in the town's fabric; Mal's efforts attracts the attention of the town's Sheriff, Langston—John Cleese with the altogether appropriate entrance line for any constabulary in a Monty Python sketch: "What's all this, then?" The shock of the line and the resulting "coke-spitting" laugh it issues—especially after a tense action fracas—is almost a relief. That Cleese, known to audiences for his comedy, plays the rest of the scene in earnest creates a certain frisson for the rest of the scene, tight-roping (using a patented "silly walk") between seriousness and levity.

It's another great scene—of so many—in Silverado.

The Set-Up: After surviving an ambush in an abandoned shack, Emmett (Scott Glenn) picks up a stray—he finds Paden (Kevin Kline), lying the desert in his underwear, the victim of a robbery; the bad guys stole his guns, his boots, his clothes, his hat and his horse. Eventually, travelling with Emmett, he gets it all back—good luck. Now, they're in the town of Turley, looking for Emmett's little brother Jake (Kevin Costner) before the brothers visit their sister in Silverado. So far, no luck. In a saloon the next day over breakfast, they observe a fellow traveler, Mal (Danny Glover), who will prove valuable in achieving their goal.

Action.

INT. SALOON/HOTEL - DAY

The newcomer is a lithe, strong, black man -- MAL. He has no other weapon besides the rifle. 

Mal looks around the room and walks wearily to the registration desk, although there is no one behind it.

He RINGS a bell for service.

At the sound of the bell several of the patrons look up and spot Mal for the first time. 

The three Tough Men are instantly displeased at the sight of the black man. Paden, returning to his meal, notes their attitude and glances over at Mal.

Mal leaves his saddlebags at the registration desk, but takes the rifle as he walks across to the bar. The nervous Waitress is working there. The sight of Mal only adds to her agitation.

WAITRESS (cold) What do you want?
MAL (friendly, tired) I haven't had a drink of whiskey or slept in a bed for ten days. 

MAL Give me a bottle. 

The Waitress hesitates, uncertain. She places a shot glass and a bottle on the bar beyond an elaborate, brass, nude statuette whose upraised arms hold dishes full of hard-boiled eggs. 

Mal has leaned his rifle against the bar and must now move a few steps to stand before the whiskey.

The three Tough Men exchange looks as Mal uncorks the bottle and slowly, lovingly fills his shot glass. He puts the bottle down and regards the glass for a long moment of pleasant anticipation. Mal's hand has started for the glass when the saloon's PROPRIETOR appears from a back room.

PROPRIETOR (sharply) Hey! What are you doing, buck?

Mal draws his hand back and straightens slightly. A different kind of weariness comes into his face.

MAL Having a drink.

PROPRIETOR No, you're not. Get out of here.
The Proprietor shoots the Waitress a withering look; she shrugs helplessly and hurries away.

At the tables two of the three Tough Men quietly rise and separate, moving toward the two ends of the bar. Emmett and Paden watch.

MAL (flat) I haven't had a drink of whiskey or slept in a bed for ten days.

PROPRIETOR You ain't getting them here.

MAL (gravely) I'm real sorry to hear that.

At this, the First Man steps forward quickly, snatches Mal's rifle, and slides it down the bar. Mal looks across the distance at his only weapon.

PADEN (quietly, to Emmett) Doesn't look quite fair.

EMMETT (watching carefully) Which way do you mean?

The Second Man lurches up to the bar and pins Mal's arms behind him. The First Man moves quickly, cocking back his arm for a punch square in Mal's face. 

As the blow is unleashed, Mal bends forward with terrific speed and force, pulling the Second Man onto his back.

The Second Man's face is suddenly where Mal's was an instant ago, and the First Man's punch lands hard on it. 

Mal slams the Second Man's back against the edge of the bar; he falls to the floor.

Mal blocks a blow from the First Man and steps in with a flurry of body blows.
Back at the Tough Men's table, the Third Man pushes back his chair as if to rise. Emmett has just picked up a chicken leg; now he waves it ever so slightly at the Third Man: "Stay out of it". The Man looks at Emmett and Paden, then settles back into his seat.

Mal sends the First Man crashing down through a table with a final blow.

He turns in time to see the Second Man, back on his feet, grab Mal's whiskey bottle and break it against the bar.

Mal looks for a frustrated moment at the splashing whiskey -- what a waste.

The Second Man lunges with the sharp glass.

Mal lifts the heavy statuette easily with one hand and uses its upraised arms to catch the Man's wrist and twist the bottle painfully from his grasp.

Mal's other hand hits the Man once in the throat, and he is down.

The Proprietor rises from behind the bar, a sawed-off shotgun in his hand.

Mal spins, swinging the statuette brutally against the Proprietor's arm.

The shotgun clatters to the floor as the Proprietor recoils in pain, crashing into a shelf of glasses. The fight is over.

Suddenly, standing in the doorway holding a leveled gun is an enormously tall figure -- SHERIFF LANGSTON. Dressed rather elegantly in suit and bowler, he dwarfs the man at his side, DEPUTY KERN. He surveys the scene as the three injured men stir back to life. When he speaks, it is, surprisingly, with a British accent --

LANGSTON What's all this then?

PROPRIETOR This nigger's breaking up my place, 

PROPRIETOR ...Sheriff Langston.

LANGSTON I don't like that word much, Carter.

PROPRIETOR We don't serve them here and you know it. 

PROPRIETOR I asked him to leave and he went crazy on us. 

PROPRIETOR He owes me money for this damage.
LANGSTON Is that a fact?

EMMETT 'Fraid not, Sheriff. These other fellas started the ruckus.
Langston's attention focuses on Emmett and Paden.
LANGSTON There are three strangers in this room, traveler, and these gents you are accusing aren't them.

LANGSTON(to Mal, indicating Emmett and Paden) Are these your friends?

MAL (shakes his head "no") I wanted a drink and a bed. I guess I came to the wrong place.

LANGSTON (taking in the mess) Came to the wrong town.

LANGSTON I don't tolerate this kind of thing. It's hard on the peace, and it's hard on the furniture. 

LANGSTON Now, knowing a bit about Carter here, I'm going to let you go without paying for the damages. But go you will, and I mean now.

MAL Is there a place in town that takes... my kind?
LANGSTON You misunderstand. I want you out of town. 

LANGSTON In fact, I want you all the way out of my jurisdiction.

MAL (seething) That ain't right.

LANGSTON I decide what's right in this jurisdiction. Now move.

Mal glares at Langston and, finally, moves. 

He takes his rifle from the bar, then walks over, picks up his saddlebags, and slings them over his shoulder.

He is almost to the door when he stops, 

turns, and walks slowly back to the bar.

The shot glass full of whiskey has miraculously survived the fracas.

Mal brings it to his lips and swallows with satisfaction.

He turns and goes out the front door. Langston motions to Deputy Kern to follow and witness Mal's departure.

Langston turns and looks at Emmett and Paden as he slowly uncocks his revolver and holsters it.
PROPRIETOR Who's going to pay for all this, Sheriff?

LANGSTON Don't press your luck, Carter.

Langston moves to Emmett and Paden's table and pulls up a chair.

He lifts the last biscuit from a basket. He takes a fastidious bite.

LANGSTON Now let's talk about you chaps.

PADEN We'd rather stay.
LANGSTON We'll see about that. 

LANGSTON I'm Sheriff John Langston. As you may have guessed, I am not from these parts.

PADEN You're kidding.

LANGSTON (ignoring that) But the good citizens of Turley have taken me in their embrace, and for one simple reason. I maintain the peace. So when strangers come to town, I always ask them their business.

LANGSTON Have you come for the hanging?

EMMETT ("no") I'm just meeting a guy here and moving on. So far I haven't been able to find him.
LANGSTON In my town, when you're looking for someone, you ask me.

EMMETT All right. I'm looking for a young fella, full of juice. About my size, wears a fancy two-gun rig.

Langston takes a long time reacting to this information.

Now he slides his chair back a foot, giving his gun hand a little more room.

LANGSTON I know where that gentleman is.

Silverado

Words by Mark Kasdan and Lawrence Kasdan

Pictures by John Bailey and Lawrence Kasdan

Silverado is available on DVD and Blu-Ray by Sony Home Video.