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Shotgun Pete and the Sheriff
by Sean Liston (spliston@gmail.com)

Rated: R   Genre: Westerns   User Review: ***
The Tale of Shotgun Pete and the Sheriff and How They Got Caught Up in the Fate of Raymond Post.

This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.


Open to a long, dusty dirt road. We stay on the old dirt
road for a while, looking down into the distance and up into
the rolling skies. An OLD MAN speaks.
                       OLD MAN (V.O.)
It depends on what you're askin'
about Shotgun Pete.
As he speaks, we cut from the dirt road to a shot of a
desolate porch attached to an old barn house. An OLD MAN
sits in a rocking chair, staring straight at us.
                       OLD MAN
      (Talking to us)
If you wanna know the reasons
behind Shotgun Pete, I can't help
you. If it's his story? Well, I
think I can provide a little
      (He leans back in
       his chair and
       looks off into
       the distance)
See, it started off with Shotgun
Pete always carryin' his old
shotgun with him. He used it for
problem-solving, mostly. If things
went bad, he'd just... shoot 'em.
That's how he works, you see,
simple as you can imagine. He's
just worried about survival.
      (Takes a deep
       breath; clears
       his throat)
Now, I bet if you asked anyone
around they wouldn't be able to
tell you how long he's been here.
He's just kind of a common thing
nowadays. People don't bother him,
and he don't bother us... Anymore,
at least. He's more a legend now,
after all these years. It's a
funny legend, still, because no
one you'd ask will know exactly
how to tell it.
When the OLD MAN finishes that last part, we cut to a shot
of the dusty dirt road again. He watch it for a long time,


until we see boots step from behind the camera. The figure
walks down the road with his left hand down by his side and
his right hand carrying a shotgun on his shoulder. When he
gets halfway down the screen, we cut to a close-up shot
where we are shown for the first time what SHOTGUN PETE
looks like. He isn't young, and he isn't old. His face
looks... timeless. He wears a wide grin on his face. We
watch him closely while the OLD MAN speaks.
                       OLD MAN (V.O.)
The story that most people would
know goes like this:
      (As he says the
       above, THIS is
       when SHOTGUN
       PETE'S boots come
       from behind the
       camera onto the
One day a long time ago, Shotgun
Pete did the Sheriff of the town a
favor and rounded up a band of
no-good criminals after they had
robbed the town's bank. After
this, Shotgun Pete was praised
around town as somethin' of a
hero. Things went on like that for
some time, until, as the story
goes, Shotgun Pete got to shootin'
people. It's about here that
people start getting fuzzy on a
lot of things. No one knew why
Shotgun Pete did what he did, but
he DID do it. He shot husbands of
wives, bright young cowboys, and
old farmers and old ranchers. Some
were just wanders passin' through.
Some were good people, and some
were bad people. People tried to
stop all this, but whenever anyone
went to do somethin', Shotgun Pete
just shot them too. So, people
just gave up. There were a lot of
funerals around this place for
period of time, and a lot of
closed caskets. People have an
amazing ability to forget about
things sometimes, and this was one
of those times. After a while,
people just let him be.
All the while the OLD MAN talks, we see SHOTGUN PETE walking
down the road from different angles. The camera shows us not


only SHOTGUN PETE, but the vast surroundings upon which he
walks. During the narrative, the background is given a
chance to sink in. SHOTGUN PETE continues walking down the
                       OLD MAN (V.O.)
Now, with all that being said, it
would be real easy to just up and
condemn Shotgun Pete. But Shotgun
Pete ain't about to be backed into
one corner like that, oh no.
Cut to the inside of a small church. People fill the pews,
and the camera moves slowly down the aisle and into the
confessional booth. The OLD MAN continues all the while, and
the camera continues until we come to the inside of the
confessional booth.
                       OLD MAN (V.O.)
If all the mystery surrounding
Shotgun Pete wasn't enough
already, it was a well-known fact
that every week Shotgun Pete could
be found sitting in the same pew
at church; hands clasped and chin
high-to-heaven. And every time
he'd go into the priest's booth
for confession, it'd always go
something like this:
SHOTGUN PETE fills the left side of the screen, and the
FATHER on the right. What's more is that SHOTGUN PETE's
shotgun sits neatly propped up against his leg while he
talks. The OLD MAN stops, and we listen to their exchange.
                       SHOTGUN PETE
Forgive me, Father, for I have
How have you done so, my son?
                       SHOTGUN PETE
I've shot some people, Father.
                       NARRATOR (V.O.)
Here, the Father would pause to
make it seem like new information,
and then recite:
You will do twenty Hail Marys and
forty Our Fathers as your penance.


SHOTGUN PETE and the FATHER continue something of a
conversation, but we cannot hear it as the OLD MAN begins
                       OLD MAN (V.O.)
And, just like that, Shotgun Pete
was absolved of his sins week
after week. That's the way the
church system works for everyone
else, and that's the way it worked
for Shotgun Pete.
The FATHER motions the sign of the cross in the air and
SHOTGUN PETE rises as we cut back to him walking along the
long, dusty dirt road.
                       OLD MAN (V.O.)
People would have forgotten about
Shotgun Pete a long time ago if it
wasn't for the fact that he
sometimes liked to take walks
through the town. That was the
real killer, there. It forced
people to just accept that he was
there, and would be for a long
time. Most people just kept to
themselves. When it comes to
Shotgun Pete, a lot more people
here seem to fear him enough to
respect him, and a lot less of
them respected him enough not to
fear him. That's just the way
everything is.
Around the middle of the OLD MAN'S last bit, SHOTGUN PETE
comes to his destination, and enters the front yard of a
small house. By now, it's beginning to get dark out. He
walks slowly up the front pathway, and onto the porch. He
walks into the house, and for a brief moment he is nowhere.
We see a light turn on, and it illuminates the silhouette of
At the end of this, Shotgun Pete walks into the house, and
for a brief moment he is nowhere. We see a light turn on,
and it illuminates the silhouette of SHOTGUN PETE.
                                         FADE TO BLACK
                                         FADE IN


Long shot of a small bar, colored by the midday sunlight.
Cut to a man sitting at the counter inside. The man sits
staring past the counter-top and into nothingness. Cut to a
close-up of the man's face.
                       OLD MAN (V.O.)
Now, if it's the Sheriff you're
askin' about, there's a little
stronger of a story behind him.
It's all laid out, more-or-less.
The Sheriff was a good man, plain
and simple. A real cowboy, most
will tell you.
THE SHERIFF gets up from the bar and walks off-screen. Cut
to a shot of outside of the bar. We watch for a second
before the double doors swing open and THE SHERIFF passes
through them and walks down the steps.
Cut to a shot of THE SHERIFF walking down the main road from
the front. He sticks his hands in his pocket and spits once
or twice, occasionally waving to people he sees walking by.
We get to see the town for the first time as he walks
through it. The town looks old-fashioned, but we can see
modern stores (supermarket, video store, etc.) and cars
driving around.
As the OLD MAN continues, we follow THE SHERIFF down the
                       OLD MAN (V.O.)
The Sheriff's history with this
town is something special in
itself. He won't tell you, but a
lot of people will make sure you
know about the Sheriff's dad and
his brother and how good of a job
all three of them have done. I
think the Sheriff just don't wanna
talk about all that because he
knows he's got a lot to live up
to. Even then, most people would
say he's out done the previous
Sheriffs already.
THE SHERIFF walks into a country store and buys a pack of
gum and has a friendly conversation with the clerk that we
don't hear a word of. He walks out, and continues on the
same road. All the while, the OLD MAN goes on.


                       OLD MAN (V.O.)
The Sheriff just seems to always
keep in the back of his head the
things his daddy and his brother
did. See, his father was the one
who took care of that bank robbery
Shotgun Pete was a part of. His
brother had also done a lot of
things for the town on his own
time; stuff he never really
publicly took credit for, but
everyone felt the effects of. Real
good men in everyone's eyes, I'd
say. I know for a fact that almost
everyone in this town thinks the
highest of the Sheriff, even if he
don't know that himself. He's a
good man.
Cut to a shot of THE SHERIFF'S house, with his two girls
playing soccer in the front yard. As they are addressed in
the narrative, the two girls are shown closer-up,
                       OLD MAN (V.O.)
The Sheriff has two young girls
that live a house or two down from
the station where he works. His
oldest daughter is AnnaLee, and
she's about nineteen now, I think.
The youngest is Katherine, and
she's about eight. The Sheriff had
had a wife a long time ago, when
AnnaLee was still young. She died
shortly after Katherine was born.
I asked him how he was feelin'
about all of that one time, and he
told me everything was okay. He
said that talkin' about it saved
him the pain in the long run.
That's just the way he is, and
that's a good way to be.
When the NARRATOR finishes, we cut back to THE SHERIFF
walking down the same main road, chewing the gum he bought.
We follow him for a while until we
                                         CUT TO


We see the police station sitting in the orange light for a
moment before THE SHERIFF walks on-screen and up the front
steps. We start walking and follow him up the stairs, in
through the doors, past the RECEPTIONIST'S desk, and into
THE SHERIFF'S office down the hall. We watch from the
doorway as he sits down at his desk and flips through papers
and junk on his desk. We hear footsteps from behind us, and
we can see a hand enter the bottom left of the screen. The
hand knocks on the door frame and THE SHERIFF looks up.
Inside of THE SHERIFF'S office, we see him come from behind
us and walk around and sit down at his desk. He looks around
the papers lying about, breathes heavily, and lets his head
fall back so he is staring at the ceiling. At the front of
the desk, we can see a solid white mug with large, friendly
red letters painted on, looking like a child made it. The
mug reads 'World's Best Dad'.
I forgot to tell you earlier that
we're due to let Raymond Post out
of jail today sometime; he's done
his thirty days.
                       THE SHERIFF
      (Pauses first;
       thinks about it)
What time do we usually let 'em
      (Takes his legs
       down from the
       desk and sits
Or can he go anytime? Do we have a
time we usually do it?
Cut to a shot of the receptionist, a pretty blonde woman,
standing in the doorway.
You've never never let out a
prisoner before?
      (Looks down at the
       paper she's
                       THE SHERIFF
Can't say I remember the last time
I did.
      (Lifts his empty
       mug up to see if


                       THE SHERIFF (cont'd)
       there's anything
       in it)
Those times are few and far
      (Pauses, thinking)
I always just come back and happen
to notice there ain't no prisoners
in prison anymore.
      (Looks down at her
The paper don't really give us a
set time... So whenever you feel
like it, I would say.
She turns around and grabs the door handle and pulls the
door closed behind her. We go back to THE SHERIFF, who waits
for a few moments and tries to think of something he can do
to pass the time. After a short while, he shrugs his
shoulders and gets up and walks off the screen.
                                         CUT TO
A couple seconds go by and we stare at a dark set of spiral
stairs. We wait, watching the dust settle on the metal. THE
SHERIFF comes down the stairs. His boots tapping the metal
makes a loud, tinny noise. He walks towards us until he is
off-screen, at which point the camera pivots and begins to
follow him (with his back to us) down the hallway. There are
a bunch of empty prison cells, illuminated by three bars of
light coming from a barred window in middle of the hall at
the end. He walks slowly down to the last cell on the right.
He looks inside the dingy cell, as do we. The cell is poorly
lit, with a dirt floor like the rest of the basement. There
is a young man asleep in the corner, laying on the wooden
bench. The camera cuts to a side shot of THE SHERIFF looking
into the cell, and he reaches into his right pocket and
takes out a ring of keys. He starts to bang them on the
metal bars.
We cut back to the shot of the cell, and the man inside
jumps up, alert. He rubs his eyes and squints. The camera
cuts between the two as they talk.


                       THE SHERIFF
      (Waits a second)
Raymond Post, correct?
That'd be me, sir.
                       THE SHERIFF
Do you feel, Raymond Post, that
your time spent in lawful
confinement has helped to... aid
you in the reconstruction of your
THE SHERIFF leans closer to the cell, right up to the
                       THE SHERIFF
      (In a low voice)
That means: are you done fuckin'
Thirty whole days with nothin' but
bread and water's taught me my
lesson, Sheriff. I truly apologize
for what I done.
                       THE SHERIFF
For the good of this town and all
its people, will you conduct
yourself in a proper manner from
here on out?
THE SHERIFF leans in closer again, much like before, right
up to the camera.
                       THE SHERIFF
      (Again, in a low
Are you done fuckin' around is
what I mean.
By all means I am, Sheriff.
                       THE SHERIFF
Well then, Raymond, from here on
out you are a free man.
THE SHERIFF flips through the keys to find the right one,
and opens the cell door with it. We cut to a shot of both of
them in the frame, THE SHERIFF leading RAYMOND out of his


cell, and walking him down the hallway. He leads him by the
arm up the spiral staircase.
                       THE SHERIFF
      (As he's walking
       up the stairs)
Do me a favor, and stay outta
trouble, please?
Cut to a shot of RAYMOND and THE SHERIFF coming up out of
the basement, and into the lobby across from the
leads him to the door. He lets go of RAYMOND'S arm, and he
walks outside. Cut to a close up of RAYMOND'S face as the
sunlight hits his face and he begins to squint furiously.
                                         FADE TO BLACK
                                         FADE IN
We hear the shower running before we fade in to see RAYMOND
from the mid-chest up, looking in the mirror and drying his
hair. He shakes the towel on his head and wipes his face
dry. He walks out of the bathroom and we cut to a shot of
RAYMOND in his boxers, shaking out a pair of old jeans. He
slides them on, and pulls a shirt over his head. He walks
out of the frame.
We cut to a shot of RAYMOND walking down the road leading
from his house to the main part of town. He walks by a house
and we see the house through his eye. The same thing happens
with a church as he walks by it. The church lingers in the
frame, and we cut back to RAYMOND walking down the road. He
walks a little ways and comes to a small plaza where there
are six or seven small shops. He looks around and sees the
supermarket at the end of the plaza, and starts walking
towards it.
                                         CUT TO
RAYMOND walks through the sliding doors of the supermarket.
He passes different aisles of food and comes to the
check-out counter. He stands in line behind other customers,
and watches the girl behind the register. Her name-tag reads
JENNA FOSTER. She scans her customer's goods intently, until
she looks up for a second and sees RAYMOND in the corner of


her eye. She puts what she was scanning on the counter, and
runs around to meet him.
Cut to a shot of both of them in the frame. She wraps her
arms around him and kisses his neck. He hugs her back
tightly. In the background we can see the CUSTOMER she was
waiting on tapping his fingers impatiently.
Hey, when are you outta here?
I'm getting out at--
      (Clears his
       throat; annoyed)
'Scuse me, miss, is this gonna
take long?
      (To the CUSTOMER)
I'm sorry sir, I'll be with you in
a second.
      (To RAYMOND,
I'm out at four, I'll see you
then, okay?
JENNA kisses his cheek and turns around and goes back to her
CUSTOMER. RAYMOND smiles and turns around and walks out of
the supermarket.
                                         CUT TO
RAYMOND makes his way down a dusty, dirt road. We follow him
for a little while, and he sees a farm coming up. We follow
him for a long time. All the while, we listen to the wind
blowing the trees and the sound of RAYMOND'S boots on the
dirt as he walks down the path and up to the front porch of
an old, worn down-looking farm house. Around the farm house
there spans what must be hundreds of acres of land. As
RAYMOND walks closer to the farm house, we can see an OLD
MAN sitting on the front porch, rocking back and forth in
his chair.


                       OLD MAN
Is that Raymond Post I see walkin'
up to my house?
That'd be me, sir.
                       OLD MAN
Good to see you again! How did
jail treat you?
      (Clears his throat
As good as jail can, I suppose.
Cut to a shot looking up at RAYMOND and the OLD MAN talking.
RAYMOND is in the bottom left of the screen, and the OLD MAN
in the top right, elevated by the porch. We cut frequently
between this shot and close-up shots while the two are
talking. The OLD MAN speaks with a HEAVY accent; a mix of
Midwest and just plain being old.
                       OLD MAN
Well what're you doin' here on
your first day outta there?
I was just takin' a walk, and I
figured here would be the best
place to go.
I was actually kind of hopin' I
could talk to you about maybe
having me back to work on your
farm again...
                       OLD MAN
Ah, well...
      (Pauses, thinks
       about it)
Maybe. Depends; are you gonna be a
good kid? No more robbin' banks?
I've definitely been taught my
ways, sir.
                       OLD MAN
Well, that's good to hear. I
suppose I can fix you up roundin'
up the cattle and horses some
evenin's. I still won't be able to


                       OLD MAN (cont'd)
pay you much; I just can't afford
it. There's been a lot more cars
drivin' around these days.
Well, money's money, even if it's
only a little. That'd be nice of
you, sir. I can promise you
there'll be no robbin' banks
                       OLD MAN
Nah, I trust you. You're a good
Hell, it ain't no concern of mine
what your doin' on your own time,
just so longs as you ain't usin'
my horses as a getaway!
      (Laughs and clears
       his throat)
Oh, no sir, I wouldn't think of
                       OLD MAN
That's good, that's good.
The OLD MAN begins to stare off into the distance. Cut to
what the old man sees; rolling plains and the great expanse
next to his farmland. It's still light out, but by now there
are grey clouds filling the sky, and more coming in from the
other side of the plains.
The OLD MAN looks back at RAYMOND.
                       OLD MAN
How's your sister been? She was
watchin' your place while you were
gone, wasn't she?
Yeah, she did fine. She's been
good. Cammie's a trooper; I'll
have to do somethin' nice for her
for watchin' my house so long.


                       OLD MAN
You better. She's a sweet girl,
that sister of yours. Did some
work around here for me while you
was gone. Good worker.
I'll let her know you said so.
      (Pause; looking up
       at the sky)
I gotta be gettin' back to town,
if that's alright.
                       OLD MAN
I ain't keepin' ya, son. Watch out
for the rain... it should be
startin' anytime now, by the looks
of it.
Are you gonna be needin' me to
work anytime soon?
                       OLD MAN
Yeah, I reckon I might. Come back
in two days or so and I'll have
somethin' for you to do.
      (Clears his throat)
I really appreciate it.
RAYMOND gives the OLD MAN a quick salute, and the OLD MAN
waves back at him. RAYMOND turns away and walks on down the
road back towards town. Cut back to the OLD MAN, sitting on
his porch, watching the clouds roll in.
                                         FADE TO BLACK
                                         FADE IN
It's pouring rain now, and although it is still day, the
grey clouds have cast a dark shadow on the area. As SHOTGUN
PETE walks out of his front gate and closes it behind him,
we cut to a shot of his face as he looks up into the rain
and closes his eyes. He does this for a little while, until
he speaks for the first time.

(Note: Shotgun Pete speaks almost like a child)


                       SHOTGUN PETE
God, you sure got a funny way of
makin' things look pretty! Look at
all that rain! That's a lotta
water; where you fit all that in
Cut to SHOTGUN PETE walking down the road. The sound of the
rain falling on everything creates almost a static-like
sound. SHOTGUN PETE sloshes along with his shotgun hitched
on his right shoulder.
                       SHOTGUN PETE
I wish you could see it, God. All
the houses and buildin's and
people and things all look like
they've got haloes around 'em, on
account of the rain and all that.
It's nice, God. Do you ever get
mad that no one seems to wanna see
any of all that?
You put it here, and no one seems
to take a second look at it!
Cut to a close-up of SHOTGUN PETE, smiling.
                       SHOTGUN PETE
Well, you told me to look at it,
so that's what I'm gonna do, I'm
gonna look at it. No worry about
me, God. you tell me to do things,
I do 'em!
SHOTGUN PETE continues on down the road.
                                         CUT TO
We see a man standing in the window of his electronics
store. He watches the rain drench everything in the world
outside of him. He scans the other stores that can be seen
in his field of vision. He watches one shop as its blinds
close, and the OPEN sign is switched to CLOSED. He watches
this happen with many of the stores in the small lot. He
finally looks down the road a little ways, and we cut to a
shot of a black figure walking through the rain. All that
can be seen is the shotgun on his shoulder. The man pulls
the blinds down and rolls them closed. He walks over to the
door and turns the OPEN sign over to CLOSED.
                                         CUT TO


We are now inside of the supermarket across the business lot
from the electronics store. An unnamed employee stares out
the window, watching the rain. He watches the electronics
store sign change from OPEN to CLOSE, and the blinds go
down. He looks around at all of the other stores, and
notices that all of them are closed. He looks down the road
and we see the same shot of a black figure walking in the
rain, with a shotgun on his shoulder. The supermarket
employee jumps up and runs off the screen in a hurry.
Cut to SHOTGUN PETE walking in the rain. He walks along with
a smile on his face. The only thing we can hear is the
static-like fuzz of the rain. It encompasses our entire
realm of hearing. We just watch SHOTGUN PETE's facial
expressions as he walks through the rain.
Cut to a shot of the supermarket doors from inside. They
slide open and SHOTGUN PETE steps through. There is a
noticeable shift in sound from the rain in the previous
scene. There is no sound. If we could see the atmosphere of
the store it would be hollow. SHOTGUN PETE walks to the
right off of the screen, and we cut to a shot of the camera
following behind him. He walks to the refrigerated aisle and
picks up a gallon of milk. We then follow him as he walks to
the aisle of bread and takes a loaf off of the wall. He
holds both in his left hand, while his right hand steadies
the shotgun on his shoulder.
As SHOTGUN PETE walks to the front of the store, a woman
grabs her child and quickly pushes him and her carriage in
the opposite direction. He walks slowly up to the counter,
and places his bread and milk on the sliding black counter.
We know the girl behind the counter as JENNA FOSTER, and she
keeps her eyes away from SHOTGUN PETE'S while she scans his
bread and milk. While she works, a manager walks over and
watches from behind her. He clears his throat.
We are actually running a special
on bread and milk today. If you
buy 'em together, you get 'em
A flash of amazement passes over SHOTGUN PETE's face, like a
child getting excited over a new toy. He grins at the
MANAGER as JENNA FOSTER hands him his bag, and he walks out.
Cut to SHOTGUN PETE exiting the supermarket. He steps into
the rain again and starts walking.


                       SHOTGUN PETE
Well, that was just the luckiest
damn thing, God! What a lucky day
it turned out to be, even with all
the rain! I can't believe they got
such a deal! Makes sense, though:
bread and milk's the basics of
life, of course they'd be free!
He keeps on walking through the parking lot where the
supermarket is, and walks by all the stores with their
CLOSED signs in the windows. He regards them, and keeps on
                       SHOTGUN PETE
I would of liked to stay in town
for a little while, God, but
that's okay. You's the one that
made it rain. Ain't the best day
to be in town, anyways.
SHOTGUN PETE gives a little shrug, and keeps on walking down
the road.
                                         FADE TO BLACK
                                         FADE IN
We see an open shot of the parking lot of the supermarket
being pummeled by rain. In the right-middle of the screen,
we can see the outline of a man standing underneath an
overhang to a store we can't see. We watch him as he waits
for a brief moment, until a girl comes running onto the

We cut to a closer-up shot of the two, and we can see that
they are RAYMOND POST and JENNA FOSTER. She runs up to him
and wraps her arms around his neck and kisses him on the
lips. She is soaking wet, and he wriggles his arms free (his
lips still locked with hers) and pulls off his jacket and
drapes it over her shoulders.
For a man just out of jail, you
are a true gentleman, Raymond
      (She kisses him


All that jail did was gimme more
time to think about you! I'd even
go as far as to say it might have
been a good thing!
      (Starts to open
       the umbrella he's
He covers both of their heads with the umbrella. She links
her arm with his, and the two begin to walk down the road.
They walk for a little while before we follow them
closer-up, listening to them talk.
I just saw Shotgun Pete walkin'
down the road that way a couple
minutes ago. Was everything okay?
He was just in the store buying
milk and bread.
      (She wipes a drop
       of water off the
       tip of her nose)
I had to ring him out before I
That's a shame, I'm sorry Jen-
      (Cutting him off)
Let's not worry about him or any
of that right now.
      (Her face cracks a
Why don't we talk about...
      (Pauses; thinking)
What you're gonna do now that
you're out?
      (Thinks about it)
Well, I already took a shower, and
I changed into clean clothes... Is
there much else I CAN do? I guess
everything will just go back to
how it always was.
      (Said jokingly)


She laughs and hits him in the stomach playfully. She gets
in closer to his ear.
You could do that, yeah. OR... you
could come upstairs in my house
and I could welcome you back
      (She smiles)
Good idea?
At this point, the two have reached the front gate of her
house. RAYMOND looks up and examines the house. All the
lights are off. He looks at her, and smiles. He opens the
gate, and motions for her to lead the way.
                                         FADE TO BLACK
                                         FADE IN
By now, it's gotten a lot darker, and the rain isn't really
helping the sunlight's cause. We see a shot through a window
of the trees outside, the wind and rain swaying and
battering the branches, respectively. The camera moves from
the window, around to face a large bed where JENNA FOSTER
and RAYMOND POST lay together.

JENNA lays inside of RAYMOND, with her eyes closed. RAYMOND
props his head up with his right arm, and moves his left up
and down the edges of her body.

For a while, they just lay there. RAYMOND wears a thoughtful
look on his face, and after a while he snaps back to reality
and looks down at the beautiful girl next to him. He smiles
and playfully bites on her ear. She smiles and turns over to
face him.
You know, I never did get to thank
you properly for what you did with
the Sheriff and all...
      (She grabs his
       hand and kisses
      (Big smile on his
I'd say you just did.


      (She kisses him on
       the lips and
       nudges closer to
That was a noble thing you did,
Raymond, even if it didn't work
out how we wanted...
      (She kisses him
RAYMOND once again slips back into his subconscious, and
after a moment snaps back out of it.
I've been thinkin'...
      (Pauses, looks at
What if I tried it all again? Just
me this time?
      (A smile cracks
       her face)
You aren't serious, right?
      (Looks at her
Yeah, I am. I'm pretty damn
      (He looks her
       straight in the
Your job and mine, put together,
won't ever pay enough to get outta
here for good; you and I both know
that. Or if we ever got the money,
it'd be in a couple of years. No
one's gonna be expectin' me to try
again RIGHT after I just got out
for the same thing!
That's because no one's that dumb.
      (She gives a
       little laugh, and
       begins to
       seriously think
       it over)
But even if you did try, what if
they've really cracked down on
stuff like that since last time?


                       JENNA (cont'd)
How are you gonna get by that
without going right back to jail?
      (By now she looks
If I know the Sheriff, and I do,
there's no way he's cracked down
on anything around here. He's a
real old-fashioned-kinda-guy. I
wasn't gone long enough for him to
change that much.
Okay, but even if you're right,
what if he gets you again? You
weren't the only one who had to
suffer that whole month, you know.
I know, I know...
      (Pauses; thinking
       about it)
But I'm sure this time if I just
get right to it, and make a quick
enough getaway, they won't be able
to find us until we're long gone
from here.
That's what you want, isn't it?
They both lay silent for a moment. RAYMOND moves his hand up
and down her arm.
Yeah, but I want you to be safe
and careful.
And definitely not in jail, first
and foremost.
      (Grabs his hand
       and kisses it)
Well, that's why I won't be GOIN'
back to jail!
JENNA smiles to herself, and turns back over so that they
both face the same direction.


Let's just forget about all this
right now, alright?
      (She kisses him)
If you're gonna be going right
back to jail-- and if I know YOU,
that's what will happen...
      (Brings his hand
       under her chin)
We should make the most out of the
time we've got now, and worry
about all that stuff later. Forget
about robbing a bank, Raymond
Post, you ain't no Old West
      (She laughs and
       kisses him again)
He smiles and kisses her neck. He puts his left arm
underneath her, and she cradles it as she falls asleep. He
turns on his back, his arm still under her control, and lays
there staring up at the ceiling. He begins to pay more
attention to the sounds of everything. The rain outside
becomes a louder hiss as we
                                         FADE TO BLACK
                                         FADE IN
A dark figure raises his jacket up over his head as he runs
down the front steps of a small, ranch-style house and into
the pouring rain. It isn't really dark yet, but the rain
makes the surroundings seem grey and dreary. He makes his
way down the front path of his house and onto the street.

Cut to the same figure walking into a ring of stores, where
the supermarket is visibly located. We can see the
electronics store as well. As the figure steps beneath the
overhang of the stores and lowers his jacket, we can clearly
see that it is THE SHERIFF. He walks down the pathway under
the awning, and comes to the video rental store. He stares
at the CLOSED sign on the door, and sighs. He makes a
C-shape with his hand and peers into the window to see no
one there. We see him look at the store hours, which (when
we get to see closer) reads 10:00AM-8:00PM. THE SHERIFF
pulls his wrist out from under his jacket, and checks his
watch, which we can see reads 4:08.

Down at the supermarket, we get closer to see the doors
slide open, and SHOTGUN PETE walk out with a bag and his


shotgun. We watch him for a while as he walks down the road
the opposite way. THE SHERIFF walks towards the supermarket,
and starts looking at all the stores, all which read CLOSED
on all their doors. He looks one last time at SHOTGUN PETE
getting smaller and smaller down the road.

He enters the supermarket and we can hear the same shift in
volume between the rain and the inside of the store as when
The supermarket's MANAGER walks by THE SHERIFF.
                       THE SHERIFF
      (Shaking the rain
       out of his hair)
I got lucky you guys're still
open, huh?
We didn't even get a chance to
close or lock the doors... When we
saw him comin' it was too late and
he'd already waltzed on in! I
think it's the tinted windows,
they make it hard too hard to see
out onto the road. Would you mind
seein' about that sometime?
                       THE SHERIFF
Well, I'll look into that window
situation later; right now I need
to know if you guys carry any
We got a couple new release ones
at the front side of the store, if
you want me to take you over
The MANAGER points to the opposite end of the store, and THE
SHERIFF nods his head. The MANAGER begins to walk, and THE
SHERIFF follows him.
                       THE SHERIFF
      (As they're
       walking; he gives
       a little laugh)
Katherine ordered a movie for us
all to watch, and I gotta make
sure she gets it. I get sent on a
mission, I sure as hell better
make sure it's complete and I'm


                       THE SHERIFF (cont'd)
back at headquarters as soon as
The MANAGER leads him over to the shelf of movies, and he
begins to look through a selection of titles.

Cut to THE SHERIFF as he pays, and he picks up his bag and
walks towards the exit. As he walks through the sliding
doors, a blurry figure we know as JENNA FOSTER runs by him
and out the front of the store.
      (Quickly; in
Howdy, Sheriff!
THE SHERIFF walks outside once again, and strains his eyes
to watch JENNA run across the parking lot and meet up with a
figure on the other side. They come into focus, and we can
see JENNA FOSTER jump into RAYMOND POST'S arms. We go back
to see THE SHERIFF'S face, and he stands there, deep in
                                         FADE TO BLACK
                                         FADE IN
We fade back into the bedroom where JENNA FOSTER lies, sound
asleep, next to RAYMOND POST. It's starting to get light
outside, and there is no longer any audible rain. The
sunlight bathes the room in an orange glow.

RAYMOND POST lies in the bed, still staring at the ceiling.
He looks like he hasn't gotten a wink of sleep. By now his
arm has been released from under JENNA FOSTER, and she is
sleeping completely on her stomach, facing him. RAYMOND
looks at her sleep for a moment, breathes a heavy sigh, and
gets up slowly out of bed.

We follow him as he finds all of his clothing and puts it
back on. We continue to follow him as he moves into the
closet and grabs an old box from up above on a shelf. He
opens it to reveal a .44 Smith and Wesson pistol. He holds
it in his hand, and walks over to the full-length mirror in
the room. He fixes his hair, and points the gun at the
mirror like a cowboy. We can hear birds chirping in the
background as the sun has now completely risen.


                                         FADE TO BLACK
                                         FADE IN
We see a shot of THE SHERIFF sitting on a bench in the
middle of a park area. The bench is on the right side of the
screen, and on the left his two daughters are playing
jump-rope with another girl. He sits with his right leg
balanced on his left knee, and his hands behind his head. We
then move to a closer shot of THE SHERIFF sitting in
silence, staring off into the distance. We watch as a figure
walks by him, and his eyes follow him. His face lights up,
and he swings his hands in the air to get the passerby's
                       THE SHERIFF
Raymond Post!
Cut to a shot of RAYMOND'S face as he hears THE SHERIFF call
his name. He freezes in his tracks and turns around to face
him. He walks slowly back towards the bench.
Howdy, Sheriff.
                       THE SHERIFF
      (Looking up at the
It's a fine day we've got here,
ain't it?
      (Follows his gaze)
I'd have to agree, sir.
                       THE SHERIFF
      (Motions toward
       the bench)
Raymond, sit down. We've gotta
RAYMOND sits down on the bench, and we cut to a shot of both
of them sitting there, RAYMOND on the left and THE SHERIFF
on the right.
      (Laughs nervously)
I hope I ain't in trouble again.


                       THE SHERIFF
      (Laughs back)
No, no, no, nothin' of the sort.
I've just been doin' a lot of
thinking since I let you out.
      (After a moment)
What've you been thinkin'--
                       THE SHERIFF
I've been thinkin' about the TOWN,
Raymond. I've been thinkin' how
much of a shame some things are.
Uh... what's a shame, sir?
                       THE SHERIFF
Oh, a lot of things, Raymond. A
lot of things.
      (Pauses; thinking
       about it)
For instance, it's a shame all the
stores get closed sometimes when
people need 'em.
      (Pauses, lets it
       sink in)
It's a shame that people get so
AFRAID sometimes. About what? What
would people be afraid about here?
I'm not really sure, to be honest.
                       THE SHERIFF
I'll give you a hint... He lives
up that road, there.
      (Points to a
You mean Shotgun Pete?
                       THE SHERIFF
      (Wags his finger)
That is exactly who I mean.
Shotgun Pete. Why're people so
goddam afraid of Shotgun Pete?


I'm sure you of all people know
the kind of things he's done,
                       THE SHERIFF
That's true. And why shouldn't
people be afraid of him?! The
man's a monster! Look how many
people he's killed! Ain't nothin'
right about that.
It's just... I keep thinkin':
"what a shame people are so goddam
afraid of Shotgun Pete". That's
what I keep thinkin', Raymond.
RAYMOND visibly doesn't know what to say. THE SHERIFF leans
forward and buries his face in his hands. He rubs at his
eyes, and RAYMOND looks around, waiting for him to say
                       THE SHERIFF
      (Sits up)
So! How do we go about fixin' all
Your guess is as good as mine,
                       THE SHERIFF
We make the problem...
      (Brings his hands
       together and then
       apart in an
       exploding motion)
Go away! It's very simple
actually, Raymond.
RAYMOND sits silent for a minute, working it over in his
                       THE SHERIFF
Raymond, how did you get into my
jail in the first place?
I... robbed the bank, sir.
                       THE SHERIFF
And you robbed it... why?


Well, I think you know the answer
to that, too.
                       THE SHERIFF
I need to hear it again, just
refresh my memory.
Well, it was a way to get money so
we could leave.
                       THE SHERIFF
And you didn't quite get it right
the first time, huh? Made a big
SPLASH in this here town. People
don't look at you any differently,
though, am I right? I think the
general concensus is that you're a
good kid, huh?
I hope so, I'd like to think
people still think of me as okay.
                       THE SHERIFF
You're a lucky one! Some people's
reputations get scarred after
doin' such a thing. You just
happen to have the right cards!
Sheriff, if you don't mind me
asking... What exactly are those
                       THE SHERIFF
You're young! And you ain't
exactly the ugliest sonofabitch
I've ever seen, so there's that as
well. Not all the guys might like
you, but I'll bet that any
housewife or single mom will
DEFINITELY be on your side. That
goes for young girls, too.
      (Looks at him)
What do you think, have I got it
Well, Sheriff, I ain't exactly
ever looked at it like that--


                       THE SHERIFF
That's another thing you got!
Modesty! Everyone likes that.
That's a good thing to have, lemme
tell you.
THE SHERIFF calms down a little, and rests his elbows on his
knees, cradling his face.
                       THE SHERIFF
Look, Raymond. I want you to do
somethin' for me. Not just for
me-- for the whole town; look at
it that way if you want.
It's gonna sound crazy at first,
but hear me out...
      (Collects his
You said you needed some money to
get outta here, right?
Well, that's kinda harsh, you make
it sound like I HATE it here.
                       THE SHERIFF
Now, I don't know why ANYONE would
wanna saddle up and get out of
this town, I truly do not
understand that. We got everything
you'd ever need! It goes beyond
me, I know this. I'm old, you're a
young man. You're thinkin' things
I did as well, you know. That was
before I realized what I had here.
I can't push the way I live on
you, but I CAN say that I have
seen the way things are, and the
way things are gonna be
eventually. And, I gotta say, this
place ain't so bad. A place like
this is nothin' short of a rare
Well, sir, I still do wanna get
outta here, but I know what you're
sayin'. It was only a little shy
of a month, but that time in your
jail held me up quite a bit. I'm
gonna need to work for a while to
make up the time. You don't need
to worry about me leavin' for


                       RAYMOND (cont'd)
quite some time, I'd say.
                       THE SHERIFF
Raymond, if there's one thing I
know about people your age, it's
that they ain't EVER as patient as
you're tryin' to tell me you're
gonna be. You want things QUICK.
      (Snaps his fingers)
You want stuff as soon as
possible. Am I wrong?
That's entirely true, sir, but I'm
gonna have to grow up now, ain't
I? I gotta realize what I did and
work hard instead of goin' and
holdin' up a bank. I had a lotta
time to think in your jail, and
that's what I came up with.
                       THE SHERIFF
See! You got a good head on your
shoulders, Raymond! I just
wouldn't want you to prove me
wrong by doin' something dumb.
I don't think so, Sheriff. I think
I've done my share of dumb things
for a while.
                       THE SHERIFF
      (Breathes heavily
       and looks up at
       the sky)
Well, Raymond, I don't know how
true that is. I wouldn't say
carryin' a loaded gun in your
jeans is exactly the smartest
thing to do. I would ask what
EXACTLY you plan to do with that,
but I already have an idea.
RAYMOND looks at him dumbfounded. THE SHERIFF lets his eyes
wander, and there is a long, long silence between the two.
THE SHERIFF finally clears his throat and looks at RAYMOND.
                       THE SHERIFF
You see where I'm comin' from?
Now, Raymond, I've got a proposal


                       THE SHERIFF (cont'd)
for you. I'm willin' to let
everything you've done and are
planning to do slide. It'll all
just go away. You just gotta do
somethin' for me. And you will,
don't worry.
RAYMOND stares at him, waiting for him to talk.
                       THE SHERIFF
You're gonna rob the bank tomorrow
      (Rests his elbows
       on his knees and
       rubs his eyes)
You'll be quick and clean with it.
In and out. The people in the bank
will give you the money... all you
need to do is take it and leave.
That's how it's gonna work, okay?
RAYMOND says nothing.
                       THE SHERIFF
It seems crazy, I know. I really
do. But, I've thought about it,
and it's the only way anything's
ever gonna get done. I'm tired of
this town bein' half the town it
could be. You understand?
      (Still thinking
       about it)
I'd like to, but I just can't see
how that makes any sense, sir.
How's me robbin' a bank gonna help
                       THE SHERIFF
That's my part, Raymond. And we're
both gonna have to give it our all
if this is gonna work.
I'm really just lost on you,
                       THE SHERIFF
Who caught the boys who robbed the
bank all those years ago?
I know you remember, they


                       THE SHERIFF (cont'd)
practically teach that in school.
RAYMOND thinks in silence.
                       THE SHERIFF
And the same man who caught the
robbers... didn't he follow 'em
for three days in the desert to
get that money back?
RAYMOND sits in silence still.
                       THE SHERIFF
      (Moves his fingers
       in circles around
       his ears)
Are the gears turnin' yet?
So... you want Shotgun Pete to
come after me?
                       THE SHERIFF
You're gettin' there, you're
gettin' there!
How do you know Shotgun Pete will
even do that?
                       THE SHERIFF
'Cause I'm gonna ask him for his
How do you know he wont just say
no and shoot you?
                       THE SHERIFF
Don't matter to you, Raymond. You
give a hundred percent, and I will
as well. He'll be the one after
you, don't worry.
Actually, sir, that worries me
more than anything else. What
makes you think I'm gonna just
agree to all this?


                       THE SHERIFF
Well, like I said, I'll forget
about anything you've done or were
gonna do, and that'll be that.
I'll even give you and your girl
enough to at least start to live
comfortably outside of here...
There really ain't a question
anyway, but I'd like you to think
you have some say. So humor me:
howbout it?
They both sit in silence for a moment.
What do I do about Shotgun Pete?
                       THE SHERIFF
      (Leans back on the
       bench, looking up)
The man ain't invincible, you
should know that.
Well, Sheriff, I think you of all
people would know about him and
the things he's done. Knowing what
he's done ain't exactly the most
comforting thing, I'm sure you
realize that.
                       THE SHERIFF
I do, and I feel for you. But that
all happened a long time ago. How
many years do you think it's been
since he fired that gun last?
      (Pauses; watches
See, that's my point, the man's
older now. He's almost harmless.
So... Why bother doin' all this if
he ain't causin' any problems?
                       THE SHERIFF
It ain't about him doin' anything!
It's about what people think of
him. People walkin' around lookin'
over there shoulders every time
the weather's nice... I know
you've noticed that, you're a


                       THE SHERIFF (cont'd)
smart kid.
More silence.
                       THE SHERIFF
Look... The last time he killed
anybody, he was in the safety of
his own house. He knew where
everything was. YOU are gonna lead
him out into the desert. Open
ground, Raymond. You're quicker
than him by a long shot. You know
that. Lead him out miles away.
Alright I can do that... but did
they make killin' a man not a sin
                       THE SHERIFF
How many sins you think Shotgun
Pete's racked up over the years?
You add it all up and then
subtract yours.
Even more silence.
And what if he kills me? He'll
come back with the money, walk
into his house, and sit right down
like nothing ever happened.
                       THE SHERIFF
Well, then, I'd have somethin' to
put him in jail for a long, long
time, wouldn't I?
With all due respect, sir, that's
sort of a hard thing for me to
                       THE SHERIFF
      (Breathes heavily)
You're a good kid, Raymond, and
I'm givin' you the opportunity to
do somethin' good. Not for me, but
for your girl there, and for the
rest of the town. You could be a


                       THE SHERIFF (cont'd)
hero in their eyes! I already said
I'd give you enough to get outta
here and go off and make your life
what you want it. I can't offer
you much more than that. It's
dangerous, yeah, I know it is.
Not that it matters, but it's
definitely not in your best
interests to be on the other side
of the fence about all this,
especially while you're on your
way to do somethin' dumb with that
gun there.
I can't speak for you, but that's
just how I see it.
We cut to a shot of the landscape in the bright sun as we
                                         FADE TO BLACK
                                         FADE IN
We open to the inside of a small house. Everything is
furnished nicely, and very well-kept. We move around the
different rooms of the house until we cut to a shot of a
young girl, who we will come to know as CAMILLA POST. She is
an exceptionally beautiful girl with long, black hair. When
we first see her she is laying in bed, still sleeping.

We can hear a knock coming from far off. She moves around in
the bed, and eventually opens her eyes and sits up. She puts
her feet on the ground. We follow her as she puts a robe on
and walks through the house to the front door.

As the doorbell rings, she opens the door and lets RAYMOND
POST in. She hugs him and then pulls him away and looks him
Well if it isn't my
criminal-of-a-brother back home
It's nice to see you, too.
      (Looks around the


                       RAYMOND (cont'd)
I see everything still looks the
She kisses him on the forehead and then takes him by the
hand and leads him over to a couch. He sits down, and we
follow her into the kitchen where she looks for something
for him to drink.
                       RAYMOND (V.O.)
So, did you get lonely without me
hangin' around here for a whole
We watch RAYMOND now as CAMILLA comes back on the screen and
hands him a glass of water.
I kind of got used to the quiet,
but you're my brother so I guess,
yeah, I missed you a little. I
know you won't admit it but I know
you missed me while you were
sitting all alone in that jail
cell with no one to talk to!
      (Takes a sip of
Of course I did!
He finishes his glass of water, and she stands up.
I'll take that.
We watch her through the opening in the wall as she brings
the glasses into the kitchen and then does things on the
counter that we cant see.
So what's new? You've been back,
what, a whole day now? And this is
the first time you come to see
your sister? No good, Ray, that's
no good.


                       CAMILLA (cont'd)
She walks back over and sits down. We cut between shots of
both of them close-up, as they converse.
I meant to come when I first got
out! I really did! I just happened
to walk past the supermarket,
though. And then you know how it
goes after that.
I'm kidding, I really don't mind.
I've seen you enough for three
I did stop by Mr. Jones' farm
while I was waitin' for Jenna,
though. Asked him about gettin' my
job back. I think he's gonna let
me work again, so that's good. He
said you helped him out while I
was gone and to thank you for
I was just helping him out while
you were gone. You do more work
than you think for him, I'm not
surprised he let you come back. He
was falling behind without you, I
It was nice of you, though.
And while we're givin' out
thank-yous, I really do appreciate
you keepin' a watch over my house
while I was gone.
      (His face
       tightens, and he
       gives her a
Thank you for that.


      (She does the same
       thing back,
       mocking him)
Your welcome.
It's not a big deal, I'm the
sister and you're the
trouble-making brother. It's
normal, right?
      (Pause; Laughs;
       leans closer)
You know, it's funny you put me in
the same sentence as the word
'trouble-makin', because I wanna
tell you about somethin' that just
Oh, c'mon, Ray. You'be been out
for ONE day, don't tell me...
No, no, no, it's not anything bad.
Just listen.
She looks at him worriedly, and he goes on.
Well, I was walkin' through town
this morning to go get some
groceries and then come see you.
      (He gives her a
       look and a smile)
So, I was walkin' through the park
near the police station. I notice
a couple of kids playin' outside;
only one of them is the Sheriff's
older daughter. So just as I'm
thinkin': 'hey, maybe the
Sheriff's here', he yells my name.
He scared the shit outta me, lemme
tell you.
      (Brief pause)
Now, I'm thinkin' all sorts of
stuff like maybe he's still mad at
me and he's gonna throw me in jail
again... stuff like that. So,
naturally, I'm a little nervous
sitting next to him. He starts
talkin' about the me and town and
people and stuff like that... and


                       RAYMOND (cont'd)
then he get's to talkin' about
Shotgun Pete.
He asks me who caught the guys
that robbed the bank all those
years ago. I say "Shotgun Pete".
So he starts explainin' things to
me, and it all leads up to--get
read for this-- he wants me to rob
the bank again tomorrow morning.
We watch CAMILLA'S reaction as she sits in silence for a
moment, thinking.
Well, as the story is right now,
it doesn't make any sense.
I know what you mean, that's what
I thought too... But then he
started to explain about the plan
and all this and that, and it
started to come together. Look at
it this way... The Sheriff's gonna
set it all up so that the people
in the bank give me the money
without a problem, and I get outta
here. They're all in on it.
Why are you even robbing the bank
in the first place?
I'm not all to sure about that...
He explained somethin' about
Shotgun Pete and trying to get him
out of the town, so I'm guessin'
that's probably the big reason.
Why would Shotgun Pete leave the
town because of the bank being
Well, the Sheriff talked about
when he chased the other robbers
down all those years ago and
brought 'em back to the town. He's
thinkin' Shotgun Pete will do the


                       RAYMOND (cont'd)
same again.
So you're gonna... what? Kill
Shotgun Pete?
That's the plan.
I don't know if I like the sound
of that. He's a dangerous man, you
know, Raymond.
I know he is, but the Sheriff
thinks I can do it easy. He says
Shotgun Pete doesn't even know
what he'd do with that shotgun
anymore. He's gotten a lot older
since he did all that stuff.
But he still did it! That's not
really all that comforting the
fact that he's 'older' now.
You gotta trust me! Trust the
Sheriff, too! He knows what he's
talkin' about, he's a smart man.
I'm not saying he's not, he does a
lot of great things for this town.
But all I'm saying is that this
plan of his doesn't add up.
You didn't agree to do it, did
      (Thinks about it)
Well, that's the thing... sort of.
      (She gives him an
       angry look)
Hey, he told me he'd pay me enough
for me and Jenna to get out of
here! I can't turn that down,


They both sit in silence for a moment.
And besides, he said if I were the
one who got Shotgun Pete outta
here, I'd be a hero to the town.
Not ONLY would that make things
right for all you guys here,
but... c'mon who looks the part
more than me?
      (Smiles and
       motions to
CAMILLA'S face lightens VERY briefly as she smiles back at
him. She thinks about it, and returns to being just plain
So, Mr. Hero, what do you do if
Shotgun Pete gets you? What then?
Then... I'm dead?
C'mon, Cammie, don't even think
like that. You and I both know
that I can do this. And I'll do
it right the first time. You've
seen me! I'm good at makin'
trouble! Don't even worry.
Well, that won't happen, but I'll
try. Just don't promise me
anything that you can't keep your
word on.
      (Looks around)
Why now, anyway? Why not years ago
when Shotgun Pete was still doing
his whole thing? He hasn't done
anything for a long, long time
I dunno... The way I see it, it
ain't about him killin' people
now, it's about the town and how
scared people are when he decides
to go for a walk.


      (Thinks about it)
I can see that. But that's the
town's business... You're still my
brother first, so I can't agree
with it. Would you mind if I went
and talked to the Sheriff about
all this? Just for my own peace of
mind... It wasn't supposed to be
secret or anything was it?
I don't think so... As long as
Shotgun Pete don't know about it,
I guess.
You probably won't be askin'
Shotgun Pete's opinion of all
this, will you?
I can't promise you anything.
Cammie, you gotta promise me that
even if you don't agree, you'll be
okay with all this. That's what I
need to know. It'll make me feel
better. I know you're my sister
and all, but I think I gotta do
this. Maybe that'll sway your
vote. I WILL promise I'll come
back in one piece, and I can do
that easily. I know you'll think
the worst, 'cause you're like that
sometimes, but I'm gonna promise
I'll be back.
I know you can take care of
yourself, don't worry. You may
need to prove to the rest of the
town you're a real man, but not to
me. I just want you to be safe,
and this isn't exactly the way to
do it.
They both sit in silence, yet again, thinking over
everything that was said.


I think... I think I should go and
tell Jenna about this. She might
not be too happy with me just
leaving out of the blue.
He stands up and she follows him to the door. At the
doorway, RAYMOND wraps his arms around her.
      (Hugging her)
I appreciate you bein' nice about
all of this, Cammie, I really do.
To tell you the truth I kind of
thought you'd go crazy on me.
I'm just good at acting, don't
worry. I kind of get why you have
to go and do this. That doesn't
mean I WANT you going, but I'm
trying to put myself in your shoes
on this one.
Hey, that's a lot more than I
could ask for.
      (Gives her a kiss
       on the cheek)
I'll be back sooner than you even
want me to be.
After he kisses her on the cheek, he turns around and walks
out the door. She closes the door and we
                                         FADE TO BLACK
                                         FADE IN
But now it's the next morning, and the sun makes the entire
western backdrop an yellow-orangey color. We can see a
figure in the distance as we watch the open desert for a
while. After a little bit, we can hear the sound of a horse
coming from in back of us. Eventually, this horse trots in
front of the camera and continues walking through the land.
We wait a while, until we cut to a shot of RAYMOND POST up
on the horse, lifting the figure in the distance (who is now
identified as JENNA FOSTER) up onto the back of his horse.


We follow them on the horse as they ride. There are two bags
of what we can see is money tied together and slung over the
horse's backside, as well as some bread and two gallons of
water fashioned the same. There are blankets and some food
for the horse as well.
As we watch the horse walk through the orange desert, we
begin to hear a voice talking.
                       SHOTGUN PETE (V.O.)
Forgive me, Father, for I have
                       FATHER (V.O.)
How have you done so, my son?
                       SHOTGUN PETE (V.O.)
I've shot some people, Father.
                       FATHER (V.O.)
      (After a short
You will do twenty Hail Marys and
forty Our Fathers as your penance.
Silence here as we continue to watch the desert.
                       SHOTGUN PETE (V.O.)
Really? That's still all I gotta
do? With all due respect, Father,
I prayed them prayers hundreds of
times, and nothin's worked so far.
With all due respect.
We watch the desert as there is yet another longer pause.
                       FATHER (V.O.)
You will do FORTY Hail Marys and
SIXTY Our Fathers as your penance,
                                         CUT TO
We see SHOTGUN PETE and the FATHER in the same shot as
before, inside the confessional. SHOTGUN PETE sits on the
left, and the FATHER on the right.


                       SHOTGUN PETE
      (Standing up)
Thank you, Father. God Bless.
We follow SHOTGUN PETE as he walks out of the confessional
booth. The camera follows in front of him as he walks down
the center aisle of the church, his shotgun up on his right
shoulder. We can visibly see that there is NO ONE sitting in
the church. We follow him as he pushes through the large
church doors, and walks out on the front steps. He looks
around and takes a deep breath.
                       SHOTGUN PETE
God, how come there's so many
people not out? I can't think of a
better day to go to church!
      (Hitches his
       shotgun further
       up his shoulder)
When I get home, I'm gonna pray
for a long, long time to thank you
for all this sunshine!
                       THE SHERIFF (V.O.)
Shotgun Pete!
SHOTGUN PETE turns his head and we see THE SHERIFF walking
up the path to the church. He eventually comes face-to-face
PETE resembles the way a parent would speak to a small
                       THE SHERIFF
How you doin' today? Sure is a
nice Sunday, huh?
                       SHOTGUN PETE
Surely is, Sheriff. You makin'
your way to church? I don't wanna
be stoppin' you if you're goin' to
talk to God.
                       THE SHERIFF
Oh, no, no, don't worry. I
actually came out here to find
you. I went over to your house and
when you weren't there I figured
since it was Sunday, you might be
here. And, well, here you are!


                       SHOTGUN PETE
You came to find just me? Why's
that, Sheriff?
                       THE SHERIFF
Well, Shotgun Pete...
      (Looks at the
       bench across the
       path from them)
Let's sit down.
They both walk across the thin path and sit on the marble
bench. SHOTGUN PETE lays his shotgun across his leg, the
barrel pointed at THE SHERIFF. He looks at it uneasily.
                       THE SHERIFF
      (Eyeing the gun)
Shotgun Pete, would you mind
pointin' that maybe over there?
                       SHOTGUN PETE
Why's that?
      (Pats the shotgun)
He won't hurt anyone unless I tell
him to.
THE SHERIFF stares at the gun, working it all over in his
mind. After a while, he begins again.
                       THE SHERIFF
Shotgun Pete, do you by chance
remember the old back at the other
side of town?
                       SHOTGUN PETE
If it's the same one I remember
from all those years ago, then
yeah, I do.
                       THE SHERIFF
That's the one. Now, somethin's
happened down at that old bank
again, Shotgun Pete, and I came to
you personally to ask for your
                       SHOTGUN PETE
Well, why would you need my help,
                       THE SHERIFF
See, that's what everyone else
said, they said: "Sheriff, why
would you go ask Shotgun Pete?"


                       THE SHERIFF (cont'd)
You know what I told 'em?
      (Small pause)
I told them to just hold their
horses and wait for me to talk to
you. 'Cause I think you can help
me out better than anyone.
                       SHOTGUN PETE
What is it you're askin' me to do?
                       THE SHERIFF
The bank was robbed, Shotgun Pete.
This morning. Robbed blind. You
know who did it? You ever seen a
young man by the name of Raymond
Post around town?
                       SHOTGUN PETE
      (Thinks about it)
He goes out with that girl from
the supermarket, don't he? She's a
pretty girl, Sheriff. Real pretty
girl. That guy Raymond was the one
who robbed the bank?
                       THE SHERIFF
That's right, Shotgun Pete. Did it
this mornin'. So fast no one had
any idea what hit 'em. He
high-tailed it outta here into the
desert before anyone could stop
him. A couple of my guys started
to go after him, but I stopped
them so that I could come talk to
SHOTGUN PETE looks at him in silence.
                       THE SHERIFF
Shotgun Pete, it ain't no mystery
the things you've done, you know
that. And I ain't sayin' what you
did was right or nothin' like
that, but what I am offerin' you
is a chance to fix all of that.
I'll forget about the stuff you
done if you help me here. Not only
that, but I'm sure the town would
think much more highly of you if
you helped us all out.


                       SHOTGUN PETE
      (Thinks about it
So you think I could be a hero if
I go and get all that money back
from Raymond Post?
      (Said almost
       eagerly; giddily)
                       THE SHERIFF
That's exactly what I'm sayin'!
                       SHOTGUN PETE
      (Sits in silence,
       looking up at the
       sky)      (To the sky)
God, what do you think of all
this? You think it's a good idea?
If you do, I do. It's your will be
done, you know.
SHOTGUN PETE sits there in silence, waiting for God's reply.
THE SHERIFF just stares at him.
                       SHOTGUN PETE
God says he thinks it'd be best if
I took you up on your offer. He
says it'd be nice to have people
smilin' at me, again. He says he's
not sure why they stopped smilin',
but he sure misses it.
                       THE SHERIFF
      (A little weirded
Well, I'm certainly glad God
agrees with me! I think you could
do a great job, Shotgun Pete.
                       SHOTGUN PETE
      (Long pause;
What will I do with Raymond Post
when I find him?
                       THE SHERIFF
      (Stares off, then
       turns and looks
       at him)
Well, that's up to you.


They both sit there in silence, and after a while SHOTGUN
PETE stands up and hitches his shotgun on his shoulder and
starts to walk away. We watch him from behind as he walks.
                       THE SHERIFF (V.O.)
He went northwest outta town, in
case you wanted to know.
We can see him nod his head as he keeps walking with his
back to us, and eventually we
                                         FADE TO BLACK
                                         FADE IN
Immediately as we fade in, CAMILLA POST enters the doorway
of the building we are already inside of. She is wearing a
yellow sun dress (not really all that important, but the
point is... she looks nice). She walks into the main lobby,
and over to the RECEPTIONIST'S desk. She looks up at
Can I help you?
Yeah, I'd like to speak with the
Sheriff, if he's in?
      (Puts down what
       she was doing)
I'll go get him, I think he's on
the phone. Have a seat and I'll be
with you in a minute.
CAMILLA nods and turns around. We follow her as she walks to
the other side of the room, and sits down in one of the
three chairs against the wall. Before she sits down, she
looks (and subsequently, so do we) at a framed picture on
the wall. In the photo, we can see THE SHERIFF looking much
younger, and standing with his arms open and a big smile on
his face in front of a row of new police cars. There is a
much older man next to him in a similar pose, and an
additional man next to him who looks strikingly similar to
THE SHERIFF. She holds the back of her dress and sits down
in the chair. We watch her the entire time as she sits
looking around, waiting for THE SHERIFF. We hear the noise


of the outside and the clicking of the RECEPTIONIST'S heels
as she walks down the hallway.
                       RECEPTIONIST (V.O.)
      (From far off)
He'll be right with you.
Thank you, m'am.
We can hear the clicking of the RECEPTIONIST'S heels grow
louder and louder as she walks back down the hallway. We can
hear the sounds of her chair and the rustle of paper as she
sits back down. Lower, thudding footsteps can be heard
getting closer and closer.
                       THE SHERIFF (V.O.)
You here to see me?
We watch as CAMILLA stands up, and the shot moves to include
THE SHERIFF in the right side of the screen.
      (Reaching out for
       his hand)
My name's Camilla Post.
                       THE SHERIFF
      (Shakes her hand)
      (Strokes his chin;
Yeah, I've met you before I think.
A long time ago, right?
We may have met before, but I
don't recall when.
                       THE SHERIFF
Oh, no, no, I know. I'm thinkin'
waaaay back. You were a lot
smaller. I don't even know if your
brother was around yet. I used to
know your dad, he worked with me
one time.
Yeah, I know...
You know, it's funny you should
mention Raymond because he's
actually the reason I'm here to


                       CAMILLA (cont'd)
talk to you.
                       THE SHERIFF
Ah, well, in that case, follow me
into my office, if you would.
THE SHERIFF turns around and we follow both of them as they
walk back into his office. When CAMILLA enters the door, we
cut to a shot of THE SHERIFF'S desk from a head-on view.
From the neck down, THE SHERIFF walks into the frame and
sits down at his desk. We can see CAMILLA'S arm as she takes
her seat. We cut back and forth between the two as they
                       THE SHERIFF
Now, Ms. Post, what can I do for
Sheriff, my brother came to my
house yesterday talking about you
and something about robbing a
bank. Is that true or is he
telling stories?
                       THE SHERIFF
I hate to say it, because it seems
like you don't approve, but that
is true. I asked him to do that
for me.
And if you don't mind me asking,
what good is that doing for YOU,
                       THE SHERIFF
Well if you'd lemme explain myse--
Please, I'd really like to hear
There is a good-sized pause here.
                       THE SHERIFF
Look, Ms. Post, this ain't exactly
about me. I sent Raymond to do
this for not only me, but you, and
the rest of this town.
      (Leans forward on
       his desk)


                       THE SHERIFF (cont'd)
I got to thinkin' one night about
all that's happened here. We've
been robbed how many times? We had
people tryin' to build some kind
of highway-- remember that? And
now we're dealin' with a guy goin'
around shootin' people. INNOCENT
people, mind you. Everybody that
lives here has been through their
share of shit, but they always
come out of it one way or another.
No matter what it is.
I mean... Yeah, people deal with
all the shit that happens, but it
always takes that extra PUSH to
get people going. If you weren't
too young, you might remember my
father bein' the one who took care
of the bank trial? And my brother
dealt with the people I mentioned
with the highway-- although not as
many people might know that. And
now, I feel like I can't do
anything until I give us that PUSH
to just get rid of Shotgun Pete,
you understand me?
She stays silent, thinking over what he's said.
                       THE SHERIFF
It's all about the people here,
Ms. Post. I'm worried about my
kids growin' up and living in fear
of some psycho down the street
with a gun. Not even psycho... No,
not even close. He's not even a
killer, really. Or, well, he don't
act like one. People think he's
some kinda maniacal blood-thirsty
murderer, but the truth is... He
ain't that. He's just a guy
sitting in his house with a
shotgun keepin' him company. He's
as numb in the head as a dog, Ms.
Post! The man talks to God about
everything! I wish I could make
people see that and just not be
afraid of him anymore, but I can't
do that.
I'm just not gonna be known as
'The Sheriff Who Let it All


                       THE SHERIFF (cont'd)
Happen'. The guy who let our town
be run by some fella with a
shotgun. That ain't gonna be me.
You can call it my ego, Ms. Post,
I don't mind that. But, at least
mention 'pride' along with that.
No reason not to. It's almost
entirely a matter of pride, and
I'll be the first to admit that.
She remains silent while he looks at her waiting for her
                       THE SHERIFF
Ms. Post? Did you get any of that?
Why did you pick Raymond, Sheriff?
Is there a particular reason for
                       THE SHERIFF
Ah! Well this is my favorite part,
Ms. Post. This is the good side of
the coin. I'm sure you're well
aware that I just let your brother
Raymond out of my jail, correct?
      (She nods)
Well, you remember why he went
into jail in the first place?
      (She nods again)
Well, Ms. Post, I chose Raymond
because I wanted to give him a way
out! And this way, he can do it
legally! Sort of, anyway. I
offered him a way outta town and
enough money for him and his girl
there to at least try and start
somethin' for themselves. All I
want out of this is Shotgun Pete
gone. That's my goal here.
Sheriff, my brother is still a
young man. How does sending
someone of his age out into the
desert with a man that is known
for carrying a shotgun in any way
make sense? I would have thought
you of all people could fathom the
kinds of things Shotgun Pete is


                       CAMILLA (cont'd)
capable of doing.
                       THE SHERIFF
You can argue that, I understand.
But just know that he took my
offer himself. That's all there is
to it.
He took your offer because he's
young and thinks he can play the
hero about all this! You're a man
of the law... I would have thought
you'd think about someone's safety
rather than your own reasons for
doing this! You're supposed to
PROTECT the people in this town...
And if Raymond doesn't come back
because of doing something YOU
sent him to do... What will you
say then?
Silence yet again.
Sheriff, I understand your reasons
for doing this in the first place.
Don't think I don't understand.
You're an honest man and you're
obviously very passionate about
this place. That's admirable. But,
I'm his sister. And I can't accept
the fact that you did all this. It
just doesn't sit right with me.
Shotgun Pete hasn't done anything
bad in a long, long time. People
forget, Sheriff. It just takes
Silencio. THE SHERIFF stares off in the same position while
she talks, thinking hard.
                       THE SHERIFF
I understand, but the wheels are
already turning. I have faith in
Raymond, Ms. Post. Him bein' young
can work to his advantage,
remember that. He's quick. He's a
fighter, from what I've seen.
He'll be back, don't you worry.


No, no, I have faith in him. He'll
do whatever it takes. It's more
Shotgun Pete I'm worried about.
                       THE SHERIFF
      (After a long
Ms. Post, I'd like to promise you
your brother will come back
safely, but you called me an
honest man. I just can't make
claims like that bein' an honest
man. It's dangerous I know, and I
put him there, I know. But we both
got faith in him, right? Just wait
and see, Ms. Post, I have a good
feelin' about all of this.
      (After a long
If that'll make it easier for you,
      (Stands up)
I'll show myself out.
CAMILLA leaves and we stay on the same shot of THE SHERIFF
sitting at his desk with his head in his hand. We watch him
for a long, long time. We can see every thought that is
going through his mind. We watch him for a long, long, long
time. Eventually, we start to hear whistling wind and
movement. We listen to the wind for a while before we
                                         CUT TO
RAYMOND POST hits the ground as he hops off his horse. He
helps JENNA down, and looks around. He walks over to a spot
of land, and takes his jacket off. She leads the horse over
to him.
      (Patting the
I'd say this spot's as good as
any, huh?
JENNA looks around and then back at the ground where his
jacket is.


I don't see anywhere better around
Good, good, then you know we've
got the best.
RAYMOND stands back up as JENNA lays down on the blanket. He
grabs the reins of the horse and walks over to a thin tree
and ties the horse to it. He pets it and walks away. The
horse buckles its legs and lays down on the ground. RAYMOND
walks back over and sits down next to JENNA, who is holding
their food and water and the money underneath their blanket
and trying to close her eyes.
He looks off into the distance at the mountains, and we can
see what he sees. There is a faint light in between the
mountains, and RAYMOND stares at it, transfixed. He looks
down at JENNA and smiles.
      (Mumbles and turns
       over on her back)
Jennie, I was thinkin'... what if
we just didn't go back? No one
would come for us except maybe
Shotgun Pete but I think he'd turn
back before we could get to the
We've got the whole town's money,
though, Ray.
But maybe that's what the Sheriff
wanted... he gave us the incentive
to do this! He gave us real money!
That's gotta be somethin' there.
Silence as the wind whistles.


You're a good guy, Ray, you're not
gonna go stealing other people's
money like that, I know you.
But I tried to rob the place
before! This time it just all fell
into place.
      (Lying face up and
       awake now)
I don't think you'd have kept it
      (Pauses; thinking)
You're probably right.
He did give me a lot of money. I
don't know if the bank could take
a hit like that for real.
      (Rubbing his back)
Exactly. We'll just do what we
gotta do out here, and bring it
back. THEN we'll be off, all like
the Sheriff said.
JENNA turns over and RAYMOND stays sitting up. A short while
passes while we watch his face and his mind at work.
Why're you sitting up? It's cold,
come down here.
RAYMOND lays down next to JENNA and pulls the blanket more
over both of them. He wraps his arm around her waist, and
they lay there.
      (Low; quietly)


      (Also low; quietly)
You think Cammie's okay?
Yeah, I'm sure she's fine. She'll
be a little pissed at me for
goin', but she understands.
I'm glad she does. I hope she's
okay when we leave. I like her.
Me too.
      (After a long
Does Cammie like me?
Of course she does! She told me
herself how much she thinks you're
a nice girl for me.
She's sweet.
      (After a LONG
Are you worried about Shotgun Pete
catching us?


      (Pauses; thinking)
Yeah. But you don't need to worry
about that. He'll have somethin'
to worry about if he tries to hurt
you. Don't pay any mind to him
anyway, he's a bastard.
He's killed a lot of people,
though. We'd just be two more. Why
couldn't the Sheriff just say he
robbed the bank and put him in
prison? Everyone would go along
with it. Then he'd be outta the
I think you might be smarter than
the Sheriff.
That's a good idea but that leaves
us high and dry. Maybe he really
does give somethin' of a shit
about us.
      (Pauses again)
If I know the Sheriff, and I think
I do, he wouldn't be able to put
someone away like that-- even
someone like Shotgun Pete.
But he's killed people, ain't that
Normally it would be. But he
hasn't done anything in a long
time, and I think the Sheriff
wouldn't let himself do that. He
holds himself to a higher set of
rules than any laws could, I
think. He's got his own way of
doin' things.
I guess that makes sense, in some
way, but he better realize how
much danger we're putting
ourselves in to do this for him.


Don't worry about that, Jennie,
I'll make sure no harm comes your
      (Turns her head
       towards him)
Oh, will you? You're a big, STRONG
cowboy, aren't you Raymond?
      (Kisses him)
      (Cocks his
       imitating Elvis)
That I am, little lady, and mark
my words: I'll protect you if it's
the last damn thing I do.
      (Smiles and kisses
She turns back over and closes her eyes. RAYMOND lays with
his face in her neck, and eventually closes his eyes as
well. The wind still howls and screeches as we
                                         FADE TO BLACK
                                         FADE IN
We fade in on SHOTGUN PETE, sitting with his back to us,
watching RAYMOND and JENNA sleep. By now, it's early in the
morning, probably an hour or two since RAYMOND and JENNA
fell asleep. SHOTGUN PETE sits there, staring at them.
                       SHOTGUN PETE
God, why do I have to kill 'em?
They both look so comfortable and
happy. I thought you was supposed
to be nice and lovin' and all
that? I really gotta do that?
      (Pauses; God
I know, but I don't wanna! They
just robbed a bank; they can go to
jail, right? Do they need to die?
You remember what the Sheriff
said, he said people would like me
again if I caught the bank
robbers! Well, I caught 'em! That
don't mean I have to shoot them,


                       SHOTGUN PETE (cont'd)
does it?
      (Pauses; God
I know THAT, but look at 'em. I
think they're in love, God. You
said I didn't ever need love, but
I think they do. You don't think
that's nice, God? I bet you that's
his jacket on the ground there. He
probably laid it out for her so
she wouldn't be cold over night.
That was a pretty cold night,too.
      (Pauses; God
Ah, I don't wanna do THAT either!
That's like killin' both of them!
She'd never be right again!
      (Longer pause this
I don't wanna do it, but I will. I
will, okay God?
      (Pauses; God
I WILL, dammit!
GODdammit, howbout that?
SHOTGUN PETE stands up and hitches his shotgun on his right
shoulder. We follow him as he walks over to them slowly. We
cut to a shot of RAYMOND POST as he's laying on the ground,
still sleeping. A shadow falls over his face.
                       SHOTGUN PETE
Sorry, but I gotta wake you up.
RAYMOND blinks his eyes and then opens them as we cut to a
shot of what he sees. Looking up the barrel of the shotgun,
we see the shadow of SHOTGUN PETE in the morning sun.
                       SHOTGUN PETE
Now, this ain't personal, but the
Sheriff needs me to fetch the
money you took from him. Stand up,
please. Put your gun down, as
RAYMOND gets up, and puts his gun down next to JENNA. He
nudges her, and then stands all the way up We follow SHOTGUN
PETE as he walks RAYMOND along; the shotgun pointed at his
back. RAYMOND walks with his hands behind his head.

We cut to a shot of RAYMOND in the foreground, and SHOTGUN


PETE in back of him. Behind him, we can see JENNA standing
up with the pistol in her hands. She shakes as she points it
Shotgun Pete, put your gun down.
SHOTGUN PETE stops walking.
                       SHOTGUN PETE
Stop, Raymond Post.
We still watch from the aforementioned shot, with RAYMOND in
the foreground. We can still see JENNA shaking with the gun
in her hand.
I mean it! You let him go! Put
down your gun! Please!
There is a deafening blast as SHOTGUN PETE pulls the trigger
of the shotgun, not even paying attention to JENNA. Before
he falls off the screen, RAYMOND POST is smiling. A few
seconds after RAYMOND falls, JENNA pulls the trigger, and
shoots SHOTGUN PETE in the shoulder. He barely notices as he
turns around to face her.
                       SHOTGUN PETE
God told me not to shoot you, but
I will if you keep actin' like
this. Put the gun down, please.
JENNA drops the gun and falls to the ground, crying. SHOTGUN
PETE walks over and takes the pistol off the ground and puts
it in his belt. He finds an open space, and starts digging
with his fingers at the dirt. JENNA gets up and runs over to
RAYMOND'S body and collapses next to it. She turns him over,
and starts crying harder. He is covered in dirt, but still
smiling. She wipes the dirt from his face and kisses him on
the lips. She cries harder and harder.
                       SHOTGUN PETE
      (Stops digging and
       walks over near
       her; hitches his
       shotgun on his
       right shoulder)
I'm gonna need you to get away
from him, please.
JENNA FOSTER stands up, covering in tears and blood and
dirt, and screams at SHOTGUN PETE.


Please, Shotgun Pete, kill me as
well! I don't wanna live anymore,
it'll never be good again. Just
don't bring me back.
                       SHOTGUN PETE
Well, God told me not to shoot
you, so I can't.
Please, Shotgun Pete. Just kill me
so that maybe there will be some
good where I go. If the rest of
the world is like you, I don't
want to see it. I won't see it
without him.
SHOTGUN PETE looks shocked. He takes a second to think about
it, and then moves his shotgun from his shoulder and shoots
her in the chest. She falls on top of RAYMOND.
SHOTGUN PETE puts his shotgun back on his shoulder. He walks
back over to the hole he was digging, and starts again.
                       SHOTGUN PETE
      (While digging)
God, I know you said don't shoot
her, but she asked me to! I ain't
never been asked like that before.
I'm sorry if it wasn't what you
wanted, but I just couldn't
believe she was askin' me such a
      (Pauses; digging)
God, will you do me a favor? Just
one? Make sure those two get to
see each other, please. I'd
appreciate that.
SHOTGUN PETE continues digging as we
                                         FADE TO BLACK
                                         FADE IN


We fade in on SHOTGUN PETE on his horse, riding through the
desert back into town. By now it is almost dusk. We watch
for a long time as we hear the wind and the dust blowing.
After a little while, we cut to a shot of a boot buried in
the ground, but still sticking up. It cuts through the
sunlight like a sundial. We watch the disembodied boot for a
few seconds before we cut back to SHOTGUN PETE. He gets
closer and closer to the camera, and when he passes us, we
pivot and follow him from behind. We can now see the town
before us as SHOTGUN PETE begins to ride through.
                                         CUT TO
We cut to a shot of THE SHERIFF'S station at dusk. What we
can hear to be a horse steps 'over' the camera and a man's
feet hit the ground. We follow the feet as they walk up the
stairs and into the station. The RECEPTIONIST looks over as
we enter the door, and her face goes pale as she stands up.
She steps around the counter and when the feet stop going
forward, we follow her as she intersects with us. She walks
down the hallway, and we stop as she does when she gets to
THE SHERIFF'S door. She knocks twice.

(Note: Beginning here, everything should be done in ONE
                       THE SHERIFF (V.O.)
      (Off-screen; in
       his office)
Come in.
                       RECEPTIONIST (V.O.)
      (Pushes the door
Sir, I--
                       THE SHERIFF
      (Rubbing his
       temples; stressed)
Are all the horses in the stable?
                       RECEPTIONIST (V.O.)
Um... you gave one to Raymond
Post, but the others should still
be there.
Where are you going?


                       THE SHERIFF
I've gotta go find Shotgun Pete
and tell him to forget about the
money. We already got it back.
That won't be too hard, right? A
couple of the guys went out and
found Raymond and roughed him up
and brought him back, that makes
                       RECEPTIONIST (V.O.)
      (Clears her throat)
Well, sir, that won't be
necessary, I think... Shotgun Pete
just walked in.
We watch THE SHERIFF'S reaction as he looks up at her and
then just stares at her.
                       RECEPTIONIST (V.O.)
Are you alright, sir? Do you want
me to tell him you'll be right
We continue to watch THE SHERIFF intently. He doesn't answer
her. After a little while, she seems to get the hint and
steps away from the door and walks back down the hall.
Instead of following her this time, we remain locked on THE
SHERIFF. He stares off at his desk; every emotion possible
seems to run across his face. We watch as he stands up and
walks slowly to the door and then out into the hallway.
Before he exits the office, in one fluid motion, he unhooks
the button on his holster. We pivot and follow him down the
hallway as he walks slowly towards the lobby. We can see
SHOTGUN PETE standing in the middle the whole way down the
hallway, wearing a huge smile on his face.

We follow THE SHERIFF until he stops in front of SHOTGUN
PETE. SHOTGUN PETE then lifts the two bags of money up and
smiles at THE SHERIFF.
                       SHOTGUN PETE
Sheriff! Look what I got here!
The one continuous shot ends here as we cut to a close-up of
THE SHERIFF'S face. We cut to SHOTGUN PETE as well when he
talks. It should be noted here that this is the first time
we've ever seen SHOTGUN PETE without his shotgun.


                       THE SHERIFF
Shotgun Pete.
      (Clears his throat)
Where's Raymond Post? I hope to
God he's outside with your horse
or somethin' like that where I
can't see him.
                       SHOTGUN PETE
Oh, no, sir, I buried him and the
girl in the desert together. I got
your money back, though! Here you
go! Look here!
SHOTGUN PETE waves the bags of money in his hands. He hands
THE SHERIFF the bags and he just holds them and looks at
                       THE SHERIFF
Are you tellin' me you killed
Raymond Post, Shotgun Pete?
                       SHOTGUN PETE
That's what I said, ain't it? I
shot the girl, too.
                       THE SHERIFF
What fucking GIRL, Shotgun Pete?
                       SHOTGUN PETE
I dunno, a girl that was with him.
I wasn't gonna shoot her but she
asked me to, so I did.
We watch THE SHERIFF'S face yet again. He takes the
handcuffs off of his belt.
                       THE SHERIFF
      (Walking closer to
Shotgun Pete, you are under arrest
for the murder of Raymond Post and
Jenna Foster.
THE SHERIFF grabs his arms and forces them into the
handcuffs. SHOTGUN PETE just looks at him dumbfounded.
                       SHOTGUN PETE
Jenna was her name? That's a
pretty name, if I do say so,
Sheriff. But, what do you mean I'm
under arrest? I got your money
back and all. I did just like you


                       SHOTGUN PETE (cont'd)
said, Sheriff.
                       THE SHERIFF
      (Walking him
       closer to the
       stairs leading to
       the basement)
You have the right to remain
silent; if you choose otherwise,
anything you say can and will be
used against you in a court of
Halfway through THE SHERIFF repeating his rights, the sound
begins to fade off. We watch in silence as he leads SHOTGUN
PETE down the stairs into the basement.
                                         FADE TO BLACK
                                         FADE IN
We watch in the same exact way as before (when THE SHERIFF
let RAYMOND POST out of prison at the beginning) as THE
SHERIFF'S boots clank down the spiral staircase leading to
the jail in the basement. We follow him down the hallway in
the same way as before. He comes to the same cell that
RAYMOND POST was in just days earlier, except this time we
are looking at SHOTGUN PETE instead.
THE SHERIFF puts the key into the lock and opens up his
cell. SHOTGUN PETE stands up and THE SHERIFF grabs his arm
and leads him down the hallway and up to the spiral
staircase. As they begin to ascend, we cut to a shot from
inside the lobby as they come up out of the door. From here,
we follow them out the front door and down the steps. There
is a police car waiting in front of the building. We get a
glimpse into the front seat, where we can see SHOTGUN PETE'S
shotgun sitting straight up in the passenger's seat. THE
SHERIFF opens the right side door and ducks SHOTGUN PETE'S
head into the car. He slams the door and walks to the other
side. He opens the car door and for just a second, looks up
at the police station. He catches a glimpse of CAMILLA POST
as she stops in her tracks at the base of the stairs. She
stares at him for a good while, before he looks away from
her and sits in the car. We continue to look at the top of
the car and CAMILLA POST after he sits in. When he closes
the door and we hear the slam, we
                                         CUT TO


We cut to a shot from the dashboard of the police cruiser.
We can see THE SHERIFF on the right, staring blankly at the
road, and SHOTGUN PETE in the middle of the back seat. His
shotgun still rests on the passenger's seat. After a long
while of just the sound of the car on the road, we cut
between the two as they talk.
                       SHOTGUN PETE
      (Clears his throat)
Where we goin'?
                       THE SHERIFF
Jail, Pete. We're goin' to jail.
                       SHOTGUN PETE
With all due respect, Sheriff,
don't a jury decide that in trial?
That's how they did it the last
                       THE SHERIFF
People like you don't get trials,
Shotgun Pete. You're too good for
that. I'm the Sheriff and I get
the say in where you go.
                       SHOTGUN PETE
And you say jail?
                       THE SHERIFF
      (After a long
That's what I say.
                       SHOTGUN PETE
Still, Sheriff, wasn't I just IN
jail? Is where we're goin' a new
                       THE SHERIFF
I'm takin' you to a different kind
of jail. Don't worry, Shotgun
Pete, you'll like it.
The two sit in silence for a little while here.
                       SHOTGUN PETE
Still, Sheriff, I don't get why
I'm goin' to jail in the first
place. I got you your money back,
didn't I?


                       SHOTGUN PETE (cont'd)
Is it because of Raymond Post and
that girl? Julie? No, Jenna? Yeah.
Jenna. Was it because of them?
                       THE SHERIFF
      (Breathes heavily)
Shotgun Pete, you're goin' to jail
because you're a bad man, and as I
judge, you have lost the ability
to function along with society.
                       SHOTGUN PETE
Should I not have killed them?
                       THE SHERIFF
No, you shouldn't have. You
shouldn't get to decide who lives
and who dies.
                       SHOTGUN PETE
Oh, no, no! I didn't! God was the
one who said it!
Oh boy have you got it all wrong!
They sit in silence yet again.
                       SHOTGUN PETE
I ain't a bad guy, Sheriff.
                       THE SHERIFF
Shotgun Pete, you are the worst
man I've ever come across in my
                       SHOTGUN PETE
Well, now, Sheriff, I don't think
that's all together true--
                       THE SHERIFF
      (Angry; excited)
Not true?! Really? You really,
honestly, truthfully believe that?
You are ten times dumber than I
No, you are a bad man, Shotgun
Pete. The worst kind. The kind who
doesn't know how bad you really
are. I'm takin' you to your own
special jail because I ain't
keepin' you around any more. It's


                       THE SHERIFF (cont'd)
got somethin' to do with me seeing
my nice town shot to shit whenever
you decide that you need milk and
fuckin' bread. You starting to get
      (Starts really
Or, howbout you're a bad man
because you're a fuckin' KILLER
and you don't think twice about
it. You kill people like you're
puttin' toothpaste on your
toothbrush. You killed my dad and
my brother and I tried my best to
make sense of it and get through
it. But, fucking Jesus, there
ain't nothin' to make sense out
      (Punches the
       steering wheel)
That's what makes you a bad man!
You don't GET it! You don't
fucking GET the things you do! All
you have to say about killing a
young man and his girlfriend is
'God told me to do it'. What the
fuck do you expect me to make of
that? Please, just enlighten me so
I can stop thinking that there are
just some things in this world
that don't add up. I don't wanna
think that, Shotgun Pete, but I
do. And I'm tired of thinkin'
that! It's like a bright fuckin'
light staring you in the face when
you're trying to sleep! The only
way to stop thinkin' things like
that is to just get rid of you! I
can't believe I didn't do this
sooner! You'll finally be the fuck
out of my town and maybe then
people will have a chance to
BREATH and maybe loosen up! And to
think it only took a few more than
a dozen lives to get to where we
THE SHERIFF is flustered and breathing heavily at this


                       THE SHERIFF
No, you'll like this jail, Shotgun
Pete. I promise, you will. You'll
have everything you know and love
with you, don't worry.
Here, THE SHERIFF slams on the brakes and we cut to a shot
of the car from the back at an angle. It slides in the dirt
and comes to a stop in a cloud of dust. THE SHERIFF gets out
of the driver's seat and walks around to the right side. He
pulls SHOTGUN PETE out of the back seat, and pushes him into
the dirt. He leans down and unlocks the handcuffs. He then
gets up opens the passenger side door and takes the shotgun
out and walks over to SHOTGUN PETE on the ground.
We look at SHOTGUN PETE from above as he throws the shotgun
next to him and walks out of the frame. We hear the door
slam and the car accelerate and speed off as we watch
SHOTGUN PETE in the dirt as he looks on at the vehicle
SHOTGUN PETE coughs and pats some of the dirt out of his
hair and wipes his shoulders off. He picks up his shotgun
and stands up. He looks around as we
                                         FADE TO BLACK
                                         FADE IN
We look head on at the police station as THE SHERIFF drives
across the screen and parks off to the right. There is a
girl sitting on the front steps. THE SHERIFF walks over and
sits down. As he sits down, we cut to a shot of both of them
in the frame from an angle. THE SHERIFF takes up the right
of the screen, and CAMILLA POST is right next to him. Both
of them stare off into nothingness.
THE SHERIFF fidgets around a lot, while CAMILLA stays
perfectly still. He rubs his temples and his eyes and runs
his fingers through his hair. After a long while of silence,
he drops his head into his palms and stays like that.
Did everything work out?
THE SHERIFF doesn't move, and CAMILLA sits in exactly the
same position as we
                                         FADE TO BLACK


                                         FADE IN
We see many different shots of the desert area that set up
the size and vastness of the land. It is still the middle of
the day where SHOTGUN PETE is. After a little while of
looking at the desert, we finally see SHOTGUN PETE as he
walks through the sand, slugging along with his shotgun
hitched on his right shoulder.
                       SHOTGUN PETE
God, why are you always fuckin'
with me like this? You told me:
"Shotgun Pete, maybe people would
like it if you helped and went
after those bank robbers". So I
went and did what you said, God; I
caught those bank robbers and I
brought 'em back and people LIKED
me, they really did! You were
right there! Then you say:
"Shotgun Pete, you gotta shoot
these people. Shoot anyone that
comes near you". So again, I trust
you! And why shouldn't I?! So I
did like you said! You know I did!
You saw all the people they
buried, I'm sure! I couldn't see
how doin' that would be helpin'
anyone out, but I trusted you! How
many was it? It was a damn lot,
I'll tell you! But I did it! Then
you go the other day and tell me:
"Shotgun Pete, you gotta do what
the Sheriff says and go get that
bank robber Raymond Post. You
gotta pump him full of lead,
Shotgun Pete. He's a bad man". So
I do THAT, too! But what do you do
there? You put that girl with him!
You make me watch them in love!
You might not, but I remember when
you told me all those years ago
that I don't need love! But what
do you do, you show it to me, God!
But, even then, I do just what you
say! I did, I really did. I hope
you've been good to those two, I
really do. I won't be too happy if
you ain't. All these times, God, I
said: "Lord God, are you sure
that's what you want?". And not


                       SHOTGUN PETE (cont'd)
because I don't trust you, but
because I wanna make sure I'm
doin' it exactly how you say!
Every time I ask, you always say:
"Shotgun Pete, of course I'm
sure", and I believe you always!
Well, God, I don't think you were
sure this time, I really don't. I
shouldn't even say it, but you
were wrong this time. Yep, there.
You were wrong. That's why I'm
here. And you know what? If I have
to die here, I'm gonna at least
try and make you feel what it's
With this, SHOTGUN PETE takes his shotgun down off his right
shoulder and points it up at the sky. We cut here to a very
far away shot where we can just make out the figure of
SHOTGUN PETE. We hear the loud blast of a shotgun, and after
a few seconds of looking at the barren desert, we finally


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From David Chase Date 6/6/2008 **
I agree with the point about narration, and I would also add that the action descriptions and the dialogue are way too long. In a script, less can be more. I liked some of the dialogue, but it was hit or miss at times. The basic premise of the story was good, but there were huge holes in the plot. Raymond gets 30 days for robbing a bank? And he robs it again on a Sunday? People will pick up on these things. More importantly, would Shotgun Pete really get away with what he's done for so long? As far as formatting goes, avoid all the camera direction, that's the director's job. Overall it's a good premise, I would just advise doing some reading on screenwriting, and read a lot of scripts.

From Matthew Degnan Date 6/1/2008 ***1/2
I think in this Screenplay too much narration is being used. I've found in the past that it works best in a comedy script rather than a western or action. Still a great story though, simple yet effective

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