Home Screenwriting Products Screenwriter Community Screenwriting Store
ScriptBuddy - Screenwriting Software for the Web

Screenwriter Community

Back to List of Published Screenplays
View/Leave Feedback

The Loot at Foggy River
by J. Rainy Rice (imoveatparaderest@yahoo.com)

Rated: R   Genre: Action/Adventure   User Review: **
A group of men in 1880 fight an evil man to put a stop to his dark reign over the Mid-West.

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.

The camera shows two men sitting at a table. The piano plays
dully in the background, almost competing with the loud
clanking of beer mugs and shot glasses. The first man,
EVERETT COLE, late thirties, with a white left eye, takes
his top hat off, and slowly sets it on the table. He grips
the golden handle on his black cane tightly. The other man,
URBAN STRIDER, mid thirties with a large, brown goatee, eyes
EVERETT'S movements.
How do you know about this, Urban?
Well, Everett... I'm afraid I
can't tell you that.
Oh. And why is that?
Some men die with their secrets.
But honestly, I think you know.
EVERETT takes a sip of his beer.
It's not wise for you to pursue
Ironic. I was just thinking the
same about you.
URBAN grins as EVERETT chugs his mug of beer, grabs his top
hat and rises to his feet. He tucks his cane underneath his
arm elegantly as the music from the piano seems to dim.
Well, Urban... I bid you a good
EVERETT turns to walk away as URBAN takes a shot whiskey,
and slams the shot glass down on the table.


You're in over your head, Everett.
My name alone is feared in this
EVERETT stops to look back at URBAN. He pauses, and then
heads for the door of the saloon. URBAN rises to his feet,
still grinning.
Why are you after it, anyways? You
have everything you could possibly
EVERETT stops at the door, looks down, and puts his top hat
back on.
Some men die with their secrets.
EVERETT turns, throws open the saloon doors, and disappears
into the night. URBAN reaches for his revolver, and follows
him out.
EVERETT'S standing in the middle of the road, staring at his
horse across the way. URBAN is still standing on the dusty,
wooden veranda in front of the saloon. EVERETT lights a
cigar as URBAN raises his pistol and aims it at EVERETT'S
Then die with it!
URBAN fires, dropping EVERETT to his knees. He fires again,
and EVERETT falls forward onto his face. The city almost
instantly closes down. Curtains shut, doors lock, and
shutters close. The camera shows a close up of URBAN, and
the screen pauses, turning black and white displaying words
at the bottom that read:
"Urban Strider
The screen goes back to normal and URBAN, still smiling,
jumps onto EVERETT'S white stallion and rides away. The
camera cuts to EVERETT'S face. He blinks and stands up,
opening his dress coat to reveal a metal vest. He unties the
rope from around his neck, letting the vest thud loudly on
the ground. He smiles.
And now it begins.


The camera focuses on a sun baked, saloon window. Suddenly,
a young man, DAN, mid twenties with a five o' clock shadow,
and a black leather hat crashes through the window. The
screen pauses on DAN in mid air, turns black and white, and
displays words at the bottom that read:
scam artist"
The screen goes back to normal and DAN tumbles out into the
road. His face looks worried as he desperately tries to hold
on to an arm full of money. Two men run after him, calling
him a "cheater" as they fire their guns at him. A stagecoach
dashes into view and DAN jumps into the conveniently open
door. The stagecoach bolts off into the distance.
The stagecoach thunders along the dusty trails as DAN leans
out of the window, and looks up at the driver, BILL, mid
twenties, in a bowler derby and suspenders.
Howdy, Bill! We did good today!
Mornin', Dan! How much you reckon
we made?
Well, 'tween jumpin' through the
window, gettin' shot at, and
divin' into the coach, I hadn't
had any time to count it y-
Before DAN can finish his sentence, the stagecoach hits a
rock, and the door is flung open. DAN hangs on frantically,
and screams.
Hang on, buddy!
All of the money flies out and blows away. BILL slows the
stagecoach to a stop, and DAN let's go of the door. BILL
climbs down and they both watch as the wind steals their
earnings, and carries it across the desert.


Well... it's not a total loss. I
heard those men in there talking
about a treasure Northeast of
here. In Genesse.
What are ya sayin', Dan?
I say we go an' get it.
The camera closes in on BILL'S face. He spits a solid stream
of brown tobacco spit, and the screen pauses, turning black
and white, and displaying words at the bottom that read:
the accomplice".
The screen changes back, and they both notice the cheated
men running after them still, firing off their weapons. DAN
and BILL both hastily mount the front of the coach. DAN
grabs the shotgun and nervously fires off a shot at the men.
BILL grabs the reins, and they take off, once again into the
A young man, CLARK OWENS, mid twenties, clean shaven, and
wearing a small, brown cowboy hat busts out of the front
door of the house. He puts on his last boot and pulls the
bra off the top of his head as he is chased by a rather
large and angered man, CLARANCE, early thirties, with a
      (to Clarance)
I didn't know she was married! I
CLARK runs down the path from the house toward the cattle
pin. CLARANCE fires off a shot at CLARK, who ducks and
barely dodges death as the round destroys one of the fence
posts in front of him. CLARK jumps the rusted wire fence and
into the large group of cattle. Some of the cows seem
agitated with CLARK as he nervously guides his way through
them. CLARANCE, not far behind, raises the shotgun in the
air, and pulls the trigger. The cattle disperses, leaving
CLARK wide open in the middle of the pin. CLARK turns around
and sees CLARANCE aiming in at him.


Didn't expect that...
Don't hurt him, Clarance!
Shut up, woman! You're next!
CLARANCE fires, but CLARK escapes death once again as he
drops to his stomach. CLARANCE reloads and CLARK jumps up,
and bolts to the right.
      (to Clarance)
I'm sorry! Next time I'll sneak
out the window!
CLARK doubles back to the house, kisses the WOMAN and runs
behind the side of the house. CLARANCE chases after him,
pushing the WOMAN to the ground. He turns the corner when
suddenly, CLARK strikes him in the face with a large wooden
board. CLARK makes a disgusted face as blood splatters it.
The screen pauses on CLARK'S face, and turns black and
white. The words at the bottom read:
the Ladies man".
The screen goes back to normal again. Splinters and dust fly
from the board as CLARANCE is knocked flat on his back.
Aw, shit...
A clean cut man, WALKER UMBRIDGE, mid thirties, with a
large, slightly graying mustache is sitting in the middle of
his "living room" with his three children, ANABELL, 4,
SALLY, 6, and DILLION, 7. ANABELL and SALLY are both
sitting on his lap while DILLION sits on the wooden floor
before him.
And then what happened, Daddy?
WALKER looks at his other two children before returning to


                       WALKER (cont'd)
the king said, "of course I'll do
it." So, with that said, he leaped
onto his faithful steed, and rode
off into the woods...
WALKER'S wife, ETHEL, mid thirties, with curly brown hair
places a tarnished serving platter full of food on the
                       WALKER (cont'd)
but what he didn't know, was that-
Before he can finish his story, ETHEL cuts him off as she
wipes her hands on her apron.
Alright, everyone. Come eat.
The children run to the table, and WALKER stands up as ETHEL
places all the plates. There is a knock at the door, and
WALKER turns to answer it.
Now, who could that be?
WALKER answers it. A man, RANDALL HODGES, mid fifties,
dressed in a black suit is standing there. He has short,
white hair, and a large mustache that extends from his face.
      (to Walker)
Are you Walker Umbridge?
Perhaps... and who might you be,
Randall Hodges. I'm here on very
important business. May we speak
outside, Mr. Umbridge?
Certainly. What is this
They both step outside onto the open porch. WALKER shuts the
door quietly behind him, but leaves the homemade screen door
open. RANDALL stares off into the distance.
Well, Mr. Umbridge...


RANDALL lights a pipe, and turns to face WALKER.
I'm here to take your land.
What? No, no, no. You can't do
Unfortunately for you, I can.
WALKER steps into RANDALL, grabs him by the arm, and pulls
him closer so they can talk quietly.
Look, I have a wife and three
kids. This ranch is all we have. I
mean... where are we supposed to
RANDALL breaks away from WALKER'S grasp.
Then perhaps you should have paid
your landlord, Mr. Umbridge.
RANDALL starts to walk toward the steps, and off of the
Mr. Hodges... is there anything
else we can do?
RANDALL stops, still turned away from WALKER. He sighs long
and hard. He takes a puff of his pipe as the lantern light
dances on their backs.
I suppose... you can pay your
$4,000 by the end of the month.
Where am I gonna find-
I suggest, Mr. Umbridge, you get
RANDALL walks off. WALKER loses his temper and kicks the
screen door shut, slamming it closed.


Son of a bitch!
WALKER turns around, leans on the railing, and stares off
into the night. A coyote howls, a star shoots by, and
suddenly, a look grows on WALKER'S face as if he realizes
something. He turns around so fast, his hair whips around,
covering his eyes. He rips open the door, and barges in.
ETHEL and the kids are eating dinner at the table.
What's going on? Who was at the
WALKER walks toward the mantle.
No time to talk, sweetie.
WALKER grabs his rifle, and his dirty, white hat, along with
his gunny sack. He walks over to the table and kisses each
one of his kids. He kneels down to his youngest daughter,
I'll have to finish that story
another time, Anabell.
Promise, Daddy?
I promise, sweetheart.
He kisses her on the forehead, and proceeds over to his
wife, who doesn't seem to understand what's happening. He
kisses her on the lips, as long, and as passionate as he
can. He walks toward the door and throws it open.
Where are you going?
WALKER steps out onto the porch. Flickering stars dance in
the sky. He unties his horse, and mounts as ETHEL walks out.
Hunting for what?
Our home... YAH!


He spurs the horse, and it jolts forward, leaving a cloud of
dust behind as he rides off into the night. The camera cuts
to his determined face as he controls the speeding horse.
Screen pauses, goes black and white, and shows words at the
bottom reading:
the family man".
WALKER'S sitting at a table next to a couple of men
gambling. One of which, is DAN. WALKER listens in as they
                       MAN #1
Well, that's just it... I don't
know exactly."
                       MAN #2
So what the hell? Say if someone
was to go lookin' 'round for it,
where should they start?
MAN #1 sets his cards down on the table.
                       MAN #1
God damn it... I don't know!
Just... somewheres along that ol'
Foggy River!
WALKER takes another swig of his beer, listening intently.
Ha! Another hand dealt in my
favor. So sorry for your luck,
MAN #2 throws his cards across the table.
                       MAN #2
Now hold on a damn minute. That's
six hands in a row!
WALKER now looks over to see what all the noise was about,
as DAN reaches across the table for his earnings.
Well it's not my fault you gents
can't play to save a whore.


MAN #1 grabs DAN'S wrist as he tries to rake in all of the
money. He holds DAN'S arm up, revealing a spring loaded
device holding six cards.
                       MAN #2
Kill that sonuvabitch!
The two men stand up, reaching for their guns. DAN grabs all
of the money, kicks the table over, and bolts for the
A SHERIFF, late forties is cleaning his gun as he sits at
his cluttered desk. His only two prisoners, NOLAN, late
thirties with dirty blond hair, and DENNY, early thirties
with black teeth, lounge about in their cells.
Yep... gonna hang you fellas
tomorrow. So sleep tight. It's the
last time you'll see a decent bed.
The last decent bed I saw, had
your wife in it.
Oh, tough guy, talkin' your talk.
Well, get it out of your system,
'cause this time tomorrow, you
won't have much to say. I can
guarantee that.
Suddenly, the jailhouse door bursts open, the dust dancing
in the sunlight. The SHERIFF looks up to see URBAN, pointing
a double barrel shotgun right at his stomach. A look of
terror fills the SHERIFF'S eyes.
URBAN squeezes the trigger, exposing the SHERIFF'S
intestines to the world. DENNY and NOLAN jump out of bed,
trying to find the source of the noise.


Denny? Nolan? You two in here?
URBAN walks over to the cell. DENNY smiles and grabs the
Urban? You here to bust me out?
URBAN grabs the key off of the corpse, which is still
smoking from the gun shot. He walks over to DENNY'S cell and
unlocks it.They both exchange a tight handshake. Then URBAN
heads over to NOLAN'S cell, and unlocks it as well.
I'm surprised they haven't hanged
you yet.
DENNY smiles, exposing his black teeth.The camera is closed
in on his face. The screen pauses, turns black and white,
and displays words at the bottom:
The screen goes back to normal, and URBAN tosses him the
shotgun, pulls his pistols out, and heads for the door.
DENNY cocks the shotgun, and shoots the SHERIFF once more,
exploding his head into small, wet pieces. URBAN looks back
at the mess and smirks as DENNY spits on the body. NOLAN
kicks the body as the screen pauses, turns black and white,
and displays words that read:
The screen returns to normal as two DEPUTIES, DEPUTY
REYNOLDS and his son KYLE walk into the jailhouse.
What the-?
                                         CUT TO
DENNY and NOLAN throw the two, badly beaten, lawmen into an
open jail cell.
                       DEPUTY REYNOLDS
What kind of a man does this?
A souless man.
NOLAN slams an oil lamp onto the cell floor, as DENNY locks
the door. URBAN lights a cigarette, and tosses the match
into the cell. It ignites in a blinding blaze as the three
men laugh. KYLE screams.


                       DEPUTY REYNOLDS
It's OK, son. You're a good man.
Jesus will welcome you with open
arms. I love you.
DEPUTY REYNOLDS comforts his crying son.
I love you, too, pa!
Several Indians are standing around a large bonfire. One of
them, DARK OWL, mid twenties, half Irish and half Comanche,
seems as if he is being prosecuted. The ELDER, late fifties,
holds his wooden staff tightly in his old gnarled hands. The
other Indians stand tall around the fire, the flames licking
their shadows as the ELDER and DARK OWL speak to each other
in Comanche.
The raping of your mother those
several years ago brings
impurities to our blood, Dark Owl.
DARK OWL looks down and exhales slowly.
It is you that brings a curse to
us all. Because of the white man
tainting our tribe in creating
you, you have caused your mother's
death. The illness will spread
like wildfire in dry grass, ending
our tribe. You have worked for the
white man and brought shame to us
all as well, Dark Owl.
DARK OWL raises his head and grinds his teeth.
By disgracing our tribe, and
bringing a curse, you have sealed
your own fate, Dark Owl. You are
outcast from our tribe, never to
return to these woods again. By me
sparing your life, I hope you see
true, and leave here in peace.


                       DARK OWL
I bring no curse, great Elder. If
it is the way for Comanche to kill
one another, then so be it. I
choose it before dishonor.
Death before dishonor is not a
wise choice for you, Dark Owl. For
you have no one to dishonor.
                       DARK OWL
I have me.
One of the Indians standing next to the fire dumps a bag of
powder into the flames. The fire dances taller and launches
embers into the air like fireworks.
It is done, Dark Owl. Leave this
                       DARK OWL
I have nowhere left to go, Elder
White Bear. Please.
Run with the white man you are so
fond of.
The ELDER leaves, as the other Indians bellow out in
celebration. DARK OWL grabs his pack, and slings it around
his shoulder. A tear flickers in his eye as he watches the
ELDER leave the fire. The screen pauses on DARK OWL'S face,
changes to black and white, and displays words at the bottom
that read:
"Dark Owl
the assassin"
The screen goes back to normal once more as DARK OWL turns
and leaves the fire.
DAN is riding next to BILL on the stagecoach. Dust is kicked
up by the horses and the wheels, creating a cloud behind


They said it was in Foggy River.
Which is in Genesse. So it's gonna
take us a few days to get there.
I don't know, DAN. It seems
awfully strange. I mean, scammin'
gamblers is easy... what if this
one ain't so easy?
God damn it, Bill! If we pull this
off, we'll be the richest men on
this side of the Mississippi!
Bill bites his lip as he stops the stagecoach in front of
the town hotel and saloon.
OK... let's do it.
Now you're talkin'! I'll go an'
get us some drinks an' a room for
the night. You go put the coach
Dan jumps off and heads for the saloon doors, as Bill rolls
away with the stagecoach. Dan pushes the bat wings open.
Cigar smoke fills the air as DAN walks calmly over to the
bar. Ambient noise drowns out the piano in the corner. DAN
orders himself a shot of whiskey, and slams it without
making a face. He orders four more, and two mugs of beer.
EVERETT is sitting in the corner, looking down. He lights a
cigar as BILL walks in, and spits tobacco spit in the dirty,
overflowing brass spittoon. He takes a seat at a table next
to EVERETT'S. DAN grabs the drinks and walks over to BILL'S
table. EVERETT continues to look down. DAN sits down and
hands two shot glasses and a mug of beer to BILL.
So, this loot at Foggy River-
EVERETT hears BILL and lifts his head slightly, trying to
catch another piece of the conversation, but not revealing
his face.


Shut the hell up! Someone might
hear you... we'll talk about this
later... in the room.
EVERETT notices DAN'S sense of secrecy. He throws his cigar
over the tables, and into the spittoon, sloshing tobacco
flavored saliva all over the gnarled floorboards. He gets
up, and walks past DAN and BILL, and heads up the stairs;
his cane rapping the steps as he walks.
Hey, did you see that guy's
BILL shakes his head "no". DAN grabs his left eye.
                       DAN (cont'd)
His eye was all white, and he had
a scar from here to here.
Creepiest shit I ever saw, Bill.
URBAN, DENNY and NOLAN are packing up the last of their
camping equipment. The ash from the camp fire takes flight
with the small breeze that blows through. DENNY stops
packing, and looks over at URBAN.
You know, Urban... I'm gettin'
kinda hungry. What do you say we
get a bite to eat?
URBAN cinches down the last strap of his gear, and looks
over at DENNY.
I could go for some food. C'mon,
let's get the hell outta here.
We can make it to the Town of Blue
River in about an hour. Not much
left here in Douglas.
Blue River it is.


CLARK slams a beautiful LADY up against the hallway wall.
They're kissing vigorously as CLARK opens one of the doors
in the hallway. They both slide in.
CLARK and the LADY are both laying naked on the bed, staring
at the ceiling.
So... how much do I owe ya?
      (out of breath)
That one was on me.
CLARK smirks proudly. Suddenly, there is a knock at the
door. They both sit up, and start putting on their clothes.
Who is it?
                       BROTHEL OWNER
It's me! You better not be in
there with that Clark kid, givin'
him free pokes, again!
      (to Clark)
Shit! That's the owner! Get out!
You gotta go!
CLARK starts to pull his pants up.
Well, where the hell am I gonna
go? He's at the door.
She looks over at the window. CLARK'S eyes follow.
Aw, no... c'mon! The window?
She runs over to the window, opens it, and starts to throw
his things out onto the first story roof. CLARK tries to
stop her.


                       BROTHEL OWNER
Open this God damn door!
She shoves CLARK out onto the roof, and closes the window
and the drapes. The BROTHEL OWNER kicks the door in, aiming
his guns in every direction.
                       BROTHEL OWNER
What'd I tell ya about-
He notices the LADY standing there alone, half dressed.
It's jus' me in here, silly.
The BROTHEL OWNER walks over to the window.
                       BROTHEL OWNER
Then why are you undressed?
It's hot. I wanted to cool off.
The BROTHEL OWNER rips back the drapes, and sees only the
general store across the street, and the first story rooftop
CLARK is walking along the shingles, half naked, holding his
clothes and effects in his arms. He walks by a window and a
lady, LADY #2, opens it, startling CLARK.
                       LADY #2
Hey, Clark.
CLARK leans in on the windowsill, and smiles.
Oh, hey.
DAN and BILL'S stagecoach zips by, flinging dust and pebbles
everywhere. DAN is sitting all alone in the front of the
coach, holding the reins. The camera pans to the inside of
the stagecoach, revealing BILL doing laundry. He dunks a
shirt into the bin of soapy water, and scrubs it
meticulously. He wrings it out, leans out the window, and
hangs the shirt on the clothesline attached to the side of
the coach.


Hey, Bill? How'd you like that
hotel, last night?
It was nice.
It was, wasn't it?
I liked it.
Hey, Bill, I'm gonna stop the
coach. I gotta dedicate.
Dedicate? What's that, Dan?
DAN stops the stagecoach.
Well, Bill, it's when you shit,
and I have to.
DAN jumps off the seat, and runs to the rear of the coach.
BILL flings open the door, striking DAN, and causing him to
do flip and spin to the ground.
Shit, Dan! I'm real sorry! I
didn't mean to. You still gotta
DAN lies still, face down.
It's dedicate, Bill, and no. I
don't have to anymore.
BILL drops a few scraps of paper on DAN.
Well, here's somethin' to wipe
your ass with, Dan.


CLARK flies out of the brothel doors, over the steps, and
out onto his back. The BROTHEL OWNER comes out of the
building, aiming a gun at CLARK. WALKER finishes tying up
his horse, and notices the brawl. He walks up behind the
BROTHEL OWNER and butt strokes him with his rifle. The man
crashes violently to the ground, dust clouds rise up from
under his limp body. WALKER extends his hand to CLARK.
You okay, kid?
Yeah, I'm okay... are you okay?
WALKER helps him up.
C'mon. Let's get you fixed up.
They both walk across the street to a bed and breakfast as
the sun sets, creating a pink and tan horizon.
DARK OWL is sitting at a table in the saloon staring at his
half empty mug of beer. Several empty mugs of beer and shot
glasses accompany his last drink on the table. The two men
that DAN robbed days before are sitting at a table adjacent
                       MAN #1
Well, that son of a bitch might of
taken our money, but I know a way
we can get it back. We can get it
all back.
                       MAN #2
Oh yeah? And how's that?
                       MAN #1
Well, you 'member that loot at
Foggy River?
MAN #2 rolls his eyes.
                       MAN #2
Oh, Jesus, ol' man. You're crazier
than I thought!


DARK OWL perks his head, and reaches for his mug.
                       MAN #1
No, listen, now. If we take that
road North until we get to the
foothills, we cut East, straight
through the woods. I mean, we can
be there in no time.
                       MAN #2
That's ridiculous. There's savages
in them woods. Hell, I bet it
ain't even real. Your talking
about a wild goose chase!
                       MAN #1
Damn it, I'm talkin' a lot of
money here.
                       MAN #2
How do you even know?
                       MAN #1
How many times do we have to go
through this, you ol' son of a
bitch? You were sittin' right
there in that cell with me when
that guy told us.
DARK OWL looks directly at the two men with a look on his
face as to say, 'small world'. The two men sip their beer
casually, and DARK OWL takes several gulps of his beer.
                       MAN #2
That crazy man across from us in
the big house?
MAN #1 nods.
                       MAN #2
Oh no. No, no, no. I'm not messin'
'round with Urban Strider's shit.
                       MAN #1
Oh, come on. When in your life are
you gonna stop bein' so god damn
                       MAN #2
Look, I ain't yellow... I'm smart.
Smart enough to know that messin'
'round with Urban's money will
more than likely get a man killed.
I seen him in action. I never


                       MAN #2 (cont'd)
wanna be at the end of Urban's
hands. Never.
                       MAN #1
Look, Buck told me we ain't got
nothin' to worry 'bout. Urban will
never know about us, so relax. I
say we go for it.
As soon as MAN #1 says 'BUCK', DARK OWL'S eyes widen, and he
sets his mug back down on the table. MAN #2 chugs the rest
of his beer, and follows it with a shot.
                       MAN #2
This is suicidal.
                       MAN #1
It's not suicidal, trust me on
this, will ya?
DARK OWL stands up and walks over to the two men. They raise
their heads and look DARK OWL in the eye.
                       DARK OWL
Excuse me, did you say, 'Buck'?
MAN #1 nods as MAN #2 eyes DARK OWL up and down, not
trusting him at all.
                       DARK OWL
When was the last time you saw
                       MAN #1
'Bout three months ago... in jail.
But, uh, he said he'd be headin'
to Wind Hills when he got out...
which should've been two weeks
DARK OWL runs out of the bar.
DARK OWL steps outside. MAN #1 and MAN #2 follow him out.
                       MAN #1
Hey, redman... did you hear what
we was talkin' about in there?
DARK OWL turns around to face the two men.


                       DARK OWL
Maybe I did... maybe I didn't.
MAN #1 withdraws his pistol.
                       MAN #1
Well, if you did, we're gonna have
to kill ya.
MAN #2 laughs. DARK OWL throws a knife at MAN #1, killing
him. MAN #2 notices, and withdraws his gun. He fires at DARK
OWL as DARK OWL runs, flips and rolls, dodging the bullets.
DARK OWL darts toward MAN #2, secreting a knife from his
sleeve, and jumps on him. DARK OWL stabs the man in the
neck, and proceeds to flee the area, "free running".
URBAN, DENNY and NOLAN are sitting atop their horses,
staring down at a woman taking down her laundry from the
clothesline. She notices them, grabs her DAUGHTER, age 4,
and darts inside. DENNY looks over at URBAN, who is still
staring down at the house.
I hadn't had me a woman in some
time, now.
We're not here for that, Denny.
Grab your gun, let's go.
TREVOR BROWN, late thirties, in black pants, a black long
sleeve shirt, and a brown vest, walks up to the very same
house, and opens the door. The camera shows his point of
view, looking over to the right, where TREVOR'S wife is
laying on the bed with her throat slit. Then, the camera
pans left, and shows URBAN and DENNY eating at the table
with his DAUGHTER. DENNY and URBAN just continue eating,
never locking eyes with TREVOR. Camera cuts back to show
TREVOR'S reactions. He gasps, and covers his mouth. NOLAN
walks in behind TREVOR, and aims a gun at the back of his
head. He pulls the trigger, the DAUGHTER is startled by the
noise, and tears fill her eyes.
      (to Daughter)
You gotta eat your vegetables...
you wanna grow up big, and strong,


                       DENNY (cont'd)
like your Uncle Denny, don't ya?
WALKER and CLARK are both sitting at a table in the dining
part of the bed and breakfast. WALKER takes a bite of his
undercooked potato.
So that's where I'm headed. What
about you?
Well, actually, I'm not headed
anywhere. I just go from town to
town, hoping for a place worth
living in.
WALKER pours another cup of coffee, and takes another bite
of his potato.
Sounds lonely.
Most of the time it is, but I meet
a few women here and there. Keeps
me occupied.
They both laugh.
So, you're tellin' me, there's
some cash box hidden near that
foggy river?
WALKER nods.
That's exactly what I'm saying. On
top of it, I'll cut you in.
Yeah, but don't you need it all?
Ya know, for your ranch?
Might not... those gamblers said
there was over $500,000 dollars.


Wow, that's a lot o' damn money,
Why don't you ride along with me?
I mean, I could use your company.
Might need a partner in case
there's some trouble. And besides,
you do kinda owe me for the spat
CLARK and WALKER share a well deserved laugh. WALKER takes a
sip of his coffee.
I'll do it. I was gettin' kindly
bored with all these towns around
here. You know, in all my years
that I've roamed these lands, I
never shot anyone? Not one person.
You know, Clark... shootin'
someone isn't all that great. It
can weigh heavy on a man's heart.
You ever shoot someone?
WALKER sits back in his chair, and exhales loudly.
I've owned my ranch for some time
now. I never want to hurt anybody,
and often times I don't. But
sometimes... sometimes you can't
avoid it. Sometimes, in order to
protect your land, and your
family, you have to.
CLARK falls against his door, struggling to open it. He
finally gets the key in, but almost falls backward. He leans
himself against the door again, as he turns the key, and
then the knob. The door opens dropping him to his hotel room


EVERETT is puffing a cigar and sipping on some brandy.
WALKER is sitting three spots down from him, drinking from a
mug of beer. WALKER gets up, and walks by EVERETT. He
stumbles and almost falls over when EVERETT catches him with
one arm, and stands him up straight. WALKER looks over and
notices that one white eye, glaring back at him.
Thank you, Mister.
WALKER starts staggering away, and up the stairs. EVERETT
orders another glass of brandy. He puts his cigar out in his
old glass, downs the new glass, and sighs.
      (to bartender)
EVERETT stands, adjusts his coat, and strolls elegantly
toward the staircase. He glides up, and turns left in the
hallway. WALKER is down the hall behind EVERETT, knocking on
CLARK'S door.
Clark! C'mon, let me in! I gotta
wash up, and get some sleep!
EVERETT keeps walking down the hall. Suddenly, a prostitute,
KATHY, late twenties, pops out of a dark doorway, and stops
Hey there, stranger.
EVERETT tries to pass by without hurting hurting her.
I'm not here for you, Miss.
Then what are you here for,
handsome man?
What kind of business?
A man pointing a gun at the back of EVERETT'S head emerges
from the dark doorway behind him.


None of yours.
A gunshot goes off. EVERETT stands completely still. The
sound of a body hits the floor, and EVERETT turns around to
see WALKER holding a smoking gun, and an injured man on the
floor, screaming with pain. KATHY looks scared.
He was tryin' to kill you, Mister.
EVERETT withdraws his gold and pearl gun, and aims it at the
injured man. He fires, killing him and then turns around
slowly, and faces KATHY again. Her face grows terrified as
EVERETT grinds his teeth.
KATHY is shoved through the hotel doors, and out onto the
veranda by EVERETT. WALKER and EVERETT both walk back into
the hotel. The BARTENDER pulls a shotgun out from behind the
bar. EVERETT and WALKER stop in their tracks, staring at the
BARTENDER. The six other men that were spread throughout the
room stand up and withdraw their pistols from their belts.
Hold on just a minute, Mister...
what do you think you're doin'
with my call girl?
KATHY walks back into the hotel, and back up the stairs,
looking down at the soon to be bloodbath. A gun cocks.
EVERETT grabs WALKER, throws him over a table, dives over
it, and pulls it down to protect them. Bullets start flying,
whittling away at the table. EVERETT pulls out his golden,
pearl handled revolver, and rolls to the next table, pulling
it down for cover as well.
      (to Walker)
Get over here!
WALKER pulls out his pistols, and dives over to the table,
firing rounds off toward the bar. He lands next to EVERETT
on his back. Everyone stops to reload.
Holy shit.


Perfect God damn timing!
EVERETT stands up, aims in, and starts firing at a few of
the men. He drops two of them, but the four others, and the
BARTENDER dive behind some cover. EVERETT gets up, and he
and WALKER both run and dive, knocking over another table to
hide behind, as the five men stand up, and begin shooting.
EVERETT jumps up and runs left, as WALKER jumps up and runs
right. They both start firing their guns at the other men.
EVERETT flings a chair and it flies across the room,
bursting into pieces on the BARTENDERS head. They dive and
weave behind tables and pillars, shooting at the others as
they shoot back.
Running low!
Should've stocked up!
EVERETT and WALKER now face only two men. WALKER and EVERETT
both come out hiding, aim in at their targets, and place
bullets into their targets' heads. The thugs drop to the
floor, as EVERETT and WALKER put their guns back in their
holsters. EVERETT turns to WALKER and tosses him a small
wooden box of bullets.
Try to make those ones last.
Thank you. Hey, I never caught
your name, stranger.
EVERETT walks up the stairs.
I never threw it.
CLARK heads down the stairs, passing EVERETT along the way.
WALKER is still standing there, watching EVERETT leave.
What the hell happened, Walker?
Don't worry about it.
WALKER looks over at the bar and notices a small, full
bottle of whiskey. He points to it.


Let's finish off that bottle o'
whiskey, and then get the hell
outta here.
EVERETT is laying on his bed. His hat and coat are off, but
his clothing and shoes are still on. The armoir is pushed up
against the window, blocking it from any intruders, and a
chair propped up against the door, next to another chair by
the vanity. KATHY walks out from the dark corner where the
armoir meets the closet door. EVERETT lifts his head, and
looks right at KATHY.
My, my. You sure can put up a
fight. What do they call you?
They don't call me anything. I'm
just a man... with no name.
KATHY climbs on top of EVERETT, straddling his hips. EVERETT
slowly reaches for his gun, and places his hand on the grip.
KATHY doesn't notice.
Then would you mind if I call you
She leans in to kiss him, but he turns his head away.
What's the matter? You not fond of
No I am. I just don't trust you...
and you could hardly call yourself
a lady.
Well if I let you check me for any
weapons, would you trust me?
She climbs off of him, and takes her dress off, exposing her
soft, naked skin. She spins around one time, and climbs back
up on EVERETT'S hips. She undoes his pants, reaches inside,
and slides her body up higher on his. She begins grinding
against him, moaning in pleasure. EVERETT could barely stay
focused. He is obviously being pleased as well. They rise


from the bed, him holding her, and they prop themselves up
against the wall. EVERETT opens the closet door, and looks
inside. Then he spins around, dropping to the floor next to
the bed in the traditional missionary position. He lifts up
the bed skirt, and checks underneath. Then he stands up,
carrying her to the chair, and he sits down. KATHY is still
grinding against him. He climaxes as she reaches for her
hair, pulls out a knife, and cocks back. Suddenly a gunshot
rings out, the flash blinding. KATHY drops to the floor, and
EVERETT puts his lavish gun back in its holster. He stands
WALKER, and CLARK are just leaving the hotel. They walk down
the steps of the veranda, and step out onto the dusty road.
EVERETT pushes open the doors and walks up to the group.
I don't suppose you two are after
that loot at Foggy River?
CLARK and WALKER look at each other.
How'd you know, stranger?
EVERETT puts his top hat on.
Just a feeling. But you two better
listen to my warning... it's not
wise for you two to search for it.
It's a very dangerous path. A path
that might just get a man of your
stature killed. How'd you hear
about this anyway?
I was sittin' in a saloon, and I
overheard some fellas talkin'
about it.
That's strange... look, trust me
on this... don't go looking for
that loot.
He lights a cigar, and walks slowly down the road as they
watch him leave.


This night keeps gettin' stranger,
and stranger.
DAN and BILL are standing in the middle of the hotel bar,
looking at the carnage strewn across the floor.
What the shit happened here?
Whatever it was, it just got us
free room!
They both laugh.
Well, you want me to move the
Nah, I'll get it.
DAN is asleep on the bed with his legs dangling off the
foot. BILL is laying sideways at the head of the bed. Both
men are still fully clothed. A woman's scream reverberates
off the bedroom walls all the way from the bar downstairs.
DAN and BILL jerk themselves awake, practically falling off
the bed.
DAN and BILL come staggering down the stairs. The woman,
WOMAN #2, mid forties, is still screaming at the sight of
all the dead bodies strewn throughout the wooden floor. DAN
rubs his eyes.
      (to Woman #2)
What? Oh that? That's old news,
Suddenly the BARTENDER pops up from behind the bar,
groaning. DAN, BILL, and WOMAN #2 scream. DAN and BILL pull
out their guns.


But that's new news!
                       WOMAN #2
Murderers! Murderers!
No, no, no! We didn't do this!
Honestly, lady!
The WOMAN runs out of the building DAN and BILL chase her.
The WOMAN runs down the steps with DAN and BILL on her tail.
                       WOMAN #2
Murderers! Somebody help!
No, lady! You got it all wrong!
They continue to run down the street. The town SHERIFF walks
out of the jail house with a rifle. The WOMAN runs toward
                       WOMAN #2
Help! These men are murderers!
She runs behind him as he aims in at DAN and BILL. They
skid, trying desperately to stop, and take cover behind some
horse troths. The SHERIFF shoots as the water splashes, and
soaks the two men's clothing.
Damn it! We didn't kill anybody!
DAN and BILL both lift their pistols over the troth, and
blindly shoot toward the SHERIFF. The SHERIFF ducks into the
doorway of his jail house, as DAN and BILL both stand up,
and run to their stagecoach. They dive in, and ride off,
kicking up dust as the SHERIFF shoots wildly at them.
NOLAN and DENNY are still asleep around the woman's carcass.
URBAN kicks their feet, waking them up. He pours himself a
cup of coffee. The other two men grunt as they rip their
blankets off, and stand up. URBAN sits down at the table as
he sips on his coffe.


Hey, Urban. What do ya say we go
get ourselves some women? Maybe
rob 'em when we're done. Ya know,
like the ol' days.
No. We have a long road ahead of
us. Buck went an' told some old
cell mates about our loot, boys.
Now we have to go protect it.
It'll be a while before we get to
Genesse. From the indian village
we'll cross the woods, and head
into the river.
NOLAN nods his head as he puts in a plug of chewing tobacco.
Seems kindly strange you
contemplatin' on another task,
when a man who double crossed you
is roamin' free. Why don't we kill
URBAN shakes his head.
Nah. Be too late, now, besides I
got someone on it already. Put
your shit away, we gotta move out
soon if we wanna make it in time.
How far you reckon that little
girl ran last night?
Shit, she's probably in Derby by
DARK OWL walks his horse through the town, and ties him up
near the post office. DARK OWL continues to walk down the
road, and into the brothel.


DARK OWL walks up to the bar, as the BARTENDER, 45, greets
him. DARK OWL slides his left sleeve up, showing a tattoo
that looks masonic on his forearm. The BARTENDER nods, and
takes DARK OWL downstairs to the basement.
DARK OWL steps in as the door slams shut behind him. In the
middle of the room is a desk, lit only by a few candles. the
man at the desk, EARL, late thirties, stands up. DARK OWL
walks over the the desk, and shakes EARL'S hand. The screen
pauses, turns black and white, and displays words at the
bottom that read:
the assasins' associate"
The screen returns to normal.
Sit, sit.
DARK OWL sits.
What can I help you with, today?
                       DARK OWL
I'm looking for a target named
Buck McHugh. I heard he was in
this town. What do you know about
Well, we do know about a man who's
new to this town, but I can't
remember his name.
DARK OWL flips a coin onto the desk.
I think it was a guy named, Buck.
He came where about two weeks ago.
I think he just got out of jail. I
can't remember where he was
stayin', though.
DARK OWL flips another coin onto the table.


Come to think of it, he's stayin'
at the Rouge Hotel, right here in
                       DARK OWL
Anything else?
He's by himself.
                       DARK OWL
Good. Do I have permission to
In this town? I don't know.
DARK OWL flips two more coins onto the table.
As a matter of fact, you do.
DARK OWL stands up, and leaves the room, as EARL rakes up
his coins.
EVERETT is sitting on a rock, staring into a dim campfire.
His top hat rests solemnly on his head as he puffs his
cigar. He spits the cigar into the fire, and lays down on
his back before the rock. He slides his top hat over his
eyes, and begins to slip into his dreams.
URBAN, NOLAN, and DENNY are slowly trotting along on their
horses. NOLAN is puffing on a cigarette, staring deep into
the open desert. Suddenly, the white stallion URBAN is
riding, bucks, knocking URBAN to the ground. Everyone looks
back and forth between URBAN and the horse, confused. The
horse jolts off as URBAN stands up, breathing heavily. He
aims his gun at the horse, and fires. He misses and the
horse is swallowed by the darkness. URBAN looks over to
Get off your horse.


URBAN grabs NOLAN and yanks him off the horse. NOLAN lands
on his stomach while DENNY laughs. He struggles to his feet,
and looks at URBAN.
How am I supposed to keep up?
You ride with DENNY.
      (to Denny)
Scoot forward.
Son of a bitch, Urban. What the
NOLAN jumps onto DENNY'S horse, and the three men ride off
into the desert.
Large bonfires light the rolling field. Smoke bellows
throughout the large military formations. The Union Marines
on one side, and the Confederate Army on the other. In the
front rank of the Union Marines formation is a young
EVERETT, on his white stallion. He still appears the same,
only he has no scar on his left eye, and the eye has all its
The battlefield is now a mess of chaos. People are running
left and right through the clashing of swords, and the
bursts of gunfire. Cannons rip the field to pieces, tearing
apart both Union and the Confederacy.
EVERETT is standing in the middle of the battlefield holding
a pistol in his left hand, and a crimson stained sword in
the other. Three Confederates dart at him atop their horses.
EVERETT fires his gun at one, sending a bullet into his


throat, and knocking him off his horse. EVERETT fires
rapidly at the other two Confederates, shooting one in the
face, and the other in the chin. Suddenly, EVERETT becomes
overwhelmed by the Confederate cavalry, and runs out of
ammunition. He wields his sword, slashing through a few
cavalrymen. A few fire their guns at him, but they miss.
EVERETT slashes their horses' legs, dropping the riders to
the ground, and he plunges the sword into their chests. More
cavalrymen surround EVERETT, as one withdraws his sword. The
Confederate slashes EVERETT'S left eye as he turns around.
EVERETT grabs his eye.
EVERETT'S white stallion nudges his face. EVERETT sits up,
grabbing his left eye, and screaming. He realizes it was a
dream, looks over to the right, and sees his horse. He grabs
the horses face, and looks harder at it.
Jack? Lightening Jack, is that
you, ol' boy?
EVERETT stands up and inspects his horse. He pats JACK on
the side of the neck.
It's good to have you back,
friend. Want something to eat?
JACK nudges him.
Well, We'll have to go into town.
C'mon, Jack.
EVERETT turns JACK around, and JACK dashes off into the
DAN and BILL are laying down on the seats inside their
coach, both wrapped up in several blankets. A lantern hangs
from the ceiling of the coach, illuminating the maroon and
mahogany interior. A few shirts hanging on the clothesline
outside the window dance in the cool breeze.
Hey, Bill... you asleep?


No, wanna know why?
'Cause you keep trying to talk to
Ain't you tired, Dan-o?
Hell, nah, Bill.
Well, why not?
I've got nosonia.
What the hell is that, Dan?
It's when you can't sleep, Bill.
                       BILL (more)
When you can't sleep?
DAN grunts an 'um huh' sound.
                       BILL (cont'd)
So let me get this straight... you
can't sleep because of insomnia...
Nosonia... and you have nosonia
'cause you can't sleep?
That's right, Billy boy.
Well, now that's a paradox.


DAN sits up and looks over at BILL.
What the hell's a paradox?
WALKER and CLARK are riding their horses.
How long you think 'til we get to
Hard to say. Hold on, what's this?
WALKER and CLARK come across DAN and BILL'S stagecoach.
Looks like someone's livin' in it,
WALKER jumps down from his horse and begins to inspect the
I've seen this coach before. At
that saloon I was talkin' about.
He notices some bullet holes in the rear.
Yep. This is it. Must be after the
loot, too.
DAN pokes his head out of the window, starling CLARK and
Can you folks keep it down out
here? We're tryin' to sleep.
Yeah, we.
BILL pokes his head through too.


Oh what do you care, Dan. You got
It's nosonia, Bill. Nosonia. "No"
means no, and "sonia" means sleep.
No sleep.
DAN and BILL are getting ready for the day in their
stagecoach. DAN is standing outside of the coach. The door
of the coach is open, as DAN shaves his face in the mirror
tacked on the inside of the door. BILL is bathing in the
laundry tub, inside of the coach. DAN shaves a patch of
facial hair, and then dunks the razor into the tub with
Today's gonna be a good day, Bill.
Why do you say that, Dan?
Because today, we're gonna make
some money. Genesse ain't to far,
BILL smiles.
Ah, yeah.
DAN dunks the razor into the tub once again, as BILL jumps
with pain.
Ow! Watch that razor, Dan!
An old lady, who appears to be wealthy stops and stares at
the two men. DAN notices.
Hey! Keep walkin', pervert! The
man's tryin' to bathe!
The woman grunts in disgust, and walks off.
I think I'm bleedin'.


DAN looks over at BILL as BILL lifts his leg out of the tub,
looking away in disgust.
Can you tell me if it's bleedin',
Dan? I can't stand the sight of my
own blood.
DAN looks down at BILL'S leg, and sees a perfectly shaven
bald spot. His eyes get large.
EVERETT trots by. DAN notices and takes the opportunity to
change the subject.
Oh shit, Bill. Look.
I don't want to, Dan. I might
throw up.
No, no, no. It's that devil man
with a white eye.
BILL is still looking away.
Ah, shit. On my leg? It's one of
those premonitions, Dan!
No, dummy! On a horse. In the
BILL opens his eyes and looks out onto the road. He sees
EVERETT come across CLARK and WALKER, who both recently
exited a hotel.
That's the crazy eyeball man, huh?
Yeah, I wonder what he's doin'
You don't reckon he's after the
loot, do ya, Dan?


C'mon. Let's get outta here.
DAN slams the coach door shut, and jumps into the front
seat, shaving cream still on his face. He grabs the reigns
and the coach takes off.
Wait! Wait! Dan, I'm still in the
                                         CUT TO
EVERETT dismounts his horse, and walks up to WALKER.
I thought I told you gentlemen to
abandon your search.
You did... but you don't
understand. I need the money. I
have a family and a ranch that I
owe money on.
That's not my problem. My problem
is that two fools are looking for
loot on a dangerous path, and
there will be death. You're in
search of something that isn't
what it seems. Something far too
deadly to engage upon.
Well maybe we're far too deadly as
well, Mister.
      (to Clark)
Clark, please.
      (to Clark)
Well, that may be, kid. However,
what you seek is not what you
That's all fine and well. But I
think you may be underestimating
us, Sir. I've been in tight spots,
and I've gotten out of 'em. I'm
sure I can handle a trip across


                       WALKER (cont'd)
It's not just a trip across
Colorado. It's a journey into
Hell. Dark and sinister things
seem to... materialize right
before you. The next thing you
know, you're dead. You ever hear
of a man named Urban Strider?
Shit, who hasn't?
Well, he's not just a man, kid.
He's a powerful man with deranged
mind. You know what that makes
him, kid?
CLARK shakes his head.
Makes him evil.
EVERETT gets back on his horse, and rides off. CLARK and
WALKER look at each other in confusion.
DARK OWL is sleeping fully clothed, against the wall of his
hotel room. The sunlight rains in as he begins to wake up.
He stands, wipes the drool from his mouth, and peers out of
the hotel room window.
                                         CUT TO
DARK OWL'S bed is covered in weaponry, leather straps and
aged notes. One of the leather strips has white feathers
soaked in blood laying on top of it. DARK OWL grabs the
strip, and rolls it back up. He opens the window, and lays
the strip on the windowsill. He unrolls it, and waves his
hand over the feathers. The bloody feathers take flight, and
dance in the air. They begin to drift off into the sky,
circling each other, before disappearing. DARK OWL stares
out at the feathers.


                       DARK OWL
I won't fail you, Urban. Buck will
die tonight.
WALKER and CLARK are atop their horses, leaving the town of
Hoyt. WALKER pulls out a locket and gazes longingly at the
picture of his wife, ETHEL. He rubs it with his thumb.
ETHEL UMBRIDGE is standing on the porch, gazing broken
hearted past the fields. The wind blows her dark, curly hair
romantically as a tear wells up in her eyes. Her three
children run outside and stand next to her. She kneels down
to comfort them, and kisses ANABELL on the forehead. Tears
stream down ETHEL'S face as the wind continues to blow.
DARK OWL is smoking a cigarette as he hides behind the
Armour of BUCK'S hotel room. BUCK, mid forties, opens the
door and steps in. He notices the smoke, and looks around
the room. DARK OWL steps out from behind the armour and aims
a pistol at BUCK.
What can I do ya for, red man?
BUCK throws his hat onto the bed, and takes off his coat,
dropping it on the chair.
                       DARK OWL
Don't talk. You'll ruin it.
BUCK sees the tattoos on DARK OWL'S forearm.
I see that you're Comanche.
                       DARK OWL
How'd you know?
It's as clear as day. You're skin
is ridden with the notorious
markings, like a map of your life.
What's your name, son?


                       DARK OWL
Shut up. All you need to know is
Urban Strider sent me here to stop
you from whatever it is that
you're doing.
I see. Did he tell you it was too
late? Everything is already
happening. I don't reckon he told
you that, now did he?
                       DARK OWL
Shut the hell up, Buck.
WALKER and CLARK are finally out of earshot of Hoyt. WALKER
rubs his locket once more.
Hey, kid...
CLARK looks over at WALKER.
A word of advice... once you find
a heart you can't seem to break,
don't ever let it break you.
I'm afraid I'm not quite sure what
you mean, Walker.
WALKER puts the locket away, and looks over at CLARK.
When you find the right one, don't
ever leave her. Stay by her side.
She might never see you again,
DARK OWL is pinned down on the bed by BUCK. BUCK holds a
knife to DARK OWL'S throat, as DARK OWL'S pistol lays
dormant on the floor.


You done made a grave mistake
comin' here to kill me, kid.
                       DARK OWL
Dark Owl makes no mistakes, white
DARK OWL head butts BUCK in the face, knocking him to the
floor. DARK OWL gets on top of BUCK, and secrets a blade
from his sleeve, holding it to BUCK'S neck.
                       DARK OWL
Stop fighting this. It's much more
peacful if you die quietly.
BUCK punches DARK OWL in the face, knocking him to the
ground. He tries to mount DARK OWL as if he were a horse,
but the two begin to tussle much more violently.
EVERETT rides vigorously through the desert.
      (to Jack)
Soon enough, boy. Soon enough.
URBAN, NOLAN, and DENNY are sneaking around a barn. URBAN
steps in and unlocks a stable, pulling a horse out.
Here... rig it, and it's yours.
The farmer walks in and sees the three outlaws stealing his
horse. He cocks his shotgun as DENNY shoots him in the
stomach. The farmer drops to the ground.
You better hurry, Nolan. Someone
ought to have heard that.
DENNY walks over the the farmer. He reaches for the
pitchfork leaning against the wall, and grabs it. The farmer
whimpers as he slowly bleeds out.
Thanks for the horse, old timer.


He spears the farmer with the pitchfork.
DAN and BILL are riding their stagecoach casually throughout
the desert when they run into an eccentric looking man with
white hair named CAL, age 40. They stroll up to CAL, who is
working on a train that looks as if it were conjoined side
by side with another train.
      (to Cal)
Excuse me, sir. Have you any food?
CAL stops wrenching on the rather strange, double train.
I do, good sir. What kind do you
DAN and BILL look at each other confused.
Well, whatever you got, I suppose.
Well... I've been to several
different countries. My favorite
happens to be Italian. Want some?
Whatever the hell Italian is.
                                         CUT TO
DAN and BILL are eating some Italian food drenched in
marinara sauce, CAL sets a bottle of wine on the table where
the two men are eating. The inside of the train is
grandiose, and very elegant.
Thank you, sir.
You can call me Cal.
The screen pauses in black and white, and presents words at
the bottom that read:
the mad engineer".
The screen returns to normal, as CAL takes a glass and
drinks a bit of the wine.


It's a real nice wine... I hope
you like it.
If I may ask... what the hell kind
of train is this?
What do you mean, young man?
DAN swallows his food.
This... double train. Why?
I built it, 'cause it's the only
thing fast enough to beat the
What do you mean, dust?
CAL sets the wine glass on the table, and walks toward the
window. He stares out.
It's real good you found me when
you did. The dust is far more
faster than any horse I came
across. It's faster than any coach
for that matter.
DAN and BILL look at each other confused.
You crazy or somethin'?
About, fifteen, maybe twenty years
ago, a dust storm came and never
left. It holds the screams and
howls of lost Confederate souls.
When you listen closely, you might
hear old prayers of the fallen
What the hell are you talkin'
about, Cal?


CAL walks over to the table, and takes another swig of wine.
He sets the bottle back down on the table, and paces to the
other side of the train, peering out of its window.
The dust is home to the souls of a
Confederate unit known as the
Banshees. That's why they scream
so. And if anyone is caught in the
disastrous storm, they come back
out with cuts on their faces and
cuts on their hearts. I've seen
men who come out of the dust. They
end up wonderin' out into the
desert, trying to find the
storm... but they die lookin' for
Why are they here?
CAL looks over at DAN.
To protect something, I suppose.
Something very valuable.
DAN stares into CAL'S eyes, as BILL looks nervously between
the two.
I've been constructing this train
for years. It can get to Genesse
faster than any other mode of
transportation. Even the zepplin.
Suddenly, there's a knock at the door. DAN and BILL jump.
CAL walks over to the cart door and unlatches it. WALKER and
CLARK step through.
Oh, hello.
Howdy. Is everything alright? We
noticed the train just sittin'
here, and thought maybe you were
in trouble.
Oh no trouble at all. In fact, we
were just having dinner. Would you
care to join us?


WALKER looks over at CLARK. CLARK shrugs.
BUCK is once again on top of DARK OWL. Both men have cuts on
their faces.
                       DARK OWL
Why don't you kill me with a gun,
white man?
I'm a bit more old fashioned, I
s'pose. Why do you use gun?
                       DARK OWL
Maybe I'm a little more new
DARK OWL flips BUCK over him, and stands up. BUCK jumps to
his feet as well.
You know kid, I knew a Comanche
Lady once. Maybe you know her,
The two men glide side to side, knives in hand. DARK OWL
dives for the pistol, picks it up, and shoots BUCK in the
leg. BUCK drops to the ground, screaming in pain. DARK OWL
drops the pistol on the ground, and walks up to BUCK.
                       DARK OWL
      (in Comanche)
If you prefer knives, then I'll
honor that. You shall die by the
He cocks back, his blade glistening.
      (in Comanche)
Her name was Scarlet Tiger.
DARK OWL stares unmoving at BUCK, his eyes wide.
      (in Comanche)
And she was mine.


DARK OWL slowly backs away with his arm still raised high in
the air.
      (in Comanche)
And I was hers...
DARK OWL lowers his arm, and tucks away the blade.
                       DARK OWL
My mother's name was Scarlet
                       DARK OWL
She got real sick... she is now
one with the skies.
Both men are teary eyed.
                       DARK OWL
I suppose... you're my...
DARK OWL slumps to the floor, and leans against the wall.
The two men stare into each other's eyes.
I s'pose I am.
EVERETT is riding JACK through the desert, when he comes
across a set of double tracks. He dismounts his horse, and
touches the tracks.
He stands up and looks left. Then he looks right and sees a
light in the distance. He jumps back onto JACK, and dashes
for the light.
DAN and BILL are sitting at the table, WALKER and CLARK are
sitting on the sofa next to the cart door, and CAL is pacing
from one side of the train to the other, looking out of the


That was a good meal, Cal. Thank
Not at all, my friend. It was my
Ya know, Cal. Maybe you ought to
sit down, you're making me nervous
with all your pacing.
Just keeping an eye out for the
dust, my boy.
      (to Clark)
Don't ask.
CAL stops pacing as he glares out of the window. His eyes
grow large, and his mouth becomes agape.
The dust! It's coming! quick, you
boys help me with the furnaces.
CAL darts toward the front of the train as the four men look
at each other confused.
Come! Come! Follow me!
The four men rush to the front of the train as well.
      (to Bill)
Here, take this.
CAL hands BILL a shovel, and BILL takes it. CAL opens the
      (to Clark)
Young man, turn those valves over
CLARK turns around and spins two pipe valves. CAL lights a
match, and tosses it into the first furnace. He does the


same for the other. Both furnaces ignite in a blinding
      (to Bill)
The coal! Shovel the coal!
CAL and BILL begin shoveling coal into the furnaces as the
train slowly begins to move forward.
The coach!
DAN sprints back to the rear of the train.
      (to Bill)
Here, son. You keep shoveling, and
I'll go get your friend.
CAL passes his shovel off to CLARK, and CLARK begins to toss
coal into the fire. CAL darts through the carts after DAN.
WALKER leaves the engine room as well, and dashes for DAN.
Get back here! You'll never beat
the dust!
I have to save my coach!
DAN makes it to the rear of the train, and he dives off,
tumbling in the warm sand. CAL reaches the end of the train,
but hangs on to the very last handrail, almost slipping off.
The cart door shuts, cutting WALKER off. WALKER tries to
open the door, but it won't budge.
C'mon, Dan! It's not too late,
DAN jumps on the front seat of his stagecoach, and whips the
horses. They begin to sprint, almost keeping up with the
train. DAN looks back and sees a giant, dark brown dust
storm speeding violently toward him. He sees small glimpses
of decayed cavalry men soaring through the flares of the
Oh shit, oh shit...
The storm touches the stagecoach as swords slash through the
canvas and the wood. DAN screams.


Jump, Dan! Jump!
I can't leave my coach!
You're gonna die if you don't
Suddenly, EVERETT comes from the right of the stagecoach,
and snatches DAN off of the front seat, just as the coach is
devoured by the dust storm. EVERETT dart toward the open
cart door on the right side of the train, leaving CAL by
himself in the rear.
Oh shit... oh shit... crazy
eyeball man...
The dust is gaining on EVERETT as he pursues the open cart
                                         CUT TO
BILL and CLARK are sweating as they shovel the coal into the
furnace more and more vigorously. CLARK stop, wipes his
face, and begins to unbutton his shirt.
I gotta take my shirt off. It's
hot as cockles in here.
                                         CUT TO
The train seems to slow down as the dust and EVERETT seem to
speed up. WALKER appears at the open cart door.
C'mon! Jump! Jump!
                                         CUT TO
CAL is trying desperately to open the rear cart door, but he
fails miserably.
I knew I should've used different
The dust seeps onto the rear of the train. CAL notices, and
slowly turns around. He is snatched rapidly from the train,
and disappears in the dust.


                                         CUT TO
The dust is now licking at the tail of the horse. The
ghostly hands are reaching out for the two men. Suddenly,
LIGHTENING JACK jumps through the cart door, landing safely
inside as WALKER slams the door shut. One of the deathly
faces stares through the door window as WALKER stares back
in fear, fogging up the glass. The face slowly disappears,
and the dust soon follows as the train speeds dangerously
down the tracks. DAN slides off of LIGHTENING JACK.
      (out of breath)
What the hell... what the hell...?
The dust?
      (to Walker)
You again...
I know, I know... you don't want
me here...
You've proven yourself helpful.
WALKER looks as if he is taken aback. CLARK, shirtless, and
BILL walk into the cart. The two men look astonished at the
horse being in the train.
Hey uh... we got a problem up here
in the engine room.
      (to Dan)
Where's Cal?
The ass cart, last I saw him.
EVERETT dismounts his horse, and follows WALKER out to the
rear. WALKER tries the door, but it still won't open.
EVERETT presses a button on his cane, releasing a long blade
from the tip. WALKER looks amazed at the cane. EVERETT jams
the blade between the door and the frame, and begins to pry


it open. The door flings open as the two men step out onto
the deck.
He ain't here now.
Look at this.
EVERETT points down and WALKER'S eyes follow. There is a
trail of blood on the deck, leading to the ledge.
You don't think...
I do.
The other three men peer out of the doorway onto the rear
He's gone?
He's gone alright. Gone for good.
EVERETT and WALKER turn around, stepping back into the cart.
How we gonna fix the problem if
Cal's missin'?
EVERETT sits on the couch, and lights a cigar.
Brace for impact.
Suddenly, there's a loud explosion, as a large metal rod
pierces the floor, almost killing CLARK and BILL. Everyone
dives out of the way, as EVERETT puffs elegantly on his
cigar. LIGHTENING JACK lies down, almost as if he was
preparing for a wreck as well. The train derails, throwing
EVERETT into the air, and WALKER through the window. He
lands in a soft patch of sand, and tumbles down a hill. DAN
is launched into the next cart, just as the derailed cart is
ripped away from the rest of the train. The train slows to a
stop, as the men begin to crawl out of the wreckage.
Walker! Walker, where are you!
WALKER stands up.


Down here!
CLARK dives out, and dashes down the hill toward WALKER. DAN
hops down from the deck, and helps BILL out of the derailed
cart. EVERETT throws open the cart door, allowing him and
JACK to be freed.
DARK OWL is wrapping cloth around BUCK'S gunshot, chanting.
He finishes up, and helps BUCK to his feet.
Thanks. I s'pose I owe you a lot
more than a thanks.
                       DARK OWL
Don't mention it. But tell me...
why'd you leave?
Wasn't my choice, kid.
BUCK limps over to the balcony doors, opens them, and steps
outside. DARK OWL follows.
I loved your mother very, very
much. And in time, she made me
wanna stop doin' all the bad
things I done, and live the
straight and narrow. Urban, my
fifty fifty partner at the time,
noticed I didn't wanna keep
runnin' from the law, and doin'
bad things. He noticed it, and one
night, he set me up. He called me
and a few others in the gang down
to the saloon, and we were gonna
hold it up. I went to tell Urban I
didn't want any part in it. He
knew I went straight, and left,
only to have the sheriff and his
posse arrest me. I spent fifteen
years in jail, tellin' my story,
hopin' someone would rob Urban's
loot. I told two old gamblers that
were in for killin' a man for
cheatin' in a game of poker. They
were released, and I ain't seen
'em since.


BUCK lights a cigarette, and takes a long drag, slowly
exhaling the smoke. DARK OWL pulls out a small metal flask,
uncaps it, takes a swig, and passes it to BUCK. BUCK takes
the flask.
But now I'm out. And I'm gonna
make damn sure that son of a bitch
pays for what he done.
                       DARK OWL
I'll help you.
BUCK looks at DARK OWL, smiles, and takes a gulp out of the
Then we better'd get movin'...
DENNY and NOLAN are asleep. URBAN is snorting cocaine as he
stares off into the endless desert. Suddenly, DAN and BILL'S
stagecoach screams by. URBAN watches it passionately as its
torn canvas dances in the wind, and its splintered wood
whistles in the breeze. The horses look as if they'd been
whipped until they bled. Their eyes where now white.
      (to himself)
Soon enough, and the world will
come after you. It's been too long
of a rein, and now the final stand
will come.
URBAN kicks NOLAN and DENNY. They slowly wake up.
C'mon, boys. It's time to we left
Hayden County.
URBAN pulls out that small golden box, opens it, and snorts
some more of the white powder.
Everyone has pulled themselves together. EVERETT jumps down
from the train, and peers off into the distance. He sees a
small town toward the end of the tracks. He notices no
lights are lit in the town.


Gentlemen... I think we've reached
The other men stop dusting themselves off and look up,
locking eyes with the dark, unwelcoming town. They all start
walking toward the town of Genesse, as JACK trots by and
EVERETT pats him on the side.
URBAN, DENNY and NOLAN are riding through the desert.
Suddenly, the wind picks up, and some dust is kicked around.
URBAN'S horse stands on its hind legs, and neighs. The dust
storm appears and charges at the three outlaws.
What the hell?
The dust swallows the men.
                                         CUT TO
The three men are inside the giant cloud. NOLAN falls off of
his horse as URBAN dismounts his. A ghostly confederate
SOLDIER appears on horseback. He disappears from his horse
and reappears in front of URBAN.
What have you got for me?
The soldier speaks in an eerie, whipsery voice. DENNY and
NOLAN look terrified as URBAN and the SOLDIER carry on a
Five men... I could only get one.
The others were too fast.
Five? You're done for tonight. I
won't be needing you.
The SOLDIER fades away as the other ghosts do the same. The
dust disappears.


EVERETT, CLARK, WALKER, DAN and BILL are walking through the
abandoned town of Genesse. JACK is slowly trotting next to
the group. The old decrepit buildings creak as the wind
blows through the town.
It's eerie. Seein' a town like
It's almost as if the night got
darker once we stepped onto the
Suddenly, a large, white wolf appears by the corner of the
bank. He seeps back into the shadows before anyone notices.
I don't like this place, Dan. I
really don't.
Another wolf runs from one side of the street to the other.
The five men stop dead in their tracks.
What the hell was that?
What... what was what?
Another wolf bolts out of an alley way and darts through the
doors on the retired saloon.
Everyone withdraws their pistols from their holsters as they
slowly aim in every direction.
I really don't like this place,
I know, Bill... you told me
Suddenly, a large pack of wolves charge the five men. The
men start shooting, dropping a few wolves. One wolf pounces
on CLARK, taking him to the ground. JACK begins kicking at
the wolves as they try to bite him.


Help! Get this thing off me!
WALKER tackles the wolf off of CLARK, and shoots it. A wolf
flies toward EVERETT as he extends the blade from his cane,
piercing the the animal's chest.
These things are massive!
CLARK holds his severely damaged arm and picks up his gun. A
wolf jumps on BILL, knocking him to the ground. CLARK aims
at BILL'S attacker, shaking nervously as he hesitates. He
squeezes the trigger, only to annoy the wolf. It prowls
toward him menacingly as he continues to fire more shots at
it. Finally, he strikes the beast in the head, dropping it
to the ground.
I never seen wolves this big
WALKER helps CLARK up from the ground, and pulls him toward
the hallow saloon. DAN and BILL follow, still firing at the
giant wolves. EVERETT backs away slowly toward the saloon as
well, jabbing and shooting. WALKER and CLARK step inside as
DAN and BILL join them. JACK darts in and EVERETT explodes
through the doorway, and bolts the door.
Clark's injured!
The wolves surround the building while DAN, BILL, and
EVERETT shoot at them through the windows. WALKER jumps
behind the bar, grabs a bottle of whiskey from the shelf,
and pours the liquor on CLARK'S bloody arm. CLARK screams in
Here... hold this on there.
WALKER rips a handkerchief from his pocket, and places it on
the wound.
Does anybody got any twine?
The three other men continue to fire their weapons at the


WALKER rips through the cupboards looking for rope.
Don't worry about it, Walker... I
can hold it just fine.
You'll have to keep a lot of
pressure on that wound if you want
it to stop bleeding.
The gunshots stop as EVERETT turns around.
I suppose that takes care of them.
Let me see the boy's arm.
EVERETT walks toward CLARK and studies his arm. He grabs
CLARK'S pistol.
How many bullets are in this eight
Four... why?
EVERETT fires four bullets into the air, startling the other
men. He places the hot gun barrel on CLARK'S wound. CLARK
screams out in pain as his skin melds together.
The bleeding stopped.
EVERETT puts CLARK'S gun in the holster, and walks back to
the window. He peers out.
      (to Everett)
That might have been unnecassary.
EVERETT looks back at WALKER.
The bleeding stopped.
CLARK whimpers in pain as WALKER passes the bottle of
whiskey to him. He takes a swig.


      (to Clark)
Drink up, kid.
BUCK and DARK OWL are riding their horses across the barren
desert. BUCK lights a cigarette.
                       DARK OWL
When we see him... who should do
the honor?
Hadn't thought about it yet...
maybe we can do it together.
DARK OWL looks at BUCK and the two men exchange a smile.
Our five heroes are spread out around the saloon. JACK is
asleep at the foot of stairs.
There's a lamp right here...
The others look at BILL.
Still has some oil in it.
BILL lights a match and ignites the lamp. It's dull, ominous
glow soaks the room. EVERETT lights a cigar as he stares out
of the front window.
Nothing moving out there
anymore... someone should check
the back.
WALKER heads for the back door as the others continue to
lounge about. CLARK is still drinking whiskey, whimpering
about his arm.
This should be a good place to
squat for the night. In the
morning, we can head into the


Good, 'cause I'm worn.
DAN lies down on the floor, and tips his hat over his eyes.
BILL gets into the liquor and takes a bottle. He picks up a
flipped over table, and grabs a chair. He sits down, takes
his bowler derby off, and starts drinking from the bottle.
EVERETT joins him.
Want some?
The two men share the bottle of alcohol.
Are you injured also?
Just a scratch on my back. I'll be
fine. So what's your name,
WALKER comes back into the room and sits at the table.
I'm Everett. Everett Cole. You?
I'm Bill. That's my buddy, Dan
over there.
Pleasure to meet you, Bill.
EVERETT turns to look at WALKER.
You said earlier that the loot at
Foggy River wasn't what we thought
it was... What'd you mean?
EVERETT takes a swig of the bottle and passes it to BILL.
Some things are unexplainable...
my father told me about it as a
child, but he never showed me. You
see, my father was a politician in


                       EVERETT (cont'd)
Pennsylvania. He always told me
stories about a treasure he had
discovered in his youth, and how
it helped him become a leader. He
said with it, the unwanted
disappears... the desired becomes
achieved... and the world becomes
yours. I later joined the Union
Marines and fought for two years
in the war. I was left for dead at
the Battle of Fort Denton. After I
woke, I found our fort had been
overrun by Confederates, so I
helped my fellow Marines escape
and take charge once again. My
contract ended two days later and
I was sent home, where I found
that my father had hired a new
bodygaurd... Urban Strider...
WALKER and BILL'S jaws drop.
I take it you two know who he is.
BILL nods.
A truly dispicable man.
I agree. After he stole my
father's treasure, he assassinated
him and framed me... I was
arrested for the murder of
Marshall Cole, and sentenced to
fifteen years in prison.
My god...
EVERETT takes another drink.
I spent those years in prison
thinking... planning... devising
the day I avenge my father's
death, and my unjust
imprisonment... but, sometimes I
feel it will do no good. Soon I


                       EVERETT (cont'd)
had realized that, no matter how
many times I kill Urban in my
head, I still felt uneasy.
How so?
It's not so much Urban who needs
to be stopped...
Well if not him...
Then who?
The loot at Foggy River.
URBAN, DENNY and NOLAN are slowly riding their horses
through the desert. NOLAN and DENNY watch URBAN nervously as
he snorts cocaine.
Urban... what was that back there?
you wouldn't understand.
No, probably not... but try me
URBAN jerks his head to look at DENNY.
Someone once told me that with it,
the unwanted disappears, the
desired becomes achieved, and the
world becomes yours.
With what? I don't understand.
You couldn't.


Hey uh... I'm gettin' rather
tired... can we stop for tonight
and get some shut eye?
URBAN snorts another pinch of coke.
Yeah... this shit isn't doin'
anything for me anyway.
EVERETT and BILL are drinking as WALKER writes on a piece of
Hey, Walker... what are you
writin' there?
Oh, this? It's just a story I was
tellin' my daughter, Anabell,
before I left for this journey.
Figured I might wanna write it
down 'fore I forget.
Touching... well, I'm going to get
some sleep before it's dawn.
BUCK and DARK OWL are still riding through the desert.
Maybe we should get some rest.
                       DARK OWL
No... we have to keep going if we
want to kill him.


Relax, kid... I know where he'll
be. No point in crossin' him while
we're tired. That'll do us no
BUCK hops down from his horse and begins to unpack his
We'll rest here for a few hours.
Then we'll head into Genesse. From
there, we'll cross the woods into
Foggy River.
A young EVERETT wearing an eye patch is sitting in a chair
across from his father, MARSHALL COLE, 45, graying mustache
and slicked hair. The room they are sitting in is rather
elegant and decorated with artifacts from around the world.
When did they say it would heal?
A few months. However, I still
might not be able to see out of
Shame. Would you like some brandy,
Yes, please.
MARSHALL pours himself and and EVERETT a glass of brandy.
EVERETT takes the glass.
Thank you, Father.
Everett... I've called you in here
because there's been word of an
assassination attempt on me. It's
assumed they'll strike during my
campaign on the fifth.


Are you sure your sources are
I'm afraid they are... I would
like it if you could be my
bodyguard, Everett.
What's wrong with Urban? I thought
he was good.
He is but one man, Son. I may need
another, and who to trust more
than my own son?
EVERETT smiles and raises his glass.
Then you have my gun as well,
                                         CUT TO
MARSHALL is standing by the window of his office, peering
through the ruffled curtains.
That was a very smooth campaign so
far. I nailed the speech, and the
people loved me... Wouldn't you
MARSHALL turns around and is immediately shot in the chest.
He falls to the ground, yanking the curtains down with him.
How could you do this to me? How
could you betray me?
URBAN steps into the camera's view, menacingly smiling at
Your reign is over, old man. I'm
taking control now. The treasure
is mine.
                                         CUT TO


EVERETT is running down a long corridor plastered with
paintings and oil lamps. His face looks terrified as he
sprints desperately toward the last door. He busts through
the door and steps into the room with his gun in hand. He
looks down to see his father laying there on the floor, and
the window open.
EVERETT kneels down and cradles MARSHALL.
Everett... Everett, you have to go
to Colorado. The treasure's in
Genesse. Stop Urban from getting
to it.
I failed you, Father. I failed
You must go now. Go, Everett. Go.
MARSHALL dies in EVERETT'S arms as EVERETT begins to weep.
I'll never let this sort of thing
happen again, Father. I promise.
Suddenly, a few lawmen bolt into the room with their guns
aiming at EVERETT.
Our five heroes are asleep in the saloon. EVERETT and WALKER
are passed out at the table, and BILL is lying on top of it.
CLARK and DAN are both asleep on the floor. Suddenly,
EVERETT jerks awake, waking WALKER in the process.
What's the matter?
Nothing. We need to get moving.
We'll need all the daylight we can
The two men start waking everyone up.


Grab your things, gentlemen. We're
heading out.
Lemme sleep a little longer...
EVERETT kicks DAN'S feet.
Move your ass or we'll leave you
Everyone grabs their things and head for the door. EVERETT
pulls JACK by the reigns. They step outside and look toward
the woods.
You'll have to stay here, old
friend. I'm afraid the path from
here on will have to be traveled
by foot. I'll see you this
afternon on our way back.
EVERETT grabs a few sticks of dynamite out of one of the
saddlebags. He pushes the horse along and it walks behind a
few buildings.
He'll graze out here for a while.
He should be fine.
EVERETT starts walking for the woods as the others follow.
      (to Clark)
How's your arm, kid?
A little sore... but better now.
URBAN, DENNY, and NOLAN are waking up.
Damn it!


What's the matter?
We slept to long. Get your shit
and let's go.
URBAN jumps up and begins packing his things. The other men
slowly do the same.
Chances are the wolves got them
before they could go any further.
What wolves?
Oh just... one of my many
surprises for trespassers. Kindly
like... extra security for my
URBAN mounts his horse.
Hurry up, you two.
DENNY and NOLAN jump on their horses and the three men ride
EVERETT is pushing dense tree branches to the side as he
lingers through the woods. DAN and BILL are getting hit with
branches and twigs as they swat around their face.
I hate the woods.
Aren't there Indians 'round these
dam nwoods?
EVERETT stops to stare CLARK in the face.


One of the most violent and cruel
tribes in the country.
Great. If it's not the dust, or
the trains, or the wolves, it's
the indians that'll kill ya.
C'mon, Dan. Indians aren't that
bad. They're just misunderstood. I
mean, they was here first. Then
the white man came from England
and started killin' them off for
no reason.
DAN stops and looks at BILL. He slaps BILL in the head with
a tree branch.
You dangus! Indians weren't here
first! We were!
DARK OWL and BUCK are packing their things up and mounting
bags on their horses.
                       DARK OWL
I wonder is Urban expects us.
If I know Urban, he'll be too
worried about his damn treasure
than anything else. Besides, he
thinks you're still going to kill
                       DARK OWL
Lately he's been acting strange.
As if, he knew he would be
ambushed soon. I just don't know
if he knows it's us.
Doubt it, kid. He's got too many
things on his plate, now. It's
only natural to be acting like
that. It happens to the best
outlaws. Look at Jesse James.


The five heroes are still maneuvering around the woods, when
a dark shadow zips by in the distance. EVERETT stops as the
other bump into each other.
What's wrong?
EVERETT stares through the trees. The sound of a branch
breaking echoes through the woods. Everyone begins to look
around trying to observe any movement.
I don't see anything...
An arrow flies past BILL and sticks in a tree. BILL looks
terrified. A loud Comanche war cry shatters the silence as
the men begin to look for the source.
Comanches! Everyone draw!
The men pull out their pistols as Comanches painted like
skeletons run through the trees, surrounding them.
Oh shit! Oh shit! What do we do?
We fight!
An Indian charges EVERETT with a hatchet. EVERETT shoots and
kills him. A few other Indians charge the group as the
heroes open fire and begin dropping them. An Indian with a
bow is sitting in a tree aiming at EVERETT. He lets the
arrow fly as it finds its way into EVERETT'S shoulder.
Ow! Damn!
EVERETT looks up and shoots the Comanche out of the tree. He
pulls the arrow out of his shoulder, screaming in pain. The
group disperses as they are charged by more Indians.
I'm almost out of bullets!


Tell them that!
Same here, kid! Hope you can fight
with your hands!
Another Indian jumps at EVERETT. EVERETT releases the blade
from his cane tip and stabs the Comanche in midair. CLARK
picks up a branch and begins fighting two Comanches with
Do they ever stop coming?
Some Comanches swing through the trees on ropes, throwing
punches and kicks at our heroes. WALKER grabs one out of
midair and slams him on the ground.
DARK OWL and BUCK our riding through the desert.
                       DARK OWL
How's your leg?
BUCK feels his leg.
Better now. I think whatever you
did worked.
                       DARK OWL
It's Comanche folk lore. The
burning of Sage and chanting is
expected to heal any injury.
except for illnesses.
BUCK looks at DARK OWL.
I know, kid.
BUCK and DARK OWL both smirk.
                       DARK OWL
You know, we may see my old tribe
on the outskirts of Genesse. How
was it that Urban was able to get
through the woods to Foggy River
without running into them?


It was no worry to him. He brought
money and other offerings to the
tribe, and in return they gave him
an unscathed passage.
                       DARK OWL
I can only wish the same for us.
I'm just thankful it's Rain
Cloud's tribe, and not Elder White
Bear's. Elder White Bear would
string me up with my guts if he
ever saw me again.
                       DARK OWL
I would suffer the same fate.
BILL is holding one and of a log as DAN holds the other. The
two men run down the hillside, knocking a few Indians to the
ground. WALKER is pistol whipping and Indian on the ground
and EVERETT is using his cane to slice through three of
them. The third Indian kicks EVERETT'S legs out from under
him and stands over him with a spear. The Indian cocks back
as he lets out a war cry. Suddenly, CLARK shoots the Indian,
saving EVERETT.
      (to Everett)
That was my last bullet.
DAN and BILL run past CLARK in the background.
Thank you...
EVERETT stands up to look at the mess of Comanches on the
ground. All is quiet in the woods as WALKER stands up, and
DAN and BILL walk up to the group.
We can't all be out of ammunition.
Well it's a good thing they didn't
have any guns.
A gunshot rings out as DAN, EVERETT, WALKER, and CLARK spin
about to see an Indian standing on top of a hill with a


rifle, aiming down at them. The Indian cocks his rifle as
WALKER pulls the hammer back on his gun, and shoots the
Indian. The Indian falls to his face, and rolls down the
Now all of us are out.
BILL falls to his knees, startling the others. DAN squats
down, grabbing BILL.
Bill? Bill?
He was shot. Look.
The group looks at BILL'S shirt, noticing a hole in the
It hurts, Dan.
BILL falls forward and DAN rolls him over.
No, no, no, no! Bill!
Any chance of him living, we have
to get the bullet out.
DAN rips open his shirt, revealing an iron door from a wood
stove tied around BILL'S neck.
Oh... it knocked the wind out of
EVERETT starts to giggle.
Your idea didn't help at all,
Everett... it still hurts.
      (to Bill)
Where'd you get that thing?


I stole it from the saloon back
You mean you knew you were gonna
get shot, Bill?
Heck no, Dan. I can't tell the
future... but I have had dreams
about horseless coaches.
BILL sits up, removing the makeshift bullet proof vest from
his chest.
Horseless coaches, Bill?
Yeah, think about it, Dan. You
have to feed a horse. What do you
feed a horseless coach? Nothing,
that's what.
The group starts walking through the woods again as DAN
helps BILL to his feet.
Well, how would it move?
It would move itself, dummy.
BUCK and DARK OWL are slowly riding along. BUCK starts to
cough as he pulls out a handkerchief. He coughs in it, and
wipes his mouth. BUCK looks at the handkerchief, noticing
blood clashing with the white fabric.
                       DARK OWL
You OK?
Yeah... I'm fine, boy. Don't you
worry 'bout me.


EVERETT continues to push brush out of the way as the men
march through the woods. They come to a clearing revealing a
river with black water.
Foggy River, huh?
Not very foggy, now is it?
A black man, EUSTACE, late fifties, on a makeshift, wooden
raft rows near the bank singing "Swing Low, Sweet Chariot"
as the five men watch in confusion. EUSTACE gets closer to
them, as they notice his black eyes.
Look at his eyes...
They're as dark as the water.
      (to Everett)
Stranger than yours.
      (to Eustace)
Excuse me, sir!
EUSTACE stops singing and looks up at the five men. He rows
toward the bank and tips his straw hat.
You can call me Eustace. I'm the
boat man around these waters.
We're looking for the steamboat
called "Scarlet Dancer". Have you
seen it?
Oh yes. I know it well. Should be
comin' 'round that bend any
minute, now.
EUSTACE points at a shaded river bend covered with trees.
The men look over and see fog rolling down the water between
the tree covered banks. Suddenly, an old, worn out steamboat
glides through the shade and around the bend. The boat has
"Scarlet Dancer" painted on the bow.


I could ferry you folks to her if
you'd like.
How much?
Absolutely free... Just be careful
on her. Things aren't always what
they seem.
The men get on the raft as EUSTACE rows them toward the
steamboat, singing again.
What the hell did we get ourselves
into, Bill?
The ferry reaches the side of the steamboat.
How do we get up there?
Wait for it, my boy...
Suddenly, a rope ladder drops from the side of the steamboat
down to the raft. EUSTACE smiles. EVERETT tugs on the
Seems fairly sturdy.
Oh, it's sturdy. Go ahead.
EVERETT begins climbing the ladder as the others follow.
They all reach the decks of the "Scarlet Dancer" as EUSTACE
shoves off from below.
You all take care now!
BILL waves to EUSTACE as the other men head toward the aft
door. DAN yanks BILL away from the side and pulls him
inside. They step right into the dining room of the boat,
drinking in the view. The inside looks as if the boat was
recently constructed. Gold and crystal chandeliers hang from
the ivory ceiling still lit. Tables look as if they had just
been set for a meal.


Would you look at this place?
DAN grabs a crystal glass off the table.
I wonder how much this stuff is
DAN stuffs the glass into his coat.
Put it back.
DAN looks sad as he puts the glass back on the table.
EVERETT heads through a hallway and the others follow. All
the doors in the hallway abruptly slam shut, startling
Aw, no...
What the hell was that?
I don't know, but it sounds like
it's not friendly.
The five heroes continue to walk slowly down the corridor.
URBAN, NOLAN, and DENNY are riding along when they come
across the train wreckage.
Check it.
NOLAN jumps down from his horse and crawls inside the train.
URBAN lights a cigarette and inhales it deeply. DENNY takes
a drink from his canteen and passes it to URBAN. URBAN
catches it, and throws it back.
None for me, Denny.
NOLAN comes back out.


No one... not even a dead body.
Where do you think they went?
URBAN blows the smoke at the lit end of the cigarette,
watching the ashes float away.
I'll show ya.
EVERETT opens a door and peeks in. There are two beds in the
room that are completely made. EVERETT shuts the door and
continues walking down the corridor.
We have to check every room.
It'll be much faster if we split
I was afraid you were gonna say
Me too.
Very well, then... let's split up.
I'll go with Walker.
I'm stickin' with Dan.
I'll go alone.
You sure you want to go alone,


It's settled. I'm going straight.
Dan, Bill... you two go up stairs.
Walker and Clark, you two go
The men nod at each other as they begin their separate
journeys through the damned vessel. DAN and BILL break right
and head up the stairs as WALKER and CLARK head down.
EVERETT begins walking forward as WALKER pops up from the
Hey, Everett...
EVERETT stops to look at WALKER.
Be careful.
You do the same.
WALKER heads back down the stairs again and EVERETT steps it
out down the corridor.
                                         CUT TO
DAN and BILL reach the top floor. The two men drink in their
surroundings as they slowly step through the room. The
windows are stained black, drowning any light that would
come through. The oil lamps are lit, drenching the room in a
dull, orange hue. DAN and BILL hear footsteps running toward
them as they close their eyes tightly and scream. The sound
fades away, and DAN opens his eyes.
What is it? What is it? What is
it? Make it go away, Dan!
I dunno... you can open your eyes
though, it's gone.
BILL opens his eyes.


Thank God. I hate this boat, Dan.
The two men start walking through the room once more. They
peer down the long, stretching hallway as the oil lamps blow
out, blackening the entire floor. DAN and BILL turn around
as a dark figure runs into a room behind them. The door
slams and DAN and BILL jump with fright as they turn to face
the hallway again.
What the shit was that, Dan?
Why are you always asking me,
Bill? I don't own this boat. This
might come as a shock to you,
Bill, but, I don't know
OK. I'm just scared, that's all.
You don't have to get so fresh,
The oil lamps light up behind them again, illuminating a man
standing in front of them. DAN and BILL scream and turn
around to run. A woman dressed up and holding a tattered
umbrella appears in their way and the two men stop dead in
their tracks.
What do we do, now, Dan?
The two ghosts step closer to DAN and BILL, forcing them to
get uncomfortably close to each other.
What did I just tell you, Bill?
Alright, alright!
I got it! I'll try reverse
What's reverse psychology, Dan?


Sizemology, Bill. It's when you,
uh... use words to... make, uh...
like a... just watch!
DAN stops acting scared as he slowly steps closer to the
male ghost.
Well, you're in trouble, now, you!
DAN flexes his left arm.
You got a little trouble right
He flexes his right arm.
Little trouble over here...
He put his fists together in a guard position as if he is
ready to fight.
And a whole lot of trouble right
here! Let's go!
I don't think it's workin', Dan.
You don't, huh?
No, Dan.
DAN grabs BILL.
Me niether... maybe this will!
DAN jumps through one of the windows and BILL follows. The
two men land on the dining deck outside. They stand up, and
look at all the set tables.
Wonder what they're servin', Dan.


URBAN, DENNY, and NOLAN are riding through the town of
Genesse, looking around at all the large, white, lifeless
wolves. URBAN hops down from his horse and squats down next
to a wolf.
These damn wolves were of no use
to me.
These are your wolves?
Shut up... they might still be
here. Search the town, anything
that moves gets shot.
EVERETT makes his way to the front of boat. He arrives at a
door with a golden plate on it reading "Captain". He reaches
for the knob, but it turns before he could touch it. The
door slowly opens, allowing dull, lamp light to pour out. He
steps in and makes his way to the desk. On the opposite side
of the desk is a large, black leather chair facing away from
him. A bottle of brandy and two glasses sit silently on the
mahogany desktop. The bottle slides slowly toward EVERETT as
he watches it carefully. He grabs the bottle and pours it
into one of the glasses. He sits in the wooden chair in
front of the desk as he sips on the brandy. The leather
chair slowly turns around to face EVERETT, revealing the
late MARSHALL COLE. EVERETT sets his glass on the desk
slowly, staring wide eyed at his father.
Aren't you going to pour me a
glass, Everett?
EVERETT pours some brandy into the empty glass and sets the
bottle back down. The glass slides toward MARSHALL and he
grabs it.
But... how are you here?


Surely, you know, Son. This is
Urban's purgatory, now. It's no
longer the ferry to the mineshaft.
Everyone he's ever killed ended up
here, on this boat.
MARSHALL takes a sip.
I'm sorry I failed you.
Don't be sorry. Nobody could have
known. However, now you can fix
all of this. I know what you're
here to do, and you must do it.
Can you take us there?
There's no need. He moved it here,
to this very boat. He transformed
the boat to protect it, and we
were his guards.
So where is it, Father?
It's in the hull. Go now. You know
what to do. I raised a smart boy.
EVERETT tears up.
I miss you, Father... I promised
you I would never let this happen
again. And I keep my promises.
Go, Everett.
EVERETT stands up, and adjusts his coat.
BUCK is urinating as DARK OWL leans back on his horse.
BUCK'S urine reveals the double tracks that have been buried
by the sand.


Dark Owl... Look at this.
                       DARK OWL
Did you write my name?
No, no. There's train tracks down
here. Under the sand.
DARK OWL sits up, and hops down from his horse. He walks
over to the tracks, and kicks the sand around. Both men look
left and right, down the tracks. To their right they see a
shining glimmer of light reflecting off of the wreckage.
                       DARK OWL
What's that down there?
Could be the train. Let's go find
The two men mount their horses and begin riding vigorously
toward the train wreck.
BUCK and DARK OWL dismount their horses and begins searching
the wreckage.
                       DARK OWL
I don't see anyone.
Me niether... anybody here?
DARK OWL notices the distant city of Genesse.
                       DARK OWL
There... maybe they made it to
that town.
EVERETT is running down the corridor into the hull of the
"Scarlet Dancer". He meets up with WALKER and CLARK,
startling them.


Ah! What the hell?
It's me, Everett. Clark... Go
upstairs and tell Dan and Bill to
get ready to jump ship.
What, why?
Go... now! Don't waste any time.
Get to shore, and stand back!
CLARK takes off.
      (to Walker)
It's here... down here. Follow me.
EVERETT yanks on WALKER'S arm, pulling him along.
How do you know?
My father told me.
Your fa- what?
Trust me, Walker. I've trusted you
enough times now. It's your turn
to trust me.
The two men make their way to the engine room. They try to
open the door, but it won't budge. Suddenly, behind them, a
woman appears, holding an infant in her arms. WALKER notices
and begins tugging on EVERETT'S coat as he tries to open the
What? What is it?
WALKER points to the woman.
Both men try to open the door more furiously as the woman
edges closer. WALKER turns around to look when the woman


disappears, and reappears right in front of him. He screams
as the door flies open and the two men fall into the room.
EVERETT gets up and shuts the door.
Oh, shit, that was close.
EVERETT points behind WALKER.
There it is.
WALKER turns around to see a large, golden well that looks
as if it were taken out of the side of a mountain. It has an
intricate Aztec design, and a seductive gleam.
This is it? This is the loot at
Foggy River?
It used to be inside a mine.
Originally buried by it's creator
so it could cause no more harm.
But here it is...
The two men edge toward the well. WALKER peers into shallow
pit full of water.
It's not very deep.
It doesn't have to be. All you do
is know what you want in your
heart, and let the water wash down
your face. Then you have it...
whatever you truly desire.
May I?
EVERETT sticks his hand out as if to say "be my guest".
WALKER kneels down to the well, and stares into the water.
He closes his eyes, and cups his hands, bringing water to
his face. The giant sun symbol on the back of the well
begins to spin slowly. WALKER opens his eyes and stands up,
backing away from the well.
It is done, Walker.


Let's do what we're here to do.
EVERETT pulls the dynamite out from his coat, and places it
in the well, with the long fuse hanging out. He lights a
match, and looks back at WALKER.
Get ready to open that door.
WALKER nervously grabs the knob as EVERETT presents the
match to the fuse. He lights it, and the fuse sparks as the
two men bolt out of the room and into the corridor. Ghosts
begin to appear as the men run vigorously through the hall.
                                         CUT TO
CLARK, DAN, and BILL are standing on the edge of the deck.
BILL is looking out into the water nervously.
C'mon, Dan. What are you afraid
of. You have to jump.
I'm not afraid of nothin'. I just
don't wanna ruin my watch.
It's a nice watch!
It's a watch! Look, Everett told
me to tell you guys to jump, and
swim for shore. I'm sure it's for
a good reason, now let's go!
Why do we have to jump anyways?
Suddenly, WALKER and EVERETT bust out of the door.
He lit the dynamite!
WALKER and EVERETT dive out into the water.
Aw, shit...


Well... suit yourself!
CLARK jumps overboard.
OK, Dan. Let's jump.
DAN grabs BILL.
Wait, wait, wait... I don't wanna
jump 'cuase I can't swim, Bill.
That's it, Dan? Swimming's easy!
      (to Everett)
I can't swim!
Well, you better learn how!
BILL grabs DAN and the two men jump over the side just as
the TNT ignites, ripping through the ship. The two men fly
through the air as debris darts all around them. They crash
into the water and begin swimming to the surface. They pop
up as DAN struggles to swim, gasping for air. BILL pulls him
to a chunk of wood as DAN desperately grabs on.
See? It's easy?
URBAN stares into the sky watching the smoke bellow from
beyond the woods. DENNY and NOLAN come out of a building
looking for the source of the explosion.
God damn it! It's too late!
JACK appears from in between the buildings and URBAN


URBAN withdraws his pistol and aims in at the horse. He
fires, killing the horse as it slams loudly to the ground.
We wait here for them... they'll
be back.
The five heroes make it to shore as they climb out of the
dark water. EVERETT notices his top hat floating along the
bank. He reaches for it and picks it up. They begin walking
back through the woods as EVERETT puts hit top hat back on,
and turns around to look at the demolished boat.
Goodbye, Father.
EVERETT turns around and begins walking with the others.
EVERETT and the others step through the trees and out onto
the dirt trail leading into Genesse. The sky begins to
darken as rain clouds block out the sun. WALKER smiles as he
stares up at the sky. EVERETT sees JACK lying in the middle
of the town road. He runs over to his horse and kneels down
next to him.
No, no, no, Jack, no!
The others run up to EVERETT.
What happened?
EVERETT sees a bullet hole in JACK'S neck. He touches the
blood and rubs it into his fingertips.
He was shot...
By who?
Was it one of our strays from the
fight with the Indians?


No... the woods are too thick.
Someone else shot him. I've been
through so much with Lightening
I'm sorry, Everett.
URBAN, DENNY, and NOLAN come walking out of the saloon
smirking at the other men. They step out into the middle of
the street as EVERETT stands up, locking eyes with URBAN.
EVERETT slowly steps over JACK and stops in the middle of
the road. The wind kicks up a little dust as WALKER, CLARK,
DAN and BILL step out from behind EVERETT. The eight men
face each other in a Mexican Stand-off style.
I'm surprised to see you here,
EVERETT grips his cane tightly, turning his knuckles white.
Didn't I kill you back in Logan
You thought you did.
URBAN nods.
I'm impressed. Really, I am. This
time I'll kill ya for sure.
URBAN withdraws his pistol and begins firing at EVERETT.
NOLAN and DENNY fire at the others as DAN and BILL split to
the right, and EVERETT, WALKER, and CLARK run left. The
heroes dash into buildings as bullets fly, splintering
handrails and pillars. The rain starts to fall, soaking the
thirsty, dirt road.
Come on out, Everett. Face your
death. Like Father, like Son.
                                         CUT TO
DAN and BILL are hiding behind some old saddles in a saddle


What'd you get us into, Dan?
Me? It's that Everett guy. Where
they hell did they go, anyways?
                                         CUT TO
EVERETT, WALKER, and CLARK are ducked down under the window
of the saloon.
Try to find some bullets. Maybe
behind the bar.
WALKER and CLARK dash for the bar and begin tearing through
                                         CUT TO
URBAN, DENNY and NOLAN begin firing into the buildings.
Suddenly, DARK OWL and BUCK ride up behind them. BUCK aims
in on DENNY, and fires, shooting him in the right shoulder.
DENNY falls down as URBAN turns and shoots BUCK in the
stomach. BUCK falls from his horse as DARK OWL jumps from
his onto NOLAN. DARK OWL'S blade is sticking out from his
sleeve as his wrist is grabbed in midair. NOLAN intercept
DARK OWL and the two men tumble to the ground. URBAN looks
back and forth from DARK OWL to BUCK.
Buck? What the shit is this? You
two partnered up?
BUCK slowly aims at URBAN as URBAN fires once more, striking
BUCK in the arm. BUCK screams in pain. DARK OWL stabs NOLAN
in the chest as he screams, gargling in his own blood. DENNY
gets up, breathing heavily and salivating. URBAN looks over
and sees DARK OWL killing NOLAN. URBAN fires at DARK OWL,
hitting him in the ribs. DARK OWL collapses on the ground.
      (to Buck)
You really thought you could come
out here, in my territory, and
kill me? With the help of some
teenage Indian?


Let me kill him, Urban. He shot
I don't give a damn who kills him,
as long as he dies.
DENNY steps in front of URBAN, and aims his pistol at BUCK.
BUCK aims at DENNY as the two men begin riddling each other
with bullets. DENNY drops as BUCK'S arm falls to his side.
The two men lay silently in the rain. URBAN shakes his head.
                                         CUT TO
EVERETT, WALKER, and CLARK stop moving to listen to the gun
shots outside.
                                         CUT TO
Looks like I need to recruit some
URBAN walks over to DARK OWL, who is struggling to breath as
he crawls to ward URBAN.
You should never have crossed me,
Dark Owl. Learn from your father's
                       DARK OWL
It was you who crossed him. You
sent me to kill my own father.
I know. It's a pitty I'm so-
URBAN grabs his head and shakes it.
Ah! Crazy...
URBAN smirks as he aims at DARK OWL once more. He fires
repeatedly into DARK OWL, killing him. URBAN lays down next
to him, grabs his blade, and cuts his own face. He throws
DARK OWL'S arm down and begins to play dead.
EVERETT peeks out of the window.


I think they all killed each
other... strange.
Well, let's get the hell outta
here, then.
The three men walk out of the saloon and out into the rain.
Dan! Bill! Come on out... they're
DAN and BILL come out of the saddle shop, and the five men
head toward the carnage that is displayed in the middle of
the road. EVERETT stares down at URBAN.
His reign is finally over.
EVERETT heads over to BUCK, and squats down next to him.
Thank you.
URBAN sits up and aims at EVERETT'S back. WALKER notices and
he pushes EVERETT out of the way. URBAN fires, piercing
WALKER'S lower abdomen. CLARK rushes to WALKER as EVERETT
sits up and cradles WALKER as well. URBAN stands up while
the other men watch in horror. EVERETT slowly stands up as
well. URBAN laughs as he raises his gun, aiming it at
EVERETT'S face. He pulls the trigger, but the gun is empty.
URBAN throws the gun on the ground and pulls out his large,
crimson stained bowie knife.
Looks like we'll do it the old
fashoin way, Everett.
EVERETT grips his cane tightly as URBAN runs toward him. He
leaps into the air, as EVERETT extends his blade, jousting
URBAN in the chest. The two men fall to the ground as the
cane shatters in the middle. EVERETT stands up, leaving the
remains of his cane on the ground and in URBAN'S chest.
That was for my father, Urban.
URBAN coughs up some blood as EVERETT reaches down and grabs
BUCK'S pistol. He aims at URBAN, and fires, killing him.