I know one's waiting on you, hoss,|with a knife. I have no absolutes. Steve added it Oct 09, 2008. Start your review of Three Cult Screenplays: Two-Lane Blacktop / Pat Garrett and Billy the Kid / Walker. - I'm just scratching.|- Chisum's cattle is waiting. Thanks for your vote! Looking for the scripts matching Pat Garrett and Billy the Kid? “The script was already written when Bob came to see me in my apartment on the Lower East Side of New York,” Wurlitzer recalled earlier this month from his getaway home, a cabin in his beloved Cape Breton, Nova Scotia. Find all about Pat Garrett and Billy the Kid on Scripts.com! The audience isn’t gonna know the fuckin’ difference!” Can you imagine?! When he finished cutting Pat Garrett, it was taken away from him. All rights reserved. I agree, but what they call the “director’s cut” of Pat Garrett is actually just the television cut. And she said,|"Whatever you think it's worth. It’s the only one of Peckinpah’s films in which the director himself appears on screen: He plays a coffin maker. Billy: [Billy's braggadocio is answered by a hail of gunfire] I guess he already had breakfast. Take a two-day ride from Lincoln just to pay|me back the 2 dollars you owe me, Pat? Why do we have to kill him?” “Well Sam, that’s the way it happened.” “Well, why can’t we make it un-happen?” “Sam we can’t do it.” (beat) “Why… not? - Is that right, Pat?|- Ain't that right, Pat? But there’s only about five minutes missing from that cut he originally made. He doesn’t give a shit.” And that’s who that character was! How are you, Kid? I believe they elected you and paid you|good wages for killing the Kid, huh? Because I might take over sheriff|of Lincoln County. The DVD of the film (two-disc special edition) is available at Amazon and other online retailers. The studio took it away from him and re-cut it. Write a review. ", Glrl said, " If that's all it's worth,|I might as well sew it up.". Tensions on set were further empowered by the employment of Bob Dylan in charge of the score: not only did Peckinpah’s usual composer Jerry Fielding find such a decision offensive, but Peckinpah later also claimed that he agreed to hire inexperienced Dylan only after considerable pressure from the studio. But It’ll Do:” How Sam Peckinpah’s ‘The Wild Bunch’ Became Both a Eulogy for a Mythic Past and a Template for a New Kind of Action, ‘Ride the High Country’: The Seed from which Peckinpah’s Revisionist Approach to the Western Genre Would Ultimately Grow, Sam Peckinpah’s original version of the screenplay for ‘One-Eyed Jacks,’ Marlon Brando’s only directorial effort, ‘Bring Me the Head of Alfredo Garcia’: The Story of the Great Sam Peckinpah’s Most Personal Film, ‘The Ballad of Cable Hogue’: Sam Peckinpah’s Most Tender Fable of the Dying West, ‘Straw Dogs’: Peckinpah’s Most Controversial Blade Hasn’t Lost Any of Its Sharpness Over the Years. I just bought one share of stock in MGM, and if they mess with me, goddammit, I’ll sue their asses!” (laughs) “One share of stock, Sam?! Although the names of Billy the Kid and Pat Garrett are known from Old West lore, the film incorrectly assumes the audience’s previous understanding of the relationship between the two men. https://www.scripts.com/script/pat_garrett_%252526_billy_the_kid_15658. https://cinephiliabeyond.org/, Please help keep this site alive by small donation; your generosity preserves film knowledge for future generations, The immortal ‘Casablanca’: Why the Old Hollywood’s Everlasting Masterpiece Is Still Beloved, ‘Sunset Boulevard’: Billy Wilder and Charles Brackett’s Sobering Exposure of the Dark Side of Hollywood, ‘Out of the Past’: The Quintessential Film Noir that Launched Robert Mitchum and Kirk Douglas’ Careers, And Unto Dust We Shall Return: On Martin Scorsese’s ‘The Irishman’, Leigh Brackett: A Terrific Writer Ahead of Her Time just as She Was Ahead of Her Colleagues, ‘Walk the Line’: How James Mangold Uncovered the Emotional History of Johnny Cash, ‘Blow-Up’: The Importance and Influence of Michelangelo Antonioni’s Stylish, Thought-Provoking Mystery, 40 Years of Hurt, Face-Hugging Dreams of Breathing: Ridley Scott’s ‘Alien’, ‘JFK’: Oliver Stone’s Emotionally Accurate and Masterfully Crafted Trip Down the Rabbit Hole, Approaching Menace: The American Pathology of Martin Scorsese’s ‘Taxi Driver’, ‘The Devil Needs a Fix’: Ian Ebright’s Sophomore Film Proves His Debut Was No Coincidence, ‘The Line’: Luke Wallace’s Gripping Crime Drama With a Terrific Cast, ‘Cool Hair’: William Orozco-Cubbon’s Bonnie-and-Clyde-Like Thriller that Leaves Us Wanting More, Rudy Wurlitzer, Bob Dylan, Bloody Sam, and the Jornado del Muerto, http://tonymacklin.net/audio/peckinpah.mp3, “It Ain’t Like It Used to Be. I'm paying you off when we get back,|and I'm breaking that goddamn lease. I think the alcohol sort of quelled all the influences that were going on around him so he could really focus on what he was doing with the film. He would shoot with three cameras and just… do it. You never talked with Sam about things like motivation. I have no value judgment. "Pat Garrett & Billy The Kid" Scripts.com. At least he knew when it was|the right time to leave. Why do people structure their day on killing?”. When Bob Dylan learned that Rudy Wurlitzer was penning a script focusing on the Bonney-Garrett legend, he tracked the writer down and requested a meeting. Thought I told you not to run|them sheep on my land! - I don't allow the law would agree to that.|- What law is that? What’s that gonna do? Initially, Wurlitzer suspected that the elusive singer wanted to contribute an original tune to the score of the film but Dylan had other plans—he wanted to be in the movie, despite having no acting experience whatsoever. —Terrence Rafferty, Son of the West, Tell us about Sam Peckinpah. So all the editors got together and gave Sam a cut of his film, but without a soundtrack. I didn't figure you'd bother|to make a ride out here. He could do this film all sorts of harm.” Sam said “Don’t worry about a thing, Jim. But Peckinpah worked weekends and during lunch hours, determined to fully convey his vision of Pat Garret’s story to the screen, and it took ten years for the rest of the world to see this hidden version. Pat Garrett and Billy the Kid is a 1973 film directed by Sam Peckinpah, starring James Coburn and Kris Kristofferson.. New Mexico Territory, 1881. 29 Nov. 2020. !” “You’ll see.” (laughs). The creation of the story of an aging sheriff hired to kill his old friend Billy the Kid, however, was riddled with problems. I think he really despised anybody who displayed artistry. His hands were shaking. Written by Rudy Wurlitzer and starring the great James Coburn and country music star Kris Kristofferson, with Dylan’s beautiful score, Peckinpah’s film deserves to stand side by side with The Wild Bunch as the troubled genius’ most consequential contribution to the western genre. - Remember them sisters?|- No. Listen to the audio interview with Sam Peckinpah (MP3 format, approximately 48 minutes) conducted by Tony Macklin. - Looking good.|- Having some kind of fiesta? Looking for the scripts matching Pat Garrett and Billy the Kid? Let that squirrel loose!|You'll shake it to death. But are they telling me,|or are they asking me? Textchef ICON / Welt am Sonntag Die beiden Banditen Billy the Kid und Pat Garrett waren früher die besten Freunde, als sie im Wilden Westen ihr Unwesen trieben. Trying to get to that old Mex|you're talking about. He also has a small role as the mysterious printer’s assistant named Alias, who joins up with Billy and his gang. Daniel Anthony, a Santa Fe, New Mexico, artist and friend of the Perez/Bowlin family is the organizer of the auction. We ain't gonna be seeing much|of Pat these days. We had a great knife fight in that picture, between Mario Adorf and myself. Rudolph "Rudy" Wurlitzer (born January 3, 1937) is an American novelist and screenwriter.Wurlitzer's fiction includes Nog, Flats, Quake, Slow Fade, and Drop Edge of Yonder. At one point, “I had to take a pistol away from Sam,” says Kristofferson. The screenplay of Pat Garrett and Billy the Kid was written by Rudy Wurlitzer and was originally intended to be directed by Monte Hellman.