"SILVERADO" Screenplay by Lawrence Kasdan and Mark Kasdan PRODUCTION DRAFT FADE IN: INT. SHACK - DAY Darkness. Quiet. The CAMERA MOVES through the gloom of the small, dirty, wooden hut, past a broken table, over a well- worn saddle lying on the floor. Now, a pair of boots standing empty by the rotting remains of a rough-hewn bunk, up to a holstered gun hung on the corner of the bed. The still shape of a man, a bedroll his only protection from the splintery planks. This is EMMETT, fast asleep. The door of the shack bursts inward as a Gunman crashes in. For a moment he is silhouetted against the blinding morning light, his two six-guns blasting even before the door has bounced shut behind him, returning the hut to darkness. Emmett's holster, the gun gone. The gun is here in Emmett's hand, erupting now with three quick explosions. The intruder flies against the far wall of the hut and lands on the floor dead. From outside, two bullets pierce the plank wall behind Emmett, light streaming through in .45 calibre shafts. Emmett is out of the bunk and on the floor. He fires once over the bunk. In the moment of quiet that follows, we hear running FOOTSTEPS outside the hut. Emmett follows their progress with the point of his gun, but holds his fire. Suddenly a shotgun blasts a large hole in the roof of the shack, and the table disintegrates in a new column of light. Emmett glances upward, but quickly returns his attention to the side walls, trying to follow that gunman. Now more fire comes from there and more footsteps. Another shotgun blast showers Emmett with debris, but he ignores it, concentrating on the walls. WHAT HE SEES. The Man Outside moves quickly past a crack in the wall, momentarily revealing his spot by blocking the light. Emmett fires once ahead of him, stopping his progress and forcing him back to the crack. Emmett fires his last shot there, and the man outside goes down hard. The shotgun rips another jagged hole in the ceiling and blows a crater in the dirt by Emmett's foot. The shape of a man flashes across the new hole. Emmett looks across the room at the top bunk, where the barrel of his Winchester protrudes a few inches from the bare planks. Emmett throws his empty six- gun noisily into the far corner of the hut. Instantly the man on the roof blasts away in that direction. Emmett dives for the bunk. With the tips of his fingers, he pulls hard on the muzzle. The Winchester flips full circle into the air as the bunk behind it is shredded from above. With an odd kind of inevitability, as though seeking its rightful place, the Winchester arcs into a shaft of light, where it is met by Emmett's steady, waiting hands. Before it has even settled, he has cocked and fired twice through a hole in the roof. Emmett stops and lowers the carbine. The Man on the Roof falls spread-eagled through the weakened ceiling. Debris and sunlight shower his lifeless form. Emmett listens, moves silently to the door, and opens it carefully. WE FOLLOW him outside, out into the bright sunlight, into the awesome promise of the American West. EXT. SHACK - DAY Emmett moves warily around the isolated shack. There are no more attackers. He looks off into the distance. Two riderless horses, galloping away, are the only moving things in the empty landscape. A third saddled horse, a pinto, stands nervously near Emmett's horse, which is tied to a stake. Emmett walks to the body of the Man Outside and looks down at him. He doesn't know him. He moves to the pinto and calms it. He examines the distinctive brand on its flank, a circle with two wavy lines beneath it. Emmett is clearly mystified. He rests his arms on the saddle and stares after the retreating horses. THE MAIN TITLE BEGINS. EXT. EMMETT RIDES (VARIOUS SHOTS) - DAY/NIGHT Emmett travels, the saddled pinto in tow. He moves from high mountain terrain down-country, through meadow and canyon. He makes night camp near a rushing stream. The land flattens as he approaches the desert. The sun beats at him as he dismounts at the edge of a white-hot plain. He takes a short pull from his canteen and squints off across the flat, empty space. All he can see ahead is blinding sand and blue sky. THE MAIN TITLE ENDS. EXT. DESERT (SERIES OF SHOTS) - DAY Emmett is now surrounded by the white blankness, moving slowly under the broiling sun. He stops his walking horses and squints out into the distance, seeing something. We see it too, but just barely: a distant, horizontal smudge on the glaring sand. Emmett reaches the smudge. It is a man, barefoot and dressed only in longjohns, his head propped on a rock, eyes closed. The man's skin is burned red and beginning to blister, his lips parched. Yet there is a curious ease to his repose. If he has lain down here to die, he has done it in peace. This is PADEN. Emmett lifts Paden's head and puts the canteen to his lips. Paden's eyes struggle to open in the glare. He takes a few sips of the water. His lips crack with a slight smile at the taste. He looks up at Emmett, takes another sip, and tries to speak. Emmett must lean down to hear his raspy whisper as he tries again. PADEN Pleased to meet you. EXT. NIGHT CAMP - DESERT - NIGHT The terrain here is more hospitable. Paden, wrapped snugly in a blanket, lies with his head against the saddle from the pinto. Emmett is preparing his bedroll across the fire. EMMETT Two of the horses ran off, but that pinto you're riding hung around. PADEN You got no idea what they were after? Emmett shakes his head "no". PADEN Offend anybody lately? EMMETT Not for five years. Paden understands. PADEN Jefferson City? EMMETT No, Leavenworth. PADEN I've never been in there. They just jumped you out of the blue? EMMETT I had to get up anyway. PADEN (smiles) Me, I'm riding along, minding my own business. Four cowboys come by and we decide to ride together for a while, friendly as can be. I always figure you might as well approach life like everybody's your friend or nobody is... don't make much difference. We get out in the middle of that frying pan and suddenly everybody's pointing their gun but me. I guess they admired my horse. She's a great one, a sweet little bay. EMMETT Looks like that's not all they admired. PADEN Yup. The whole rig. I don't care much about the rest, but I surely will miss that bay. Least they didn't kill me. That was right considerate, I thought. They were laughing when they left me. Thought it was real funny. I walked for a little while but there was no use, so I gave it up. Figured it was just bad luck. Emmett comes over and fills Paden's coffee cup. EMMETT Looks like those boys are headed south, so they weren't the same ones that jumped me. Which way you going? PADEN Where's the pinto going? EMMETT I gotta stop by Turley and meet a guy. PADEN Where's Turley? EMMETT South of here, past Chimayo. PADEN Maybe I'll go along as far as Chimayo. Get me some clothes. Maybe a bath. EMMETT Yeah, maybe a bath. Emmett settles down at his saddle and pulls a blanket over himself. Paden glances at the rifle in its scabbard on the pinto's saddle by his head. PADEN Is this loaded? Emmett nods and closes his eyes. Paden smiles at the implied trust and settles down himself. EXT. APPROACHING CHIMAYO - DAY Emmett and Paden, who is still clad only in longjohns, ride toward the low, adobe settlement of Chimayo. EXT. ENTERING CHIMAYO - DAY Emmett and Paden enter the town past a cluster of teepees. Three Cavalry troopers ride past them. EXT. STREET - CHIMAYO - DAY The little settlement is the center of civilization for miles around. The U. S. Cavalry maintains an outpost here, and there are many soldiers on the street. Emmett and Paden pull up to the general store. Paden dismounts and hands his reins to Emmett. Passersby look with curiosity at the undressed Paden. EMMETT I'll get these horses tended. Paden nods and looks doubtfully at the store. He scratches himself. Emmett produces some money and flips Paden a coin. Paden nods. PADEN I'm good for it. Emmett rides up the street, leading the pinto. Paden starts toward the store and nearly collides with a shocked woman, who covers the eyes of the little girl with her and crosses the street. Paden gives an apologetic tip to his non-existent hat as he watches them go. Before he can turn back to the store, his eye is caught by something up the street. He reacts big. WHAT HE SEES. His horse, a good-looking bay. And, dawdling his way out of a saloon, a disreputable-looking Cowboy. Paden's hand slaps his side, where his gun should be. He grimaces and looks around desperately, then hurries into the store. INT. STORE - DAY The lone CLERK is showing a woman customer a bolt of cloth at the back of the store. Paden hurries in and makes a bee- line to the display case holding handguns and ammo. He spots something he likes and taps the glass impatiently. The Clerk reacts with distaste to Paden's appearance. PADEN Excuse me, there -- CLERK I'll be with you in a moment, sir. Paden looks out the front window, up the street. The Cowboy is untying the bay's reins. Paden, more agitated now, glances back at the Clerk, then moves around and opens the back of the display case. He extracts a shiny, new Colt .45. The Clerk reacts with alarm and moves toward Paden. CLERK Just a minute there, fella. When I'm done with this lady -- PADEN I'll take this one. He drops his coin on the case top. CLERK (looking at coin) That one's twenty dollars. Paden is frustrated. He leans to peer out the window again. PADEN How much to borrow it? CLERK These guns are for sale. PADEN (indicates his coin) What can I get for that? The Clerk gives up on putting him off and comes around the display case, disgruntled. EXT. IN FRONT OF SALOON - DAY The Cowboy mounts the bay. INT. STORE - DAY Paden holds a broken-down memory of a gun as though it were a cow chip. PADEN (resigned) What's it take? The Clerk holds up a box of shells. CLERK This is extra. Paden snatches it from his grasp and heads out of the store. PADEN I'll be back. EXT. STREET - DAY Paden hurries out into the middle of the street. Several passersby stop to look at him. A teenage girl lets out a delighted shriek. IN FRONT OF THE SALOON. The Cowboy has turned the bay into the middle of the street and now looks to see what all the fuss is about. When he makes out Paden standing alone, his expression changes. Paden is having trouble extracting a shell from the ammo box. He glances up the street at the Cowboy and sees that he has been spotted. He shakes one shell loose and drops the box, trying to insert the bullet in the gun. The Cowboy pulls his six-gun, leans forward, and spurs the bay hard toward Paden. He raises his gun and fires at Paden. There is general alarm in the street as the bystanders dive for cover. Paden gets the shell loaded as the Cowboy bears down on him, firing. The bullets kick up the dust in front and back of Paden, who now raises his pistol slowly. A bullet tears through the floppy material at his crotch. The Cowboy is almost upon him when Paden fires. The Cowboy is knocked off the horse and hits the street dead. OMIT EXT. STREET - DAY A big, tough Cavalry SERGEANT has been summoned by a TROOPER and now walks briskly toward -- A small crowd gathered around Paden, who is affectionately stroking his reacquired horse. Two troopers flank him suspiciously. The Sergeant glances at the body of the Cowboy, then pushes through the crowd and confronts Paden. TROOPER (indicating Paden) This is the man, Sergeant. He claims the animal was stolen. SERGEANT How do I know this is your horse? The bay nuzzles Paden. PADEN Can't you see this horse loves me? SERGEANT I had a gal do that to me, but that didn't make her my wife. PADEN I'll tell you what, on the underside of this saddle I got my name scratched. Take a look and you'll see. SERGEANT Oh, yeah, and what would your name be? SHERIFF COBB (O.S.) Paden. The Sergeant and Paden both look to see COBB come through the crowd; he is an imposing man in a duster. Paden's reaction is deep and mixed, a whole chapter in his life coming back at him. PADEN (quietly) Hello, Cobb. SHERIFF COBB Hello, Paden. How ya doing? SERGEANT You know this man, Cobb? SHERIFF COBB I surely do. SERGEANT (to troopers) Let's see that saddle. One of the troopers uncinches the saddle and flops it upside- down in the dust. "Paden" is scratched on the underside. SERGEANT (satisfied) All right, move along, folks. Get these children out of here. The crowd begins to break up. Paden and Cobb are left facing one another. Cobb takes in Paden's longjohns. SHERIFF COBB I see you're prospering without me. PADEN It's been a while. SHERIFF COBB Where's the dog? Paden's look pierces Cobb, but he bends to pick up his saddle and when he straightens, there is a smile on his face. OMIT EXT. SIDEWALK - DAY Cobb and Paden come out of the general store and start down the sidewalk. Paden is a little unsteady in a pair of cheap boots. A small pile of clothing is in his arms. On his head is a bad-looking new hat. He catches his reflection in a window and tries to give the hat a rakish tilt. PADEN Appreciate the loan. I'm good for it. SHERIFF COBB Let's talk about that. (a beat) I'm looking for some men. PADEN I've given that up. SHERIFF COBB So have I. I've got a legitimate job now. I can use a guy like you. PADEN (doubtful) You've got a legitimate job. SHERIFF COBB Yes, sir. You wouldn't believe it. PADEN You're right. Cobb stops and faces Paden. SHERIFF COBB This is mighty sweet, Paden. I think I finally found my place in the world. PADEN Well I'm real happy for you, Cobb. But I think I'll keep looking for mine. KYLE, a tough associate of Cobb's, hurries up to them. KYLE (to Cobb) He's getting out. Kyle goes back up the street. SHERIFF COBB (smiling) C'mon, this'll interest you. Cobb moves off after Kyle. Paden watches a moment thoughtfully, then follows. EXT. STOCKADE - DAY Kyle is digging into a saddlebag on one of three saddled horses at the gate of the stockade. Trooper guards flank the entrance. Cobb comes up and stares at the gate. Paden reaches the end of the sidewalk and leans against a post, watching. The heavy gate is opened and a jailkeep steps out into the sunlight; he looks back into the gloom. TYREE comes out, wearing civilian clothes, shackled hand and foot. He's mean. The jailkeep unlocks Tyree's irons and steps back, a little too quickly. Tyree nods at Cobb and a smile slits his face. Kyle comes up and hands Tyree his holster. Tyree buckles it on and bends to tie it to his thigh. SHERIFF COBB Look who's here, Tyree. It's our old riding buddy. Tyree looks up and straightens slowly at the sight of Paden. No love lost. Cobb, standing between them, grins and then laughs. He takes the reins of his horse from Kyle and swings up. SHERIFF COBB I invited Paden to join us, but he's not having any. Kyle and Tyree mount up. Tyree looks down at the longjohned Paden with a sneer. TYREE (like a knife) Where's the dog? The three head out of the village, passing Paden. SHERIFF COBB (to Paden) You owe me thirteen bucks. Cobb spurs his horse and the three gallop away in the dust. PADEN (to himself) Thirteen... bad luck. EXT. RESTAURANT/SIDEWALK - DAY Emmett and Paden come out of a restaurant. Paden is now bathed and fully dressed for the first time and he looks quite different, better. The old gun he purchased is stuck in his belt. Three horses -- Emmett's, the pinto, Paden's bay -- are tied to the post in the street. Paden is fussing with his new, cheap hat. Emmett takes a close look at Paden's bay. EMMETT I see what you like, she's mighty pretty. PADEN And bridle-wise, too. She's the only thing I lost I really cared about. (he messes with his hat, disgruntled) 'Cept for maybe my hat. It's a great one. Got a pretty silver band on it. My head spent three years training it. (frowns at his new hat) I surely do miss that hat. Emmett gives him an amused look; this sounds kind of familiar. Emmett unties his two horses. EMMETT I gotta be going. PADEN Going to Turley, was it? EMMETT (nods) Gotta meet a guy and head out for Silverado. Paden takes the excess reins of the bay and begins idly slapping them around the post, distracted. Emmett swings up to his horse. PADEN What's Turley like? EMMETT (he doesn't make distinctions) It's a town... PADEN They got a saloon there? EMMETT I expect. PADEN Women? EMMETT I expect. Paden takes a long time looking around the village's main street. It doesn't look promising. Emmett regards him with growing bemusement. Finally -- EMMETT Maybe you want to ride along with me as far as Turley. Paden lights up slightly at the suggestion. He looks up at Emmett. This is how Paden makes his decisions these days. He seems to be digesting it slowly. PADEN Maybe... I'll ride along... as far as Turley. Emmett nods and turns his horses into the street. Paden mounts up and follows him. EXT. TRIP TO TURLEY (SERIES OF SHOTS) - DAY The two men, leading the pinto, make their way through desert country to Turley. EXT. EDGE OF TURLEY - DAY Near the corrals at the end of the main street of the small town of Turley, a small WAGON TRAIN is loosely formed up, waiting. The settlers from the wagon train mill about. Several regard Emmett and Paden with unusual interest as they ride by on their way into town. One of the Settlers is a lovely young woman. She glances at the two men, then returns her attention to her wagon. Both Emmett and Paden notice her. She is HANNAH. EXT. MAIN STREET - TURLEY - DAY A tall gallows is being constructed in the middle of an intersection. Emmett and Paden look it over as they ride past. Two workmen pause in their labors and look them over. EXT. SALOON/HOTEL - TURLEY - DAY This is the busy part of town. Amidst the street traffic and pedestrians sits a wagon with three Settler men, who watch Emmett and Paden's arrival with enormous interest. As the two travelers hitch their horses in front of the saloon, the oldest man, HOBART, approaches them with some agitation. HOBART (yelling) Baxter, Hawley, where the hell have you been? You're late! And I'll tell you, I don't like it. It's a bad start, boys. Emmett and Paden exchange looks. HOBART I've got my people sitting down there... (indicates end of street) ...swatting flies and raring to go. EMMETT I'm afraid it is a bad start, friend, 'cause my name isn't Baxter, and he ain't Hawley. HOBART You're not Baxter? EMMETT My name is Emmett. HOBART (to Paden) And you're not Baxter, either? PADEN No, I'm not Hawley. HOBART Well, god-dammit! God-dammit! Hobart turns and looks across to the other Settler men. He yells. HOBART They ain't Baxter and Hawley! Where the hell are Baxter and Hawley! All this commotion has attracted some attention and amusement from passersby. BAXTER (O.S.) Quit your yelling, old man. We're right here. Hobart looks around to find two tough-looking men on horse- back behind him -- BAXTER and HAWLEY. HOBART Who you calling an old man? Baxter gets down from his horse and smiles, friendly for him. Emmett and Paden watch with interest. BAXTER (offers his hand) Calm down, Mr. Hobart. I'm Nord Baxter. That there is my partner, Tom Hawley. Hobart takes his hand grudgingly. He's glad they showed up. HOBART (gruff) You're late. It's a bad start, boys. BAXTER (grinning) Yes, sir. We'll just have to get you people to Silverado that much quicker. Emmett and Paden have continued to watch. Now Hawley looks over at them suspiciously. HOBART All right. Let's get going. BAXTER You remember my letter, don't you, Mr. Hobart? Half now and half when we get there. HOBART (remembering, impatient) I remember, I remember. C'mere. Hobart, Baxter, and Hawley move to the wagon, where the two other Settlers wait. The younger of the two, CONRAD, eyes the guides suspiciously. Hobart speaks to the third man, a huge, bearded fellow called EB. Eb sits upon a strongbox in the bed of the wagon, an awesome blunderbuss in his arms. HOBART Open the box, Eb. Eb stands, unlatches the strongbox, and opens it, revealing an impressive cache of coins and paper money. Hobart extracts a pouch of coins and hands it to Baxter, who pockets it. CONRAD Don't you want to count it? BAXTER Not at all, friend. We trust you. Now let's get this train on its way to Silverado. Emmett and Paden watch the other five men head in the direction of the wagon train. Paden looks over at Emmett. INT. SALOON/HOTEL - DAY At the back of the big room is a registration desk for the hotel and stairs to the rooms. Emmett and Paden are eating near a table of three Tough Men. Emmett is questioning a WAITRESS, and his questions are making her nervous. EMMETT ...He's about my size, energetic young fella, wears two guns in a fancy rig. He'd be a stranger here. WAITRESS (moving away quickly) I don't know him, I told you. I ain't seen nobody. Paden, munching on a biscuit, has noticed something out in the street; he gets up and walks to the entrance. EXT. SALOON/HOTEL - DAY WHAT PADEN SEES. The wagon train is moving by. Paden's attention is drawn to the seat of one of the wagons. Hannah, the lovely settler woman, is there; sitting beside her in a husbandly manner is Conrad. Paden is interested enough in the pretty girl that he barely registers a new arrival at the saloon's hitching post. The newcomer takes his saddle- bags and a Henry .44 rifle from his horse and comes up into the saloon. INT. SALOON/HOTEL - DAY The newcomer is a lithe, strong, black man -- MAL. He has no other weapon besides the rifle. Mal looks around the room and walks wearily to the registration desk, although there is no one behind it. He RINGS a bell for service. At the sound of the bell several of the patrons look up and spot Mal for the first time. The three Tough Men are instantly displeased at the sight of the black man. Paden, returning to his meal, notes their attitude and glances over at Mal. Mal leaves his saddlebags at the registration desk, but takes the rifle as he walks across to the bar. The nervous Waitress is working there. The sight of Mal only adds to her agitation. WAITRESS (cold) What do you want? MAL (friendly, tired) I haven't had a drink of whiskey or slept in a bed for ten days. Give me a bottle. The Waitress hesitates, uncertain. She places a shot glass and a bottle on the bar beyond an elaborate, brass, nude statuette whose upraised arms hold dishes full of hard-boiled eggs. Mal has leaned his rifle against the bar and must now move a few steps to stand before the whiskey. The three Tough Men exchange looks as Mal uncorks the bottle and slowly, lovingly fills his shot glass. He puts the bottle down and regards the glass for a long moment of pleasant anticipation. Mal's hand has started for the glass when the saloon's PROPRIETOR appears from a back room. PROPRIETOR (sharply) Hey! What are you doing, buck? Mal draws his hand back and straightens slightly. A different kind of weariness comes into his face. MAL Having a drink. PROPRIETOR No, you're not. Get out of here. The Proprietor shoots the Waitress a withering look; she shrugs helplessly and hurries away. At the tables two of the three Tough Men quietly rise and separate, moving toward the two ends of the bar. Emmett and Paden watch. MAL (flat) I haven't had a drink of whiskey or slept in a bed for ten days. PROPRIETOR You ain't getting them here. MAL (gravely) I'm real sorry to hear that. At this, the First Man steps forward quickly, snatches Mal's rifle, and slides it down the bar. Mal looks across the distance at his only weapon. PADEN (quietly, to Emmett) Doesn't look quite fair. EMMETT (watching carefully) Which way do you mean? The Second Man lurches up to the bar and pins Mal's arms behind him. The First Man moves quickly, cocking back his arm for a punch square in Mal's face. As the blow is unleashed, Mal bends forward with terrific speed and force, pulling the Second Man onto his back. The Second Man's face is suddenly where Mal's was an instant ago, and the First Man's punch lands hard on it. Mal slams the Second Man's back against the edge of the bar; he falls to the floor. Mal blocks a blow from the First Man and steps in with a flurry of body blows. Back at the Tough Men's table, the Third Man pushes back his chair as if to rise. Emmett has just picked up a chicken leg; now he waves it ever so slightly at the Third Man: "Stay out of it". The Man looks at Emmett and Paden, then settles back into his seat. Mal sends the First Man crashing down through a table with a final blow. He turns in time to see the Second Man, back on his feet, grab Mal's whiskey bottle and break it against the bar. Mal looks for a frustrated moment at the splashing whiskey -- what a waste. The Second Man lunges with the sharp glass. Mal lifts the heavy statuette easily with one hand and uses its upraised arms to catch the Man's wrist and twist the bottle painfully from his grasp. Mal's other hand hits the Man once in the throat, and he is down. The Proprietor rises from behind the bar, a sawed-off shotgun in his hand. Mal spins, swinging the statuette brutally against the Proprietor's arm. The shotgun clatters to the floor as the Proprietor recoils in pain, crashing into a shelf of glasses. The fight is over. Suddenly, standing in the doorway holding a leveled gun is an enormously tall figure -- SHERIFF LANGSTON. Dressed rather elegantly in suit and bowler, he dwarfs the man at his side, DEPUTY KERN. He surveys the scene as the three injured men stir back to life. When he speaks, it is, surprisingly, with a British accent -- LANGSTON What's all this then? PROPRIETOR This nigger's breaking up my place, Sheriff Langston. LANGSTON I don't like that word much, Carter. PROPRIETOR We don't serve them here and you know it. I asked him to leave and he went crazy on us. He owes me money for this damage. LANGSTON Is that a fact? EMMETT 'Fraid not, Sheriff. These other fellas started the ruckus. Langston's attention focuses on Emmett and Paden. LANGSTON There are three strangers in this room, traveller, and these gents you are accusing aren't them. (to Mal, indicating Emmett and Paden) Are these your friends? MAL (shakes his head "no") I wanted a drink and a bed. I guess I came to the wrong place. LANGSTON (taking in the mess) Came to the wrong town. I don't tolerate this kind of thing. It's hard on the peace, and it's hard on the furniture. Now, knowing a bit about Carter here, I'm going to let you go without paying for the damages. But go you will, and I mean now. MAL Is there a place in town that takes... my kind? LANGSTON You misunderstand. I want you out of town. In fact, I want you all the way out of my jurisdiction. MAL (seething) That ain't right. LANGSTON I decide what's right in this jurisdiction. Now move. Mal glares at Langston and, finally, moves. He takes his rifle from the bar, then walks over, picks up his saddlebags, and slings them over his shoulder. He is almost to the door when he stops, turns, and walks slowly back to the bar. The shot glass full of whiskey has miraculously survived the fracas. Mal brings it to his lips and swallows with satisfaction. He turns and goes out the front door. Langston motions to Deputy Kern to follow and witness Mal's departure. Langston turns and looks at Emmett and Paden as he slowly uncocks his revolver and holsters it. PROPRIETOR Who's going to pay for all this, Sheriff? LANGSTON Don't press your luck, Carter. Langston moves to Emmett and Paden's table and pulls up a chair. He lifts the last biscuit from a basket. He takes a fastidious bite. LANGSTON Now let's talk about you chaps. PADEN We'd rather stay. LANGSTON We'll see about that. I'm Sheriff John Langston. As you may have guessed, I am not from these parts. PADEN You're kidding. LANGSTON (ignoring that) But the good citizens of Turley have taken me in their embrace, and for one simple reason. I maintain the peace. So when strangers come to town, I always ask them their business. Have you come for the hanging? EMMETT ("no") I'm just meeting a guy here and moving on. So far I haven't been able to find him. LANGSTON In my town, when you're looking for someone, you ask me. EMMETT All right. I'm looking for a young fella, full of juice. About my size, wears a fancy two-gun rig. Langston takes a long time reacting to this information. Now he slides his chair back a foot, giving his gun hand a little more room. LANGSTON I know where that gentleman is. OMIT INT. CELLBLOCK - EVENING A lean, young man is bouncing around his cell, playing hacky sack, keeping a small, leather, bean bag from falling to the floor by kicking it with his bare feet. This is JAKE. Langston opens the door to the cellblock and speaks over his shoulder to Emmett and Paden, who have removed their guns. LANGSTON Now I want everyone to behave himself. At the sight of Emmett, Jake's face lights up. And then he does an extraordinary thing: with one long stride he is across the cell and into the air; he hits the bars halfway up and clings like a monkey. Paden reacts as if he is one. JAKE Emmett! Am I glad to see you! EMMETT (touching him) Howdy, Jake. What's going on here? JAKE You got me. This is a crazy town, Emmett. I think we ought to get out of here. Jake lowers himself and darts about as he talks. JAKE All I did was kiss a girl. EMMETT (skeptical) That's why they got you in jail? JAKE Yeah, I kissed a girl and this guy didn't like it and we had some words, so I decided to get out of there. Jake looks at Emmett as though that should make it perfectly clear. Emmett waits. JAKE So I did, I got out of there, I don't want no trouble. You know me. (indeed, Emmett does) So I walked out on the street and the fella tried to shoot me in the back. EMMETT ...And you had to kill him? JAKE No, no, no! I winged him, and he dropped his gun. EMMETT You're in here for winging a guy? Paden watches, fascinated. JAKE Well, no, not exactly. See then his friend opened up on me. EMMETT What friend is that? JAKE The one with the shotgun. LANGSTON The dead one. There is a long moment of silence in the cellblock. EMMETT Jake, I'm going to ask you once -- was it self-defense? JAKE (after a moment, quieter now) Honest to God, Emmett, he would've killed me. LANGSTON The jury saw it differently. PADEN (putting it all together) So this is the guy you're going to hang? LANGSTON Tomorrow morning. Ten o'clock. PADEN (nods) I was afraid of that. Emmett steps back and leans against the opposite wall, looking down at his boots. JAKE Emmett, can't you help me? Emmett looks up at the young man. He looks sad. EMMETT Jake, you know the law. You know what they did to me. Jake remembers. It makes him gloomy. EMMETT Blind Pete always said you'd hang. Jake's eyes flick over Emmett, but his expression doesn't change. EMMETT I guess tomorrow at dawn he'll be proved right. LANGSTON Ten A.M. EMMETT Right... I thought they always did it at dawn. (to Jake) So long, kid. I'm sorry. Emmett walks out. Jake watches as the other two follow. EXT. STREET - NIGHT Emmett and Paden walk along the sparsely populated sidewalk. They are quiet for a few moments. Finally -- PADEN Shame about the kid. Seems a lively sort. EMMETT (morosely) He is that. PADEN I hate to see any man swing. Bad luck. EMMETT Bad luck for me. Now I gotta bust him out of there. Paden stops. Emmett has moved a couple more steps before he notices and turns back to Paden. PADEN You'll have to deal me out on that. I've had some experience with that sort of thing, and I don't want any more. EMMETT I understand. PADEN It's not going to be easy. EMMETT It never is. But he's my brother. (Paden reacts) We're going to California together. But first we're going to stop in Silverado and see our sister. And I can't show up there with a story like this. Paden nods. He is sympathetic. PADEN Then I guess this is where we part ways. Sorry. EMMETT No hard feelings. PADEN C'mon, I'll buy you a drink. EMMETT You haven't got any money. PADEN All right, you buy me a drink. They cross the street toward the crowded, noisy saloon. PADEN You know, a good smelly saloon is my favorite place in the world. INT. SALOON/HOTEL - NIGHT This is the busiest place in town, really packed. Emmett heads for a spot at the bar, but Paden, who is taking in the scene with relish, stops in his tracks, staring across the room. WHAT HE SEES. Through the moving jumble of bodies and the heavy smoke, Paden's hat with its silver band, floating atop an unseen head at a poker table. Paden adjusts the old gun stuck in his belt and goes in that direction. At the table a heavy game is in progress. An UGLY COWBOY is wearing Paden's hat. Paden plants himself across the table from the man. In seconds, Paden's posture brings things to a halt. Quiet ripples out across the room. The Ugly Cowboy looks up and recognizes Paden. PADEN You're wearing my hat. What else you got that's mine? UGLY COWBOY I don't know what you're talking about, mister. He shifts a little in his chair. His right hand slides off the table. Bystanders back away. Emmett watches from the bar. PADEN I hope your hand isn't tickling my bone-handled Colt. If you stand up real slow and let me see, you might live through this night. The Ugly Cowboy hesitates, his eyes darting. He pushes his chair back slowly and begins to rise as if in compliance. But now a bone-handled Colt is in his hand, clearing his holster. Paden is quicker. He snatches his gun from his belt and fires. Paden's eyes, squinting through a cloud of gunsmoke, as we hear the Ugly Cowboy's body CRASH to the floor in his chair. Paden's glance now darts down at an angle. WHAT HE SEES. His hat lands on the saloon floor, spins once on its brim, and settles into stillness like a tossed coin. Silence in the saloon. Then, in a far corner, the BANGING of chairs and a door SLAMMING. Paden's gun points that way, but there is no one there. Only an overturned chair, and an empty pair of boots -- Paden's. Paden picks up his hat and walks toward his boots. Emmett moves to the dead man, unbuckles the gunbelt, and pulls it free of the body. He picks up the bone-handled Colt and puts it in the holster, then stops abruptly. We hear the steady advance of FOOTSTEPS across the saloon floor. Emmett's eyes follow the off-screen presence. Paden, seated, is pulling on his newly-regained boots with a delighted air when a shadow surges up and engulfs him. He looks up. Sheriff Langston towers over him. INT. CELLBLOCK - NIGHT Paden is brusquely deposited in the cell next to a surprised Jake by Sheriff Langston and DEPUTY BLOCK. PADEN You're making a big mistake. Langston is not interested. He and Block go out. JAKE That's what I told 'em. INT. SHERIFF'S OFFICE - NIGHT Deputy Block eyes Emmett, who loiters by the door as Langston settles himself. LANGSTON Maybe I ought to throw you in jail too. Then you could be with all your friends. EMMETT I haven't done anything. LANGSTON I want you out of town before the hanging. EMMETT I'll be long gone. OMIT INT. CELLBLOCK - NIGHT Paden forlornly regards a snoring drunk in another cell as Jake talks to him. JAKE You mean you ain't coming with Emmett and me? PADEN I can't say I'm convinced you're going anywhere. JAKE Sure we are. We're leaving at dawn. PADEN I've got no reason to run. It was a fair fight and there were plenty of witnesses. JAKE (bubbly) Yeah, that's what happened with me too. PADEN The other guy drew first. JAKE (same for him) Right! Paden looks a little discouraged, but is still unconvinced. EXT. GALLOWS - MAIN STREET - NIGHT Emmett sits up on the new gallows in the deserted intersection, his legs dangling through the dropped trap door. Now he begins idly collecting wood shavings into a little pile. INT. CELLBLOCK - NIGHT Paden steps close to the bars that separate the cells and looks up at Jake, who is dangling at arm's length from one of the overhead bars in his cell. PADEN (whispering) Your brother seems pretty good, but it isn't going to be easy getting in here. Jake drops down to the floor. JAKE He ain't coming in, we're going out. (motions) Gimme your belt. Paden, trying to follow this, unbuckles his belt. JAKE Didn't he tell you about Blind Pete? PADEN (handing him the belt) We didn't get that far. JAKE Blind Pete taught me a great trick. Jake grasps Paden's belt by the buckle and snaps it at Paden with a CRACK, like a lion tamer. INT. SHERIFF'S OFFICE - DAWN Deputy Block cheats at solitaire while Langston dozes at his desk. Now we hear FOOTSTEPS and BANGING outside. STABLE BOY (O.S.) Sheriff! Sheriff! Open up! Block unlocks the door as Langston comes groggily to life. A STABLE BOY bounces at the door, pointing off. STABLE BOY Sheriff Langston, come quick! He disappears. Langston goes out, calling back to Block -- LANGSTON Lock this door and don't let anybody in. EXT. SHERIFF'S OFFICE - DAWN Langston hurries up the street after the Stable Boy. INT. SHERIFF'S OFFICE - DAWN Deputy Block bolts the front door. PADEN (O.S.) (shouting) Hey! What are you doing, you crazy kid? Don't do it! Block draws his six-gun and edges suspiciously toward the door to the cellblock. PADEN (O.S.) Oh, Jesus! Somebody stop him! Block turns the doorknob and pushes the door open with his foot, gun ready. He moves into the cellblock. INT. CELLBLOCK - DAWN Block moves cautiously to where he can see the cells. A strange look crosses his face. Jake is hanging by the neck from the overhead bars, two belts forming the noose, his head at a disgusting angle from his body. One foot gives a final twitch and he is still. PADEN Cut him down! For God's sake, cut him down! Block is confused, uncertain. He doesn't want to go in there. PADEN Hurry up! You might be able to save him! BLOCK What for? So we can hang him? Paden, sincerely desperate now, looks up at Jake, whose face is turning blue. PADEN I think I'm going to be sick... when I see what Langston does to you when he gets here. Block lets it sink in, then takes some keys from his belt. BLOCK (to Paden) You get way back there. Paden moves back quickly, motioning for Block to hurry. Block holsters his six-gun, opens Jake's cell door, and goes inside. He gets up on the cot, pulling a knife from a sheath. He strains up against Jake's body, stretching to cut the belt. Suddenly Jake can stand it no longer: he sputters to life, his long-held breath blasting in Block's face. Block, startled, stumbles backwards off the cot, raising the knife threateningly. Jake grabs the overhead bars, swings up, and kicks Block in the chest. The deputy careens across the cell and hits the bars. He throws the knife outside the cell and draws his gun, ready to shoot Jake. As Block's finger pulls the trigger, Paden's thumb intrudes between the hammer and the firing pin. Paden has reached through the bars behind Block to grasp the gun with his right hand. Now with his left he grabs a handful of Block's hair and slams the deputy's head hard back against the bars. As Block slides unconscious to the floor, Paden keeps the gun, wincingly uncocking it. PADEN Got to be real quiet here. Jake has unhooked himself and is freeing his makeshift noose. He rubs his reddened neck. JAKE (a hoarse whisper) Right. EXT. GALLOWS - DAWN Langston huffs to a stop next to the Stable Boy, his countenance a picture of outraged befuddlement. He, the Stable Boy, and just one other surprised citizen are the only witnesses: the gallows is aflame, burning like a pyre. Langston considers this phenomenon, a suspicion slowly growing in his mind. EXT. SHERIFF'S OFFICE - DAWN Paden and Jake come out warily. The street is deserted. Paden straps his holster on; he's glad to have it back at last. Not as glad, however, as Jake, who seems to have a nearly religious relationship with his rig, an elaborately tooled, double gunbelt with two pearl-handled Colts. JAKE That's the longest I ever did it. 'Bout bust a gut. PADEN (finger to lips: "quiet") What now? JAKE We wait. The two men move carefully off the porch and into the street. A wood stair goes up the outside of the jail to a door. Now, high behind Jake, Deputy Kern comes out, nightshirt flapping, cocking the carbine in his hands. He has thumped down five steps before he focuses on Jake and Paden. He starts to raise the carbine. Both men see the deputy, but Jake's reaction is so fast that Paden need only watch. Jake spins and, before he has stopped, both his Colts are erupting in his hands. The carbine flies out of Kern's grasp and clatters down the steps. Jake continues to fire -- the stair at Kern's foot splinters and he steps backwards and up. Jake continues to splinter the steps at Kern's feet, until he has made the deputy exactly retrace his steps and retreat back through the door. The firing stops. Paden gives Jake an odd look. Paden may have seen someone this fast and good before, but he can't remember it. He puts his finger to his lips -- "shhh". PADEN Where's your brother? JAKE (reloading fast) He'll be here. A bullet WHIZZES between the two men as we hear shots from the far end of the street. Langston is coming toward them firing. They move back to the cover of the jail porch. ALLEY ACROSS THE STREET. Emmett roars into view, riding his horse and leading two others: Paden's bay and the pinto. A window above the jail breaks open and Kern starts firing at Emmett. DOWN THE STREET. Langston, behind a wagon, uses a British two-handed grip to fire off a few rounds. Emmett brings the horses over, and Paden swings quickly up. Jake focuses his attention, unleashing a fusillade as Emmett leads the pinto along the front of the jail. EMMETT Jake, come on! DOWN THE STREET. Langston lifts his head from behind the now bullet-pocked wagon. He's impressed. Jake runs along the porch, hits the top of the hitching post on the fly, and takes off, landing lightly in the saddle of the pinto. The three men gallop out of town in a cloud of dust. EXT. RIDE OUT OF TURLEY (VARIOUS SHOTS) - DAY The three men ride hell-for-leather away from town. At the first bend they leave the road and head off cross-country, their horses straining up craggy hillsides and sliding down dusty slopes. There is some good riding going on here. OMIT EXT. THE CHASE (VARIOUS SHOTS) - DAY INTERCUTTING the three men and the Posse Langston has raised, as the Posse closes ground over choppy terrain. Now the three fugitives come through some trees along the bank of a stream and splash across to the other side. EXT. A SPLIT IN THE TRAIL - THE CHASE CONTINUES - DAY The three men come thundering along a dusty trail to the place where it splits. The high road disappears up the side of a ridge; the low road is really the bed of an arroyo. The three men exchange looks. Paden plunges into the arroyo. Emmett shrugs to Jake, and the brothers follow Paden. INTERCUTTING. The Posse splashes across the stream. The three fugitives twist their way through the crooked arroyo. AT THE SPLIT IN THE TRAIL. Langston pulls his group to a halt. He looks at the tracks leading into the arroyo, and a smile splits his face. He leads the Posse up the high road fast. EXT. ARROYO - DAY IN THE ARROYO. Paden and Emmett pull up, looking back at Jake, who has stopped at the last bend in the gully, watching their rear. Now he rides up to the others. JAKE I think we lost 'em. EMMETT There's nobody coming? Jake shakes his head "no". Paden and Emmett exchange long looks. Paden looks to the ground above them, even more worried. PADEN Oh-oh. They spur their horses out of there. EXT. MOUTH OF ARROYO/FLATLANDS - DAY The three riders break out of the arroyo and exchange looks of glee on seeing the clear flatlands ahead. SHOTS ring out. They look over their shoulders to see Langston's Posse, practically on top of them, pouring over the lip of a rise and firing at will. The three men whip their horses and head flat out across the open space toward a cluster of boulders three hundred yards away. They are vulnerable and exposed as shots PING around them. They are not going to make it. WITH THE POSSE. Deputy Block jumps from his horse onto the top of a boulder and lies prone, bracing his Winchester for an accurate shot. BLOCK (to himself) Let's see you fake this one, kid. He is about to fire when suddenly the rocky surface in front of his face explodes. He is so startled, he falls off the boulder. Another Posse member is coming between two tall rocks when a bullet hits near his head and ricochets into the rock on the other side. His horse rears up, and the horse coming up behind him collides with it. Langston and Deputy Kern have just started across the flats, but pull up next to a cactus at this new firing. An arm of the cactus is immediately severed by a .44 slug. KERN Is that them shooting? LANGSTON (pointing) No. It's coming from those rocks. WHAT HE SEES. Paden, Emmett, and Jake are now halfway to the cover of the distant rocks. Another shot CRACKS, and a puff of smoke appears from ahead of them in the boulders. KERN Let's go. He ain't hitting anything. LANGSTON You idiot, he's hit everything he's aimed at. KERN ...But they won't be out of our jurisdiction till they pass Flat Top! As Paden, Emmett, and Jake disappear among the boulders, Langston rises high in his stirrups to catch a final glimpse. His bowler is blown off his head. He lowers himself back to his saddle. LANGSTON Today my jurisdiction ends here. He turns his horse back. The others do likewise. LANGSTON (over his shoulder, to Kern) Pick up my hat. EXT. BOULDERS - DAY Emmett and Paden rein in their frothing horses in the natural bowl of rocks near a tied horse and the remains of a campfire. Jake has stopped short of them and taken his horse back to peer out toward the Posse. Grinning, he comes back to the others. The three riders bring their horses around and focus on a spot above them. On the top of the highest boulder, Mal leaves a comfortable, prone shooting position and eases himself down to a lower rock. A bandolier of .44 bullets dangles from one hand. He rests his Henry rifle at an angle across one shoulder. JAKE (to the others) This a friend of yours? PADEN He is now. JAKE Who is he? PADEN Oh, a guy who got run out of town... EMMETT ...just like us. EXT. HIGH DESERT - DAY An awesome rock spire soars into the perfect blue sky above the orange desert. The sight is spectacular. The slow surge of MUSIC exhilarating. It is the perfect setting in which to see the four horsemen who now appear on a ridge. Here they come -- Riding together, side by side, for the first time -- Emmett, Paden, Jake, and Mal. EXT. HILL - DAY The travellers crest a hill above a wide desert plain and pull up at the surprising sight below -- there in the distance, stopped dead in a disorderly line, is the wagon train we saw leave Turley. The horsemen exchange puzzled looks. EXT. WAGON TRAIN - DESERT PLAIN - DAY The Settlers are clustered near a wagon as the four horsemen ride down on them. There is a tense silence as they dismount and approach the group. Hobart, the leader, steps forward to meet them. After a long perusal -- HOBART (calling) It's okay, Zeke. From the cover of a nearby wagon, Zeke appears, lowering a shotgun that had been trained on the newcomers. EMMETT Hobart, what are you people doing here? HOBART This is where Baxter and Hawley brung us. EMMETT Well, they're wrong. This territory is full of bad characters. HOBART And they were two of them. Look -- He gestures and the Settlers part to reveal the wagon which held the money box in Turley. The money box is gone, but the still form of its giant guardian, Eb, lies in the bed of the wagon, dead. HOBART Baxter and Hawley killed poor Eb here and stole our money box. (gestures) They went north and we're going after them. The newcomers now see that a few of the Settler men and boys are preparing to ride in pursuit. Mal and Paden exchange looks, not terribly impressed. EMMETT Forget the money. You've got to get these people out of here. This is no place to be sitting with women and kids. JAKE Your next water ain't for three days. HOBART We got no life in Silverado without that money. Everybody put in, that's our whole stake. Paden looks around. His gaze falls on Hannah, somber now, but still lovely. Conrad, her husband, stands beside her. Mal has been watching a little girl cling to the leg of one of the Settler men who is going out on the chase. Now the black man quietly mounts his horse, and speaks to an older, solid-looking man, MR. PARKER, standing by his wife. MAL How long have they been gone? MR. PARKER About an hour. Emmett and Paden watch Mal with interest. Jake is excited by this development. He jumps up on his horse. JAKE I'll go with you, Mal! Paden isn't so quick to commit, but then he notices Hannah gazing up at Mal and Jake with radiant admiration. He digests that and moves toward his horse. PADEN Deal me in. He steals a look at Hannah as he mounts up. Emmett has watched all this with growing resignation. Now he speaks crisply, all business. EMMETT Jake, you know the way out of here. I want you to get this train moving toward Silverado, and fast. I'll go with these guys. Jake is disappointed, but nods agreement. Emmett turns to Hobart and the Settler posse. EMMETT You men stay with your wagons and your families. Get rolling and keep your eyes peeled. Emmett moves toward his horse, as Conrad, rifle in hand, steps forward belligerently. CONRAD Wait a minute! If you do get the money, how do we know you'll come back? EMMETT (flashes him a look) If we don't, you can keep my brother. HOBART (to Emmett) I'm trusting you, mister. CONRAD (to Hobart) You trusted Baxter. I'm not letting these men out of my sight. As Conrad moves toward his horse, Paden looks at Hannah, now standing all alone. Paden thinks he acted too quickly. EMMETT (indicating Hannah) If I'd brought a pretty lady like that into a place like this, I'd stay close. Paden reacts to Emmett's interest in Hannah. CONRAD That's none of your business, mister. Let's get going. PADEN (quietly, to Emmett) I think you got a point, Emmett. Maybe I better stay here with her. Emmett smiles and snaps his reins, moving out with Mal. Reluctantly, Paden follows, twisting around for a last glimpse of Hannah. WHAT HE SEES. Hannah moves toward Conrad's horse, as if to touch her husband. But Conrad, his face set in suspicion, barely nods farewell as he sweeps by her. She looks after him desolately. Mal, Paden, Emmett, and Conrad ride off to the north, as Jake begins yelling orders to the Settlers to get things moving. What he lacks in expertise, he makes up for in enthusiasm. EXT. HIGH DESERT (SERIES OF SHOTS) - DAY The four men track the killers across the rugged terrain. Sometimes, Emmett gets down from his horse to examine the tracks. On a flat, rocky expanse, the chase party is temporarily stalled. Emmett and Paden confer, balked. Mal, peering ahead, spots something and points it out to the two expert trackers: a steaming horse patty. They head off in that direction. OMIT EXT. RIM OF BOX CANYON - DAY The four men crawl to the lip of the canyon and get a clear view of the activity below; the box canyon has been turned into a hideout for the Dawson Gang, a band of border raiders. There are about twenty-five outlaws moving about among the tents, caves, and wagons of the encampment. Their horses are penned in a natural alcove in the rock off the main floor of the canyon. The strongbox from the wagon train sits on the tailgate of a wagon. Next to it is a large keg of whiskey from which the outlaws are drawing generous portions. Baxter and Hawley have brought the loot proudly back to their cohorts, and the celebration is centered around this wagon. On the rim the pursuers exchange looks in reaction to this new situation. PADEN (to Emmett) You know, hanging around with you is no picnic. EMMETT Anybody got any ideas? EXT. OUTLAW CAMP - BOX CANYON - DAY One of the outlaws spills some whiskey onto the money in the strongbox. DAWSON, the leader of the gang, angrily slams the strongbox closed and kicks the offending outlaw. Suddenly, there are cries of warning from the Sentinel at the entrance to the box canyon. HOOFBEATS echo into the canyon from that direction. The outlaws react en masse with a frightening display of armed readiness. WHERE THE TRAIL ENTERS THE CANYON. From the shadows emerge two galloping horses: on the first is Emmett, who holds the reins of the second, across whose saddle is draped the seemingly lifeless body of Paden. The Sentinel watches them pass under the point of his carbine. AT THE WAGON. Emmett dismounts quickly and ties both horses to a wheel. Dawson decides not to shoot this guy yet. He watches as Emmett runs back across the canyon to the cover of some crates and crouches down behind them, looking up at the rim above the entrance. The outlaws, guns pointed, stand around him. TALL OUTLAW (to Dawson) Should I kill him, Mr. Dawson? DAWSON (approaching Emmett) In a minute! Emmett, still cowering, looks over his shoulder at Dawson. He speaks now, and throughout, very fast. EMMETT I wouldn't do that. You're going to need every gun when that posse gets here. DAWSON Posse? What the hell you talking about? EMMETT My partner and me robbed the bank in Turley and headed out with a posse on our tails. My partner there caught one a ways back, and I think he kicked off while I was looking for this damn canyon. You're Dawson, ain't you? I'm Tex LaRue. (offers his hand for only a second) Used to ride with Ry Morris. You know him. Well, Andy Sims told me there was a hideout here, so I headed for it. Hope you don't mind. Paden, lying over the saddle, his face shielded by his hat, winces at this story. DAWSON You brought a posse to my best hideout and you want to know if I mind. Mister, I don't know any of those names and you're about to die. EMMETT Wait a minute! If you don't believe me, ask them... (indicates Baxter and Hawley) ...they saw me and my pal in Turley before we did the job. Baxter and Hawley peer at Emmett and nod to each other. BAXTER I saw 'em there, all right, but I don't know about any bank job. DAWSON If you took the bank in Turley, where's the money? Emmett crouches lower, looking nervously at the rocks. EMMETT I'd get down if I were you. They may be up there now. DAWSON (just as he suspected) No money, eh? EMMETT The money's in my saddlebags over there, but I ain't stepping out to get it. The outlaws, all of whom are standing in the open, think he's crazy. Dawson motions Hawley toward Emmett's horse. Hawley is almost there when gunfire erupts from the rocks above and Hawley goes down dead. Now all the outlaws hit the dirt, some firing wildly. Paden unobtrusively frees his rope. Dawson comes down beside Emmett. EXT. RIM OF BOX CANYON - DAY Conrad and Mal fire into the canyon, then move to new positions. EXT. OUTLAW CAMP - DAY ABOVE THE ENTRANCE to the box canyon the Sentinel disappears into the rocks, moving upward. AT THE CRATES. Down the line from Emmett, an outlaw gets hit. The outlaws can't see anything to shoot at. EMMETT (agitated) If we charge them, they won't have a chance. But we gotta get to the horses. DAWSON What do you mean, the horses? Emmett jumps up. He yells to the other outlaws. EMMETT Cover me! He runs in a mad zig-zag toward the gate of the horses' pen. EXT. RIM OF BOX CANYON - DAY Mal, firing rapidly, follows Emmett's route with precision. EXT. OUTLAW CAMP - DAY Mal's shots kick up dust inches from Emmett's flying feet. Once Emmett throws a glance upwards; Mal's cutting it pretty close. Baxter slides in next to Dawson, who is thinking hard. BAXTER (indicating Emmett) Brave man. DAWSON I think there's only a couple of guys up there and this asshole's one of them. AT THE WAGON. An outlaw is cowering beneath the wagon, but doesn't notice as Paden reaches out and secures the latch on the money box. AT THE HORSE PEN. Emmett throws open the make-shift gate and runs in among the horses, yelling and waving his arms. The horses begin to run out of the pen. AT THE CRATES. Dawson jumps up and orders his men forward. A line of outlaws rushes toward the pen, all the while firing up at the rim. Paden appears at a gallop from behind, pulling Emmett's horse beside him. A rope stretches from his saddlehorn to the strongbox bouncing along in the dirt. Paden comes through the line of outlaws firing and heads for the pen. A few of the outlaws make the mistake of closing the gap and aiming at Paden's back. The bouncing strongbox knocks them head over heels. Emmett leaps from a rock onto his passing horse, firing behind him. He and Paden go down the trail in the midst of the outlaws' horses. The strongbox careens after them. EXT. MOUTH OF CANYON TRAIL - DAY Mal and Conrad, mounted; are waiting as Emmett and Paden ride out of the mouth of the canyon. Beyond them, the outlaws' horses scatter toward the horizon. Paden jumps off his horse and picks up the strongbox. IN THE ROCKS ABOVE THEM the Sentinel from the outlaw camp positions himself to fire at the men below. EMMETT (to Mal) That was some idea of yours. Next time you go in. Paden is tying the strongbox to his saddlehorn when there is the loud CLICK of Conrad's rifle being cocked. He nervously points it at the others. CONRAD I knew it. Put that box on my horse. MAL Mister, you got a lot to learn about people. A SHOT rings out. Conrad takes it in the chest and flies off his horse. Now an amazing sight -- Emmett, Paden, and Mal all turn and fire at once. The Sentinel is really dead. EXT. DESERT RISE - DAY Below in the distance the wagon train moves across the desert, dwarfed by giant rock walls. Now, coming right PAST CAMERA, at a gallop ride Emmett, Paden, Mal, and Conrad's horse with his body slung over it. EXT. DESERT - DAY Hannah sits alone on the high seat of her wagon. She is unaware that behind her the four horses approach. And that her husband is dead. OMIT EXT. WAGON TRAIN CAMP - NIGHT Mal, Emmett, and Jake lounge about a campfire within the quiet circle of wagons. Emmett is whittling a whistle pipe out of a stick. MAL After the war my family worked a little piece of land near Savannah for a while. But the way it was down there then... well, they made it hard every way they could. Finally my daddy figured the promised land was out this direction. By that time I was so sick of farming, I didn't want to touch another hoe ever. I wouldn't come with 'em. My daddy took it pretty hard. Him, my ma, and my little sister headed out without me. They've got a little place south of Silverado. I guess they've done okay. Good enough anyway so that when my ma wrote me last time, she said they needed my help to work the place. That was almost nine months ago she wrote. Letter took a while to find me, but when it did, it was just the right time. EMMETT Where were you? MAL Chicago. Working in the slaughter- houses. JAKE Chicago! You been to Chicago? Was it wonderful? MAL (remembering) No. Paden walks into the light of the fire and pours himself a cup of coffee. EMMETT Where you been? PADEN (caught, vamps) Oh, I was just checking the, ah... (gestures vaguely over his shoulder) ...you know, lookin' in. He concentrates on his coffee and moves away from the light. Mal, Emmett, and Jake exchange amused, knowing looks. JAKE Jeez, Paden, her old man ain't even cold yet! Mal and Emmett laugh. EXT. ROLLING DESERT - DAY SERIES OF SHOTS as the wagon train rolls westward. Paden is driving Hannah's wagon; she sits beside him on the seat. PADEN He acted bravely out there, Hannah. Just bad luck his getting hit. Could have been any one of us. HANNAH I don't believe in luck. I know what Conrad was like. Don't tell me what you think I want to hear. PADEN Never will again. HANNAH We got married just before this trip, so we could come out here and try the land. It's hard to find a man willing to take on a life like that. She pauses and takes the reins from him. HANNAH Love isn't the only important thing. Emmett rides up on Hannah's side and keeps pace beside them, smiling at the sight of the couple. EMMETT How you doing, m'am? Getting enough help? Hannah, caught between the two men, smiles. HANNAH More than enough. EMMETT Have you thought at all about your plans? HANNAH Some. I've been talking to the Parkers. One thing I know I'm not doing -- I'm not going back. OMIT EXT. RIVER CROSSING (VARIOUS SHOTS) - DAY The wagon train splashes noisily across the river, drivers yelling loudly to urge on their teams. Emmett, Paden, Mal, and Jake, on horseback, direct the crossing. EXT. APPROACHING SILVERADO - DAY The wagon train is moving through pretty, rolling country. Mal rides up to join Emmett and Paden on point ahead of the train. In his hand is a yellowed letter. He points off to the south where a dramatic half-dome of rock towers above the hills. MAL This is it, gents. My ma told me to head south past that rock. PADEN Good luck, Mal. EMMETT Maybe we'll see you sometime. MAL (doesn't think so) Yeah... maybe. So long. He rides away, and he doesn't look back. EXT. FORK OF THE ROAD (OUTSIDE SILVERADO) - DAY A buckboard with a man and a young girl in it is stopped at the fork, its two occupants standing up and waving excitedly. As the wagon train pulls to a halt, Hobart climbs down from the lead wagon and is embraced by the homesteader from the buckboard, BRADLEY. Bradley points off along the right fork of the road as he speaks to Hobart. BRADLEY It's right down this road aways. I'll ride in with you myself. (to the girl in the buckboard) Carol, go spread the word our people are here. The girl, CAROL, whips the buckboard into motion and disappears down the road. Bradley is looking down the line of wagons. BRADLEY I thought there'd be more of you. But I thank the Lord for each and every one. We'll have a solid strip of bottomland under the plow when you people stake your claims. (a grim look at Hobart) And we're going to need every hand to hold it. AT HANNAH'S WAGON. Emmett has brought his horse up to face Hannah and, on horseback beside her wagon, Paden. EMMETT Hope to see you again, m'am. She nods demurely. PADEN I think I'll ride along with the lady here. Just take a look at this farmland before I come into Silverado. See what makes a trip this hard worth taking. (catches Emmett's amused look) I'll see you around. EMMETT I'll be around. AT THE LEAD WAGON. Hobart has what might be tears in his eyes as he picks up the reins and looks at the countryside. HOBART I feel like I've arrived in Canaan. BRADLEY When we got here, we thought it was Eden. And it's pretty close -- right down to the serpents. The wagon train moves out along the right fork of the road as Emmett and Jake, waving goodbye, ride straight ahead toward town. EXT. ENTERING SILVERADO - DAY Silverado is a sprawling, active, handsome frontier town, a cattle center and supply station for the burgeoning silver mines to the west. Emmett and Jake ride into town. OMIT EXT. COUNTRYSIDE - DAY Mal comes around the shoulder of a hill and reins to a halt. He takes the yellowed letter from his pocket and checks a detail. He smiles at the stand of cottonwoods that marks his route. After all these years, he's excited to be approaching some kind of home. He hurries on. EXT. LAND OFFICE/HOLLIS HOME (SILVERADO) - DAY The land office is in the front of the first floor of the Hollis home, a separate, two-story structure on a side street. Now we're looking down the porch as KATE HOLLIS embraces her brothers, Emmett and Jake. Her big, bear-like, gentle husband, J.T., comes out to add his greetings. After the laying on of hands, the attention of all four is drawn to the doorway and a figure we cannot yet see. Now he steps shyly into view: eleven-year-old AUGIE. Jake makes a show of shaking Augie's hand, man to man. Emmett kneels to greet him at eye level; the boy's grown a lot in five years. EXT. HILL - DAY Mal reaches the top of the hill, a look of high expectation on his face. But now he pulls up sharply, his expression changing. Not what he expected. Down below in a pretty, little valley that recently embraced a farm are hundreds of cattle, roaming free across the last remnants of the fields. And the burnt-out remains of a small farmhouse. EXT. FARMHOUSE RUINS - DAY Mal dismounts near the blackened timbers and walks into the ruins. He looks around in a daze: he's home, but there's no home there. EXT. KNOLL ABOVE BRADLEY'S PLACE (HOMESTEADER LAND) - DUSK Paden and Hannah are just reaching the top of the knoll. In the distance below them is Bradley's farm, in the barnyard of which the wagon train has pulled up for this first night. HANNAH Mr. and Mrs. Parker have agreed to join their parcel to mine. We'll work them together. (she points) Mine starts right over there. It's all I've ever wanted. Pretty land, isn't it? PADEN (nods, looking at her) And a pretty lady. She turns to face him with a clear-eyed gaze that is almost scary. HANNAH A lot of men have told me that. Maybe it's true. I guess some women are slow to believe it. PADEN Believe it. HANNAH They're drawn to me by that. But it never lasts. PADEN Why? HANNAH Because they don't like what I want. PADEN What's that? HANNAH (turns back toward her view) I want to build something, make things grow. That takes hard work -- a lifetime of it. That's not why men come to a pretty woman. He shakes his head, agreeing, though she cannot see it. HANNAH After a while, I won't be so pretty. But this land will be. She turns to face him again. He understands now as well as she that romance is not in their future. But friendship could be. PADEN Hannah, don't tell me what you think I want to hear. Hannah laughs with him. EXT. FARMHOUSE RUINS - NIGHT Mal has made a fire in the remains of the fireplace and is cooking food. As he sits back, he senses he is being watched. He turns. There at the edge of the light stands an old black man holding a Henry .44 rifle like Mal's -- his father, EZRA JOHNSON. The two men look at each other a long time. MAL Daddy? EZRA I saw the light. I thought maybe Rae had come back to see me. But I never thought it'd be my boy. I never thought that. Mal goes to him and encloses him in his arms. MAL Ma? Ezra looks up at him and shakes his head. EZRA She was sick for a long time. She was sick when she wrote you, but she didn't say it. I never thought you'd come. But she did. Mal takes it hard. They move back to the fire together. MAL Where is Rae? EZRA She's gone, gone to town. She hated working on the farm... (a bitter glance) ...just like you. MAL (gestures) What happened? EZRA They run me off. They burned me out. They made it so I couldn't do. Just like Georgia. If you won't sell, they take it anyway. MAL Who? EZRA (as though it were obvious) The cattle! This valley runs down to a clear creek. That's why we picked this spot, and that's why they don't want us here. MAL You own this land. EZRA I paid the government for it, all right. That don't mean much out here. (he motions behind him) Malachi, I'm living like a wildcat in a cave in those hills. Hiding out, afraid to walk my own land. MAL What about the law? EZRA Whose law? The law here runs a man down -- just like these cattle. Mal thinks about that and grows very angry. Finally -- MAL That ain't right and I've had enough of what ain't right. INT. HOLLIS HOME (SILVERADO) - NIGHT The group is finishing dinner in the kitchen/sitting room at the back of the ground floor. Augie is tooting the carved whistle pipe that Emmett has given him. Kate and Emmett begin to clear the dishes as Jake and J.T. continue to sit. JAKE I thought running the land office would be easy work, J.T., but it sounds like what you got here ain't much fun. J.T. We got a bad situation here, and those homesteaders you brought in with you are going to make it worse. (indicates front of house) When they come into this office to stake their claims, I think it's going to be the start of real trouble. They're going to cut McKendrick off on the north. KATE J.T.'s done everything he can. I married a brave man. Augie, take that delightful gift your uncle gave you out of here while we're talking. (back to others) McKendrick picked the new sheriff himself, so J.T. can't even get the law enforced. J.T. Half the gunslingers that drift into town turn up on our police force. EMMETT A man could die of thirst before anybody offered him a drink around here. J.T. pulls a bottle of whiskey from a cabinet and sets up three glasses, but Kate pantomimes for him to add one for her. EMMETT Maybe you all ought to come to California with Jake and me. (across the room) How 'bout it, Augie, you want to go with us? AUGIE Sure! JAKE You know, Augie, there are no schools in California. AUGIE (aglow) Really? KATE Augie's going to grow up here. There's nothing wrong with the land, it's just some of the people. J.T. The problem is, Emmett, you killed the wrong McKendrick. KATE Why, J.T., watch what you're saying around Augie. Emmett didn't kill anybody. EMMETT Well, Kate, it was self-defense sure enough, but I think you'd have to say I killed old Murdo. I think that's definitely the word. JAKE It was my fault. KATE It was not -- it was Murdo's. Those McKendricks don't know how to act like human beings. J.T. His son is worse than he was. He's smoother, so you don't always hear him coming, but he'll do anything to keep his range free. KATE (intensely) I'm worried what he's going to do when he finds out you boys are back. Emmett puts his arm around her. EMMETT I think Jake here can take care of himself. I did five years I didn't owe. McKendrick ought to be satisfied with that and let it lie. Kate looks between her brothers. She is not reassured. EXT. FARMHOUSE RUINS - NIGHT Having smothered the fire, Mal mounts up, then reaches down to pull his father onto the horse behind him. They begin picking their way through the cattle when two night-riding cowboys, RED and SCRUFFY, approach through the gloom. RED Is that you, Ezra? SCRUFFY (to his mate, jovially) You see pretty good, Red. Is there one or two of them? (He laughs) What brings you out of your hole, Johnson? RED We're going to find that place one of these days. Who you got with you, Ezra? EZRA This is my son. He's come home. SCRUFFY Ain't that sweet, Red? I'm afraid you boys are trespassing on McKendrick land. MAL You got it all wrong, mister. This is our place. RED What? Mr. McKendrick bought this place from your father. EZRA That's a lie. MAL Tomorrow we're going to town to straighten that out once and for all. The next day we'll be back here... farming. And these cattle better be gone. The two cowboys are taken aback. They look to each other for guidance. MAL If I find any cattle on our land after tomorrow, I'm going to start carving them into steaks. And believe me, that's one thing I know about. SCRUFFY Killing cattle is a hanging offense in these parts. If we shot you down right now, we'd be within our rights. MAL Mister, you ever seen what a Henry rifle can do in the hands of someone who knows how to use it? The two cowboys tense, their gun hands flexing. SCRUFFY Who would that be? You? Behind Mal, Ezra lowers the barrel of his own Henry toward the cowboys and cocks it. He looks like a man coming back to life. The two cowboys are dumbfounded. They turn and start to ride away. Scruffy shouts back at them -- SCRUFFY This ain't the end of it! MAL (to Ezra) We're going to get your land back, Daddy... our land. EZRA (marvelling at events) Maybe we will! Maybe we will! (pause) After all, I never thought I'd get my son back. EXT. MAIN STREET - NIGHT Paden rides along the dark street, drawn irresistibly toward the thinking MUSIC, lights, and hubbub of the big saloon -- The Midnight Star. INT. MIDNIGHT STAR - NIGHT Paden comes in and looks around with some pleasure. It's an expansive place, busy now with gamblers, drinkers, and brightly-dressed saloon girls. A piano player bangs away in the corner. Paden has to smile. This is the way a saloon ought to be. Now, even Paden is home. Paden walks up to stand at the bar. The BARTENDER is busy at the far end of the bar. Paden is patiently waiting to get his attention when he hears a woman's voice behind him, on his side of the bar. STELLA (O.S.) What can I do you for, stranger? Paden turns to face his interlocutor, but at first cannot find her. After a moment, though, he looks down to see a small woman in a velvet dress -- STELLA. PADEN You work here? STELLA I run the place. What can I get you? She is already moving away toward the near end of the bar. He watches her disappear around the end, then sees the top of her head appear behind the bar down there. As she moves back toward him, she gets taller and taller, until she is facing him eye to eye across the bar. PADEN Bourbon. As she reaches under the bar and produces bottle and glass, Paden leans over and peeks behind the bar. A foot-wide ramp runs the length of it. PADEN Nifty. STELLA (smiles) The world is what you make of it, friend. If it doesn't fit, you make alterations. PADEN I'll drink to that. Will you join me, Miss -- STELLA Stella. PADEN Paden. Stella sets up a glass for herself, and they shake hands. Paden looks up at a carved ornamental star on the back wall, over the words "The Midnight Star". PADEN Stella... Are you the midnight star herself? STELLA I am. I'm always there, but I only shine at night. A saloon girl -- a lovely, young, black woman -- RAE passes with some drinks. Paden watches her go, then looks around the room. PADEN My compliments to you, Miss Stella. This is what I call a saloon. STELLA Thanks. That's what I call it too. PADEN And I know what I'm talking about. STELLA You like a good saloon? PADEN It's the only place I'm happy. STELLA Me too. What's wrong with us? Their eyes meet for a moment, and a real connection is made. PADEN You wouldn't be needing any help around here, would you? Maybe with the gambling? STELLA (points) You see that fellow over there in the gray coat? Paden nods, and now we see him too: a big man in some gambler- like finery -- KELLY. He is leaning over a poker game. STELLA That's Kelly, my so-called partner. He runs that side. PADEN So-called? STELLA Yeah, aside from being a loud-mouthed, lying cheat, he's just the man I would have picked. PADEN Why'd you go into business with him? STELLA I don't own this place. The man who does stuck me with Kelly. PADEN Who's the owner? STELLA Here he comes right now. Stella nods toward the door, and Paden turns to look. Cobb enters through the swinging doors. He looks around with a proprietary air as he walks to the bar. He is almost there before his gaze settles on Paden and Stella. He stops in his tracks, and a big grin splits his face. SHERIFF COBB Well, look at this! Two of my favorite people in the world, talking to each other. Cobb moves up and puts an arm around Paden as he shakes his hand. Stella is interested in this connection, but she doesn't faze easily. Paden is the surprised one. SHERIFF COBB Stella, this is one of my oldest surviving friends. Treat him right. STELLA That was my plan. SHERIFF COBB (laughs) Oh, yeah, you two are going to get along fine. You got a lot in common. Cobb looks across the room and yells. SHERIFF COBB Kelly, get over here. (to Paden) You didn't come all this way just to pay me back that money, did you? (turns to Kelly) Kelly, meet my friend Paden. KELLY (cool) Howdy. SHERIFF COBB Give the man a line of credit. He already owes the house thirteen bucks. Kelly casts a wary, appraising glance over Paden, nods, and moves off. SHERIFF COBB You got a place to stay? PADEN I just got to town. SHERIFF COBB Stella, we still got an extra room out back, don't we? STELLA It's not in use at the moment. Cobb comes around the end of