EXT. THE PARCHED, STONY DESERT - DAY.

CASH JOHNSON rides alone across the landscape. He is hot. He removes his hat to allow some air to his head, fans himself with the hat, then replaces it. He removes his canteen and takes a slug of water. He winces. It is warm and tastes of the tin of the canteen. He runs a hand down his horse's neck and gives it a slap. He takes in what is around him, looks at the noon sky and decides to find some shade and rest. There is a rocky outcrop nearby, so he pulls up the horse.

CASH

(to Pie, his horse)

Take a break, Pie.

(he dismounts)

I'll go find some shade where we can rest up awhile.

He leaves the horse to eat brush and goes towards the rocks.

He goes behind them and stops with surprise. There is a young man, for all intents and purposes dead, laid up against some rocks. His hands rest across his stomach. There is black, sun- dried blood upon his hands. A dollar bill protrudes from his fingers. There is blood on his face from a head wound.

CASH (CONT'D)

Damn!

CASH walks briskly towards the body and kneels down next to it. There is a smell of a rotten wound. He makes a cursory examination of the boy and concludes that he is dead. He puts a hand on his shoulder.

CASH (CONT'D)

I'm sorry, kid.

The young man stirs and moans. Startled, Cash jumps.

CASH (CONT'D)

Hold on, kid. Hold on.

CASH goes out of scene. The young man's eyes follow CASH as he goes away. They show no emotion, no need. CASH reappears with his canteen in his hand. He kneels next to the young man again, removes his kerchief and soaks it.

CASH (CONT'D)

I'm not gonna let you take a long drink of this, boy.

He drip feeds the young man water from the kerchief.

CASH (CONT'D)

One step at a time.

The boy holds his mouth open and allows the drips to roll across his tongue. He coughs a little as his parched mouth begins to unglue, then clutches at his gut as it sends a jolt of pain through him. CASH casts an eye towards the boy's headwound and then at the abdominal wound. You can see in his eyes that he holds out little hope.

CASH (CONT'D)

What's your name, son?

The boy clucks at his dry mouth as he tries to talk.

CHARLIE

Bucker. Charlie Bucker.

CASH

Charlie Bucker? The Charlie Bucker?

Charlie nods.

CASH (CONT'D)

I thought you were dead already. CHARLIE

(a thin smile on his lips) Nearly there.

CASH

There are a lot of people that would like a slice of you, Mr Bucker. You are a most notorious man.

CHARLIE Indeed I am.

CASH drips some more water into CHARLIE'S mouth.

CASH

What the hell happened to you?

CHARLIE I got shot.

(he wrinkles his nose)

Stinks, don't it.

EXT. A FIELD OUTSIDE A CABIN - EARLY MORNING

DREW SAWYER and TROY LASITER sit upon their horses and gaze upon the cabin. Smoke comes from the chimney and curls away into the still chilly air. Troy has a thin, grey face. His teeth are uneven and black and his eyes dance all over the place. He has a moustache that is impeded by a scar he sustained in a fight when he was fourteen. It has healed unevenly. Drew has long black hair that flows from beneath his hat. He is dressed in black with a long overcoat. He is a big man, starting to run to fat. The door opens and out comes CHARLIE BUCKER, dressed untidily with his gun in his hand. DREW SAWYER and TROY LASITER ride up to the porch of the house.

CHARLIE

Morning boys. You've been out here a while now, I'd say. Heard your horses' footsteps on the ground. Noise like that echoes at night. Goes through the ground. Heard them whinny too. Heard the bridles, the bits as they chewed on them. Heard one of you strike a match and your whispering. God help you boys if you ever need a place to hide. Sheriff would find you in fifteen seconds flat.

DREW

Well, we weren't hiding and you won't ever hear about no sheriff 'cause it won't happen.

TROY

Never happen.

CHARLIE

What do you want boys? Not that you ain't welcome here, but I got coffee and eggs waiting.

DREW

I heard you got yourself a lady.

You living the soft life now?

Making an honest living?

CHARLIE

Comes a time...

DREW

Can we come in? I can smell coffee. You can trust us, Charlie.

(MORE)

DREW (CONT'D)

Besides, you still got that big old Colt if you need it. What was it you used to say?

CHARLIE

If you have to cock it, you have to mean it.

DREW

That's it! Once you pulled that hammer back...

Charlie lifts his gun to show the boys. The hammer is back. DREW and TROY look nervously at the weapon and at CHARLIE. A light smile crosses CHARLIE'S lips.

CHARLIE

Okay. Coffee. State your business and then be on your way. If you're nice to me I might even give you a bag of coffee for the journey. It's good stuff.

TROY

Got any sugar?

CHARLIE

You figure you need sugar, with teeth like that?

TROY

You figure you need sugar, with teeth like that?

CHARLIE turns and walks through the door. TROY and DREW dismount and follow.

INT. THE CABIN/HOUSE. IT HAS A COUPLE OF ROOMS, AN OVEN A COUPLE OF CHAIRS AT A TABLE AND TWO CHAIRS FOR SITTING BY THE FIRE. EARLY MORNING

A young woman, Mary, who is cooking eggs, looks on suspiciously as TROY and DREW enter after CHARLIE.

CHARLIE This is Mary.

MARY keeps on cooking. TROY'S and DREW'S eyes look about the place. They skim over Mary.

CHARLIE (CONT'D)

Eyes on me, boys. That's the last time I say it.

DREW takes one last lingering, sly look at MARY.

DREW

It's been a while. We've been tramping. Long time since we saw anything this sweet.

CHARLIE invites them to sit. They sit around the table. MARY puts coffee before each of them. TROY takes out a flask and puts a finger of the contents into his coffee. He offers it round and is declined.

CHARLIE

The last thing I saw of you two boys was your backs as you fled the carnage at Wombwell.

CHARLIE lays his gun upon the table, within easy reach. He takes out a pouch of tobacco and some papers and starts to roll a cigarette.

DREW

And for that we apologise. We both thought you was dead. There didn't seem to be much point sticking around.

CHARLIE

The point was I wasn't dead, Drew. DREW

We were not aware of that, were we, Troy.

TROY

Not aware.

CHARLIE grunts non-committally and finishes off rolling his cigarette.

CHARLIE

Troy, you have no voice of your own. You are a parrot, that is all. I never knew you to have a valid opinion of your own. Now, don't get mad, Troy. There's nothing essentially wrong with that, but it does kind of grate on me after a while, the way you have to sit there repeating what he says like some distant echo.

(to DREW )

State your business, Drew.

MARY puts some eggs down in front of CHARLIE. CHARLIE thanks her and begins to eat. TROY and DREW look greedily at the eggs and DREW casts half an eye at Mary. It doesn't take much to read his thoughts. MARY goes back to the cooker and starts cleaning up, with half an ear on the room.

DREW

You know Kendray?

CHARLIE

Across the border? The Arizona Kendray?

DREW

That's the one.

CHARLIE Sure. Go on.

DREW reaches inside a pocket and brings out a roughly folded piece of paper. He opens it out and lays it on the table before CHARLIE. CHARLIE does not touch it; he barely regards it. He raises his eyes as a cue for DREW to explain.

DREW

That is an accurate representation of the bank at Kendray.

CHARLIE

How do you know?

DREW

What?

CHARLIE

How...do...you... know?

DREW

I have it on good authority...

CHARLIE

On whose good authority, Drew? On whose authority do you have it that this is a good enough representation of the bank in the town of Kendray, Arizona that I may risk my life trying to empty its safe?

DREW

I know someone...

CHARLIE suddenly stands with such vigour that his chair falls to the floor behind him. He picks up his pistol, walks around to DREW and holds the gun to his head.

CHARLIE (voice raised)

On whose authority, Drew?

(he holds DREW'S head tightly so that he cannot turn away)

On whose authority? Do you trust him as much as you trust me right now not to pull this trigger? The hammer's back. You and I both know what that means.

(pushes the gun into the side of DREW'S head)

On whose authority, Drew?

MARY steps forward and stands next to CHARLIE. She is calm and authoritative.

MARY

Charlie! This is our home. If you have to shoot this man, take him outside.

All six, furious eyes fall upon MARY, each pair in their own way seeing different scenes. There is a palpable tension in the air. It could go either way. TROY suddenly bursts into laughter.

TROY

I can't believe she said that. I can't believe she said to take him outside like she just didn't want his mess in here.

Eventually, all except MARY are seeing the funny side. She steps outside with an armful of damp laundry and starts to put it out to dry. CHARLIE moves the gun from DREW'S head and releases the hammer. DREW lets out a silent sigh of relief. CHARLIE sits back down and returns to his coffee and lights his cigarette.

CHARLIE

On whose authority, Drew? I need to know. If I am to trust you, I need to know. If I am to put my wellbeing into the hands of a stranger, I need to know.

(pause)

Well?

DREW

(after a moment's
consideration)

Okay. Fine. But I swore secrecy on this so there would be no comeback on the man. You have to keep this to yourself.

CHARLIE

(crossing his heart)

So long as it's reliable...

DREW

Oh, it is.

(beat)

It came from my cousin, Barret Lacky...

CHARLIE

I know Barret...

DREW

Well, he worked for that bank for the best part of five years. He got fired...

CHARLIE

What for?

DREW

What for?

CHARLIE

Yes, Drew. What for?

DREW

There was this stuck up old lady came in the bank one day. She was a regular, wealthy, thought she owned the place and all the souls in it. Anyways, she comes in with a bug up her ass, angry at something or someone of no consequence to anybody but her and accused Barrett of stealing from her. Barrett called her a lying fucking bitch and was fired on the spot. He never stole a damned thing. Turns out someone was stealing from her, but it wasn't him.

CHARLIE

How long ago did this happen?

DREW

About a year.

CHARLIE

What's Barret doing now?

DREW

Well, no one would employ him for a while, on account they thought he was a thief, but once they caught the son of a bitch who had been doing the stealing, he found himself a job in a store, serving that old bitch whenever she comes in and don't have the decency to apologise. Bank manager comes in, same shit. I was out that way and dropped in on him and he told me this tale and how he'd like to shoot both of them and I put the idea to him that maybe there was another way to get his own back.

CHARLIE

So there's some distance between his being fired and today?

DREW

Absolutely. He never said a thing out of place to either of them, never even gave them the beady eye.

CHARLIE

What does he want out of this?

DREW

Ten percent.

CHARLIE

Ten percent of what?

DREW

About forty-five thousand. Maybe more.

CHARLIE

Dollars?

DREW

No, pesos! Of course, dollars!

TROY (laughing)

Pesos!

CHARLIE That's ridiculous!

DREW

Not so.

TROY

Not so.

CHARLIE glances at TROY through narrowed eyes.

CHARLIE

How is that possible? All that money in one place...?

DREW

By the grace of God, Charlie. By the grace of God. For wasn't it Him that put all that copper in the ground and all that gold and all that silver? And wasn't it Him that put Kendray right smack bang in the middle of that beautiful rich triangle so that Kendray's bank just got bigger and bigger and fuller and fuller until it started sucking in money like a goddam tornado?

CHARLIE

And the law? That place has to be like a bee's nest, all that honey.

DREW takes out another map and lays it in front of CHARLIE.

DREW

The Sheriff's office is across the street. There are two sheriffs, one per shift, six am to six pm and so on. There are six deputies on duty at any one time. The whole street is lined with various businesses and is rarely empty during the day.

CHARLIE And the bank?

DREW

The bank has two security guards.

One of them is stationed in a small booth with a peep hole. The booth has a metal lining of some sort.

Any trouble, he sticks his gun out and starts firing.

CHARLIE

That's a trifle risky with members of the public passing through.

DREW

It would seem that they value their money more than they value their lives.

CHARLIE

Rich folks! They don't know the value of any damned thing. And the safe?

DREW

The manager has the key. If for some reason he fails to produce it, Troy here will dismantle it with some strategically placed explosive.

CHARLIE (to TROY)

I knew there was a reason you were here, Troy. I thought it might be because you figured I liked to look at your horse's ass as you ran away.

TROY

Nope.

CHARLIE

Where'd you learn to use explosives?

TROY

I have worked some on the railroad. CHARLIE

We're not planning to build a tunnel, Troy. I've seen what that stuff can do. You underestimate it and you're as likely to lose your head as you are to remove a safe door.

TROY

I know what I'm doing.

CHARLIE

Well, I hope so. I don't want to see my limbs hit the ceiling the second before I meet eternity.

 

DREW

So, what do you say, Charlie? Are you in?

CHARLIE

I don't know. It's big money, but it's also big risk. Wy can't you two do it alone? Or with someone else, come to that?

DREW

Can't do it with two. Not with the guards and the public to watch.

CHARLIE

So, why me? After what happened last time, you took an awful risk coming to find me. Up to a couple of months ago I would gladly have shot you upon sight. I confess, I still feel somewhat tempted.

DREW

Your share would be anything from thirteen and a half thousand up.

That would set you up for life; buy you a farm, some cattle or horses, whatever. I figured you weren't too proud to turn that down. And now you have a lady™

CHARLIE

She pulls no weight.

(pause)

Answer the question. Why me?

TROY and DREW look sheepishly at each other. CHARLIE slams his hand down on the table.

CHARLIE (CONT'D)

C'mon, boys! Speak up! Spit it out, dammit! You look at each other much longer you're going to have to kiss, I swear.

DREW

Okay. I'll tell you why. I'll tell you what we discussed, so long as you give me your word that you don't take offence at our reasoning.

CHARLIE

Christ Almighty! If I haven't shot you both by now, I'd say you're on pretty safe ground. Wouldn't you?

DREW

I guess so.

CHARLIE

Then get on with it.

DREW

Well, Charlie, the truth is, you're just plain mean.

TROY

Plain mean.

CHARLIE

Well, that's a grand statement coming from two such as you. I would be inclined to say that shooting indiscriminately at a bunch of innocent people as you did in Wombwell, killing three of them, including a lady, was in itself a pretty mean thing to do. Not to mention leaving town with one less than you arrived.

DREW

That's just it, Charlie. We confess, we are sneaky mean...

TROY

That we are.

DREW

But we don't have your cool head. CHARLIE

No shit!

DREW

Uhuh. We need a leader.

CHARLIE

Well, you had a leader before I seem to recall and you left him staring at a dead woman with her left tit blown half off!

 

DREW

Yes, we did, and we both feel ashamed.

TROY

We do. Deeply.

CHARLIE gets up and goes to the window. He looks at MARY as she hangs out the clothes to dry. She looks beautiful as the early sun falls upon her.

CHARLIE

Come back tomorrow.

TROY and DREW stare at him as if they haven't heard correctly.

CHARLIE (CONT'D)

Go on, now. Come back tomorrow. Early. I'll have an answer for you then.

EXT. A FIELD - DAY

CHARLIE and MARY are in a field, the sun having crossed its zenith and now back on its way down. It is all shadows and gold. They have a blanket and some food and a couple of bottles of beer. CHARLIE has his head upon MARY'S lap. It is a peaceful, harmonious scene.

MARY

I don't like them and I don't trust them. Especially that Troy. He looks like a rat.

CHARLIE

I don't trust them either, Mary.

They have no kind of honesty about them.

MARY

Then you must say no. You must say no and send them on their way.

CHARLIE

Tell me, Mary. What will we be in five years? In ten? In twenty? Can you tell me that? What do you...want from all this?

MARY

(laughs quizzically)

What do I want?

(MORE)

MARY (CONT'D)

I've never thought about it. I have what I want. We have a place built by our own two hands. I have food, a roof, a man I love, children sometime in the future maybe...

CHARLIE

What do I want? I've never thought about it. I have what I want. We have a place built by our own two hands. I have food, a roof, a man I love, children sometime in the future maybe...

MARY

I don't see them as small, Charlie. CHARLIE

And what happens when we grow old? When I can no longer make a stream and you are wrinkled, with hands of leather and a heart turned to wood by the constant fight to eke out a living on this earth? When we can no longer find the strength to even dream, let alone chop wood for the winter or scrape a living from the soil? What happens then?

MARY

It won't be like that...

CHARLIE

You know that for a fact? Isn't that the way of things? A slow deterioration between now and then; a life less lived, topped off by a sad goodbye and a pine needle grave?

MARY

Where does this come from, Charlie. I thought you were happy...

CHARLIE

I don't know what happy is, Mary. All I know is, there has to be something more than what you see and the only way to do that is to have money, to have experience, to try and take a little bit of the world with you when you go.

MARY

Is that what those two boys have done to you today? Have they turned you so inside out that you longer recognise who or what you are?

CHARLIE

Oh, I know who I am, what I have been and what I have done. I've been turned inside out and back again.

MARY

Is everything we have so easily erased by ten minutes with two scum of the earth thieves?

CHARLIE

They are merely an awakening. I cannot go against my nature.

MARY

(incredulously)

An awakening? What does that mean? That you have been lying to me all this time? That you never intended to stay? And as for your nature. I have seen nothing but a kind and gentle man this last year with you. And you have seemed, at the very least, content with me. I never had any sensation that you were so trapped, that this was no more than a period of hibernation before your awakening. Damn you, Charlie Bucker! Damn you for your hypocrisy and lies.

CHARLIE

I am damned, that is for sure. I always was. I have done things that have sealed my place in Hell and I'm not dragging you down with me.

MARY

And what if I want to be dragged down. Want if I want to follow you into the fires?

CHARLIE

Go home, Mary.

MARY

Home? This is my home, Charlie. CHARLIE

I mean home. To Wentworth. To your family. They are good people. I need to know that you are safe...

MARY

You talk as if you've made up your mind.

CHARLIE I have to go.

MARY

But why?

CHARLIE

This...All this. It's not me. In the end I will bring you little more than disappointment and hurt. This is not what I am.

MARY

(tearfully)

You're breaking my heart, Charlie. CHARLIE

That's exactly my point. It's not mine to break, Mary. Don't you see that? People should never have that sort of power over each other. Go home. Find a respectable life among respectable folk and never look back. I have no more to offer you than this and it will only diminish with the passing years.

MARY

It's all I want, Charlie.

CHARLIE

Well, it's not enough, not for me. MARY

So that's it? You'll just

be...gone? Are you never coming

back?

CHARLIE

I will not be back.

 

INT. HOTEL ROOM IN KENDRAY - EVENING

DREW gazes out of the hotel room upon the busy Kendray streets. CHARLIE lays relaxed upon the bed while TROY sits in a bitten old armchair.

DREW

What do you think, Charlie?

CHARLIE

I think we can do it.

DREW

Think we need to take another look?

CHARLIE

No, Drew, I think three times is enough.

DREW

Tomorrow then.

CHARLIE

Tomorrow it is.

(to TROY)

Troy? You got your shit together? TROY

Yep.

CHARLIE

You know not to use those explosives unless I say so, don't you?

TROY

Yep.

CHARLIE

Then all we can do is wait.

(to himself)

I don't hear any birds. What kind of a man wants to live in a world without birds?

TROY

Say what?

CHARLIE

Nothing, Troy. Nothing at all.

INT. HOTEL ROOM IN KENDRAY, SOME HOURS LATER - NIGHT

DREW and TROY are trying to sleep, TROY in the armchair, DREW on the floor next to him. CHARLIE is pacing and has been for some hours, gesticulating at no one, arguing incoherently with himself.

DREW

Get some sleep can't you, Charlie?

We can't rest for your constant pacing and murmuring.

TROY

You have to sleep, Charlie. You can't murmur and pace all night.

FADE TO BLACK. FADE IN:

Some hours later. CHARLIE is at last still and sits naked upon the window sill smoking. He is looking at the rising dawn as if it holds the answer to life itself and seems oblivious to anything outside of his own thoughts.

TROY (CONT'D)

(Looking at CHARLIE, but talking to DREW)

Is he sane?

DREW

He is calm. I cannot vouch for his sanity. He is naked at the window, smoking a cigarette. More than this I cannot say.

CHARLIE

What are you boys whispering about?

DREW

Just wondering how you are is all.

You didn't seem to sleep much.

TROY

Not much at all.

CHARLIE

I'm fine. Are you fine, Drew? Troy?

Are you both fine?

DREW

We are fine.

TROY

Fine indeed.

CHARLIE

Have you given any consideration to the events of the day ahead?

DREW

Not extra to yesterday, I confess.

Should we have?

CHARLIE

No.

TROY

What were you thinking about,

Charlie?

CHARLIE moves away from the window. He stands in the light of the window and appears as a shadow, a ghost, looming over TROY and DREW. He pulls a simple wooden chair up and sits astride it, opposite TROY and DREW. His face shows a man on the precipice of madness. There is a dangerous calm to CHARLIE. TROY and DREW look on in trepidation.

CHARLIE

I was thinking about how close to the animals we are. How our clothes and shaving and combing the hair are just a way to fool ourselves into thinking that we are better than them. How our reasoning sets us apart because it is more elevated, more discriminate, yet all it's about is eating, fucking and death. That's it. What does it all boil down to any more than those three things?

TROY

What about love?

DREW

Jesus, Troy!

CHARLIE

Why, Troy! An independent thought.

I never saw you as one who would consider such a thing as love.

TROY

Well, why not? I need comfort as much as the next man.

CHARLIE

That's my point, Troy. You need comfort. Each of us enters into a relationship not for the benefit of the other, but for the benefit of himself. Have you ever heard of a thing called altruism?

DREW

Altru what? Is this some sort of religion you caught, Charlie? Now is not the time to get religion.

Not on the day you are to rob a bank.

CHARLIE

Have no fear, Drew, this is not about religion, although religion is all a part of it, all a part of the big lie. This is about truth and the truth is that there is no such thing as love, not in its purest sense anyhow. We fall in love why?' Because we like the idea. Because it raises us above our base selves. To claim that there is more to us than there really is cuts us off from the animals. But the truth is that we pair up because it's the safest thing to do. There's safety in partnership. That's why we're together now, us three. Hell, I sure don't love either of you, but it benefits me to have you by my side at this moment in time. Tomorrow, you may try to take my food and I will kill you, because that is what I need to do to survive. We have children to ensure our names live on. It's about possession, about ownership, about power. We find comfort for ourselves, not for the other. In the end, it's all about eating, fucking and death. It's about me, me, me. All the rest is bullshit.

DREW

(uncertainly)

Okay.

 

CHARLIE

Now you take me and Mary. You take me and Mary. She fed me, she fucked me, she cleaned my clothes. She was pretty. Oh, my, she was pretty. You saw her. I saw you look at her. For a moment, just for the tiniest flash of time, you thought about how you could get her, take her away from me™

DREW

No, Charlie...

CHARLIE

It's okay. It's okay, Drew, because that's what we do. And...and...and if you killed me, then you would take her and she would move on to you because you would then be the top dog and you could take care of her. Do you see what I'm saying, Drew?

Do you? Self, self, self. That's all it is. Animals, Drew. We're all just animals. Eat, fuck, die. Eat, fuck and die.

INT. KENDRAY BANK - DAY

CHARLIE, TROY and DREW are in Kendray bank. CHARLIE has killed the guard inside the protective booth. There are signs that he dropped a stick of explosive into the booth. Their weapons are drawn and have been fired. The guards are dead. Civilians lie dead. The bank manager lays dazed upon the floor with blood pouring from a severely broken nose. His right arm is covered in blood. CHARLIE stands in the middle of the chaos, his arms raised in a triumphant pose.

CHARLIE

My name is Charlie Bucker. I am the sun.

EXT. THE ARIZONA SCRUBLANDS - DAY

CHARLIE, TROY and DREW ride across the Arizona desert as they flee from the scene of their robbery.

INT. KENDRAY SHERIFF'S OFFICE - LATER IN THE DAY CASH JOHNSON enters Sheriff FRANK PEDERSON's office.

FRANK

Hello, Marshall. Come on in. Take the weight off.

CASH

Hello, Frank. Got here as soon as I could. A little too late by the looks of it.

FRANK

I appreciate your presence, nonetheless. You want me to run through it?

CASH

No need. I spoke to one of your deputies. He put me in the picture. I've seen the bank too. It looks like someone took a paintbrush to it. I'm sorry, Frank. Up and coming town like this. It doesn't deserve what happened here today.

FRANK

Thank you, Cash. They shot the manager through the elbow, you know.

CASH

To what end?

FRANK

He was slow to hand over some keys. CASH

How is he?

FRANK

Minus an arm.

CASH

That's tough.

FRANK

You know him? Gerald Hauter?

(CASH shakes his head)

He's fat. He's fat and balding and very amiable. He has a comfortable wife and a boy studying out east.

CASH

He'll live though?

FRANK

Doc seems to think so.

CASH

And his livelihood?

FRANK

You can run a bank with one arm as easily as two, so I'd imagine.

CASH

It's not that though, is it, Frank. FRANK

No, it's the fact that, even in these prosperous days, a stranger can walk up to you and, without a by your leave, put a mark upon you that changes you forever. Gerald Hauter is neither a brave man nor a coward. He's just a harmless, ordinary fellow who happened to stray into the path of a madman. They had no right.

CASH

It's hard to disagree. How many dead?

FRANK

Eleven civilians. Two inside the bank plus the two guards inside the bank. They shot nine getting away, though Lord knows why, nobody got in their way. Scaremongering and confusion, I guess. One deputy was killed and two injured. I'd been over at the courthouse with Judge Ferraby. By the time I got there, it was all but over.

CASH

The young feller that came to get me...

FRANK

Joe Baines...

CASH

That's the badger. He said you might have some names.

FRANK pulls some paperwork from a draw and puts it on his desk.

FRANK

You know the name Charlie Bucker?

CASH

Seems to ring a bell. I can't have brought him in. I'd have remembered had I brought him in.

FRANK

According to those who witnessed the whole affair, this Bucker killed the two guards, then stood bold as brass in the middle of the bank and announced himself, then declared himself to be the sun.

CASH

Whose son?

FRANK

The sun.

CASH

I see. So why does his name seem familiar to me?

FRANK

You remember the robberies at Medina and Royston?

CASH

Sure. James Wilson was assigned to them. He didn't find anyone though, but the descriptions seemed similar so he threw the two in the same pot.

FRANK

This feller, Charlie Bucker, was mentioned and, if you read those, (he indicates the paperwork which CASH is studying)

there was some consistency in his description. Then you may recall that mess over at Wombwell last year.

CASH

I do. I'm guessing from what you say, that this Charlie Bucker was tied in with that too.

FRANK

I believe so. His two companions turned tail and killed two or three people making their escape. Bucker himself had to shoot his way out. Seem to recall one of those he killed was a woman. It was attributed to him, anyhow, although how they could tell in the carnage is beyond me. It was also thought that Bucker took a fatal wound during the incident. A deputy claimed to have hit him accidentally while trying to free himself from a tight spot. Bucker then began to fire randomly with two revolvers. He escaped in the chaos. Several witnesses stated that they saw him holding his belly as he ran. There was some considerable amount of blood loss where the deputy claimed the incident occurred. He wasn't seen again after that. There was a search for him, but when it turned nothing up, it was assumed that he had crawled away and died of his wounds.

CASH

And today?

FRANK

The description matches his boast. Fair hair, about six feet. I'm uncertain. It's easy to use someone else's name in order to deflect the blame. It could feasibly have been someone who knew Bucker, maybe someone who'd rode with him. We were never really sure about who'd rode with him before, except for one guy name Troy Lasiter. He was previously recognised through a deformed lip. His name was mentioned today by the one claiming to be Bucker. He's known to ride with a man named Drew Sawyer. That name was also mentioned today. If that's the case, it was a mite careless of Bucker to give out their names unless, as I said, they were trying to mislead.

CASH

What's your inclination?

FRANK

My inclination is that Bucker's been dead for some time and that someone is playing games. Come on, Cash. How many tall, fair-haired men are there in this town? In this state, come to that? Most of these people are of German or some such descent. You see a man with brown hair in this place, you know there's a pretty good chance he's from elsewhere. A man with fair hair is ten-a-penny and, in the heat of the moment, you'd think they were all from the same mother. The only certainty is this feller with the lip. You find him, you'll go some way to solving this mystery.

CASH

Well, I guess it's my turn to go in search of this ghost. Where to start? Any ideas?

FRANK

Bucker, if that's the tack you're gonna take, came from a place called Oakwell, across the border. There's a chance they might go back there. That's all I have. If it is Bucker, then he's kept his head low for just over a year.

CASH

Maybe he found himself a girl, took to the quiet life.

FRANK

It's always a possibility, if he's not dead already. If, and it's a big if, he survived Wombwell and found himself a girl, attempted to settle down, he's going to be running short of ready money by now. That might have been enough to awaken from his slumbers. Maybe if Lasiter and Sawyer turned up with an offer too good to dismiss, critical timing, so to say...

(he shrugs uncertainly)

(MORE)

FRANK (CONT'D)

You want some company? The other sheriff, Rich Thomas, and some boys are back from a search. They'll be eager to go out again once they've rested.

CASH

No, thanks. I prefer to go alone. You just give me the necessary paperwork and I'll be on my way at first light. I forgot to ask. How much did they get?

FRANK

Seventy-one thousand, two hundred and eighty-six dollars, so the bank reckons.

CASH

What the hell was so much money doing in one place?

FRANK

Didn't you hear? This is Kendray. We're civilised.

EXT. A RIVERSIDE - LATE DAY

CHARLIE, TROY and DREW are camped by a river. The is a fire burning at the centre of the camp. There is coffee on the boil. CHARLIE is counting money - a lot of money. DREW and CHARLIE's eyes flick between the money and CHARLIE.

DREW

(confidentially to TROY)

What happened back there?

TROY

He did what you asked of him.

DREW

I didn't ask him to do that.

TROY

Yes, you did. We both did. We told him we wanted someone mean 'cause we were too cowardly to do this ourselves. That was all the permission he needed. We invited the Devil to dance. We shouldn't be surprised he trod on our toes.

 

DREW

There'll be some value attached to our names now, that's for sure.

TROY

And him so keen to keep a low profile.

(mimicking CHARLIE)

'We don't want our name in the papers or in the top drawer of every sheriff's desk.' What the hell was that 'My name is Charlie Bucker and I am the sun' bullshit? And 'Hey, Drew, don't forget to empty their pockets. Hey, Troy, if he don't give you that safe key, shoot him in the elbow.' So now they know all our names and we'll all be hung for the same sickness that runs through that son of a bitch.

DREW

(aloud to CHARLIE)

How much we got there?

CHARLIE I ain't done yet.

TROY

You must have an idea.

CHARLIE

Stop talking, Troy.

TROY

A man can ask, can't he>

CHARLIE

Not if that man wants an accurate count.

TROY

Well, how much are you up to?

CHARLIE stops counting. His shoulders sag as he let out a deep sigh. He lifts his head slowly. It looks as if it has the weight of the world balled up inside it and he has to fight to hold it up.

CHARLIE

(he puts his hand to the side of his head)

CHARLIE (CONT'D)

I'm up to here with you. With both of you.

TROY

We got a right to know!

CHARLIE scoops up a handful of money and throws it on the fire. TROY and DREW look on in horror.

CHARLIE

That was yours, Troy. That was your money. Every time you open your ugly, deformed mouth, I'll throw on a little more. If I can't get you to shut the hell up with threats, then maybe I can buy your silence.

Now there was a good couple of acres and a fine pasture land just went from my fist to the flames. Do you have anything else to say?

TROY looks at CHARLIE with undisguised contempt. He shakes his head.

CHARLIE (CONT'D)

Drew? What about you?

DREW

I have nothing to say, Charlie.

CHARLIE returns to counting, but you can see on his face that he is now put off by the disruption. He stops counting and pauses, a sheaf of notes in his hand.

CHARLIE

Sixty-two thousand, two hundred and eighteen dollars. So far.

DREW

Christ Almighty! For real?

CHARLIE

For real. I reckon there's another eight, maybe nine thousand left to count. Now shut the fuck up, both of you, or I'll split the spare eighteen dollars between you and take the rest for myself.

 

EXT. OUTSIDE A HOTEL IN KENDRAY - DAWN

CASH comes out of the hotel. The streets are quiet. His horse is tied and ready to go. He mounts up and rides out of town to begin his search for the bank robbers.

EXT. A RIVERSIDE - DAWN

CHARLIE has finished counting the money and sits quietly smoking. DREW wakes and shakes TROY awake. CHARLIE pays them no attention as they get some coffee. They both look at him expectantly while drinking. Eventually, CHARLIE acknowledges them. Money is laid in three neat piles.

CHARLIE

Seventy-one thousand, one hundred and forty-three dollars. That includes the ashes.

DREW

Christ Almighty!

CHARLIE

He wasn't there. We were. I make that twenty-three thousand, seven hundred and fourteen dollars each.

You can pay Barrett out of your share. I don't want to.

(CHARLIE indicates the piles of money)

Go on. Take it.

DREW and TROY leap up and take their share, then return to their places, sniffing at and weighing the cash in their hands.

DREW

It don't feel like so much.

TROY

Feels like the future to me. I might go east, see one of those doctors you hear about. See if they can straighten out my lip. What about you?

DREW

A ranch maybe. Maybe a casino.

Maybe I'll go east with you and buy myself one of those big houses you hear about and just dandy it about. Get out of these clothes and buy me one of those tony suits. What about you, Charlie?

 

CHARLIE

All my life, I've been hanging around with scum like you...

TROY

Now, hang on there...

CHARLIE

Shut up, Troy! I feel like the blood that runs through my veins is polluted. I feel dirty. I feel like, no matter how many times I wash my hands, whenever I lay my head down, I'm still gonna get the stink of you two. No amount of money's ever gonna wash that away.

DREW

You didn't have to do this, you know. You could've stayed shacked up with that girl and told us to be on our way. You can't blame us for what runs through you, Charlie Bucker. You were dirty before we knew you and you'll die dirty. You didn't stay with that girl because you were too damned scared. It ain't in you to be domestic. As a matter of fact, now you've done with her, I might go looking for her myself.

CHARLIE

You'll do no such thing. You will go east and keep on going 'til you dip your fat toes in the big ocean on the other side of the world.

CHARLIE stands up and marches angrily over the TROY and DREW.

CHARLIE (CONT'D)

I was content before you showed up, you understand? I would have stayed there in that woodpile with her until I drew my last breath, but then you two had to come along with your big ideas and your temptations and drag me away.

DREW stands and goes face to face with CHARLIE.

DREW

You talk like an alcoholic, you crazy bastard! We didn't tempt you. You succumbed to what was beneath the surface of that thick skin of yours. You ain't capable of settling and sharing. We were just the excuse you needed to leave that easy quim behind. I could see it in your eyes. You were bored. As soon as we started talking about Kendray, the lights came on and you got excited about it. Don't you deny it.

CHARLIE

I deny it! I deny it absolutely.

But you know what? You're almost right, Drew, 'cause I need no one.

You all need me. You and Troy and Mary, you need me. That's why she clung to me. Without me, she would never have left Wentworth, and now look where she's ended up. Back in the arms of Mom and Pop without a hope of escape. And that's why you came to find me. Without me, you wouldn't've taken the bank at Kendray. I bet you had those plans sitting in your pocket for months and every now and then you'd take them out and mull over them and wish you had the balls to do something about it. But you can't, either of you, 'cause you're cowards who need someone like me to bring you to life. Without someone like me, you'd just wither and die.

DREW hits CHARLIE full on in the face. They fight. Suddenly a gunshot rings out. CHARLIE and DREW freeze. CHARLIE looks on in amused disbelief as a flower of blood seeps from his abdomen. Shot of TROY, smoking gun in hand.

DREW

Troy! What did you do?

CHARLIE'S hand scrabbles for his holster. DREW leaps forward and tries to restrain CHARLIE's hand.

DREW (CONT'D)

Leave it, Charlie. Please. Leave it.

CHARLIE struggles weakly against DREW, his face set in determination. DREW draws his own gun and hits CHARLIE hard in the side of the head CHARLIE reels away and eventually falls dazed into the dirt. DREW can do nothing but stare at CHARLIE, stunned that events have taken the turn that they have.

TROY

Shoot him, Drew! Finish him off!

DREW

You finish him off. You started it.

You finish it.

TROY jumps up and runs over to CHARLIE. He puts his gun to the side of CHARLIE'S head.

TROY

Hey, Charlie. You want to tell me to shut up now? Not so tough anymore, huh?

CHARLIE moans and comes to.

CHARLIE (feebly)

Troy?

TROY

What?

CHARLIE

(grins broadly)

Shut the fuck up!

TROY hits CHARLIE across the head with the butt of his gun. Charlie is not completely out, but he is no longer present in his daze. TROY gets up and walks angrily away.

TROY

You know what? I'm not gonna finish him off.

(shouts over a CHARLIE)

I'm not gonna finish you off,

Charlie. I'm gonna leave you here without horse, without boots and without water and let nature take its course.

(to Drew)

Let's get our stuff together, Drew.

We're leaving. Get the money. We're going on a spending spree.

DREW

You're just gonna leave him?

TROY

Well, you know what? Yes, I am.

DREW

He's gut-shot, Troy. It could take him a day or more to die.

TROY picks up CHARLIE'S gun and tosses it over to DREW.

TROY

I'll tell you what, Drew, you love him so much, you do the kind thing.

Go ahead. I won't object if you want to put him out of his misery like some broken-back horse. Of course, you never know who might come along. He might be just hours from salvation, one way or another.

I'm sure someone's out there looking for us. I reckon by leaving him I'm giving him a fifty-fifty chance. That's more than he would have given us.

DREW

That's not a fifty-fifty chance.

You know that as well as I do.

TROY

Then shoot him, for Christ's sake!

Grow a fucking spine! Do whatever the hell you want to, but in a few minutes, I'm leaving here with over seventy thousand dollars, with or without you.

DREW

You can't do that!

TROY puts his revolver to DREW'S head.

TROY

I can. I will.

DREW

Okay. Okay. At least help me sit him up against that rock.

TROY

Okay, but then we go.

They pick CHARLIE up between them and prop him up in the place where CASH eventually finds him. DREW goes to CHARLIE'S horse and gets his canteen.

TROY (CONT'D)

No! No water! Fuck him! No water!

TROY takes off CHARLIE'S boots.

TROY (CONT'D)

Ha! Anything that starts eating him can start at the toes! (to CHARLIE)

Dip those in the ocean, you son of a bitch!

He stares with satisfaction at CHARLIE, then a smile slowly breaks on his face.

TROY (CONT'D)

Oh! I have an idea!

TROY takes out a dollar and places it between CHARLIE's bloody hands, which lay across his abdomen.

TROY (CONT'D)

There you go. I ain't totally heartless. He can tip the waiter when he comes by to fill his glass.

The two of them turn away from CHARLIE and leave him to die.

EXT. THE PARCHED, STONY DESERT - DAY.

CASH

Where'd you think they went?

CHARLIE

They took my boots; can you believe that? Why in the hell would you take a man's boots when you've already shot him in the belly?

CASH

Were they nice boots?

CHARLIE

Actually, they were. Good leather, well worn in, but not so well-worn that you'd think they were on the turn, you know? And my gun. They took my gun. How long have you had that gun, Marshal?

 

CASH

Since the war. I've tried others, but I kind of got used to this and didn't feel comfortable with any other.

CHARLIE

Me too.

CASH

So, where do you think they went with those boots of yours?

CHARLIE

I'd've married her, I think. All things being equal.

CASH

This Mary girl?

CHARLIE

Yeah. She was a dream.

CASH

Then why did you leave her?

CHARLIE

Well, Marshal, I was a clumsy child. If I touched any damn thing there was a fair chance that it would end up in pieces on the floor. My mother used to say that she only bought cheap stuff cause if they bought good stuff, it wouldn't last five minutes in my presence. Truth is, cheap was all they could ever afford, but she was right, I was a clumsy child. I was afraid I'd break Mary too. You see, I didn't just break china, I broke people. I was incapable of sustaining any form of relationship with anyone. Friendships ended in fights and girls ended up with black eyes and broken hearts. I was exactly the kind of person I hated. It's difficult to live with someone you hate. Nigh on impossible if it's yourself. So, I just kept running away but, everywhere I went, there I was, bold as brass, staring back at myself in mirrors and windows. After Wombwell...You know about Wombwell?

CASH

I know about Wombwell.

CHARLIE

Well, after Wombwell, I was pretty much in the same way I am now.

Maybe not quite so bad. Those two sons of bitches had run off like the cowards they are as soon as trouble appeared, so I was riding hopefully when I ended up in Wentworth. Mary found me and, without question, took me home. Her parents, good Christians, helped me heal. I thanked them by stealing their daughter. At least I gave her back. She may not have been pristine, but at least they got her back.

CASH

Yes, they did. And I'm sure they were glad to see their girl again.

CHARLIE

I loved her though. Whatever that means.

CASH

I believe you, kid. I really do. CHARLIE dies.

CASH (CONT'D)

Damn! You couldn't have waited ten more minutes, you contrary bastard?

CASH goes through CHARLIE'S pockets. He finds some tobacco, a small knife, a piece of paper. He unfolds the paper and begins to read.

MARY

(V.O.)

Dearest Charlie, I don't claim to understand your need to leave, despite your full and proper explanation. You said that this wasn't you, this life, yet I have never seen a man more content as I have seen you this past year. If I tried to hold on to you, then this may lead to resentment. I do not wish you to feel resentment, Charlie.

MARY (CONT'D)

I would not want to be the cause of one second of misery in your life.

I want you to feel love and if that means being apart, then so be it. Remember me with love, Charlie, as I shall always remember you. Your sweetheart, Mary Bowes.

CASH gazes as the letter a moment longer. He is clearly affected by its content. He folds it back up and puts it back in CHARLIE'S pocket.

CASH

Damn!

INT. SHERIFF'S OFFICE, WENTWORTH - DAY

CASH and SHERIFF PAT COLTRANE sit in the Sheriff's office.

PAT

So, what can I do for you? It's not often we get a marshal round here.

This is a pretty law-abiding town.

You want some coffee?

CASH

No coffee, thank you.

CASH takes out the paperwork on DREW and TROY and lays them on the desk.

CASH (CONT'D)

I'm looking for two men. One named Drew Sawyer, the other Troy Lasiter. Their details are on the paperwork before you.

PAT takes a cursory look at the papers.

PAT

I can't say I recognise these people. We do have a fairly transient section of the population; passing businessmen, cattlemen, people stopping here on the way to somewhere else. Word is that pretty soon this will be a part of the railway system. I tell you, when that comes to pass, this town will explode. I'm on the up and up. Yes sir.

(MORE)

PAT (CONT'D)

In five years I reckon I'll be mayor. Who knows what after that? Governor maybe.

CASH

(with polite disinterest)

You never know. Would you mind if I took a look around? This is a matter of some urgency.

PAT

May I ask what your intentions towards these gentlemen are, Marshal?

CASH

I intend to arrest them and take them back to Kendray for trial. And they are most certainly not gentlemen.

PAT

I see. People in this town are not permitted to carry weapons,

Marshal. It is well sign-posted. We have a depository for those who come here unaware of our policy. What I'm saying is, I need you to restrict your actions to arrest and not go off on a killing rampage, so to speak.

CASH

(with restraint)

Sheriff, I have been a lawman for over twenty-five years and have thus far managed to avoid any sort of rampage, killing or otherwise, although I did once shoot a man in the leg for backchat.

PAT

I'm just saying that we tend to take a soft approach to the law in this town...

CASH

So did the people of Kendray until these assholes turned up to disrupt their virginal naivety. Listen, I'm in here out of courtesy to you, Sheriff. I'm a US marshal and have jurisdiction up to and including your tight little asshole.

 

CASH (CONT'D)

I'll tell you now, if these boys decide that they don't want to stick by your no-guns policy, despite all your polite notices, and come at me with their weapons cocked and ready, I will shoot them down without compunction. Do I make myself clear?

PAT

You do Marshall. Abundantly so.

CASH

Good, then I shall find myself a place to stay and lay my head for an hour or two before I commence my search. I'm hungry, tired and irascible. Do you recommend a place?

PAT

The Apache Hotel is the usual place for important visitors to stay.

Take a room there. Tell Mr Drummond the manager that the town will foot the bill.

CASH

I don't need that...

PAT

Common courtesy is the policy here, Marshal.

CASH

One last thing before I go. Do you know a girl called Mary Bowes and her family?

PAT

Yes, of course. Her father is on the town council. She recently returned after some time away out east with relatives. The family lives on Torey Street. Why?

CASH

Well, until I apprehend these bastards, I suggest that you assign a couple of men to watch over them, especially the girl. I think they came here to do her some harm.

PAT

Why? Why would they want to do that?

CASH

You have to ask? After all I have just said?

PAT

You're assuming I have men to spare.

CASH gets up and puts his hat on.

CASH

Sure you do. Mr Bowes is on the town council.

CASH collects up the paperwork and replaces it in his pocket.

CASH (CONT'D)

Until you can get some men up there, I'll go along and keep an eye out.

PAT

(sniffily) Fine.

CASH

Quick question, Sheriff. Do you actually have anybody in your cells?

PAT

Not at the present time, no.

CASH

I figured as much. Wouldn't want them to get dirty now, would we.

CASH tips his hat and leaves.

INT. BOWES' RESIDENCE - DAY

CASH enters the BOWES' residence. He has knocked and got no reply and now walks in with his pistol at the ready. He comes across three bodies in the house - MARY and her parents. They have been shot. MARY's clothing is disarranged, with obvious implications. CASH grabs sheets from the beds and covers the bodies. He is devastated by the find. He leaves the house.

 

EXT. THE STREET OUTSIDE THE BOWES' RESIDENCE - DAY

CASH storms from the house. On the way down the street he meets two deputies as they amble along. He talks as he passes them.

CASH

You're too late. They're all dead. Take care of my horse. You can at least do that, can't you?

DEPUTY

Where are you going, Marshal?

CASH

On the rampage.

INT. SHERIFF'S OFFICE, WENTWORTH - DAY

CASH barges into the Sheriff's office. Before the Sheriff can react, he lays down the law.

CASH

I have found the two reprobates,

Drew Sawyer and Troy Lasiter, a job you cannot do sat behind your desk!

I'm going to the Quarterstaff Hotel to arrest or kill them, whichever circumstances best present themselves. If you wish to come along, it's up to you, but there's three bodies in the Bowes house and those two sons of bitches did it.

PAT

Now, hold on, Marshal. There's a due process of law to be gone through, warrants to be filled out, judges to inform...

CASH

Now you listen to me, you pristine, jumped up, prissy excuse for a lawman. While you were sitting at your desk polishing your badge, two murdering cowards came into your town, with guns, despite all your notices, and killed a family so that they could take out some pointless revenge on a man they had shot and left for dead in the desert.

CASH (CONT'D)

I don't give much of a damn for your councilman or his wife and their pretty flowers and painted windows, but Mary mattered. She mattered, God dammit, because for a short time she made a difference to someone who didn't think there was a difference to be made. In my world that makes her a rarity. In this world...this money-drenched, concreted, soulless world...well...her death must make the likes of her extinct.

CASH turns to go.

CASH (CONT'D)

If you're coming with me, keep up. If not, stay out of my way.

PAT

You're abusing your position, Marshal.

CASH

You're damn right I am!

INT. THE QUARTERSTAFF HOTEL - DAY

CASH walks into the Quartermaster Hotel and goes straight to a woman at the desk.

RECEPTIONIST Help you, sir?

CASH

I'm looking for a man with a deformed lip. He's travelling with a man with long black hair and a beard. Are they here?

RECEPTIONIST

What do you want with them?

CASH

They are murderers.

RECEPTIONIST

They are in the first two rooms on the left at the top of the stairs.

CASH

You should vacate those that you are able. There is liable to be some gunfire.

The RECEPTIONIST sets about ushering people out of harm's way. CASH takes out his pistol and climbs slowly up the stairs. He puts an ear to the door of each room and listens. He hears snoring from one and nothing from the other. He gets down on the floor and tries to look under the gap at the base of the door. He is uncertain which door to go through. Suddenly...

PAT

(from the bottom of the stairs)

Marshal? Marshal? I demand that you come down here now.

TROY

(from inside the room)

Who's out there?

Cash gives PAT a hard stare as he sees him on the stares.

CASH

(he moves to the side of the door)

It's Jackson. From across the hall.

TROY

(hesitates)

You a marshal?

CASH

(bluffing)

Nope. Nope. That's my name. Marshal Jackson. From Virginia. I sell...ladies underwear.

(he cringes at his words)

PAT

(continuing up the stairs)

Dammit, Marshall Let me deal with this l

TROY suddenly opens the door. He sees PAT on the stairs, raises his revolver and fires. PAT catches the shot full in the face and falls down the stairs. TROY steps out of the room to look at who he has shot. CASH cracks him with the butt of his gun and he collapses. The noise of clumsy movements comes from DREWS room.

He has obviously heard the shot and the commotion and is now, having just woken, trying to get dressed. CASH steps aside from the door in case DREW fires through it.

CASH

Drew Sawyer. This is Marshal Cash Johnson. Come to the door with your hands visible, Drew. You are trapped in that room. If you go out the window you will sure as hell break your leg and then I will shoot you like a useless horse for making me come after you.

DREW fires threw the door.

CASH (CONT'D)

You have just ruled out any further negotiation, Drew. Your partner's dead and you have nowhere to go.

You've tried to shoot me, now I am obliged to shoot you. Fill your gun, 'cause you'll only get one chance.

CASH picks up TROY'S semi-conscious body and holds it in front of him.

CASH (CONT'D)

I'm coming in, Drew. You'd best be ready.

With an effort, with the body of TROY held before him, CASH kicks at the door. Bullets come flying through. TROY wakes up just long enough to die. The door gives way. CASH throws TROY aside. DREW'S gun is empty. DREW holds the pistol up to signify surrender.

CASH (CONT'D)

Why'd you kill her, Sawyer? Why'd you kill Mary?

DREW

It wasn't me. It was Troy. He strangled her then shot her. I just fucked her, that's all. We both did.

CASH fires. DREW dies. CASH looks at the mess and walks away in disgust.

FADE TO BLACK.

FADE IN:

EXT. THE EDGE OF TOWN AND BEYOND - DAY

CASH JOHNSON rides out of town. The camera tracks him onto the wasteland outside of town and on into the distant desert.

CASH

(V.O.)

Some say ghosts are made up of many things; of the crick and groan of night-time wood; of the bloody stain of death upon stone; of the final thoughts of those who have passed; of the memories of others.

They say that when those who knew them have themselves passed away, then the ghost will rest, deprived of the energy that comes with the remembrance of others. So, Mary and Charlie would live a little longer;

Cash Johnson would speak of them wherever he went; in cities and towns, hotels and homes and, long after he had finally gone to his rest, they would live upon the lips of others.