BUTTERFIELD: I’ll pay the two hundred, Dan, right now, and you can walk away.
DAN: You know, this whole ride, it’s been nagging’ on me. That’s what the government gave me for my leg. Hundred ninety eight dollars and thirty six cents. And the funny thing is, you think about it, which I have been lately, was they weren’t paying’ me to walk away. They were paying’ me so they could walk away.
WADE: Don’t muddy the past and the present, Dan.
DAN: No, no, Wade, I’m seein’ the world for the way it is.
WILLIAM: If you take him to the train, Pa, I’m goin’ with you.
DAN: No. Mr. Butterfield’s gonna take you home.
WILLIAM: No, I’m not going anywhere without you.
DAN: Yes, you are.
WILLIAM: I’m staying here with you.
DAN: You’re gonna hold up in a room across the hall. You’re gonna wait until we leave.
BUTTERFIELD: I’ll get him to Bisby, Dan. I promise you.
DAN: Oh you’re gonna promise me a lot more than that, Butterfield. I want guarantees that Hollander, and his boys, will never set foot on my land again, and that my water’s gonna flow, and I expect you to hand my wife one thousand cash dollars when you see her. You got money to spare.
BUTTERFIELD: I can deliver that. Just get him on the train.
DAN: You heard him?
WADE: I heard him.
DAN: William, I want you to give this back to your mother.
He pulls out the broach/totem…and gives it to William.
DAN: I want you to tell her that it helped me find…what was right.
WILLIAM: Pa. I can’t– I can’t just leave you.
DAN: I’m gonna be a day behind you, William. Unless something happens, and if it does, I need a man at the ranch. To run things. Protect our family. And I know that you can do that because you’ve become a fine man, William. You’ve become a fine man. You’ve got all the best parts in me. What few there are.
Dan takes and shakes his son’s hand, firmly, man to man. Wade watches them, reluctantly moved.
DAN: And you just remember, that your old man walked Ben Wade to that station, when nobody else would.
— 3:10 to Yuma (2007), screenplay Michael Brandt & Derek Haas, based on the film “3:10 to Yuma” (1957) screenplay by Halsted Welles, from the short story by Elmore Leonard
The Daily Dialogue theme for the week is all is lost, suggested by Turambar. Today’s suggestion by John Arends.
Trivia: The scene above, as filmed, is quite a bit different from a draft of the script date-stamped 12-16-2005 by Columbia Pictures. In the earlier draft, there’s no reference to the dollar value of his leg, no revelation to Wade about seeing the world for what it is, no promise and guarantees that Dan imposes on Butterfield, no imploring his son about the need for a man at the ranch…
Dialogue On Dialogue: Commentary by John: “Given the writing pedigree and acting talent on both films and their source material, it’s no wonder that “3:10 to Yuma” constitutes a master class in how to craft a story and screenplay. This was the script that crystallized for me, as an aspiring screenwriter, just how damn hard it was, to write and elevate material to a professional level. It’s maddeningly brilliant…every line, every beat, a thing of beauty. You can see this in director James Mangold’s visual blocking and editing in this scene, and in the modulation of Christine Bale’s delivery of the lines.”