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Sample from Screenplay written by Ryan P. Stark.
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EXT. FIELD - NIGHTA clear sky filled with countless points of light. A full moon overhead beams down, illuminating a vast expanse of open land void of all civilization.Trees sway back and forth as a cool gust of wind brings them to life, rustling the leaves and branches, conducting a symphony of nature.A deer grazes in the lush, green field. Alone and unafraid in this tranquil setting.A single gunshot breaks the silence-- the wind dies down, the trees are still-- from the treeline a silhouette emerges with a rifle in hand. This is JOHN CRIMSHAW. He’s in his early thirties, a strong and caring demeanor with an air of mystery about him.He approaches the deer that lies on the ground, struggling for life.He kneels down beside of it and places his gun on the ground. The deer jerks its head back and forth-- finally calming and looking straight into his eyes. John looks right back. A deep understanding between them.He gently soothes the animal-- putting his hand on its head-- after several moments he thrusts a knife into its neck, ending the pain.From across the field, John notices a WILD MARE, perfectly still, staring at him, almost as if it were judging his actions.John stands-- the horse lingers momentarily, then gallops off into the blackness of the night.
EXT. FARM - NIGHTJohn exits the forest into an open field-- the outskirts of a farm are ahead in the distance.The land is barren save for a scattering of dead and dying crops.On his back he carries the deer carcass. Several dead rabbits hang from his belt and swing back and forth as he treks across the open land.SUPER: New Mexico - 1872
He walks with determination toward a small farmhouse.
INT. BARNA refuge for undesired possessions illuminated by the moonlight as the door opens.John enters the barn and hoists the deer carcass above the ground by a chain.
INT. FARM HOUSEA quaint and simple residence. The house is lit solely by candlelight.
INT. FARM HOUSE - KITCHENCHENOA, a Native American woman in her twenties, attractive, solemn, happy. She wears a beautifully sequined necklace of turquoise and white.She prepares food at a table, humming a beautiful melody as her son, YUMA, six, plays on the floor near her.John opens the door slowly and enters-- carrying the rabbits in his hand.Yuma leaps into his arms-- John drops the rabbits on the floor as he catches him and lifts him up in the air. A warm and loving embrace.
JOHNI saw the mare again.
CHENOAI told you, it’s an omen.
John releases Yuma as he squirms to be set free.JOHN
And I told you, I don’t believe in omens.
John puts his rifle on a rack against the door.Yuma kneels down and pokes the dead rabbits on the floor-- trying to coax them to life.
YUMAWake up, wake up!
2.
JOHNThey’re not sleeping, Yuma.
Chenoa, who is still cutting various vegetables, can’t help but comment.
CHENOAThey’re dead.
YUMAHow did they die?
John looks for a delicate way to put this, but Chenoa interrupts, rather antagonistically.
CHENOAHe killed them, Yuma.
Yuma looks back at John, disappointed.JOHN
Yuma, taking the life of a living creature is never easy. Many people, including your mother, believe that it should never happen. I did it so our family could have food.
John picks up the rabbits and takes them over to the table where Chenoa is still preparing food. Yuma runs off to play with a ball on the floor.
JOHN (CONT’D)He has to learn the way of the world sometime.
CHENOAYour world. Not mine.
She grabs the rabbits out of his hand.JOHN
Heat’s dried up most of this years harvest. We won’t have enough come winter.
CHENOAAn omen. (beat) Yuma, come here.
3.
Chenoa puts the rabbits down on the floor and sits beside them. She puts Yuma in her lap and holds her hands out above the carcasses. She encourages Yuma to put his hands out the same way.
CHENOA (CONT’D)Great Spirit, give us hearts to understand, never to take from creation’s beauty more than we give. Never to destroy want, only for the furtherance of greed. Never to deny to give our hands for the building of Earth’s beauty. Never to take from her what we cannot use.
After whispering a few more inaudible words over the rabbits, she stands up and takes them to the table.She violently cuts the rabbits open-- peeling skin, slicing its stomach, letting the guts spill into a bowl.
CHENOA (CONT’D)I want him to learn the ways of my people as well. The land is connected with all the creatures that live on it. If one is desecrated, so is the other.
John reaches for her shoulder but stops himself.JOHN
I’ll be damned by whatever force sees fit to judge me if it means saving my family.
Chenoa pauses-- the realization of their situation sinks in. She turns to face John.
CHENOAI know, John. I’m sorry. You know how I get when...
John wraps his arms around her, caressing her long, dark hair.
JOHNI won’t let us starve. Especially since you’re eating for two now.
4.
Chenoa smiles-- she takes John’s hand and places it on her belly. After a moment she takes it off and shoves a bowl of unpeeled corn in his hand.John smiles. He takes it and walks toward the kitchen table, scooping up Yuma with the other hand as he runs past.He sits him on his lap and hands him an ear of corn. Yuma watches carefully and imitates his father as he peels it.
EXT. DESERT ROAD - NIGHTAn unpaved, dusty road stretches out as far as the eye can see.A massive wooden carriage led by four horses speeds past like a bat out of hell-- UNION BANK is written on the side.A thunderous rumble follows-- six MEN ON HORSES race wildly toward the carriage-- gunshots echo throughout the stillness of the night.The man leading the chase is RAMON MCCOLL, 30, with dark hair. A ruthless gunman and gang leader. A towering presence not to be crossed, but with an unpredictable sensitivity.His gang follows.
INT. FARM HOUSE - KITCHENThe table has been set. Sparse servings of everything, but to them, a feast.They all bow their heads in prayer.
CHENOAMother Earth hear your child as I sit here on your lap of grass, I listen to the echoes of your voice in my brother, the Wind. Teach me the lessons you offer. To nurture my children, as you nurture yours...
Yuma interrupts inquisitively.YUMA
How old are you?John grumbles, not wanting to answer the question.
5.
CHENOAHow old do you think he is?
Yuma thinks for a moment.YUMA
Fifty!Chenoa laughs while John shakes his head.
CHENOAAnd how old are you, sweetie?
YUMASix!
JOHNIn Navajo.
Chenoa smiles at John while Yuma thinks.YUMA
Hasta´a´!Everyone begins to eat their meal. Bowls of different foods are passed around, still steaming hot.
EXT. DESERT ROAD - NIGHTBANG! A stray bullet enters the back of the Driver’s skull. The bumps in the uneven road force his lifeless body to slowly fall forward and into the chasm of the rushing ground between the horses and the wheels of the carriage.
INT. BANK CARRIAGEThree PINKERTONS, Agents of the National Pinkerton Detective Agency hired to protect the carriage, reload their weapons-- shoving their arms outside the small wooden inlets and firing blindly. They are thrown back and forth around the inside.
EXT. DESERT ROAD - NIGHTAnother horse races to catch up with the carriage. The rider-- TUCK, early thirties, unusually short but very ruthless and easily agitated, he carries a double barreled shotgun almost as big as him. He rides to the side of the carriage-- struggling to keep up with the swerving horses that race on without a master.
6.
Tuck aims his shotgun at the wheel of the carriage-- BOOM!-- The wooden wheel shatters into countless pieces and disappears as the carriage tumbles over onto its side.
EXT. DESERT ROAD - NIGHTThe carriage skids to a halt. Ramon and his men surround the carriage-- guns drawn.The horses, free from the bondage of the carriage, rush off into the black void ahead of them.Ramon sits on his horse, staring at the carriage.Another one of his gang members rides up next to him. BEN GREY, 30, Ramon’s right hand man. He has dirty blonde hair which may or may not be actual dirt. Merciless, and will do anything for money.
BENLeast three in there, boss.
RAMONFuckin’ Pinkertons..
The door to the carriage bursts open-- a Wounded Pinkerton struggles to climb out of the carriage-- grunting and wincing as he does-- a metal rod protrudes from his lung, underneath a silver badge pinned to his shirt.Every man points their pistols except Ramon.The Wounded Pinkerton falls from the carriage to the ground-- he gets to his feet and spits a large quantity of blood on the ground.
INT. FARM HOUSEDinner has finished and the family is playing hide and seek. Yuma stands in a corner with his hands covering his eyes. He slowly turns around and tries to peek.
CHENOANo peeking!
Yuma laughs and turns back around.JOHN
Count to ten, Yuma.
7.
John and Chenoa hide, eagerly waiting for their son to find them.
EXT. DESERT ROAD - NIGHTRamon slowly dismounts his horse-- his men watch casually.He pulls out his pistol and slowly reloads-- one bullet at a time, slowly walking toward the Wounded Pinkerton with an intense fire in his eyes.The Wounded Pinkerton falls to the ground-- blood pouring from his gut. He looks up at Ramon.
WOUNDED PINKERTONI..I know you. You’re- McColl...
The Wounded Pinkerton spews blood all over the ground.WOUNDED PINKERTON (CONT’D)
Pinkerton Agency has orders to kill you on sight. You’ve... Killed a lot of innocent people.
RAMONWhat I done ain’t come close to what you Pinkertons are guilty of. Innocent... You show me a Pinkerton that done no wrong, ain’t got blood stained on his hands.
The Wounded Pinkerton doesn’t respond.RAMON (CONT’D)
Didn’t think so.Ramon raises his pistol to his forehead and fires.
INT. FARM HOUSEYuma turns and opens his eyes-- wide with excitement.BANG! The sound of Ramon’s gunshot pierces through the air-- the echo ricochets off the walls, filling every inch, every crevasse of the house with the deafening sound.
EXT. DESERT ROAD - NIGHTThe other two Pinkertons sit behind the carriage-- out of view of Ramon and his men.
8.
POV OF THE PINKERTONSWe see Ramon bending down to study the Pinkerton’s face.
EXT. DESERT ROAD - NIGHTThe Pinkertons run as fast as they can toward the house-- desperate to get there-- expecting a bullet in the back any second.Ramon pulls out a piece of paper and unfolds it. A sketch of a man’s face is drawn on it. An ugly man, with a scar on his right cheek and a long, bushy beard.He holds it up for comparison.
RAMONIt’s not him...
Folded along with the paper is a faded, silver badge and an old photograph. He rubs the badge with his thumb, over the barely legible Pinkerton National Detective Agency lettering.He moves the badge to see the photograph, it is of a mother and child holding hands. The woman has long, blonde hair, tied with a ribbon. Ramon stares at the photograph-- his eyes begin to well up at the sight of it.
INT. FARM HOUSEJohn cautiously peeks out the window-- seeing the Pinkertons racing toward their house.
JOHNGet to the barn!
Chenoa grabs Yuma and they run outside. John takes the rifle off of the rack and follows.
INT. BARN John lights a kerosene lantern as they all enter.He searches the corner of the barn-- finally grabbing hold of an inconspicuous piece of rope. A firm pull reveals a hidden cellar.
9.
He lowers Chenoa down-- Yuma next. With a last look around he lowers himself down and closes the hatch.
EXT. DESERT ROAD - NIGHTRamon walks to the other side of the carriage and opens the splintered door, expecting to find the bodies of two Pinkertons.Nothing.He turns to see:THE FARM HOUSESmall figures race toward it in the distance.He instantly jumps onto his horse and gallops toward them. The ground shakes as the rest of his gang follows.
EXT. FARM HOUSE - FRONT DOOR - NIGHTThe Pinkertons rush to the front door.POUND POUND POUND!-- frantically they knock-- needing refuge.No answer.Pinkerton 2 looks back to small silhouettes of men on horses riding toward them.
EXT. FARM HOUSE - BACK YARD - NIGHTThe Pinkertons run behind the house and see the barn ahead. They run straight for it-- out of breath-- their bodies barely able to make it.
INT. BARNThey topple to the ground once inside-- gasping for breath-- relieved for a moments reprieve.
INT. CELLARJohn has his rifle ready. Chenoa rocks Yuma back and forth, trying to keep him quiet.
10.
Suddenly, a thunderous sound of horses come from outside the barn.
INT. BARNThe Pinkertons freeze, careful not to make a sound.
BEN (O.S.)Here Pinky Pinky..
The voices get closer and closer-- heading straight for the barn.
INT. CELLARJohn reaches for the hidden door, but Chenoa’s hand on his shoulder stops him.
CHENOADon’t!
JOHNI can’t just leave them to die.
The voices are almost to the barn.BEN (O.S.)
Come out you Pinky bastards!John pushes the door open-- just enough to see the Pinkertons.POV OF JOHNQuickly he judges if there is enough time to get them to safety.He whistles softly to get their attention.They see him-- both rush over to the door-- John opens it wider for them to squeeze inside.Pinkerton 1 slides through...
INT. BARNThe voices are next to the barn.Pinkerton 2 throws himself headfirst into the cellar-- John gently lowers the door.
11.
The door starts to open...
INT. CELLAREveryone sits motionless, listening above as the footsteps wander throughout the barn. The floorboards creak like an old ship at sea.Pinkerton 1 snatches the rifle away from John and points it above.The footsteps stop over the cellar-- through the space between the floor a towering figure stands overhead. Chenoa clenches Yuma tightly-- both frightened for their lives.The figure moves away-- the barn door opens-- no more sound.They all breathe a sigh of relief when suddenly...The cellar door rips open-- two men stand overhead, reaching inside: GRADY, late twenties, in it for the thrill and the money. CARLOS, early twenties, a typical outlaw with nothing to lose.Pinkerton 1 raises the rifle-- BOOM! The bullet impacts directly into Carlos’ chest-- sending him sprawling backward.Grady jumps down into the cellar-- wrestling away the rifle and using it to SMASH Pinkerton 1 in the nose.Chenoa screams loudly.Another gang member jumps down-- BRIGGS, late twenties, sloppy and not well groomed with long, matted hair. The definition of an outlaw.He points his pistol at the Pinkertons, and shoots each one in the leg.
BRIGGSNo more runnin’ for you sons of bitches.
Grady and Briggs hoist the Pinkertons, John, Chenoa and Yuma out of the cellar.
EXT. FARM HOUSE - BACK YARD - NIGHTThe Pinkertons limp out of the barn-- Briggs smashes one of them in the head-- sending him to the ground in agony.
12.
John holds Chenoa and Yuma tightly-- Grady motions them forward with a pistol aimed directly at them.Ramon, Ben, and Tuck sit tall on their horses, a trinity of evil eclipsing the moon, casting a dark shadow in front them where they are all being led.
RAMONPinkertons are the worst kind of filth. It’s been quite the task puttin’ you all down.
Ramon pulls out a WANTED POSTER from his pocket and edits the list of crimes.
RAMON (CONT’D)“Murder of Seventeen Pinkertons”.
BENDon’t forget the one on the back road, Boss.
RAMONRight. “Eighteen”.
Ramon dismounts his horse and approaches the Pinkertons, who are kneeling on the ground in front of him.He bends down and studies their faces. He grabs one of them and moves it to the side.
TUCKDon’t you think he’s got to be dead by now, Boss? It’s been twenty years.
Ramon points his pistol at Tuck.RAMON
I’ll dispense justice how I please.He callously turns the pistol and shoots each Pinkerton in the forehead.John shields his family from the grizzly sight.Ramon’s attention turns to John.
RAMON (CONT’D)Helping Pinkertons is almost as bad as being one.
Ramon studies Chenoa’s face.
13.
RAMON (CONT’D)Almost...
Ramon starts to walk away, forgiving their transgression.His eyes lower-- he catches a glimpse of John and Chenoa’s hands, interlocked tightly.A flood of emotions fills his eyes. Tears well up-- his determined face now weak to the reminder in front of him. A jealous rage boils.He motions to Briggs and Grady.
RAMON (CONT’D)Put them back where you found them.
Briggs and Grady look questioningly toward him.GRADY
I’m all about killin’ Pinkertons, boss. What they done to you’s gotta be revenged. But, they ain’t done nothin’...
Ramon glares at Grady-- he pulls his pistol out just as Ben steps in.Ben grabs Yuma in one arm and drags Chenoa away in the other.Briggs holds John back as he fights to get away.Chenoa screams-- crying out and desperately trying to reach for John.John’s anger boils-- he screams as he watches his family being dragged away.Ben disappears with his wife and son inside the barn.Briggs' hold on John slips as he wildly throws his arms about.
INT. BARNBen throws Chenoa and Yuma back into the cellar.He picks up the kerosene lantern and throws it against the floor near the cellar door-- igniting a pool of flames that quickly consume everything in its path.
14.
EXT. BACK YARD - NIGHTBen exits the barn and walks up to Grady.
BENAin’t no room for guilt in this outfit.
John throws his elbow-- BAM-- hitting Briggs in the face, knocking him backward.John runs toward the barn-- seeing the flames.Ben pulls his pistol without hesitation-- BANG! John’s legs go numb-- losing control of his body he falls face first into the ground.Blood oozes from a hole in his back-- despite this he crawls toward the barn.
JOHNChenoa! Yuma!
Yuma’s cries can be heard inside. Tears pour from John’s face-- his voice fails him as he continues to scream out for his family.Ramon follows the trail of blood that measures the length of distance John has crawled.He takes out the photograph again-- focusing on the two figures holding hands-- the same thing that sent him over the edge.Ramon kicks John onto his back, takes a large knife from his belt and thrusts it through his right hand, pinning it to the ground.John doesn’t flinch-- he only notices the screams from the barn have stopped.
BENLaw will be coming soon, Boss.
Ramon rips the badges from the Pinkerton’s bodies, and with a nod of the head, he motions to his men and they mount their horses and ride off into the darkness.John lies motionless-- the fire burns on into the night with no signs of stopping.
FADE TO BLACK.
15.
EXT. DESERT ROAD - DAYJohn wakes up violently on the side of a desert road.SUPER: 5 Years LaterA covered wagon with a crying baby inside speeds past him-- the dust cloud left in its wake cover the already filthy man with another layer-- he rubs the dust out of his eyes.He gets up and collects his things.Visibly worn with time, he looks like only the shell of the man we saw before. No longer a husband, no longer a father, he is a loner and a drifter.He splashes some water on himself from a nearby stream to clean off the collected dust and filth.Reaching for a shirt we see the scar of a bullet wound on his back-- a vicious reminder of what he has lost.Inside his pack are several bottles of liquor-- valued companions on his spiraling journey of self destruction.He reaches for a pack with his right hand-- the scar of Ramon’s blade is clearly visible as well-- he struggles as he tightens his grip to lift it.In the distance he sees a quick glimpse of a horse-- as soon as he notices it, it gallops away. John doesn’t give it a second thought.With all his gear collected he walks down the dusty road that seems to stretch out forever.A wooden sign in front of him reads: San Mateo 10 Miles.
INT. SALOONThe doors swing open and illuminate the dilapidated and sordid establishment and clientele. John enters and finds a seat in the corner of the room. He raises his hand for a drink.A WAITRESS approaches his table.
WAITRESSWhat’ll it be, darlin’?
JOHNWhiskey. Keep ‘em comin’.
16.
Looking around the bar he sees that it is sparsely populated. A few games of cards are being played, along with even more people passed out drunk.John pulls out the turquoise and white necklace from his pocket, the gift from Chenoa. He stares at it and clenches it tightly.The Waitress sets down a whiskey in front of him. He tosses it back in a single gulp and hands the glass back to her.
WAITRESSI’ll make it a double.
The saloon door swings open again and in walks ABBEY WALKER, early twenties, someone that has seen a lifetime of hardship but has a certain hidden beauty about her. She holds an INFANT in her arms. The innocence of youth surround them both. She has blonde hair with a BLUE RIBBON tied in it.Abbey walks toward the bar and takes a seat.A diamond in the rough, she is very out of place in this decrepit establishment.John takes notice-- watching her as she lays down a small handful of coins on the bar.The BARTENDER shakes his head-- she doesn’t have enough money. He walks to the end of the bar and helps a patron who does.She rocks the Infant back and forth as it cries relentlessly. With nowhere else to turn she takes a seat at an empty table.John continues to watch her. The more he does, the more he sees his family before him. A flood of emotions begin to overcome him.The Waitress returns with a bigger drink. John throws that one back as well, keeping his eyes locked on Abbey, drowning out the emotions from his past. He puts several folded up bills in the glass and hands it back to her.
JOHNBring the bottle... and give her whatever she needs.
He nods toward Abbey.The Waitress smiles and returns to the bar.
17.
Moments later the Waitress carries a plate of food out and sets it down in front of Abbey.Abbey is confused. The Waitress points in the direction of John.Upset at the recognition, John begins to collect his things to avoid a scene.Before he can, Abbey rushes over with the plate in one hand, the Infant in the other.
ABBEYThank you, sir, but I can’t accept this.
She pushes the plate in front of him.ABBEY (CONT’D)
I make my own way. Though I appreciate the offer, I don’t believe in owing people that I can’t repay.
JOHNI’m not asking for anything in return. Nobody can do everything on their own.
ABBEYEveryone has a mind to say they ain’t got ulterior motives. “Just helpin’ a stranger in need”. But I been around. Everyone has their price, whether they say so or not.
John can’t find the words to convince her otherwise. He watches as Abbey sits back down at her table.The Infant cries incessantly, obviously hungry.The Waitress brings back the bottle of whiskey and sets it on the table.
WAITRESSWant me to get this out of your way?
John looks back at Abbey and the Infant, who is still crying.JOHN
Leave it.
18.
Abbey rocks her baby back and forth. The crying attracting glares from all around the room.John stands, picks up the plate and walks to her table, setting it down in front of her.
JOHN (CONT’D)He needs to eat. For the sake of your baby, please, take the food.
He slides it in front of her and walks back to his table.Abbey stares at the food-- reluctantly, she takes a small bit of mashed up food and feeds it to the Infant.John pours himself a drink and tosses it back.The Infant has stopped crying, satisfied with the new meal.Still holding the Infant, Abbey picks up the plate and walks to John’s table.
ABBEYAt least let me try to repay your kindness with whatever company or conversation I can offer.
JOHNThat’s not necessary. I was just leaving.
John starts to collect his things.ABBEY
It would mean the world to me. I’m sorry about before, you don’t know what I’ve been through, all the cold shoulders and criticizing stares. Who knew the world was such a dark place?
John lets the last statement sink in. He sets his things back down and pours himself another drink.
JOHNYou must not be from around here.
Abbey hungrily eats the food in front of her, sharing small pieces with the Infant.
ABBEYMy family is from Junction City, not that far.
19.
JOHNSheltered life up there in Junction..
ABBEYMy family may have been spared the way of the world but that doesn’t mean I didn’t go looking. Got a baby and a black eye for my troubles.
John stares at them both, trying to figure her out.JOHN
No one going to help you care for it?
ABBEYDon’t need it.
Abbey focuses on the Infant. Making faces and playing with him.John pours another whiskey. He watches the brown liquid swirl around in his glass.
JOHNSo...what is it you’re running from?
ABBEYWho says I’m running?
John swallows the contents of his glass.JOHN
We’re all runnin’ from something.ABBEY
My father always said “You make your own destiny”, unless of course you’re his daughter, and then he makes your destiny. This wasn’t part of his plan.
JOHNIt sounds as though he only wants what’s best for you.
Abbey lightly taps the Infant on the nose.ABBEY
Me and him, we’re making our own destiny.
20.
Abbey finishes the last bit of food on her plate.JOHN
Destiny can only get you so far without food.
ABBEYI spent the last of my money on a ticket to Los Lunas. I’ve got a cousin there who is going to put us up for awhile.
The Infant laughs, much happier after having a bit of food.ABBEY (CONT’D)
I may be runnin’ now, but I intend to find us a home. A new life where the troubles of the world will leave us be.
JOHNSounds like a place I once knew.
Abbey collects her things, ready to get up.ABBEY
I can’t thank you enough for the meal. I hope the folks in Los Lunas are as kind as you.
John smiles-- something that almost takes him by surprise, something he hasn’t done in a long time.
JOHNAnd I hope you find what you’re looking for.
Abbey smiles as well, secures the Infant in her arms and leaves.
EXT. DESERT - DAYA mountain range covered in snow towers in the distance, a stark contrast with the dry and blistering sand that stretches out endlessly.A train races down the train tracks, smoke billowing out of the locomotive as it speeds toward its destination.
21.
INT. TRAIN CARBustling activity-- voices and laughter carry throughout the car, the clacking of the train tracks almost drown out all noise.A SLEEPING MAN hunches over in his seat, his hat covering his face.In the back row several men sit, disconnected with the activity.Men from the past. Men who have not aged well at all. Varying in appearance, but all equally repulsive: Ramon, Ben, Briggs, Tuck and Grady.Ramon sits casually in the middle of his men.A LITTLE GIRL skips up the middle of the train car. Ramon watches her intently-- a gentleness sparkles in his eyes.
TUCKMy little girl is about that age now.
BRIGGSTuck with a kid. She should be just as tall as you now.
GRADYWhen’s the last time you saw her?
TUCKBeen about three years now. I get to see her in a few days before they take off to San Francisco. I don’t think I’m even going to recognize her.
The Little Girl jumps into her parents arms.TUCK (CONT’D)
Jesus. Will she even remember me?RAMON
A child never forgets their parents. It’s like looking into a mirror.
BRIGGSLike lookin’ in a mirror that makes you ugly. I feel sorry for her. A girl walkin’ around with that face? I hope she takes after her mother.
22.
A train whistle bellows throughout the car. On queue, Ramon stands and makes his way through the crowded aisle to the front of the car.He approaches the Sleeping Man and puts a pistol to the back of his head and fires without hesitation.The train car erupts with screaming-- Ramon pulls out a piece of paper from his pocket and tallies another kill. The rest of his men follow behind him, grabbing various valuables from passengers as they do.Ramon lifts the Sleeping Man’s hat and checks his face, unsatisfied, he throws the hat back on the now hollow skull.Pinned to his shirt is a silver Pinkerton Detective Agency badge. Ramon rips it from his body and shoves it in his pocket.He walks further up the train car-- watching the Little Girl in shock as she is shielded by her parents. Her face is blank as she stares into his eyes. A TRAIN EMPLOYEE stands at the front of the train car, blocking Ramon’s way to the next car.
RAMONPlease, stand aside.
TRAIN EMPLOYEEI-I don’t want any trouble.
RAMONNeither do I...
Ben approaches from behind and SMASHES the butt of his pistol on his face. The Train Employee instantly falls down unconscious with a bloody face.Ben opens an adjacent door-- the ground and scenery rushes past. He picks up the body of the Train Employee, about to toss it out the door.Ramon shakes his head.Confused, Ben puts down the body and closes the door.Ramon shoots the lock on the door to the next car. Ramon quickly opens the door and throws in a unlit stick of dynamite.
23.
INT. MONEY CARFour ARMED MEN inside the room see the stick of dynamite bounce straight for them.They all scream and dive to corners of the car.Ramon throws the door open-- BANG! BANG! BANG! BANG!-- with untold speed he shoots each one of the Armed Men as they lie helpless on the floor.Ramon and his men all enter the car.
BRIGGSCan’t believe that gets ‘em every time!
Ramon holsters his gun and checks the faces of the bodies.One of the Armed Men stir-- bleeding but still alive.Ben stands overhead, pulling out his pistol.Ramon draws his pistol as well and points it at Ben.
RAMONWhat do you think you’re doing?
Ben hesitates, glaring at Ramon as if wanting to turn his gun on him.Slowly, he lowers his gun and stands aside while Ramon finishes what he started.Ramon bends down to inspect the stirring Armed Man, another badge of the Pinkerton Detective Agency is pinned to his shirt. Unsatisfied with the identity, his anger boils.He takes out a large knife and thrusts it into the chest of Pinkerton-- his frustration turns more violent as he starts carving out the heart.Ben smirks at the sight-- the rest avert their eyes from the gruesome sight.
GRADYJesus...
Just as unexpectedly as his outburst began, it stops. Ramon regains his composure, wipes his hands clean on the body, and stands.
24.
In the corner of the train car sits a large safe. Tuck takes a large, metal crowbar and with one precise motion, pops open the door to the safe.The gang gather around to view the contents.Ramon smiles slyly and pulls out handfuls of cash.
RAMONAin’t that a beautiful sight?
Grady looks at Ramon questionably for a moment, then reluctantly joins the others, admiring their newly acquired cash.
EXT. TRAIN STATION - DAYJohn wanders around the Train Station, the bottle of whiskey still in his hand.He scans the platform-- countless people stand with luggage.Every citizen stands speechless. The unhappiness in their eyes is unmistakable. He reluctantly approaches the ticket window.
TRAIN ATTENDANTDestination?
John looks back at the platform again-- he spots Abbey. She has the BLUE RIBBON in her hands, dangling it above the Infant’s face while he laughs.
JOHNLos Lunas.
INT. MONEY CARGrady stuffs the contents from the safe in a large burlap sack.The train shakes violently-- the brakes have been applied and the train begins its slow halt.Ramon motions to Ben and Briggs.
RAMONCut it loose.
Ben and Briggs nod and exit the room.
25.
EXT. OUTSIDE TRAIN CAR - DAYThe terrible, piercing sound of screeching metal is almost painful.Briggs steps down to the train couples connecting the two cars together.He kicks the pin, releasing the connection.
INT. LOCOMOTIVEThe CONDUCTOR holds tightly to the brake lever, trying to coax the steel behemoth to slow.He feels a pistol press against his temple-- Ben pulls back the firing pin.He simply shakes his head ‘No’. The Conductor immediately complies, letting loose of the brake as the train picks up speed again.
EXT. TRAIN STATION - AWNING - DAYJohn sits underneath an awning, watching as everyone on the platform grows restless. He nurses his bottle of whiskey, taking a big swig occasionally.A CITIZEN approaches the ticket window.
CITIZENTrain running behind?
TRAIN ATTENDANTIt left Socorro on time. Not sure what the problem is.
A train whistle is softly heard in the distance.TRAIN ATTENDANT (CONT’D)
Ah, here she comes.
EXT. TRAIN STATION - DAYThe train comes to a grinding halt-- steam pours out of all crevasses, the hot metal hisses as the door to the Train Car opens.Ramon exits the train, parting the platform like the Red Sea.
26.
