LONE RANGER

screenplay by

Ted Elliott & Terry Rossio

based on the radio series

created by

George W. Trendle
and
Fran Striker

March 29, 2009

BLACK, and then SILVER WORDS appear:

Return with us now to those

thrilling days of yesteryear •••

The letters FADE, their after-image lingering among stars in

a night sky. The SOUND of WIND rises, WHISTLING through empty
lands.

PAN DOWN TO:

EXT. BOOT HILL - NIGHT

Wood and iron crosses stand silhouetted against the deep

blue of the desert night sky, the moon fat and low on the
horizon. A distant FLASH and RUMBLE as a towering thunderstorm
roams over the desert.

The SCRAPE of a shovel on dirt. A TORCH is lit and lifted,

revealing --

The LONE RANGER, masked. Working with TONTO, unearthing

graves. Tonto's blade finds wood; he scrapes away dirt from
a pine coffin. Pries it open.

LONE RANGER
This must be done? You are certain?

TONTO
Yes.

In the darkness of the grave, Tonto digs into the corpse. A

moment, and then Tonto climbs up, holding in his fingertips

-- a spent bullet slug.

LONE RANGER
You have enough.

PULL BACK to REVEAL: a dozen graves lie open, some with pine
boxes ripped open, others showing just bodies.

TONTO
No. Not enough.

Tonto tosses the bullet into a miner's pan, where it joins

two dozen others.

CLOSE ON: the Lone Ranger's eyes through the mask. At the
sound of Tonto's shovel hitting dirt, he shifts his gaze
toward the vast, empty desert --

DISSOLVE TO:
 2•

A WHITE HOT SKY

hangs heavy above the horizon and the thin black line of a
train -- engine, coal car, passenger car, box car -- moving
across it.

In the EXTREME FOREGROUND: toy JACKS. Well-worn, some legs

broken, faded chips of paint clinging to gray pewter. We are

EXT. COLBY, TEXAS - TRAIN PLATFORM - DAY

A GIRL kneels, focused on her play. Tosses a small wooden

ball into the air, scoops up jacks, catches the ball. Again.
Again.

Her MOTHER keeps an arm around her older BROTHER. Also waiting
for the train: ranch hands, some men in suits, and the STATION
MASTER. They are crowded in at the far end of the platform,
in the shadow cast by the station's overhang.

FADE UP SUBTITLE
THREE DAYS EARLIER

FADE OUT SUBTITLE,

as we hear the sound of HORSES arriving, riders dismounting,

boots climbing steps

The Mother reacts to the newcomers: wary, pulling her son

closer. The Station Master eyes them nervously. With good
reason. The newcomers look like nothing but bad news. Covered
in trail dust, openly armed:

NAVARRO, a big man carrying a Winchester like a toy;

MARTIN, built like a fireplug, with a disconcerting nervous

tic of cocking and uncocking his holstered gun;

JIM BLAINE, older than the others, flint-eyed, wearing a

frock coat;

CLAYTON, old school handsome, wears a cross;

COLLINS, in a pin-striped three-piece and bowler hat; under

his jacket, a pistol in a shoulder rig

The girl makes a try for all the jacks at once, but misses
the ball. It bounce-rolls, tick-tick-tick, out of the shade,
across the sun-washed platform. She goes after it -- her
mother reaches to stop her, but she's intent on the ball --

It's stopped by the toe of a boot, belonging the fifth and

final rider to mount the platform. The girl grabs her ball,
stands up --
 3.

She's almost at eye-level with the holstered Colt on the

man's left hip. A second gun, a Scofield, is in a calvary
cross-draw holster. The Girl looks up --

The lower half of the man's face is covered by a bandanna,

like a bandit. He stares down at the Girl. Then pulls the
bandanna down -- the dust across his eyes looking somewhat
mask-like -- and

Smiles. He flips back the lapel of his duster, revealing the

STAR pinned to his shirt.

The Girl takes it in.

GIRL
You're a Ranger?

REID
I am that.

The Girl looks at the other men.

GIRL
Did you capture them?

The Ranger -- JOHN REID -- is kind of delighted at the idea.

To the others:

REID
Hey. The young lady here thinks you
all look in desperate need of being
arrested.

JIM
Might be something to that.

Martin takes off his hat, extends it toward the girl,

displaying his own Rangers badge, pinned there. Jim and
Navarro also wear badges.

MARTIN
We're waiting for prisoners, coming
on the train.

BROTHER
(to Reid)
Our Daddy's on the train. He says
all men who use guns are bad. He
says it don't matter if you have a
badge or not.

REID
That so?

Reid adjusts his gun belt.

 4.

REID (CONT'D)
Well then. Let me tell you. I believe
that to have a friend, a man must be
one. That everyone has within himself
the power to make this a better world.

The boy stares -- he's not used to being spoken to like this.

REID (CONT'D)
I believe all things change but truth,
and that truth alone, lives forever.
That sooner or later, somewhere,
somehow, we must settle with the
world, and make payment for what we
have taken.
(smiles)
What would your pa make of that?

NAVARRO
What I make of it is, if you done
your job three years ago in Lubbock,
we wouldn't none of us be waiting to
take Cavendish to the gallows --
again.

REID
I did the job.

JIM
Ain't John's fault he escaped.

NAVARRO
And more people got killed.
(beat)
You shot him in the damn hand! You
shoulda put one between his eyes.

STEPHENS
I heard he's deadlier now with his
left than he ever was with his right.

Nothing they've said, Reid hasn't argued to himself, dozens

of times. But it comes down to this:

REID
Justice doesn't belong to the man
who holds the gun.

NAVARRO
(re: his rifle)
It ain't mercy comes flying out the
end of these things.
 5.

COLLINS
He should be slowing by now. He's
going to overshoot the platform.

That causes Reid to look toward the train Collins is right,

its not slowing -- Reid's eyes narrow --

From the train's engine, an arm dangles, not moving.

But Reid is, heading for the horses --

REID
Engineer's down! Get those people
back away from the tracks!

Leaping from the platform, stepping across the back of

one horse to land on his own --

REID (CONT'D)
Hiyo! Dusty! hyah!

And now he's galloping away from the station, angling toward
the tracks --

The Train roars past the platform

Even at full gallop, the train is passing Reid. He's already

got his lariat out, twirls it, throws --

It loops around a vent pipe atop the box car. He jumps to

standing in the saddle -- and then is YANKED away, the
momentum of the train swinging him around to the end of the
box car -- he SLAMS against it, grabs hold of the ladder --

So now he's clinging the end of a speeding train, his horse

falling farther and farther behind him.

He scales the ladder. Near the top of the car's wall, there's
a long narrow window with iron bars Reid tries to peer in,
can't see anything, continues up to

THE TOP OF THE BOX CAR

Reid is blasted by the speed of the wind, barely keeping his

balance, losing his hat. He pushes forward, nearly on all
fours, to the other end of the car. He drops down to --

BETWEEN THE BOX CAR AND PASSENGER CAR

Reid draws the Scofield, pushes open passenger car door --

INT. PASSENGER CAR - DAY

Reid pulls up short. Eyes that have seen much have never
seen the likes of this:
 6.

Every person in the car is dead, shot. The impression of

bodies, blood, men, women, children, the conductor, still,
lifeless.

A detail: JACKS, bright shiny new against the near-black of

drying blood. They spill from the small cloth bag in the
hand of a dead man.

Reid's mouth goes tight. Reid moves through

Hears a moan. An elderly train CONDUCTOR is slumped onto a

seat, bleeding from the chest, but his eyes are open.

REID
What happened? Who did this?

The Conductor tries to speak, barely a whisper.

REID (CONT'D)
I can't hear.

Reid puts his ear close to the man's lips --

CONDUCTOR
Bridge. Curve. Too fast.

Reid understands, rises --

EXT. TRAIN - BETWEEN CARS - DAY

Reid emerges from the first passenger car behind the

locomotive's wood car. Climbs over the railing, down to the
coupling head. Pulls free a heavy safety pin. Leans on a
lever that releases the coupling

The coupling springs open!

With the locomotive free of the following cars, the locomotive

gradually -- slowly -- pulls away, leaving Reid behind. Reid
glances up, sees --

Ahead, the ENGINEER collapses out the window of the driver's

cab, hangs there, arms swaying. Shit!

The cars continue to separate. Too far to jump --

Reid uncoils his lariat, tosses it, snaring the wood car's
metal ladder. He ties his end to the railing, making a bridge

Reid crawls out, climbs along the rope, which droops down in
the middle all the way to the tracks, moving past in a blur
under the deadly train wheels. But as the cars separate, the
rope becomes more TAUT
 7.

Reid gets halfway, his ass dragging near the tracks, but as
the rope rises up, he rises with it

Just as he reaches for the far railing, the rope TIGHTENS to

a straight line and SNAPS behind him -- Reid slams into the
railing, but hangs on --

INT. TRAIN - DRIVER'S CAB - DAY

Reid climbs down from above. Goes to the white-haired, kind-

faced Engineer. The man is alive, handcuffed to the door.

Reid looks ahead --

EXT. TRAIN TRACKS - DAY

Fast-approaching a wide gorge, with a curved sweeping bridge

spanning the distance --

The train THUNDERS ON, full speed, CHUG-CHUG-CHUG --

INT. TRAIN - DRIVER'S CAB - DAY

Reid checks the brake handle -- broken. He spins to the

Engineer, yanks him away from the door --

ahead, they're coming up fast on the bridge

Reid pulls his gun and FIRES, perfect shot, breaking the
chain of the handcuffs --

EXT. TRAIN TRACKS - DAY

Reid and the Engineer LEAP off the train, just short of the
bridge -- Reid tumbles, rolls to his feet and watches as --

ON THE BRIDGE, the locomotive hits the curve in the tracks

at high speed --

The train LEANS sideways, then TILTS, balancing on the line

of wheels on the left side of the track but it does NOT
tilt over, and the train makes the turn --

But as the locomotive engine tilts back, it lands down hard

on the bridge, CRACKING the trestles on that side

the bridge COLLAPSES sideways, the rails twisting apart,

and the locomotive derails, PLUMMETS down, into the gorge.

Reid and the Engineer glance at each other ... then stare
down at the smoldering wreckage.

BEHIND THEM, the rest of the train, the passenger cars, come
slowly into view, the momentum of the cars still rolling
them down the tracks.
 8.

The passenger cars come to a STOP just short of the bridge,

as Reid and the Engineer turn.

EXT. TRAIN - LATER

FADE UP on the other Rangers (Martin ponying Dusty), with

the Station Master and Collins, riding to the stopped train.

Reid stands, gazing into the open doors of the prison box
car. He doesn't turn when the others arrive.

REID
All dead. Same as the passengers.
Same as the engine crew.

The others look inside the box car; four more bodies in
uniforms, flap holsters empty of guns.

Martin and Navarro have climbed up into the box car; Martin
is examining the door.

MARTIN
So they killed the guards. Shot out
the lock --

CLAYTON
Then decided to climb up and over to
the passenger car and slaughter
everyone. Why?

NAVARRO
Nothing better to do.

Reid and Jim have joined them in the car. There's a bench on
the wall. Manacles on chains run through eyebolts in the
floor; all but one of the manacles is unlocked.

JIM
They were chained here, left wrist
to the right wrist of the next man,
last man on each end chained to the
wall.

NAVARRO
How'd they get loose to take the
guards?

COLLINS
They're Pinkertons men, experienced.
They'd've not gotten close enough to
give the prisoners opportunity.

MARTIN
Inside man.
 9.
COLLINS
Absolutely not.

Reid's been walking the length of the box car, examining the
floor. He's found something.

REID
Do the guards have all the digits on
their hands?

An odd question, but Reid's not joking. The Rangers check

the guards' hands.

JIM
Looks like.

NAVAR
Five and five here.

Reid straightens, holding something:

A THUMB. The Rangers assess this grisly development. Martin

takes the thumb from Reid, astonished and a little queasy.

MARTIN
One of 'em tore off his own thumb to
slip the cuff?

REID
Or the next man tore it off for him.

NAVARRO
Cavendish.

REID
A guard comes over to see what all
the screaming is about, the other
prisoner --

NAVARRO
Cavendish.

REID
-- has more play in the chain than
the guard expects, and now the other
prisoner has a gun.

NAVARRO
Now Cavendish has a gun.

JIM
We got work. We'll find where they
left the train, and track 'em from
there.
 10.

COLLINS
I'm coming with you.
JIM
Suit yourself.
Martin's been examining the thumb.
MARTIN
This wasn't .•. I don't think this
was torn off. If they'd been
transporting animals, I'd say it was
... bit off.
Navarro reminds Reid he should have shot Cavendish by tapping
the tip of his finger directly between his own eyes.
REID
Saddle up.
EXT. TRAIN TRACKS - DAY
On REID'S HAT, lying on the ground. Reid picks it up. He
looks over toward --

-- The TRAIN STATION. The Station Master has broken the news.
The GIRL looks confused, lost. She looks toward Reid.
Grim, Reid settles the hat on his head, swings up onto Dusty.
Snaps the reins, and sets off at full gallop. The others who
were waiting on him follow.
EXT. DESERT - DAY
The five ride. Their progress marked by a cloud of dust.
EXT. DESERT - DAY

VULTURES wheel in the sky. On the desert floor, near the

train tracks, a couple more peck at a BODY of a man, missing
a thumb. A GUN SHOT startles the vultures; a second sends
them into the air.

The group reaches the body, dismount. Navarro reloads his

Winchester; the others examine the scene. Martin holds up
the body's hand: no thumb.

MARTIN
Cavendish left him for dead.
Reid uses his foot to roll the body over, revealing a bullet
hole in his chest.
 11.

REID
Killed him to stop him from
caterwauling about this thumb, more
likely.

JIM
They were met. I make at least twenty
horses. Headed in that direction.
He picks up a stick, draws a rough map in the sand.
JIM (CONT'D)
Here's the tracks. Alkaline ridge
cuts across here. This is all Comanche
territory, and beyond that is the
Badlands. Cavendish and his men gotta
be headed for the ridge.

Reid takes the stick, draws an X at the point where the ridge
and the Comanche territory meet.
MARTIN
Maybe not. There's a little town up
that way --
COLLINS
Name of Waystation.

MARTIN
Could be they're headed there.
NAVARRO
More people to shoot. He's headed
there.

JIM
Then so are we. Heaven help 'em if
Cavendish and his gang have already
been through.
A pained look on Reid's face.
REID
If we have to go there, then we go
there.
JIM
Something the matter?
REID
A man I don't particularly want to
see. Ex-Ranger.
The other Rangers look pleased.
 12.

CLAYTON
Ex-Ranger.

MARTIN
John, we're gonna need every man we
got or can get •.• and an ex-Ranger,
that's worth five.

EXT. TEXAS - DESERT - DAY

The Texas Rangers ride past. Sparse trees give way to low
scrub and cactus.

EXT. TEXAS - EDGE OF TOWN - DAY

Not much of a town, but WAYSTATION does have a tall wrought

iron sign, raised on wood pillars, boasting its name. The
Rangers race beneath it --

EXT. TEXAS - WAYSTATION - DAY

Laid out in the shape of a cross, two long streets and one
intersection. Barely a dozen buildings, a water tower, but
busy with activity: stables, a blacksmith, saloon, feed store.

Reid looks up -- stares at something weird

ON THE ROOF of the feed store is a COYOTE, eyes following

the posse as they move through town. This truly is the edge
of the wilderness.

And a SHERIFF'S OFFICE. The painted slogan on the window is

faded, the window too dirty to see through.

Reid steps out, gives an open-handed shrug to the others.

JIM
You got a town with no Sheriff, it's
a sure bet the saloon is busy.

INT. SALOON - DAY

Reid pushes through the doors, followed by the others.

It's a classic western saloon that features a large FIREPLACE

dominating one wall. Poker tables, bar, upright piano, and a
large staircase that leads to an upper floor.

Only a few patrons. They look at the lawmen narrowly.

There's also three COYOTES, one near the door, one near the
fireplace, and one on the bar, gnawing on a bone.

Navarro brings his Winchester up, aimed at one of the coyotes --

 13.

BARTENDER
Hey! No guns in here!

NAVARRO
You got coyotes in here.

REID
In his defense, they don't have guns.

BARTENDER
There's no guns allowed in Waystation,
period.

MARTIN
Maybe that's where you get the coyote
problem.

JIM
We're tracking about twenty men,
woulda come through town earlier
today. They would've had guns.

BARTENDER
Been a quiet day, as far as I know.

JIM
Uh-huh. You know where we can find
the sheriff? Or the mayor? Or anyone
who may have cause to keep track of
comings and goings?

DURING THIS: The coyotes prick up their ears. Then trot out
of the bar. Reid notes it curiously; Navarro is just relieved.

BARTENDER
Don't got no need for any of those
things. We got Brother Latham.
(off Jim's look)
Latham Cole. Owns the Livery, and a
few other things.

COLLINS
Latham Cole.

BARTENDER
And then you boys'll be on your way,
yes?

REID
Most likely.

EXT. TEXAS - WAYSTATION - STREET - DAY

Reid and other Rangers move down the dusty street, and at
the end of town they see another odd sight:
 14.
A gleaming black steam locomotive engine, not fully assembled.

STEAM billows out from the engine, sitting apart from the
rest of the machinery.

Not a train track in sight. In charge of testing the

locomotive steam engine is a young Chinese man, BILLY YANG.
He turns, steps over to the newcomers.

YANG
Yes? You need help?

REID
Guess we are looking to speak to a
man named Latham Cole.

LATHAM
Found him.

LATHAM COLE emerges from the steam. He could be much older

or much younger than he looks, dark scraggly beard, eyes
black as coal. Black hat, complemented by a leather band
with silver conchos.

LATHAM (CONT'D)
Welcome to Waystation.

NAVARRO
You the law around here?
LATHAM
Nearest we got to a sheriff, mayor,
priest, barber. Whatever you need,
I'll give it a go.
(beat)
Say, any of you fellas seen a stray
cat? Mangy critter, Calico, got a
torn up left hind foot?

The Rangers glance among themselves.

NAVARRO
Nope.

CLAYTON
Sorry.
MARTIN
Nothing.
REID
We're on the trail of Butch Cavendish
and his gang.

Latham recognizes the name.

 15.

LATHAM
Ah. Cavendish. He and his men came
storming into town, nigh on two
months past. Sent him on his way.

REID
Yeah? What for?

Latham smiles.

LATHAM
It was apparent, Butch Cavendish is
a man not much acquainted with the
good angels of his nature.

REID
Any idea where he might be?

Latham takes off his hat, wipes his brow.

ANGLE - ROOFTOP, where a gunman puts Reid in the sights of

his rifle (Latham taking off his hat was a signal).

LATHAM
Indian Territories, maybe, to the
north. That's where outlaws go, trying
to beat the law.

Martin takes a few steps away, examines the train engine.

MARTIN
You're gonna need tracks, eventually.

LATHAM
See, there, I'm an optimist. Someday
the line's gonna connect up, and
we'll be ready and waiting.

NAVARRO
Is that the plan.

LATHAM
Aw, the truth? Won that monstrosity
in a poker game in El Paso. Five
black puppy feet beat out a grub
slinger pining his hopes on three
ladies. Not sure what to do with it.

REID
So you just carry it with you.

LATHAM
Yep.
 16.
Latham smiles. Reid waits for him to say more, but nothing
is forthcoming.

LATHAM (CONT'D)
So, then, you boys will be on your
way then, right?

REID
Most likely.

Reid and the other Rangers turn away. Mount their horses.
Latham puts his hat back on --

ON THE ROOFTOP, the gunman withdraws his rifle.

At the Blacksmith shop, the Rangers mount up.

REID (CONT'D)
I get the feeling they want us to be
on our way.

NAVARRO
Yep. Where's that ex-Ranger you were
talking about?

As they ride out of town, they pass --

A BULLETIN BOARD with very faded WANTED POSTERS nailed. They

show the faces of each person they spoke to ... the Bartender,
the Blacksmith, Billy Yang •.• all wanted for MURDER. ,

EXT. TEXAS - DESERT - DAY

The Ranger posse rides in the V-formation of birds in flight,

along an overgrown, wagon-rut road.

On the side of the road, a young boy, DAN REID JR., about
ten years old, looks up from his work, setting a post-and-
rail fence along the property line.

The horses thunder past, toward the hacienda-style home in

the distance. Dan Jr. races after them --

EXT. TEXAS - RANCH - DAY

MOVING with the posse, coming upon the main house, where a
woman stands waiting.

This is REBECCA REID. Her pose is formal, standing very

straight, both hands behind her back. Stern expression, but
the pretty wife still can be found beneath weatherworn skin
and weatherworn clothes.

REBECCA
Welcome, gentlemen.
 17.
REVERSE ANGLE -- behind Rebecca, we see she holds a six-
shooter behind her back. Surreptitiously she cocks the hammer.

Awkward silence. John Reid hangs back, his hat low.

REBECCA (CONT'D)
What can I do you for?

Reid spurs his horse forward. Lifts his head. A look of

recognition from Rebecca.

REBECCA ( CONT ' D )

John Reid. And you brought trouble
with you, by the looks of it.

REID
Hello Rebecca.

Behind her back, Rebecca uncocks the hammer.

REBECCA
When Dan and I got married, he had
one rule for me. That I never speak
to you.

REID
I need to see him.

REBECCA
And I had one rule for Dan. That he
not speak to you, either.

REID
He's my brother.

REBECCA
He's my husband.

REID
That makes it your call.

Dan Jr. arrives, slides to a stop, out of breath.

DANNY
John!

REID
Hello Danny.

REBECCA
Dan Junior, those horses need water.
Get to it.

DANNY
1
Yes, ma am.
 18.

REID
Appreciate it.

Dan Jr. smiles at John, hurries into the barn. Rebecca sighs,
relents.

REBECCA
You leave your gunbelt on your saddle.
We don't go much for firearms around
here. He's out back.

EXT. TEXAS - RANCH - FIELD - DAY

The hacienda deep in the background as Reid walks across a

vast plowed field, toward --

DAN REID, as he wraps chains around a tree stump, the chains

tied to a team of horses. A sunburned face, black vest, Dan
is eight hard years older than his brother.

Reid arrives, picks up a shovel, helps to pry out the stump.

DAN
Trouble?

REID
Trouble.

Dan shrugs, picks up his ax.

DAN
Coming at you or you chasing it?

REID
Cavendish.

Dan stops.

DAN
Aw, hell.

REID
Yeah.

Dan chops his ax down, hard, leaves it imbedded in the stump.

He steps away, pulls out a homemade cigarette, lights up.

DAN
So. You still got yours?

REID
Yeah.

DAN
Let me see.
 19.

Reid reaches into a belt pouch, pulls out -- a silver bullet.

DAN (CONT'D)
What was it dad said?

REID
You didn't forget.

DAN
'Every life is valuable, so every
shot is valuable. I want there to be
a cost to killing a man.'

REID
And you? Still got it?

DAN
Nah. Lost track of it somewhere.

Reid regards his brother.

REID
Dan. Cavendish is not a forgiving
man.

DAN
Nope. I expect you came hoping for
help.

REID
No. You take Rebecca, and your son,
and get out of here.

DAN
I could say the same to you, John.
Leave this fight. Walk away.

REID
Can't do that.

Dan nods, he expected as much.

DAN
That's dad all over again. A short
life of honor's better than a long
life of regret.

REID
You don't regret leaving the Rangers.

Dan glances back at the hacienda.

DAN
No. No.t one bit.
 20.

EXT. RANCH - HACIENDA - DAY

Reid, at his saddle, straps his gunbelt back on. Dan Jr.
holds a bucket of water for his horse.

Dan appears suddenly from the side of the Hacienda.

DAN
Danny. Saddle up my horse.

REBECCA
No.

DAN
Now.
(to Reid)
I'm going.

Wide-eyed, Dan Jr. runs to the barn. Rebecca moves toward

her husband.

REBECCA
Dan. You promised.

DAN
To protect you. That's what I'm doing.

REBECCA
I won't build a home behind a gun,
Dan. I told you that.

DAN
John is still doing Dad's work. I
should be, too. I sure as hell ain't
gonna run.

Dan pushes past Rebecca, goes into the Hacienda. She turns
on Reid.

REBECCA
You.

She steps close to him.

REBECCA (CONT'D)
You know why I chose Dan.

REID
He ' s a good man.

REBECCA
He was a good man willing to give up
being a Ranger.
 21.

And John wasn't, that's the implication. There is a lot of

history in those words.

REBECCA (CONT'D)
Now I love him. More and more each
day. You let this happen, John, I
lose twice over.

Reid understands. But

REID
That was your call. This is his.

Dan reappears from the house, strapping on his belt gun. And
he carries a rifle.

DAN
I'm sorry, Rebecca. He's my brother.

Rebecca stares at the rifle.

REBECCA
Hand it over.

Dan looks at her, gauging her.

DAN
I want you to head into town. Doc
Drummond'll take you in, he's a good
man.

REBECCA
Hand it over.

He hands her the rifle. She cocks it.

REBECCA (CONT'D)
I ain't going into town. I'll be
right here, waiting for you.

DAN
Can't promise I'll be back.

Dan Jr. is there with the horse. Dan mounts up, joining the
posse. Wheels his horse toward Rebecca.

DAN (CONT'D)
But I'll be back.

He spurs his horse, and the posse rides away. Rebecca and
Dan Jr. watch, increasingly small in the vast open land.
 22.

EXT. TEXAS - FOOTHILLS - DAY

A hawk floats on the wind high in the sky. Below, the Texas
Ranger posse rides north --
EXT. TEXAS - WOODS - AFTERNOON
The posse winds its way through a sparse woods in the
foothills of a canyon ahead.
Reid rides alongside Dan. Something catches Reid's eye, he
looks over
A tall WHITE HORSE paces the group. Wild, no saddle or reins.
Moving in and out of the trees.
REID
Dan. Over there.
DAN
What?
REID
Horse, in the woods.
Dan leans forward in his saddle to see past Reid, looks --
but the horse is gone.
REID (CONT'D)
It was just there. Tall white horse.

DAN
Huh. Better watch out. The Indians
'round here, they have a belief,
when you die, a white horse comes to
carry you on to the other world.
Dan spurs his horse ahead. Reid nods, looks over --
-- and now there is an ENTIRE HERD of white horses, moving
through the trees, pacing them.
Reid watches, entranced by their strength and beauty, as
they move in and out of the shadows ...
Foreboding and strange
Reid passes a stand of trees, and suddenly the horses are
gone, faded into the woods. As if they were never there.
Reid looks ahead, thoughtful. Spurs his horse to catch up
with the others --
 23.

EXT. TEXAS - BRYANT'S GAP - AFTERNOON

The posse climbs toward a narrow canyon. Reid pulls up,

examines the way ahead.

DAN
See something?

REID
I don't like it.

COLLINS
Bryant's Gap. Fastest way to the
Indian Territories.

MARTIN
Avoids a full-day's ride'n either
direction.

DAN
You want to scout it, higher ground?

REID
(nods)
Don't wait. I'll catch up.

EXT. BRYANT'S GAP - RIDGE - DAY

Reid's horse picks its way along the ridge. They come upon a
high, sheer rock wall, and the horse pulls up, whinnies.

REID
Aw Dusty. It's not that steep. With
a running start?

Dusty looks up at the climb. Yeah, right. Reid smiles, climbs

onto the saddle and stands, balancing on the horse's back --

REID (CONT'D)
All right. Steady, now ...

Reid gathers himself and leaps, grabs onto an overhanging

rock. Grips it, swings himself up --

EXT. BRYANT'S GAP - EDGE OF RIDGE - DAY

Reid climbs. Tilts his head. Did he hear something? He stops,

and listens

Nothing.

Continues on. He creeps through the rocks, toward the edge

of the ridge --
 24.

Emerges from the shadow of a large boulder, just as, several

feet away, a Native American WARRIOR also appears, also
creeping forward, on the far side of the boulder.
Each man becomes aware of the other at the EXACT SAME TIME
Faster than the eye can follow, Reid draws his gun and the
warrior notches an arrow and draws his bow
VERY CLOSE ON: the arrow's SILVER ARROWHEAD glinting in the
sunlight. Sharp, bright, rock steady, PULL FOCUS from the
arrowhead TO REVEAL:
TONTO.
Bold face paint. Muscles tense in their deadly coil. No
craziness in the eyes, instead a dark sanity, eyes that have
stared unflinching into the vast empty places of the world.
Tonto wears clothing, jewelry and feathers from many tribes.
Black war paint asymmetrical across his face. And above his
head glitter the dozen silver arrowheads of the arrows in
his quiver, a kind of bright halo.
Reid's body is tense, his eyes intense, but his voice relaxed
and casual. He manually cocks the double-action colt.
REID
A bullet travels quicker than an
arrow.
Tonto gives that a second's thought
TONTO
A fast death is easier to face than
a slow one.
Reid is surprised at Tonto's eloquence.
REID
Death is death, either way.
TONTO
That depends on the life you have
led.
A quick smile from Reid at that.
REID
Ease the bow.
TONTO
A dead hand lets fly an arrow, but a
dead 'hand cannot pull a trigger.
 25.

Reid allows his eyes to leave Tonto for just a second, as he

takes in the surroundings.

REID
You're alone -- or I wouldn't still
be talking.

TONTO
You need not fear me. You need fear
the men I follow.

REID
Ease the bow.

TONTO
I track those who ambush you.
Cavendish. And his gang.

Reid hesitates at the mention of Cavendish. Tonto regards

Reid ••. then slowly moves his bow to one side -- releases

-- the arrow flies --

And HITS, dead center, on a small tree next to Reid. Actually

dead center in a knot in the center of the tree.

Reid glances at it, impressed.

Tonto holds his bow out away from his body.

TONTO (CONT'D)
Choose the life you will lead.

Reid keeps his gun level -- and then, in the distance, SHOTS
are fired, ECHOING in the canyon --

TONTO (CONT'D)
There is still time.

Reid aims at Tonto and.FIRES --

-- Tonto's bow SPLINTERS in his hand. Tonto does not flinch.

The echo of more SHOTS, and cries of pain, and Reid is already
racing away, toward the sounds --

Tonto watches Reid closely. Tosses the bow away --

EXT. BRYANT'S GAP - DAY

Reid drops from the ridge onto a boulder, scrambles out to

the edge and sees --
 26.

BELOW, in the riverbed, the Rangers scatter for cover as

SHOTS are fired, horses flee, Navarro already lies dead from
their unseen assailants

There is no way down.

So Reid LEAPS --

lands on the cliff wall and TUMBLES, an avalanche of dirt

and stone with him as he drops in a barely-controlled fall --

EXT. BRYANT'S GAP - DRY RIVERBED - DAY

Bullets whiz by, bullets kick up dirt, bullets ricochet off

rocks as Reid races for the safety of an oak tree. He dives,
rolls, slams up against the trunk, next to Dan.

DAN
Martin and Navarro are down. I don't
see Clayton.

REID
Jim?

DAN
Made it to cover, past that rock
there. Might be hit.

Bullets slam into the tree. Reid rises quickly and FIRES --

at a boulder far away; his bullet ricochets and hits one

of the hidden assailants, who cries out.

REID
Retreat. Back the way I came.

Dan yells toward the other side of the riverbed

DAN
Jim! This way! We got you covered!

Reid lets loose a flurry of shots, and for a moment the rain
of bullets from above lessens.

They watch, listen. No response.

DAN (CONT'D)
Jim! You hurt?

Then they see -- to the side of large boulder, past the

riverbed, Jim's tall white hat waves weakly back and forth.

DAN (CONT'D)
He's hurt. All right, all right ..•
 27.
There aren't many options.

DAN (CONT'D)
So you and I get out of here, go for
help.

REID
We leave him behind, he's dead.

DAN
It's a good thirty yards.

REID
Forty. Mostly sand.

Dan and Reid share a look.

DAN
I go --

REID
And I'll cover you.

DAN
You go --

REID
And you cover me.

No hesitation. The two brothers roll out into the open, guns
BLAZING --

It's the scene from the end of Butch and Sundance we always
wanted to see. The two brothers work as one, racing forward,
shooting, spinning --

Bullets rain down from all sides, but the brothers roll,
stay moving, shooting in front, to the sides, above and
behind, a dance of teamwork and bravery --

Among the rocks, two Cavendish gang members stand to shoot,

revealing themselves

Reid FIRES once, twice, splattering the men's hands, their

guns flying --

Twenty yards to go, then ten, then five, and the two brothers
dive to safety behind the huge rock.

DAN
Made it!

REID
Yeah. Kind of.
 28.

Dan looks -- Reid is shot in the chest. Blood blossoms into

his shirt. He slumps.
DAN
No, no, John, no
Dan calls over his shoulder.
DAN (CONT'D)
Jim, over here, John's hit!
No response, and Dan twists to look. Jim lies in the dirt,
dead. His head is bare.
BUTCH CAVENDISH steps out from around the boulder -- wearing
Jim's white hat at a jaunty angle. Unshaven, a dark unkempt
mustache, but eyes that twinkle, delighting in himself.
He tips the hat.
CAVENDISH
Evening, boys!
Dan stands, draws, aims --
Reid opens his eyes in time to see
Cavendish shoots Dan, point blank, two shots, killing him.
Reid screams silently, attempts to rise .•• and does so,
painfully, through shear force of will. Cavendish watches in
fascination as Reid steadies himself against the boulder.
Reid claws for his gun, grips it ... tries to raise it
but passes out, falls sideways, in a sprawling heap.
Cavendish shrugs. Holsters his gun. He crouches, takes Reid's
guns, and tosses them far away.
A moment as the smoke from the ambush clears, and silence
settles over the gorge. Then a shaky voice calls out --
COLLINS
Hello? Collins here. Hello?
More silence, as Cavendish uses his boot to move Dan's head,
then stomps his neck violently sideways, making sure he is
dead.
Collins emerges from hiding, gun held high.
COLLINS (CONT'D)
Hello? Collins here. Don't shoot. I
brought 'em, just like you asked.
 29.

Collins shuffles closer as Cavendish moves to check on Reid.

Other GANG MEMBERS appear from the rocks, among them --

BART DOLAN, a smallish man with the quick movements of a

hunted creature in perpetual fright.

ZACH SKULL, a pale, bald man, already tilting a whisky flask.

BARRETT, nicknamed the SHERIFF, tall and handsome, with blue

Paul Newman eyes, he wears a heavy brown duster.

COLLINS (CONT'D)
You got 'em all?

CAVENDISH
No. One left.

Reid opens his eyes, to see Cavendish looming over him.

CAVENDISH (CONT'D)
Hey. Ranger. Recognize me?

Reid is barely able to speak.

REID
Hello lefty.

Collins barks a laugh. Cavendish shoots him a look.

CAVENDISH
Aw, c'mon Ranger, you remember.

Reid stares with pure hate. Not going to give him anything.

REID
Uh. Sorry. Poker game? Tax
collector? Angry husband? Need
.•• a hint.

Cavendish displays his hand to Reid -- it is curled and

gnarled, scarred, ugly, nearly useless.

CAVENDISH
You did this. To me. Not so long
ago. You had a chance to put an end
to this sad, miserable life, but you
did not.
(beat)
I crawled. Seven miles I crawled on
this, like a dog.

The Sheriff looks up from where he kneels over Jim, taking

his silver badge. We see the inside of the Sheriff's long
jacket is lined with silver badges -- all the lawmen he has
slain over the years.
 30.

THE SHERIFF
Gonna kill him?
CAVENDISH
Naw. Sometimes, killing a man is a
kindness.
(leans in close to
Reid)
And I ain't a kind man.
THE SHERIFF
But I get the badge anyway, right?

Cavendish rips the badge off Reid.

CAVENDISH
Hey, Ranger.
Cavendish kicks him, rolling him onto his hands and knees.

CAVENDISH (CONT'D)
The friendly upstart town of
Waystation s'about fifty miles that
way. Think you can make it?
(grins)
Hope so. Cause I'll bet you a Boston
dollar there's a pretty widow waiting
there, all alone.

Reid tries to crawl, slumps.

DOLAN
He's good as dead.

COLLINS
Why take the chance?

CAVENDISH
Yes. Good point. Applies to traitors
as well.
Cavendish draws his gun and SHOOTS Collins, who staggers
backwards. He looks more thoughtful than surprised, glances
down at his gut, shrugs, crumples to the ground.

Cavendish holsters his gun.

CAVENDISH (CONT'D)
Show's over.
He and the gang members move away. Reid blinks through the
pain, sees
One of the Ranger's horses, chewing on the leaves of a bush,
wandering along, a hundred yards off.
 31.

Reid starts crawling toward it, slow, painful.

Suddenly a KNIFE stabs down into Reid's back, and Reid

screams. Cavendish face is close.

CAVENDISH (CONT'D)
Insurance.
(beat)
Don't give up, Ranger ... only fifty
miles to go.

Cavendish wrenches the knife out, laughs. He watches as Reid

struggles •.. and then blacks out.

EXT. BRYANT'S GAP - DRY RIVER BED - LATER

Tonto creeps up on the ambush locale, wary, staying low. His

quiver of silver-tipped arrows strapped to his back, clutching
one arrow in his fist as a weapon.

He looks out past an oak tree, an expression of disappointment

and contempt. At least four dead bodies in his line of sight.

Tonto stoops, with h~s other hand picks up a rock. Heaves i t

at the nearest body -- one of the Rangers, Martin.

No movement.

Tonto approaches the body, cautious. KICKS it, really hard,

jumps back. Watches.

No movement.

Tonto picks up the rock, spies another body, heaves the rock

CLOSE ON: REID, as the rock hits. No movement. A scraped

trail in the dirt shows how far Reid managed to crawl.

Tonto approaches, cautious, KICKS Reid, really hard, jumps

back. Watches.

No movement.

Tonto picks up the rock. Spies another body. Heaves the rock --

EXT. BRYANT'S GAP - SIX GRAVES - DAY

Six holes have been dug. Five filled with dead Rangers.

Tonto drags Reid along, past the open graves. He dumps Reid
into the open sixth grave.

Returns to the first grave, retrieves a spade-shaped stone.

Again, that look of disappointment, and contempt. He digs
with the stone, rolling dirt down into the grave --
 32.

Tonto hears something. Looks over

A WHITE HORSE stands in the rocky cliffs, just past the sixth
grave. The same magnificent horse Reid saw pacing them in
the forest. Not a place a horse would normally be.

Tonto tilts his head.

The horse paws its front leg in the air.

Tonto steps toward the horse •.. spooked, it jumps lightly

away. Tonto looks down into the sixth grave --

Reid MOANS.

EXT. ARROYO - PATH - LATER

Reid lies on a makeshift stretcher, dragged by Tonto. He is

blindfolded by a dark leather vest tied over his eyes.

REID
Dan?

TONTO
We go to a place of healing. Do not
try to speak. Rest.

Reid moans, reaches to pull the blindfold off -- Tonto twists,

slaps the arm away.

TONTO (CONT'D)
No. Leave it. Rest.

Tonto secures the blindfold. Drags the stretcher. Reid pulls

at it again, and Tonto stops him again. Leans close.

TONTO (CONT'D)
There are things in the world you do
not want to let see your face.

Reid struggles again with the blindfold and Tonto pulls a

fist back and SLUGS REID HARD, knocking him out.

TONTO (CONT'D)
Good. Kemosabe rest now.

EXT. ARROYO - WATERFALL - DAY

The THUNDERING of a wide waterfall. Reid lies on a flat stone

near a racing stream.

His eyes flutter open

Reid's DELIRIUM POV: straight above, a hawk wheels across an

azure sky.
 33.

Reid turns his head -- the hawk is somehow right next to

him, clutching a black snake in its talons

Reid's DELIRIUM POV: Moonlit night. The waterfall is a

trickle. Reid rolls over to scoop water from the basin. UNDER
THE WATER he sees his own body, dead, wrapped in chains
or is that his reflection?

Reid's DELIRIUM POV: Daytime. Coming into focus is Dan Reid,

smiling ... then Dan is gone, and all that's left is Dan's
black vest, hanging on a tree branch. Reid stares at it.

REID
Dan.

TONTO
Your brother is dead. He wore a vest.
I took it.

Reid is angry, tries to rise.

REID
You kept -- a trophy?

TONTO
No. A gift. Of power.

The vest is somehow in Tonto's hands. There are two bullet

holes. Tonto holds it out

A brief glimpse of Reid's eyes through the bullet holes,

then he collapses.

EXT. ARROYO - WATERFALL - DAY

Reid wakes up ..• watches Tonto through the slits of half-

open eyes. Tense, fearful, without moving, Reid's glance
darts sideways --

He sees his belt, holster and gun, a few feet away.

Tonto continues to work, sewing something, working with Dan's

black vest. Reid rolls and reaches -- grabs his gun, trains
it on Tonto. Tonto looks at him -- and shrugs.

REID
Indian. How long was I sick?

TONTO
Two days.

Reid tries to stand -- and to his surprise, he does so.

 34.
REID
I couldn't have recovered in two
days.

TONTO
In sleep you walked many paths, not
all beneath moon and sun.

· REID
Right. Sure. Don't know what that
means, but you speak English well.

TONTO
Or, you understand me well.

REID
Do you have a name?

Tonto considers a moment, as if this was vitally important.

Then says as if he has just come up with the answer:

TONTO
Tonto.

Reid is not impressed. He struggles to tie on his gun belt

while keeping Tonto covered.

REID
John Reid. Pleased to meet you,
appreciate you saving my life, you
seen my horse?

TONTO
Yes.

Tonto, ignoring the gun, turns, gestures for Reid to follow --

EXT. ARROYO - CLEARING - DAY

Tonto, still under gunpoint, leads Reid to --

IN THE CLEARING, the tall white horse stands, perfectly still,

as if waiting. Gorgeous, large steady eyes, focused on Reid.

TONTO
Your spirit horse.

Reid stares, a little amazed. Glances at Tonto.

TONTO (CONT'D)
He came to carry you to the other
world, but you did not go. Now he
waits. He will be loyal.
 35.

REID
Spirit horse.
TONTO
Yes.
Reid paces around the horse -- still keeping his gun aimed
at Tonto.
REID
Smells like a horse.
(a glance down)
Pisses like a horse. I say it's just
a horse.
TONTO
You may say as you will, because you
do not know.
REID
Not sure, but I think you just
insulted me.
(spies Tonto's horse)
How about I take this
Reid approaches Scout -- who rears back, whinnies, fights
the air with his forelegs.
REID (CONT'D)
Saddle. Just the saddle.
(gestures)
You. Now.
Reid waves the gun. Tonto moves to take the saddle off his
horse. Carries it toward the white horse.
REID (CONT'D)
This one got a name?
TONTO
Yes.
(dead serious)
You must never use it.
REID
Ah.
TONTO
He will come to the name you give
him.
Reid looks the horse over, first thing that comes to mind --
REID
Silver.
 36.

Tonto shrugs, not impressed at the obvious choice.

REID (CONT'D)
Is he broke?

TONTO
He will do what you ask of him.

Reid climbs aboard, is surprised -- no trouble. Leans forward

to Silver's ear.

REID
Listen. Don't you be taking me to
any next world unless I specifically
ask. Understood?

TONTO
Ranger. This is yours.

Tonto holds out -- a black mask.

REID
No thanks.

TONTO
Wear it. Hide your face. To protect
yourself, and those you love.

Reid stares -- then wheels Silver, starts off. Tonto gets in

his way --

TONTO (CONT'D)
It is made of the vest worn by your
brother. The eyes cut by the bullets
of your enemies.

Reid stops. Tonto moves close.

TONTO (CONT'D)
There is more happening here than
you know.

Reid takes it. Shoves the mask into his pocket. He spurs
Silver, who shoots away like a bullet shot from a gun --

Tonto watches him go ... glances up, where the hawk wheels
across the sky --

EXT. TEXAS PLAINS - DAY

TILT DOWN from the hawk in the sky, to where Silver gallops
at top speed, through the sagebrush
 37.
POV, WITH REID, riding on Silver. SOUND DROPS AWAY to near
SILENCE as the landscape passes beneath, smooth and
effortless, as this amazing horse glides over the land •.•

EXT. TEXAS PLAINS - DAY

Reid reigns in Silver, stands in the saddle to stare ahead --

SMOKE trails in the sky.

Reid spurs Silver forward

EXT. TEXAS PLAINS - DAY

Dan Reid's ranch comes into view. Silver slows.

The ranch house has been burned to the ground. The stone
fireplace reaches to the sky. All that is left is the
blackened frame of the front door --

POV looking out through the door frame, at Reid, who takes
in the scene.

The barn is a cinder framework. The pen is open, all the

horses gone. Reid turns around, calls --

REID
Rebecca! Danny!

The words disappear into the silence of the land. No answer,

save for constant whispering of the wind.

And then, the SOUND of HOOFBEATS --

CUT TO:

EXT. TEXAS - ROAD - EVENING

Night creeps into the sky, the moon rising fat on the horizon.

The HOOFBEATS grow LOUDER, as Reid rides Silver hard along

the wagon-rut road. The wrought iron sign WAYSTATION looms
overhead, marking the edge of town --

Silver spooks, refusing to pass beneath.

Reid fights to keep his balance. He considers Silver, looks

ahead to the town.

Reid pulls out the mask from Tonto, and ties it on.

A whispered word to Silver, and now the horse steps cautiously

forward, passing beneath the sign --
 38.

EXT. WAYSTATION - NIGHT

The Lone Ranger rides slowly down the main street, incredulous --

The town is empty.

Abandoned.

Weird. Just days ago, the hotel was at capacity, now the
windows stand open and dark. The general store and feed store
were crowded, now their doors are boarded shut.

No people, no horses, no light, no sounds.

As the moon rises higher in the sky, it is the classic ghost

town -- complete with a tumbleweed rolling past.

A motion catches Reid's eye, and he looks over --

IN THE WINDOW of the surveyor's office, looking out through

the glass -- a coyote.

Reid stares.

And the coyote stares back, eyes glittering in the moonlight,

calm, like it has every right to be there.

As he rides, Reid looks to the other side of the street,

through the open doors of the Blacksmith's barn --

IN THE BARN, five coyotes gather in a circle, as if for a

meeting, their heads now turned, interrupted by his arrival.

Reid, riding Silver, continues on. He looks up, notices two

coyotes on the roof of the bank building, watching him. And
another bold coyote tracks them along the street.

Reid suddenly stops -- and listens.

Very faint, the tin notes of an UPRIGHT PIANO, a jaunty

RAGTIME SONG. coming from somewhere up ahead.

That's weird.

Reid dismounts, flips the reins over a hitching post. Moves

in the direction of the sound. It seems to be coming from
the saloon --

A sudden GROWL, and Reid stops --

A bony, cadaverous COYOTE, bares its teeth, blocks his path.

Reid is more annoyed than scared.

 39.

REID
You. Chihuahua. Move aside.

The coyote's snarl gets LOUDER. Reid sighs. Draws his gun,
waves it.

REID (CONT'D)
Courage, now, that's an admirable
trait, but .•. little fella .•. you're
hardly worth the bullet it would
take to scare you off.

But the coyote's snarl DEEPENS, as if insulted.

Reid sighs. Tries to step around it -- but the coyote moves

sideways, blocking his path, digging in its paws.

Reid shrugs, levels his gun toward the coyote --

There is a sudden RISING TIDE OF SOUND from behind Reid ...

he turns slowly, looks --

ANGLE - BEHIND REID, where a HUNDRED COYOTES have snuck up

on him, crowding into the street. A hundred mouths drawn
back in a hundred snarls, a hundred growls deep in their
throats.

Reid gapes. Edges back toward Silver

REID (CONT'D)
Silver? Yo. Silver. Horse!
(Silver looks over)
All right, just relax, now. Stay
right where you are, and don't --

Silver looks the other way, sees the coyotes -- WHINNIES,

flips his reigns off the post, and bolts.

REID (CONT'D)
Thanks for nothing, spirit horse.

The coyotes ignore Silver, stay focused on Reid, edging

forward, snarling --

Reid points his gun to the sky and FIRES!

The coyotes yelp, SCATTER back

Reid races for the nearest structure, the General Store.

Slams his back to the wall. The coyotes spring forward, the
entire mass of them --

Reid fires, but there are too many. The creatures swarm,
some jumping over others, snapping at each other, yelping
and howling --
 40.
Reid pulls down a lantern hanging next to the door, flings
it into the air, and FIRES --

The lantern EXPLODES in flames and falls, driving the coyotes

back. Some of them catch fire and BURN

Reid finds a second lantern. Spies the distance to the saloon.

He flings the lantern into the street, shoots it out of the
air, an amazing shot --
The lantern EXPLODES, and he shoots again, hitting it,
spinning it toward the saloon, FLAMES spilling across the
road, a line of defense against the coyotes --
Reid follows along the burning lantern, shooting it forward
as he goes, and races up the steps into the saloon --
INT. SALOON - EVENING
Reid slams the door shut. Tilts over a table and levers it
against the door. Turns, sees --
The Bartender at the piano, playing madly.
That's really weird.
Reid approaches him, keeping an eye on doors, windows. The
Bartender pays him no notice, focused on the keys.
REID
You okay, mister?
BARTENDER
Music, music's the only thing that
keeps 'em away.

Okay, so he's gone mad. Outside, the coyotes begin to HOWL.

BARTENDER (CONT'D)
Coyotes ain't so bad, I can handle
the coyotes. Spiders are worse. You
can't stop the spiders.
REID
What happened to the town?
BARTENDER
Gone.
REID
Gone where?
The Bartender points with one hand, keeps the tune going
with the other. Reid frowns.
 41.

REID (CONT'D)
Indian territory? That makes no sense.

Reid yanks the man around, away from the keyboard. The sound
of the final chord FADES.

REID (CONT'D)
Was Rebecca with them? Rebecca Reid.
A young woman, with her boy.

BARTENDER
I didn't see no woman with no boy.
(suspicious)
Why're you wearin' a mask?

Outside, the coyotes suddenly fall silent. Reid races to a

side window, looks --

IN THE STREET, a thick ring of coyotes now surrounds the

saloon. The coyotes turn their heads, and crowd back, making
room for --

A HUGE WOLF stalks out of the shadows from beneath the town
water tank, moving with easy confidence. A second WOLF
appears, followed by a THIRD. Wild and strong, their eyes
filled with cunning and intelligence. They fan out --

INSIDE, Reid's expression turns to anger, as in, what the

hell else to I have to deal with?

REID
Can you handle a gun?

BARTENDER
Shootin' 'em don't do no good.

Reid moves to behind the bar, finds a rifle

Suddenly there is a CLATTERING on the roof. Something BIG up

there, moving around. Are wolves swarming the entire building?

Reid tosses the rifle to the Bartender --

REID
Guard the door. Keep 'em back.

Then he moves to the large fireplace.

Steels himself, kneels. Tense, he peers in and upwards, up

the chimney shaft --

Far above, looking back down at him, Reid sees, bright in

the moonlight

His horse.
 42.

Silver.

Looking down at him.

Silver bares his teeth, and WHINNIES.

Reid pulls back. Did he just see that? His horse ... up on
the roof --

Silver WHINNIES again, the sound echoing down the chimney.

Suddenly the main window SHATTERS as a wolf CRASHES through

into the saloon, howling

The Bartender spins, FIRES, misses, then backs away, drops

the rifle in fear. Reid aims and FIRES

The wolf is SLAMMED BACK by the impact of the bullet, but

just then, a second wolf CRASHES in through the door, and
coyotes, following, pour into the room

REID (CONT'D)
Upstairs!

Reid retreats to the stairs, FIRING to keep the creatures at

bay --

REID (CONT'D)
Come on!

But the Bartender goes the other way, headed back toward the
piano. Then Reid stares, incredulous as --

The Wolf he shot stands back up.

It shakes itself, spies the Bartender. Leaps, clamping its

jaws down on the Bartender's leg -- he screams --

A second wolf leaps through the coyotes, headed toward Reid --

INT. SALOON - SECOND FLOOR - NIGHT

Reid retreats up the stairs, shooting, hitting the second

wolf, but that barely slows it down --

EXT. SALOON - NIGHT

Coyotes fill the saloon, some falling out of the windows as

they crowd upwards --

An upper window SLAMS OPEN with a kick from Reid. He grabs

the upper sill as he leaps through --
 43.

EXT. SALOON - ROOF - NIGHT

-- and swings his body up and onto the roof, doing a tumble
and rising up face-to-face with --

Silver, who snorts at him.

Reid looks, and sees how the horse made the climb -- there's
a wagon at the base of the building, and the roof of the
first floor has several crates stacked, creating a sort of
stairway --
Reid is quickly up onto Silver, and rides down, Silver
fearless as he navigates the crates and wagon --

EXT. WAYSTATION - MAIN STREET - NIGHT

Reid on Silver thunders around the corner of the building,
suddenly pulls up short
The town is filled with coyotes.

But they are silent.

Sitting.
Holding still.
Moving among them is like moving among living statues.

The coyotes take no notice of Reid, not even following him

with their glittering eyes.
Reid glances to the steps of the saloon --
ON THE BOARDWALK lies the Bartender, dead. His neck ripped
open, one leg almost not attached any more.

Reid stares -- then hears a sound.

More MUSIC, coming from the middle of town.

Harmonica music.
Reid looks past the sea of silent, motionless coyotes

And there stands a Tonto. Alone, in the middle of the street.

Hands to his face, playing the harmonica, a solemn tune with
a slow cadence.
Reid dismounts, leads Silver carefully through the maze of
still coyotes.
He comes upon Tonto, who stops playing.
 44.

TONTO
The mask looks good.
REID
Thanks.
(beat)
You play well.
TONTO
Aw, you're just saying that to make
me feel good.
Around them, some of the coyotes grow restless.
REID
What is this? I've never seen animals
act this way.
One of the coyotes tilts its head back and HOWLS.
TONTO
Now may not be the time.
Tonto looks and Reid follows his gaze -- WOLVES start to
appear. Peeking around corners. Looking down from the
rooftops. Stepping out of the shadows.
REID
One could make the argument.
More coyote heads tilt back and HOWL. It is like a chain
reaction, their voices blending.
The wolves stalk forward, eying each other.
TONTO
We need a diversion.
REID
Good idea.
Reid suddenly pulls his gun and FIRES up the street, SIX
TIMES in quick succession --
Tonto looks -- as six abandoned LANTERNS on different
buildings suddenly BURST INTO FLAME. Every shot hit its
target.
Tonto stares, amazed at the shooting.
TONTO
That's weird.
Reid re-loads as the dry, sun-bleached wooden buildings of
the town go up in FLAME.
 45.

REID
Where's your horse?

TONTO
I was hoping to borrow a ride.

The HOWLING reaches a crescendo. The wolves leap forward --

EXT. WAYSTATION - NIGHT - SECONDS LATER

Smoke billows, lit by FLAMES. Galloping HOOFBEATS, and

suddenly Silver APPEARS --

ON ONE SIDE, the Lone Ranger hangs off the saddle and stirrup,
guns FIRING. ON THE OTHER SIDE, Tonto hangs off the saddle
and stirrup, held in by the reins, shooting his BOW

Wolves CRY as they're hit by BULLETS and ARROWS

Ahead is the WAYSTATION town marker. Silver thunders beneath

And following, the coyotes and wolves slow to a trot, then

stop, unwilling to pass beneath.

But still willing to HOWL.

EXT. DESERT - NIGHT

Tonto's horse, Scout, waits patiently as Silver approaches,

slows to a trot.

Reid slides down on his side of Silver. Pulls his gun, moves
to the other side, raises his gun --

But Tonto is not there.

Reid's eyes glance down

To see a knife, held by Tonto, at Reid's throat. His eyes

shift over -- and Tonto smiles at him.

REID
An entire town doesn't just pick up
and disappear.

TONTO
Now, you understand. There is more
going on than you know.

Quick as a snake, Reid twists backwards, throws Tonto to the

ground, then is on top of him with his gun thrust below
Tonto's eye.

REID
Yeah. Let's hear it.
 46.

Tonto twists, grabs Reid's gun arm as he coils around behind

him. Reid escapes and the two men exchange a series of
punches, blocks, counterpunches. Reid spins, then suddenly
finds Tonto's knife back at his throat.

Reid holds still -- for the moment.

REID (CONT'D)
Everybody. Gone. Not a trace. No
trail, no hoof prints, wagon tracks,
nothing.
(beat)
Maybe you're gonna tell me they all
traveled to the spirit world.

Tonto smiles.

TONTO
Or, wind blew the tracks away.

REID
I need to find them.

TONTO
Yes. We will help each other --

Suddenly Reid twists violently, pushing Tonto off balance, a

quick counter-move and Tonto's knife is out of play, giving
Reid the upper hand, his gun in Tonto's face.

REID
Help each other. Work that through
for me.

TONTO
You want to kill a man --

REID
Capture. •
TONTO
I also want to capture a man --

REID
Kill.

TONTO
No, capture. I will give you
Cavendish. In return, you help me
capture Latham Cole.

REID
Latham Cole. Why?
 47.

TONTO
Because he cannot be killed.

REID
That wasn't the question, but I'm
intrigued by the answer.
(beat)
You know where they're headed?

Tonto suddenly twists again out of Reid's grasp. Another

series of punches, spins, counterpunches, and Tonto regains
control, his knife glinting next to Reid's eye in the
moonlight.

TONTO
You must give me your word.

Reid considers. Tonto smiles, re: the wrestling match.

TONTO (CONT'D)
Your turn.

REID
Oh, I got more moves left ... but
I'm saving them.

TONTO
I listened to your words when you
were sick. I know you better than
you know yourself.
(beat)
You will help.

Tonto pulls his knife away. Reid holsters his gun.

REID
Help you how?

CUT TO:

EXT. BOOT HILL - NIGHT

Wood and iron crosses stand silhouetted against the deep

blue of the desert night sky, the moon fat and low on the
horizon. A distant FLASH and RUMBLE as a towering thunderstorm
roams over the desert.

The SCRAPE of a shovel on dirt. A TORCH is lit and lifted,

revealing --

The LONE RANGER, masked. Working with TONTO, unearthing

graves. Tonto's blade finds wood; he scrapes away dirt from
a pine coffin. Pries it open.
 48.

REID
This must be done? You are certain?

TONTO
Yes.

In the darkness of the grave, Tonto digs into the corpse. A

moment, and then Tonto climbs up, holding in his fingertips

-- a spent bullet slug.

REID
You have enough.

PULL BACK and REVEAL: a dozen graves lie open, some with
pine boxes ripped open, others with just bodies.

TONTO
No. We need more.

Tonto tosses the bullet into a miner's pan, where it joins

two dozen others. Moves to the next grave marker.

REID
Whoever these men were. Whatever
they did. They have the right to
rest in peace.

TONTO
Yes. You have much work to do.

Tonto hands Reid a rusted miner's shovel, indicates the open

graves. Reid gets in his face.

LONE RANGER
This is a waste of time.

TONTO
We gather lead that has killed.

The Lone Ranger gets in his face.

LONE RANGER

TONTO
Then we travel into the empty lands.
And begin the hunt.

CLOSE ON: the Lone Ranger's eyes through the mask, as he

shifts his eyes from Tonto, out toward the vast empty desert

REID
What is it you hunt, Tonto?
 49.

TONTO
The evil spirit of the open places.
(lowers his voice)
The Wendigo.
(he looks up)
We must finish, before the moon is
set.

REID
Why?

TONTO
Because then it will be too dark.

Tonto goes back to digging. Reid stares at him.

REID
Sorry I asked.

EXT, BOOT HILL - NIGHT

The Lone Ranger swings onto Silver. Hesitates, which way to

go -- then wheels him around

Tonto is there, on Scout.

TONTO
Other way.

Tonto rides past. The Lone Ranger pulls Silver around, catches
up.

LONE RANGER
So we ride?

TONTO
So we ride.

With a 'hiya' they each rise in their saddles and spur their
horses, and gallop away quickly, into the desert, beneath a
star-filled sky.

DISSOLVE TO:

EXT. DESERT - INDIAN TERRITORY - DAY

A vast, endless sky.

Beneath it, a vast, endless desert.

And in the distance, a puff of dust is kicked up by something

very tiny, almost too small to see --

A wagon train.
 50.

ANGLE - THE WAGON TRAIN, as it rolls along, carts and wagons,

a stagecoach, horses, cattle and people parade across the
barren land. The town of Waystation on the move.

Bringing up the rear, a surrealistic sight: three large wagons

hooked together cradle the locomotive engine, pulled by a
team of eight horses.

And in front of it all, Latham Cole, on horseback, leading

the way. He raises his arm, and the entire affair comes to a
halt.

In front of him, high up on a stone ledge --

A miner's pick, stabbed into a tall boulder. An odd sight

out here amid the emptiness.

Latham holds something up, arm's length --

CLOSE ON: A MAP, very rough, held in Latham's hand. There is

a pick symbol, and beyond it, not much more than a few
scrawled shapes of mesas. He squints at it.

Ahead, past the pick, there are several distant mesas, and
they all look pretty much the same.

Many of the SETTLERS take this opportunity to rest. Grim

faces, dusty, tired, but hope in their eyes.

DOC DRUMMOND, a stout, sunburned Irishman, picks up on

Latham's uncertainty.

DOC
You lost? How can you be lost, you
got the map right in front of your
face!

LATHAM
A wrong choice here means death to
us all.

HIGH ANGLE, looking down at Latham and Doc. From this vantage
we see a bleached-white skeleton lies beneath the pick, the
blade driven into its back.

DOC
Then get it right!
(suspicious)
Eh, you ain't never said, how'd you
come by the map anyways?

LATHAM
Won in a poker game, from a hooker
with one eye in St. Louis.
 51.

Doc looks insulted.

DOC
If you didn't want to say you could've
just said.

LATHAM
All right, you got me. It was Wichita,
and the sweet darling was missing a
leg.

Latham laughs at his own joke, but Doc isn't listening any
more. He stares back the way they came.

DOC
We got company.

EXT. DESERT - INDIAN TERRITORY~ DAY

A dozen HORSEMEN, riding hard to catch up to the wagon train.

It's Cavendish and his gang.

Latham is not much pleased to see them. He steps forward,

backed by the settlers, as Cavendish arrives.

CAVENDISH
You folks are hard to find.
LATHAM
That so.
Cavendish dismounts.

CAVENDISH
Rode into town, and you was already
gone! Came out here and got all turned
around, hotter than a whorehouse on
nickel night, it is.

He takes off his hat and wipes his brow.

CAVENDISH (CONT'D)
Now me, I'm a trusting soul, but the
Sheriff there, his feelings get hurt
easy, he's thinking you don't want
us around.
The Sheriff waves, revealing a glint of hidden silver under
his duster.
LATHAM
You brought the Rangers to us. You
put us in jeopardy.
 52.

CAVENDISH
Ah, well, there you go. You got
nothing to worry about on that
account.
Cavendish puts his hat back on, grins. Latham notices the
bandaged hands, other wounds among Cavendish's gang.
LATHAM
Aw, damn.
CAVENDISH
Just doing what you hired us to do.
Protect the town.
REBECCA (O.S.)
Protect?
Rebecca pushes her way forward, through the crowd, Dan Jr.
behind her. (REVEAL: Rebecca has joined up with the wagon
train!)
REBECCA (CONT'D)
What happened with the Rangers?
CAVENDISH
We're all looking for the promised
land, lady. They found theirs a bit
sooner than the rest of us.
REBECCA
Killed? You killed them?
Cavendish grins.
Rebecca sinks to her knees. Latham goes to her side, to
comfort her.
REBECCA (CONT'D)
Dan. No.
LATHAM
(to Cavendish)
You had no call.
Cavendish gives Latham a startled look. Glances at Rebecca,
back to Latham. It may very well be Cavendish was ordered to
do that, but here and now, Latham isn't going to admit it.
CAVENDISH
So that's how it is.
During this, Dan Jr., burning with anger, sneaks a metal
branding iron from one of the wagons. Hides it down along
his leg. He steps toward Cavendish --
 53.

DAN JR.
You shot my father?

CAVENDISH
No, no, no •.. he just happened to
get in front of a bullet I sent
off his general direction, that's
all.

His men laugh -- and Dan Jr. springs on Cavendish. This is

no small child flailing his arms at the bad guy. Dan Jr. is
fast and efficient. One swing with the branding iron behind
the knees takes Cavendish down, with a cry --

REBECCA
Danny!

-- and a second swing comes whistling down towards Cavendish's

face, but Cavendish blocks it with his arm, just in time,
bites back a scream from the pain.

A click! and Dan Jr's eyes shift over to see -- Cavendish's

gun shoved into his jaw.

Gang members pull their weapons, rifles suddenly appear among

the townsfolk, trained on the gang. Latham steps forward ..•
keeps his voice calm.

LATHAM
Listen. Everyone.
(turns completely
around)
Here, we abide by the law, or we're
no better than the savages that
surround us.

REBECCA
Get that gun away from my boy --

Cavendish looks to Latham.

CAVENDISH
We want in, Latham. Equal share, me,
and each of my boys. Whatever you
find.

LATHAM
What we find might be nothing.

CAVENDISH
And might not.

LATHAM
Drop the gun, as the lady asked.
 54.

Cavendish pulls his gun away, but keeps a grip on Dan Jr.
CAVENDISH
What do you say?
Latham considers.
REBECCA
He's a criminal. A killer.
LATHAM
That's true.
(a glance at Cavendish)
But I got to also think of you, and
your boy. Out here, you got to take
help where it comes.
(beat)
You should appreciate that, more
than anyone.
She stares back. He lowers his voice.
LATHAM (CONT'D)
There will come a time. I promise. A
time of reckoning.
Rebecca nods slightly. Latham walks past ..• then turns.
LATHAM (CONT'D)
(to Cavendish)
You do what I say, nothing more,
nothing less.
CAVENDISH
You're smarter than you look, Latham
Cole.
Latham nods, stares.
LATHAM
Everyone. Back to the trail.
Cavendish and his men move to join the procession. Rebecca
pushes past them, the other way, rushes toward Dan Jr. --
-- and SLAPS him hard across the face. He looks shocked. And
then she pulls him into her arms.
EXT. INDIAN TERRITORY - DAY
In the far distance, the wagon train moves forward again,
tiny dots, now with a dozen more men and horses.
PULL BACK to REVEAL: a MOTH, climbing on the fingers of --
 55.

NOCONA, a Comanche Warrior. Young, confident, his eyes as

fierce as the desert sun.

He is flanked by two other WARRIORS, utterly still in their

saddles -- so still, we think maybe they are made of stone.

Nocona interlocks his finger, trapping the moth inside, stares

down at the wagon train.

Then he opens his hands, and the moth flies free.

DISSOLVE TO:

EXT. TEXAS DESERT - EVENING

A blazing sunset, the sky on fire.

Reid and Tonto weave through the scrub brush, Reid's mask
pulled down around his neck. Tonto hangs low alongside his
horse, head close to the ground, following the trail.

REID
What do the tracks of a Wendigo look
like?

TONTO
Do not speak its name.

Reid frowns, rebuffed.

REID
We can call it Yankee Doodle for all
I care ... but if we're chasing it,
I want to know about it.

TONTO
Some say each footstep contains a
single drop of blood.

REID
(looks)
Yeah?

TONTO
No. Not always.

Tonto spots what he was looking for.

TONTO (CONT'D)
In this case, the tracks greatly
resemble a wagon train.

REID
Ah.
 56.
They turn, following the new trail. Tonto regards Reid.
TONTO
You have heard the whispering of the
prairie.
Reid is silent.
TONTO (CONT'D)
You have.
REID
That's just the wind.
TONTO
Is it? Have you ever listened closely?
Reid shrugs. Tonto nods, as if they already agree.
TONTO (CONT'D)
There is a spirit of the lands, the
empty places, that can abide in a
man. Force him to do evil deeds
then leave him dead, or insane, and
move on to another.
(low)
That is the Wendigo.
REID
Men do bad things all on their own.
Not sure they need any help.
TONTO
Your preachers, do they not warn you
of the devil? The tempter of man.
REID
A man can say no to the devil. No
evil can happen to a good man. That
is what I believe.
TONTO
You use that word. Believe. We do
not understand it. To the people,
there is knowing, and not knowing.
REID
Believing is ..• knowing, without
proof, without evidence.
TONTO
We call that not knowing.
REID
That is what you believe.
 57.
Tonto shoots a look at Reid -- and then bursts out LAUGHING.
And rides on.

Reid stares at Tonto, certain he is riding with a mad man.

EXT. TEXAS DESERT - CAMPFIRE - NIGHT

Reid tends the fire. Tonto, his face lit by the flames, works
carving a new bow.

TONTO
Long ago, the people found silver in
the caves. The mine brought riches,
but always the people wanted more.
They dug deeper. Into.the belly of
the mesa, where what waits should
not be disturbed. And in their greed,
they dug too deep.

Reid listens, flames dancing in his eyes.

TONTO (CONT'D)
There was betrayal, and killing, and
sadness. The people sealed the mine,
and so the creature that preyed upon
them was trapped, imprisoned by
silver.

Tonto looks away from the fire, out to the darkness.

TONTO (CONT'D)
But silver calls to men, and men
came, and so the spirit of the Wendigo
was set free. It roams the land. It
kills. Eats. And moves on.

REID
How long have you been chasing it?

TONTO
A young warrior, fourteen years old,
I returned from a raid, to find my
family, my tribe, consumed.

REID
Killed?

TONTO
Consumed. I vowed revenge.
(beat)
I slayed a dozen men before I knew
it could not be slain. Before I knew
it could possess anyone.

Reid looks sharply at Tonto.

 58.

REID
Anyone?

Tonto shifts his eyes to Reid. A grim look. He nods.

TONTO
Anyone.

Reid regards Tonto, taken aback. Tonto stares back with eyes
of infinite sadness.

TONTO (CONT'D)
It always wanted more, and always
looked like it was starving.

REID
Now this evil spirit inhabits Latham
Cole.

TONTO
Yes.

REID
Or, he's just a greedy bastard who
wants a lot of silver.

TONTO
He does the will of the creature. He
has been .••

Tonto is suddenly silent. Reid frowns, completes the sentence --

REID
Possessed?

TONTO
Quiet.
(beat)
Listen.

Tonto listens hard. Reid listens harder.

The wind has died. All the animal sounds have stopped. The
silence is broken only by the snap and pop of the fire

Tonto stands. Reid joins him.

TONTO (CONT'D)
We should not have spoken its name.

REID
I thought you said the spirit had
taken over --
 59.

TONTO
On this night, it roams free.

Reid tilts his head -- he hears a strange sound, in the

distance. A rumble, like a soft, continuous thunder

Reid draws his gun. But Tonto shakes his head. The soft
thunder grows louder -- louder still, then --

Suddenly, dozens, hundreds of jackrabbits appear in the

firelight, racing through their camp, wave after wave.
Darting, stumbling, knocking into each other in their
desperate flight --

Then just as suddenly, they're gone. Silence.

REID
Is it gone?

TONTO
No. Can you not feel it?

They hear another sound in the distance, growing louder.

Different. A massive HISSING sound, scraping, cracking,
growing louder -- then --

Dozens, hundreds of tumbleweeds blast through their camp.

Reid and Tonto dodge them, raise their arms to ward them off

Weirdly, none of the tumbleweeds go through the fire; either

they bounce high, or seem to swerve at the last second.

REID
Tonto. There's no wind.

Then just as quickly as they came, they're gone.

REID (CONT'D)
What's next?

Tonto listens ..• shakes his head.

TONTO
Nothing.

REID
How do you know?

TONTO
Listen, kemosabe. Listen to the
whisperings of the night.

REID
I don't hear any --
 60.

TONTO
Stop believing what you think you
know, or do not know, and listen.

Reid listens. Listens hard.

REID
It has gone.

Tonto smiles.

TONTO
Yes.

He sits back down. Then stretches out, curls up to sleep.

Reid stares at him. Then looks out over the moonlit desert.
There will be no sleep for him tonight.

Reid pulls out his mask ..• and ties it on.

DISSOLVE TO:

EXT. WAGON TRAIN - EARLY MORNING

The wagons have been circled.

Cavendish wakes suddenly -- to a knife at his throat. He is

pulled to his feet.

He is surrounded by settlers with rifles.

NEARBY, Latham Cole leans over a bowl of water, finishes

shaving using his knife. He wipes off his face, walks over
to where Cavendish is held.

CAVENDISH
You're sure of yourself on this?

LATHAM
(nods)
The others too.

The settlers rouse Dolan, Zach, the Sheriff. Latham gestures

for them to be taken away.

Doc leans down, shakes a gang member who doesn't respond.

Doc pulls a blanket back and averts his gaze.

DOC
Latham. Over here.

Latham looks --
 61.

Blood everywhere. The man has been gutted. A gruesome

expression of pain on what is left of his face.

Cavendish looks around, aghast --

CAVENDISH
What happened?

The other members of the gang are uncovered, and revealed

to be in the same condition.

Dead.

Latham pokes with his knife, examines the wounds.

LATHAM
Looks like they're set to be tried
by a higher court.

CAVENDISH
Bastard.

LATHAM
Indians in these parts, you know.
Savages. Ruthless.

DOC
There's teeth marks here.
(looks up)
Indians don't bite much, mostly. And
there's pieces missing. Looks like
its been ate.

Cavendish stares at Latham.

CAVENDISH
You're right, Doc. It wasn't Indians.

LATHAM
What, then?

Cavendish's expression turns to horror as --

Latham licks the blood off his knife, sheaths it. Grins,
then shoves Cavendish along --

EXT. INDIAN TERRITORIES - WAGON TRAIN - DAY

The settlers are gathered around

Cavendish, tied to a wooden chair, hands roped behind his

back. Settlers hold the remaining gang members at gunpoint,
huddled to one side.
 62.

Rebecca stands directly opposite Cavendish. Her eyes fixed

on him.

Latham Cole sits on a barrel, paging through a Holy Bible.

LATHAM
For the common good and with the
approvation of the peoples here
present, I declare this court in
session, empowered to administer
justice and dispense punishment, in
accordance with the statutes of Texas
law and common sense.
(holds up the book)
Plus, I got a Bible right here, in
case we get stuck.

Someone shouts 'amen!' from the crowd. Latham stands.

LATHAM (CONT'D)
Folks, a lot of you have been
whispering, loud enough for me to
hear, it makes no sense to drag a
locomotive out into nowhere, we should
be starting with ties and tracks and
tools.
(smiles)
Well and good. But I tell you, that
locomotive means something. It stands
for our community. It's a symbol of
faith.
(beat)
As we travel these barren, godless
lands, and hell if I'm not the bastard
that led us here, I am struck that
community is a fragile thing.
(beat)
Community requires faith, that the
good shall be rewarded, and those
who put themselves above the law,
shall be brought to justice.

He turns to Cavendish, stares into his eyes.

LATHAM (CONT'D)
This man, Butch Cavendish, put himself
above the law, and brought trouble
down upon us all.

Rebecca speaks low but clear.

REBECCA
The man you hired.
 63.

LATHAM
(points)
Yes, and damn my soul! I did hire
this man -- to protect us. Our town.
Our secret.

Latham opens the Bible, pulls out the map, raises it over
his head.

LATHAM (CONT'D)
You came here .. You listened. You
believed. You left your pasts behind,
and let's be fair, most of those
pasts deserved leaving behind. But
you came, and you forgave the sins
of your neighbors and their pasts,
as they forgave yours.
(a smile)
You joined me in a dream. A dream
that glitters with silver, my friends,
fellow citizens, a dream of riches
fo'r all. A dream we agreed to keep
.•. confidential. But --

Latham turns and faces Cavendish.

LATHAM (CONT'D)
Cavendish. One of your men fled, and
tried to sell us out. Eh?

CAVENDISH
I tracked him down and killed him.

LATHAM
You were caught.

CAVENDISH
I escaped.

LATHAM
And brought the Texas Rangers down
upon us.

CAVENDISH
And killed 'em.

LATHAM
The court hereby accepts your plea
of guilty.
(back to the crowd)
Six Texas Rangers, dead, and when
they come for us, as they surely
will, what will we say? That we
harbored a fugitive? No.
(MORE)
 64.

LATHAM (CONT'D)
(beat)
We will say justice was swift.

Latham lays aside the Bible.

LATHAM (CONT'D)
The court sentences the accused,
Butch Cavendish, to death. Sentence
to be carried out by a member of the
community.

Latham draws his gun .•• holds it out to Rebecca.

LATHAM (CONT'D)
You, ma'am, suffered the greatest
loss.

Rebecca takes the gun. Regards Cavendish.

CAVENDISH
Steady, darling. Make it nice and
clean.

REBECCA
No.

She lets the gun drop to her side.

REBECCA (CONT'D)
There should be a trial. A real trial.

LATHAM
You think he deserves it?

REBECCA
No. But we do.

The gun is suddenly pulled from her. She looks, is surprised

to see --

REBECCA (CONT'D)
Danny!

Dan Jr. holds the gun on Cavendish. Rebecca moves toward

him, but Latham holds her back.

LATHAM
Careful!
(to Danny)
You up to this, son?

DANNY
Not sure just yet.
 65.

But he doesn't lower the gun.

LATHAM
Ever shot a man?

DANNY
No. But the day is young.

LATHAM
Funny thing about pulling a trigger.
Easy to do. 'Cept when you're pointing
that black-eyed Susan at a flesh and
blood man with a heart beating fast
and fear in his eyes. When pulling
that trigger means taking a life. It
gets .•. sticky.
(low)
And when you do fire on a man and
the bullet leaves the barrel, I'll
tell you ... You can tell a shot
that misses, you can tell a shot
that wounds, or a shot that kills.
You feel it in your gut, right when
it goes, it's like that bullet rips
out a little bit of yourself on its
way.
(beat)
You ready for that?

Dan keeps his eyes on Cavendish.

DAN JR.
My father. You killed him.

CAVENDISH
No, no, no, he just happened to get
in the way of a bullet I sent off
his general direction.

DANNY
Latham. You're right. It is hard, to
kill a man.

Dan Jr. lowers the gun a little.

DANNY (CONT'D)
But not an animal.

Danny aims, turns his head away, builds up the courage to

fire

Just then, with a WHOOSH-THUNK an ARROW slams into the back

of Cavendish's chair and STICKS there, quivering.
 66.

A moment, as everyone stares at it, as it seemed to appear

from nowhere.
DOC
Indians!
BLACKSMITH
Where are they?
Latham looks up at a wagon, where a SCOUT keeps watch.

LATHAM
Where are they! How many?

SCOUT
Nothing. Wait.
(points)
There!
Latham moves toward an opening between two wagons. The
settlers back away, revealing --
TWO FIGURES walk slowly toward the camp, wavering in the
heat rising from the desert floor

One is an INDIAN. Tonto. He holds a gun to the head of --

A MASKED MAN. The Lone Ranger.

LATHAM
What manner of bothahrayshun is this.
(yells)
Hold your fire!
Tonto and the Lone Ranger approach. They stop a few dozen
feet beyond the circled wagons -- a nest of guns, all trained
on Tonto.
The faces of the settlers are tense. Seeing an Indian in
Indian territory is near a death sentence.
LATHAM (CONT'D)
Indian. You have the gun, that makes
it your show.
TONTO
Me, Tonto. Me seek ••. Butch
Cavendish.
Reid glances over with his eyes, he can't believe Tonto is
doing the Indian-can't-speak-English-very-well dialect.

But Tonto's expression, demeanor, is dead serious.

 67.

Latham is surprised at the mention of Cavendish. But he goes

with it.

LATHAM
You're in luck! I happen to have a
Butch Cavendish, right over here.
(to Yang)
Get Cavendish.

Yang moves away.

LATHAM (CONT'D)
Say, you fellows didn't happen to
see a stray cat anywhere out there?
Calico, bad hind left leg?

Tonto tilts his head -- is this guy crazier than he is?

TONTO
No. No cat.

The Lone Ranger shakes his head, him neither.

TONTO (CONT'D)
Me trade Ranger, for Butch Cavendish.
Butch Cavendish face justice.

LATHAM
Ah, so that's your play.

Cavendish is brought forward.

LATHAM (CONT'D)
Butch, you're having one bad day
today. This brave here wants you to
face justice. What is it you done
now?

CAVENDISH
I ain't never seen that Indian in my
life.

Latham turns his attention to Reid.

LATHAM
And who might you be?

TONTO
Lone Ranger.

LATHAM
Ranger. Texas Ranger?
(considers)
Suppos'n I have no use for a Texas
Ranger?
 68.

Tonto steps forward, stares at Latham. So intense, we get

the idea he is looking into the man's soul.
Latham stares back, sensing Tonto's hatred. For a moment, it
is just those two in the world, nothing else exists.
TONTO
Latham Cole not stupid. Latham Cole
surrounded by warriors.
(a threat)
Tonto not stupid, Tonto also have
many warriors. You give Cavendish,
or --
Something catches Tonto's eye. He breaks character.
TONTO (CONT'D)
Oh shit.
He drops the gun that was pointed at Reid.
LONE RANGER
What?
Tonto suddenly speaks perfectly normal English.
TONTO
There. And over there. Comanche attack
party. Headed this way, fast.
LATHAM
What?
LONE RANGER
Latham. Prepare your defenses.
TONTO
A hundred warriors. Maybe more.
LATHAM
Well, call 'em off! Here, I'll give
you Cavendish --
TONTO
Sorry, that won't help.
LATHAM
But you said --
LONE RANGER
Ah, that was a ruse. There are only
two of us.
 69.

TONTO
We were outnumbered. Had to come up
with something.

LATHAM
You lied. How do I know you're not
lying now?

Suddenly a half-dozen ARROWS hit a nearby wagon, and shouts

of the WARRIORS can be heard.

TONTO
(nods)
Comanche.

LATHAM
(yells)
Indian attack! Tilt the wagons! Aim
for the lead horsemen!

EXT. DESERT - CIRCLED WAGONS - DAY

MOVING WITH the Comanche WARRIORS, on horseback, as they

race over the desert floor, come quickly upon the circled
wagons

Nocona rides ahead, rising up on his horse, leading the charge

A FULL ON ATTACK, circling around the wagon train, firing

rifles and bows, bullets whistling past --

EXT. DESERT - WAGON TRAIN - DAY

The townsfolk defend as the Comanche circle on horseback,

firing into the camp

Latham races along the perimeter, shouts --

LATHAM
Stagger your shots! Women and
children, re-load the rifles!

Suddenly and ARROW grows out of Latham's chest. He is thrown

backwards, against a wagon. But only for an instant. Latham
grabs the arrow, wrenches it free.

Blood flows down the front of his shirt.

LATHAM (CONT'D)
Cavendish! Where are you?

Latham staggers on, comes upon Dolan, the Sheriff, other

members of the Cavendish gang, tied up. Cavendish too.
 70.

CAVENDISH
Bet you're glad you didn't kill me.

LATHAM
We need you to fight.

CAVENDISH
Sure. But first we put to rest this
madness of a trial. Full pardon.
Your honor.

LATHAM
So ordered.

Latham cuts away the ropes. SHOTS land among them, and Latham
ducks down, FIRES back

Cavendish recovers his guns. Raises a rifle ••• swings around

and SHOOTS at Latham --

Latham dives out of the way, is hit, fires back --

LATHAM (CONT'D)
Bastard!

Everyone dives for cover. Cavendish shoots again

LATHAM (CONT'D)
That make you feel better?

CAVENDISH
A little bit, yeah. But I could feel
a whole lot more.

Cavendish FIRES again.

LATHAM
Fool! We fight this out now, we all
die!

Latham steps out, stands, despite his wounds. Blood pools

beneath him. Dolan stares.

DOLAN
How's he even standing? That aint
natural.

CAVENDISH
Or he's just the meanest sonofabitch
this world has ever seen.

LATHAM
Kill me. Or fight.
 71.

Cavendish turns his rifle, aims at their attackers. Latham

FIRES at the Comanches, and the others follow --

ELSEWHERE, Tonto and Lone Ranger crouch behind a wagon, duck

arrows and bullets corning their way.

TONTO
Which side are you on?

LONE RANGER
Not sure. You?

TONTO
I think it goes bad for me no matter
who wins.

Lone Ranger FIRES toward the circling warriors.

TONTO (CONT'D)
What are you doing?

LONE RANGER
Shooting arrows.

He FIRES and we FOLLOW the bullet as it SNAPS! an arrow in

two, mid-flight.

TONTO
You can do that?

Reid FIRES again -- and an arrow hits, RIGHT NEXT TO TONTO.

LONE RANGER
Not every time.

There are SCREAMS from another section of the camp -- Tonto

and the Lone Ranger, turn, race toward

EXT. DESERT - WAGON TRAIN - DAY

Warriors have broken through the defenses, and attack the

settlers.

Dan Jr. holds the gun that he had aimed at Cavendish. He

turns, as a Warrior comes at him, screaming --

BANG! Dan Jr. has pulled the trigger, and shot the Warrior,
wounding him. He stares, shocked --

-- and is SWEPT AWAY by the WARRIOR, carried off, outside

the camp

Rebecca, firing a rifle, sees her son taken --

 72.

REBECCA
Danny!

She FIRES the rifle again, then fights her way to where
several horses are kept --

The Lone Ranger and Tonto see Danny carried off -- and then
must dodge out of the way as Rebecca goes thundering past on
horseback.

LONE RANGER
Horses! Fast!

EXT. DESERT - BOULDERS - LATER

A maze of boulders. Some bigger than a house, others small,

many piled on top of each other.

The Lone Ranger and Tonto leap from their horses, clamber
over the rocks, searching. Back toward the wagon train, the
occasional shot can still be heard.

EXT. DESERT - BOULDERS - LATER

In a NARROW CREVICE below them they come upon --

Rebecca.

Crouched behind a boulder, her dress bloody, incredibly,

with Dan Jr. at her side. She aims her rifle, FIRES, faced
off against --

Four COMANCHE WARRIORS, including Nocona, the warrior chief,

who kneels on the ground clutching his bloody arm. Nocona
leads them forward, going for position

LONE RANGER
Go. I'll cover you.

Tonto starts, then stops, looks at Reid.

TONTO
You go. I'll cover you.

LONE RANGER
I'm the better shot.

TONTO
Debatable.
(Rebecca fires again)
At a later date.

Tonto breaks cover, scans the area below -- Rebecca fires

another shot.
 73.

LONE RANGER
Go! Hurry!
Tonto gestures to across the chasm, to a wall of boulders --
TONTO
Boulder, rock, stone, pebble.
Reid looks, but before he can respond, Tonto is gone --

EXT. BOULDERS - CREVICE - DAY

Tonto drops, leaping from boulder-to-boulder, lands
ingloriously on the ground --
-- directly between Rebecca and the Comanche warriors.

All react with amazement.

Tonto dusts himself off and stands up. With outstretched
arms, he raises an open palm to each side. To stand there,
unarmed, between the warring factions, he must either be a
god in human form, or absolutely crazy.
With a confident sweep of his right arm, Tonto gestures for
the Comanches to step back. Such is the force of his will
that they glance at each other -- and move back.
With a sweep of his left arm, Tonto gestures for Rebecca and
Dan Jr. to step back. Confused, Rebecca shrugs, scrambles
back to new cover.
Tonto smiles. Draws his hands in from toward the sunset, as
if gathering power, then with a twisting, dancing movement
he points at a boulder above --
Reid looks at the boulder, expectant. Nothing happens.
Suddenly he gets it, draws his gun --
Tonto grimaces. Dances, sweeps, points again
A CRACK of gunfire -- or it could be THUNDER and a small
PEBBLE disappears in a PUFF OF DUST --
The stone the pebble held slips away, and the rock above the
stone tumbles, freeing the boulder above to grind down --
Reid smiles -- he hit his target. Aims again --
-- another CRACK of THUNDER -- another pebble is shot, another
section of the crevice starts to fall --
Tonto jumps back from the ROCK AVALANCHE
When the DUST CLEARS ..•
 74 .

... the crevice is totally blocked by fallen stone, the

Comanches on the other side.

Rebecca helps Dan Jr. to his feet. Tonto races past --

TONTO
With me. Follow!

EXT. BOULDERS - DAY

Tonto, Rebecca and Dan Jr. scramble through boulders, staying

low and out of sight. Rebecca limps on her injured leg. They
reach a short expanse of open sand.

They crouch down. Rebecca takes a moment to catch her breath,

looks back --

Amid the boulders, a dozen Warriors climb toward them.

REBECCA
What do they want?

TONTO
Hostages. Comanche trade them back
to their enemies, for a price.

Rebecca gazes across the open area.

REBECCA
Can we cross?

Tonto glances at her wounded leg, the Comanches, the distance.

TONTO
We make a stand, here.

Rebecca considers the situation. There is a 'click' and Tonto

turns -- Rebecca has her rifle leveled at him.

REBECCA
They want a hostage. Take Dan Jr.,
and leave me.

TONTO
No.

She FIRES the rifle.

TONTO (CONT'D)
Yes.

DANNY
Ma, no --
 75.
Rebecca stands, in clear view of the Comanches, arms raised,
holding the rifle high.

She walks backwards towards them. Heaves the rifle away.

Tonto grabs Dan Jr. and races off, across the expanse of
sand, toward the far boulders.

ON REBECCA, as she watches, tears in her eyes, as the Comanche

Warriors surround her. Nocona grabs her, and pulls backwards --

EXT. DESERT - BOULDERS - DAY

Tonto and Dan Jr. climb through the boulders, come upon --

The Lone Ranger, his gun out, pointed at Tonto.

TONTO
Go ahead. Shoot. Everyone else has.

LONE RANGER
Where's Rebecca?

Tonto shrugs -- how can he explain? Looks out, points --

IN THE DISTANCE, the Comanche warriors move across the plains,

away from the wagon train. Rebecca among them.
BACK TO SCENE

LONE RANGER (CONT'D)

You lost her?

TONTO
I guess I wasn't thinking.

LONE RANGER
Can you track them?

TONTO
Yes.

The Lone Ranger scoops Danny up into his saddle.

LONE RANGER
Go! I will catch up!

He wheels away, riding Danny back toward the wagon train.

Tonto climbs onto Scout, turns toward the departing Comanches

••• and stops.

He doesn't pursue.

Tonto and Scout are a statue, perfectly still, waiting. In

the distance, the Comanches disappear from sight.
 76.

Still Tonto waits.

EXT. DESERT - WAGON TRAIN - DAY

Doc Drummond tends to a wounded man outside the wagon train.

The Lone Ranger races up, lowers Dan Jr. onto the ground.

LONE RANGER
They've got Rebecca.

DANNY
No! I'm going with you --

LONE RANGER
I think you will. In five or six
years. Not now.

He wheels Silver away --

EXT. DESERT - BOULDERS - DAY

Still Tonto waits, still as a statue.

The sound of HOOFBEATS, and the Lone Ranger reappears. He

pulls up next to Tonto -- angry.

LONE RANGER
What happened? Why didn't you follow?

TONTO
There are very many of them.

LONE RANGER
Coward --

TONTO
If we pursue, their sentries will
see us, and kill us.

LONE RANGER
Well what then?

TONTO
We must go where they are going before
they get there.

Tonto spurs Scout -- toward the rocky slope, not the desert
plains.

DISSOLVE TO:

EXT. DESERT - INDIAN TERRITORY - DAY

The Lone Ranger and Tonto climb uphill, weaving through a

barren, rocky landscape. The going is slow.
 77.

TONTO
Don't white men know about men who
turn into beasts?

REID
Possesses a man, turns him into a
beast. Sounds like a werewolf.

TONTO
Wait, what's that?

REID
Tall tale if you ask me.

TONTO
And they feed on other people?

REID
That sounds like a vampire. But those
are just stories.

TONTO
Stories shape the world.

REID
No, the world is the world, and
stories are poor versions of it.

TONTO
If I come to you, and tell you a
story of a bear that lives past the
mountain, that it is hungry and it
kills people. And then, one day, you
travel past the mountain •.. tell
me. Do you act like there is a bear,
or don't you?

Reid considers his answer as they ride.

DISSOLVE TO:

EXT. DESERT - CANYON - NIGHT

A campfire burns low; the embers yield a reddish light.

Tonto has a saddlebag open: inside there are dozens, hundreds

of spent lead bullets. One by one, Tonto carefully adds the
new bullets into the bag.

REID
I imagine you have some use for those.

TONTO
Yes.
 78.

But he isn't saying.

REID
You believe in evil spirits.

TONTO
There is that word again. Believe.
Do not use it.

REID
Why?

TONTO
It makes you weak.

REID
Is that so.

TONTO
Yes. You hide behind it. It allows
you to be uncertain, as if there is
a world that may or may not be true.
Me, I know the way of the world. I
am certain.

REID
We have a word for that.

TONTO
Yes?

REID
Faith.

TONTO
Ah. Is that what you lack?

The Lone Ranger jerks his head, stares.

TONTO (CONT'D)
I see Latham Cole as he is. You could
too, if you were not timid.

REID
Timid.

TONTO
Yes.

REID
I have been called many things, my
friend. Never timid.
 79.
TONTO
You are timid because you believe
you have time. To bring your enemies
to justice. To justify your life.
You do not have time. The truth of
the world is, each and every moment
you live may be your last.

REID
I know that.

TONTO
No.
(smiles)
You believe that. If you knew it,
then you could see.

REID
See what?

TONTO
Latham Cole, for what he is. And,
your death, out there.

Tonto waves his hand toward the dark, endless desert.

REID
My death is out there?

TONTO
Yes. Stalking you. Sometimes closer,
sometimes farther away. Always
stalking.

Reid glances around, over his shoulder. Not quite believing,

but curious. He can't help but ask.

REID
What's it look like? My death.

Tonto glances over Reid's shoulder, as if looking at something

that is right there.

TONTO
Confident.

DISSOLVE TO:

EXT. INDIAN TERRITORY - BOX CANYON - DAY

The Lone Ranger and Tonto arrive at the looming cliffs.

 80.

REID
Hah. No.

Reid starts to turn away --

TONTO
This is the path.

REID
There is no path.

TONTO
You must cover your eyes. Trust
Silver.

REID
No.

TONTO
Yes.

REID
Blind.

TONTO
Silver can find the way, if you do
not distract him.

Reid sighs. Takes his mask, pulls it down, covering his eyes

P.O.V., REID, as the mask becomes a BLINDFOLD, and there is

nothing but BLACK.

There is the SOUND of hoofbeats. Rocks falling. A bee buzzes

past. Still in BLACKNESS.

REID (O.S.)
I apologize.

TONTO (0 . S . )
Why?

REID (O.S.)
When I first met you, I thought you
were crazy.

TONTO (0 . S • )
And now?

REID (O.S.)
Now I know that I'm crazy.

More BLACK, then .•. the lower part of the blindfold edges
upwards. Reid is peeking
 81.

BELOW, a steep CLIFF FACE, hundreds of feet down --

PULL BACK TO REVEAL: Silver, and the Lone Ranger, and Tonto,
riding Scout, stand on one of those tall stone canyon pillars
an absolutely impossible place to get to, or get away from.

TONTO
Fool! Blindfold! Now!

Reid hastily pulls down the blindfold

Back into BLACKNESS. The sound of RUNNING WATER. More rocks

fall. An eagle's cry. Then --

Tonto pulls the blindfold off. They have reached the other
side of the mountains.

Reid look around. Shakes his head.

REID
I don't believe it

He cuts himself off as Tonto laughs.

TONTO
When you learn to see, you may do it
without the blindfold.

Silver NEIGHS. Tonto spurs his horse. Reid follows •..

EXT. CANYON - DRY RIVERBED - DAY

The wagon train has come to a stop.

Settlers push on the rear longbed that bears the locomotive;

wheels stuck in the sand. Horses pull from the front. Foreman
Yang oversees the operation, shouting orders.

Cavendish is not happy.

CAVENDISH
Madness. Leave it behind. We've no
use for it.

LATHAM
We're close.

CAVENDISH
I believed that when you said it
yesterday, and the day before.

Latham turns to answer -- notices something odd.

Up ahead, Dan Jr., unmoving. Staring at the canyon wall.

 82.
Latham moves to join him -- and as he does, he can see more
and more around a bend in the riverbed --
Latham stops, grins. Takes off his hat, tosses it high in
the air, turns back to the wagon train, puts his fingers to
his mouth and WHISTLES --
ANGLE - on the settlers, hurrying forward ... as they come
around the bend, and join Latham to see .. .
REVEAL: Anasazi ruins. A spectacular stone cliff-village
built of layered sandstones, carved out of the canyon walls.
Rising above them impossibly high.

Cavendish cranes his neck backwards.

CAVENDISH (CONT'D)
Son of a bitch.

EXT. CANYON - ANASAZI RUINS - DAY

The ruins are abandoned, empty, eerie. Settlers clamber up
the ancient wood ladders. Swarm into the narrow streets, up
and down the steps into the different structures --

EXT. CANYON - ANASAZI RUINS - MINE ENTRANCE - DAY

Dan Jr. climbs away from the others. Notices steps, to a
boarded-up opening. He investigates, looking in through the
slits between the boards, into the darkness.
Turns and calls out

DANNY
Over here! Look!

EXT. MINE ENTRANCE - LATER

Settles, including Yang and the Blacksmith, hurry toward
where Cavendish rips down the boards, covering a dark opening.
Danny and Latham watch.

A final board comes down, revealing a man-made tunnel,

plunging straight into the heart of the mesa.

The mine entrance has been found. People cheer.

Latham grins, soaking in the victory. The Blacksmith pounds

him on the back --

BLACKSMITH
Damn you Latham! There is a mine!
 83.

DOLAN
Throws a man off when a liar tells
the truth.
CAVENDISH
I ain't seen any silver yet.
(yells)
Torches!
INT. ANASAZI RUINS - MINE SHAFT - DAY
A line of TORCHES light the narrow shaft, Cavendish in the
lead, Latham close behind, followed by settlers.
In the rear are Cavendish's gang members, including Dolan
and the Sheriff.
In the middle of the line, the Blacksmith pauses, raises his
torch, examines the columns and rafters. Frowns.
Doc Drummond notices.
DOC
Something? What?
BLACKSMITH
Incline shaft, cut to the size of
standard mining block. Timber caissons
down to bedrock. Injuns didn't make
this.
The two men share a look, move on. A moment, then Dan Jr.
appears, following in the near darkness.
INT. RUINS - MAIN CHAMBER - DAY
The group emerges out into
A giant cavern, shadows leaping and dancing from the
firelight. Developed. Stalactites hang down through massive
beams and rafters. Walls are shorn up by timber columns. And
down the center of it all --
A railroad track, that dives into darkness on one end, on
the other end is covered by a CAVE IN. Off the rails, tilted
to one side, a battered passenger car, half buried in dirt.
It is a working mine, with winches and mine cars, pickaxes
and ore buckets. But that's not what catches everyone's ·
attention
There are bodies everywhere.
At least two dozen men lie sprawled, dead. The results of a
massacre.
 84.

LATHAM
We're in luck, boys. Someone's been
here ahead of us, and done most of
the work!

CAVENDISH
Luck? Don't think so. I see a lot of
dead bodies. And not one glint of
silver.

The settlers fan out, distressed at the horrific sight. Doc

Drummond nudges a body that lies at his feet.

DOC
Dead. Less than a year, I reckon.

BLACKSMITH
This mine ain't old. Not near as old
as those ruins. These are modern
excavation techniques.

All eyes turn to Latham.

DOC
Who are these people?

BLACKSMITH
To hell with that, what killed them?

Doc kicks over a body. It's been torn to shreds.

DOC
Don't know. Could be animals came
after, and et into the bodies. Or,
couldn've been animals from the start.

LATHAM
Quiet.

All are quiet. Listening.

In the shadows back toward the tunnel, Dan Jr. peeks out,
eyes wide. Listening.

Out of the darkness, a NOISE is heard. Soft, but distinctive

breathing. And then a heavy scraping sound.

CAVENDISH
Over there

Torches are raised toward the sound of the noise, the

firelight reaches --

A side tunnel. Inside, black as ink.

 85.

The sounds grow louder. Alternating. BREATHING ..• SCRAPING.

BREATHING ... SCRAPING.

Guns are raised. Hammers cocked. Dolan pushes forward, eyes

wide with fear --

DOLAN
The stories. They're true. Stories
the Indians tell
(a whisper)
The Wendigo.

All eyes are focused on the passageway ..• and then, low to
the ground, a SHAPE comes into view --

A large rock.

Then, a human shape. A man. Crawling. Gaunt, his eyes scarred

and unseeing, dirty, clothes ripped and stained with blood --

This is CHARLIE LOOMIS.

CHARLIE
Who's there? I know someone's there,
I heard you talking!

Charlie lifts, drags the rock forward. Roughly oval-shaped,

about forty pounds, it scrapes along the cavern floor.

CHARLIE (CONT'D)
Who's there? One two three, five,
eight, I know there are at least
eight!

CAVENDISH
Relax, old-timer. We ain't gonna to
hurt you.

Charlie's head jerks at the sound.

CHARLIE
You came back. Lord, Lord, Lord. I
told myself you would.

He drops to his knees. Doc examines him.

DOC
Blind.

SHERIFF
Yeah. Didn't you notice?
(kicks a corpse)
Half the bodies here've got their
eyes scraped out.
 86.

The head lolls back. Sure enough, where the eyes should be,
two long ugly scars. Doc tries to take Charlie's arm.

DOC
Can you stand?

CHARLIE
Get off me! You can't have it!

Charlie pulls away, clutches at his rock, as if it is the

most precious item in the world.

CHARLIE (CONT'D)
Leave me alone, it's mine! Latham!
You here? Make him go away!

Cavendish looks at Latham, incredulous.

CAVENDISH
How is it this poor soul knows your
name?

Latham shrugs.

LATHAM
I'm here, Charlie.

CHARLIE
I took care of the place, like you
asked. Told myself I would.

LATHAM
You did.

CAVENDISH
Latham, what the hell?

BLACKSMITH
He's been here before.

The Blacksmith steps forward, faces off against Latham.

BLACKSMITH (CONT'D)
He lied. He knows all about this
place. Played us for fools.

Latham shrugs.

LATHAM
I may have been part of an earlier
operation, true. Wasn't being run
the way it should.

BLACKSMITH
Meaning not with you in charge.
 87.

DOC
You wiped 'em out. Brought us here,
to take their place.

Latham indicates the large rockslide that blocks the railroad

tracks.

LATHAM
The silver is that way. Past the
rock slide. Just need a little help
to clear the way.

BLACKSMITH
Slaves.
(beat)
No thank you. No thank you.

The Blacksmith turns, strides off, back the way they came.

LATHAM
Butch?

Cavendish thinks it over, then gestures. Zach grabs the

Blacksmith. Dolan slams his rifle into his head.

Above, Dan Jr. flinches back. He turns away, scared, breathing

hard.

LATHAM (CONT'D)
All right. There's a lot of work to
do. Yang, check to the south, see
where those tracks exit, an' whether
we can reach 'em with the locomotive.
Dolan, put together a detail, these
folk be walking the paths of glory,
no need to leave their bodies smelling
up the place.

Cavendish indicates the Blacksmith.

CAVENDISH
What about him? Kill him?

LATHAM
Naw. Gonna need him. Can't afford to
kill anyone.

CAVENDISH
How you gonna stop him from running
off?

Latham answers like the answer is obvious:

LATHAM
Cut out his eyes.
(MORE)
 88.

LATHAM (CONT'D)
(smiles)
He doesn't need to see, to work in
the dark.

EXT. DESERT - INDIAN TERRITORY - DAY

A rattlesnake coils over the sand, fleeing the path just

before --

Lone Ranger and Tonto pass by on horseback, weaving their

way through the forest of intricate rock formations, eroded
pillars, twisted and surreal.

REID
Been meaning to ask.

TONTO
Yes.

REID
In Spanish, 'Tonto' means 'stupid.'
Why is that your name? If it is your
name.

TONTO
In the spirit world, you must never
speak your true name, in case your
enemies search for you, or wish to
cast a spell against you.
(nods)
Better to pick a name the opposite
of the truth. Throw them off.

REID
Ah, so you picked Tonto because .•.
got it. So, what does 'kemosabe'
mean?

TONTO
'Trusted friend.'

REID
So what that really means is •.. Ah.
Hahl Got it.

Tonto reigns Scout to a stop. Dismounts. He unhooks his bow

and arrow quiver, lowers them to the ground.

Reid dismounts and stares at him.

TONTO
Lay down your weapons.
 89.

REID
Why?

TONTO
We're surrounded. Lay down your
weapons and they may let us live.

Reid does a slow turn, checking out their surroundings.

The WIND whistles gently through the completely empty

landscape.

Reid comes back around to Tonto, looks at him with disbelief.

Tonto stares back with a look of certainty.

Reid glances around again -- and his eyes fall upon a

particular rock formation.

Reid regards at it, suspicious. About six foot tall ... if

you look at it just right, it might be the size and shape of
a human figure ••. there are many others like it ..•

Reid reaches out -- and pokes it. Of course it doesn't react,

it's just a rock formation. He pokes at it again.

Reid turns back to Tonto --

Behind Tonto, where before the area was empty, now stand
about a dozen Comanche WARRIORS.

Reid jumps. Glances back at the rock formation -- and beyond

it, where before the area was empty, there have emerged Q
dozen more Comanche WARRIORS.

EXT. DESERT - INDIAN TERRITORY - TRAVELING - DAY

The Lone Ranger and Tonto ride along, surrounded by Warriors

on horseback, heavily armed, before and after.

A warrior behind them carries their weapons. But they are

not tied up.

REID
Are we captured?

TONTO
Make a run for it. If you find an
arrow in your back, we're captured.

REID
Seems to me, an Indian should be
able to tell we're surrounded before
we're surrounded.
 90.

TONTO
They're very good.

REID
You snuck up on me.

TONTO
Like stalking a dead cactus.

REID
Appreciate that.

TONTO
Besides, we wanted to get caught.

REID
We did?

TONTO
Yes.

REID
Isn't that something you would
normally mention to the person you're
riding with, before you get captured?

TONTO
We need their help.

REID
For Rebecca.

TONTO
To finish my chain.

REID
They don't look helpful. What chain?

TONTO
Made from lead that has killed.

REID
Ah.
(beat)
You can talk them into that?

TONTO
I am a medicine man, adversary of
the Wendigo, known to all tribes,
welcomed by all, so they should help
us. Although •..

REID
Although.
 91.

One of the Warriors rides up, puts a hand over his mouth and
makes a throat cutting gesture. Basically 'shut up or die.'
Tonto lowers his voice:
TONTO
Others say I am harbinger of
misfortune.
REID
No.
Tonto's expression is grim.
TONTO
The warrior seldom arrives in times
of peace.
EXT. COMANCHE VILLAGE - DAY
Low adobe dwellings. Wood drying racks with strips of meat.
A maze of tall wood frames, buffalo skins stretched across.
Seated on buffalo skins are three chiefs: YAVAPAI, the
youngest. MOEMA, the eldest, a woman. And JUMANO, the most
angry.
Warriors gather around as the Lone Ranger and Tonto are
brought forth, blades pressed into their backs.
YAVAPAI
Medicine man, Potawatomi warrior. By
what name do you travel?
TONTO
Tonto.
The Warriors look at each other, shrug. Not much of a name.
Yavapai is not impressed, but goes with it.
YAVAPAI
Tonto. There are those who honor
you. And those who would see you
die.
Jumano, clearly of the latter group, stands.
JUMANO
Why do you ride with mask man?
TONTO
He is faithful companion.
The Lone Ranger looks a little injured at that.
 92.

JUMANO
Wagon train ride to to'quas-se-tivo,
evil place.
TONTO
Yes. We will stop them. But you must
do us a favor in return.
The three chiefs are surprised at Tonto's audacity.
YAVAPAI
What do you seek?
TONTO
You must return the woman you have
captured.
JUMANO
we have no woman.
TONTO
You will, when your warriors return.
YAVAPAI
How can you know such a thing?

Tonto stares at him.

TONTO
You would question me?
As if on cue, the sound of HOOFBEATS, many horses riding
hard -- the raiding party, returning.
In the lead is Nocona, and on a horse close behind him, wrists
tied in front of her -- Rebecca. She sees the Lone Ranger.
REBECCA
My son! Danny --
LONE RANGER
He's safe.
Rebecca is pulled backwards, a bandanna wrapped around her
mouth, tight, gagging her.
Nocona pulls up, shocked to see Tonto and Reid. He dismounts,
strides up to Tonto.
NOCONA
Witch! Phantom!
( to Yavapai)
To'quas-se-tivo!
Yavapai takes in the scene. Turns to Tonto.
 93.

YAVAPAI
Why do you desire this woman?

TONTO
She is a warrior. As is the masked
man. Together .•. we stalk the
Wendigo.

The silence is suddenly heavy with fear. Yavapai gestures to

Reid.

YAVAPAI
We will speak to this man alone.

Tonto is taken aside. Yavapai steps forward, raises his own

knife to Reid's neck.

YAVAPAI (CONT'D)
So. What is truth here?

Reid regards the knife.

REID
As Tonto said. We go to stalk the
Wendigo.

YAVAPAI
You know he's crazy.

REID
You don't believe him?

YAVAPAI
You do?

REID
He can be very convincing.

YAVAPAI
We honor him, give him food and water,
and send him on his way. We try not
to listen to the stories.

JUMANO
The Potawatomi medicine man brings
death.

YAVAPAI
Or, he stalks death.

REID
He has always been truthful to me.

Yavapai considers, sheaths his knife. Turns to Tonto.

 94.

YAVAPAI
What do you ask?

Tonto turns to the chief who has not spoken -- the elderly
woman, with skin like leather.
TONTO
Moema.

Tonto kneels before her.

TONTO (CONT'D)
Eldest. Cha-hin'a-supanat. You have
the skill. You will forge the Tseena-
Mua chain. Made from bullets that
have killed.
Tonto pulls his saddle bag free ... turns it upside down.
Bullets pour out, hundreds of them, into a pile.
Moema regards him. Grins, showirig her missing teeth. Dismisses
him with a wave.
MOEMA
(in Comanche)
You are weak. You cannot fight
Wendigo.
Tonto nods, stands. Steps close to Reid.

TONTO
Do something. Make it good.

All eyes go to Reid. He is on the spot. Shrugs.

Steps forward, moves through the crowd ... takes a whiskey
bottle out of the hands of one of the braves.
Offers it to Moema •.. who grins, and drinks it down. Hands
the empty bottle back.
Reid suddenly throws the bottle high in the air

All eyes follow --

Quicker than the eye can see, Reid draws his gun from his
gunbelt, held by one of the warriors --
Without little apparent concentration or effort, he FIRES --

The bottle JUMPS in the air, but does not appear to break.

Tonto winces. Reid must have missed.

Jumano catches the bottle. Holds it up, turns it --
 95.

The bottom of the bottle has been BLOWN AWAY. The only way
that could happen ... would be if Reid's bullet traveled
exactly down through the neck of the bottle.

Tonto looks at Reid, impressed.

Moema nods. Looks at Tonto, as if to say, 'you're next.'

He nods. A warrior hands him his bow, and one arrow.

Moema stoops, picks up a leather war shield. She carries it,

places it against a rock directly behind Reid.

MOEMA
(in Comanche)
From where you stand.

Tonto is screwed. Reid is exactly in the way. If he tries to

hit the target, then Reid will be killed.

Tonto notches an arrow, raises his bow, draws back the string
... then points his bow straight into the air, releases.

THWANG! The arrow shoots away, high into the sky. It's gone.

Reid shakes his head -- it's like Tonto gave up.

REID
So. What now?

TONTO
Faith.

A slow smile crosses the face of Moema. She nods. Kneels

down. Puts her face right next to the war shield. Waits --

There is a WHISTLING SOUND, approaching, then --

THWACK!

The arrow drops down from the sky, hits dead center to the
war shield target, inches away from Moema's face.

Moema nods.

MOEMA
We will help.

EXT. INDIAN VILLAGE - SERIES OF SHOTS - DAY

Blacksmiths use FLAMES to MELT down the lead bullets. They

POUR the melted lead into link molds.

Moema's ancient hands TAP and POUND the links together .•.
 96.

Slowly, a CHAIN is formed .•.

INT. ADOBE DWELLING - DAY

Reid, masked, is led into the one room dwelling. Rebecca

sits in a corner, hugging her knees. She looks up.

REBECCA
You came for me.

LONE RANGER
Yes.

REBECCA
That's no repayment for what you
took.

LONE RANGER
I owe a debt to no one.

REBECCA
John. I know it's you.

LONE RANGER
No. John Reid is dead.

REBECCA
My husband is dead.
(beat)
I didn't leave right away, you know.
I waited. For two days. Alone, with
a rifle on my lap.
(beat)
It was evening when Latham Cole came.
He said the whole town was leaving.
He's got them believing some story
of a silver mine --
(cuts herself off)
Even then, I stayed. Then -- the
coyotes came. Danny fought them,
with fire. I had to get him out of
there. That's when we joined the
wagon train.

The Lone Ranger nods, understanding.

LONE RANGER
Rebecca. Your husband. He was a good
man.

REBECCA
Good is not exactly a survival trait
out here, have you noticed? What
matters is strong.
 97.

LONE RANGER
And Latham Cole is strong.

REBECCA
Yes.

LONE RANGER
Stronger than the law?

REBECCA
Five Texas Rangers rode away from
our home with my husband. Don't talk
to me about the law.
(beat)
God grants us life. Those who are
strong get to keep it; God doesn't
care how.

The Lone Ranger looks at her -- then looks away.

EXT. DESERT - COMANCHE VILLAGE - DAY

At the edge of the village, Tonto's horse has been brought

forth, and outfitted for travel. Yavapai approaches, backed
by many warriors, including Nocona.

YAVAPAI
Your weapon.

He presents: the forged chains. Then gestures at the Lone

Ranger and Rebecca.

YAVAPAI (CONT'D)
Or the hostages. You may choose.

REID
What? No.

YAVAPAI
This was agreed.

Reid snaps a look at Tonto.

REID
What? No.

Tonto nods. Gestures.

TONTO
The chains.

REID
What? No!
 98.

Tonto takes them. Slings them over his shoulder. Reid

exchanges a look with Rebecca. Steps close to Tonto.

TONTO
They will not free us all. This is
the only way.

REID
There aren't that many. We can take
them.

Tonto looks -- they are hundreds of Comanche warriors.

TONTO
What do you mean 'we', kemosabe?
(laughs, then)
Do not miss the moonrise tonight.

Reid looks at Tonto -- and gets it. There is a plan in the

works. Tonto takes Reid's guns. Turns to Yavapai.

TONTO (CONT'D)
I have one more request.
(beat)
The Silver horse.

REID
What? No!

EXT. COMANCHE VILLAGE - DAY

Tonto, riding Silver, races away from the village.

EXT. DESERT - RIDGE - DAY

Looking down, as Tonto winds his way along the canyon path,
then disappears from sight.

PULL BACK to REVEAL, two Comanche WARRIORS, hidden, watching

Tonto. One of them nods to the other. They pick their way
down the ridge, following him.

PULL BACK MORE to REVEAL, Tonto, behind the Warriors, watching

them. Impossibly, he has outmaneuvered them.

Tonto heads back in the opposite direction --

DISSOLVE TO:

THE MOON,

peeks out over a ridge.

 99.

EXT. COMANCHE VILLAGE - NIGHT

The Lone Ranger sits on slab of stone, watching the moon. He
glances around him --
Four WARRIORS, each at a point of the compass, crouch down,
guarding him, holding spears. He might be able to take them
WIDEN TO REVEAL: A circle of another twenty WARRIORS a little
further out, with bow and arrows, on guard. There still might
be a chance
WIDEN AGAIN TO REVEAL: Beyond the archers are a dozen more
WARRIORS on horseback, circling, vigilant.
The Lone Ranger sighs.
He turns back to watching the moon, not even sure what he is
looking for.
The he sees something -- stands
ON THE HORIZON, a silhouette in front of the moon. A horse.
Silver.
The horse rears up, and fights the air with its front legs.
Reid frowns. Has Silver come to the rescue?
Then a distant SOUND. A deep, low, RUMBLE.
The Warriors look scared. They glance around. What is it?
The sound gets LOUDER, a ROLLING THUNDER --
ON THE HORIZON, hundreds of WILD HORSES appear, and swarm
around Silver, rumbling toward the Comanche Village
A STAMPEDE.
The warriors see the approaching danger, scatter --
WARRIORS
To'quas puc! To'quas puc!

They rush through the village as the stampede hits --

Fences are crushed. Warriors, trying to control their horses,
are thrown to the ground. Wagons are ripped apart. Men, women
and children flee for the refuge of the adobe huts
Goats and chickens are trampled. Horses break free of their
pens and join the fray
 100.

The Lone Ranger racing along, dodging the horses, searching

for Rebecca.

He hears a cry for help. Races toward the sound. Several

horses crash through buffalo skins, stretched on frames, and
the Lone Ranger sees --

Rebecca, spread-eagled, tied to one of the empty frames.

Nocona, the Comanche Warrior, races toward her, cuts her
down, and continues on

-- just before several wild horses barrel through the frame.

The Lone Ranger stares the Comanche just saved her life --

A horse comes at the Lone Ranger from behind, he turns, ready

to dodge --

It is Silver.

The Lone Ranger leaps onto him as he passes --

Rebecca lays on the ground. She undoes her other roped hand
and stands --

Just in time for the Lone Ranger, on Silver, to sweep her

up, and away

EXT. DESERT - RIDGE - NIGHT

Looking down on the commotion in the Comanche village, as

the seemingly endless herd of wild horses continues to pour
through.

The Lone Ranger and Rebecca, atop Silver, climb away, and
come upon --

Tonto, riding Scout.

TONTO
Hurry. They will follow.

EXT. DESERT - DAY

The Lone Ranger and Rebecca on Silver, Tonto on Scout, race

across the land.

Ahead, the Lone Ranger sees a THICK GROUND MIST creeping

over the desert floor.

Silver slows to a trot. Tonto notices.

TONTO
Do not stop.
 101.
LONE RANGER
The fog. Too dangerous.
TONTO
Trust Silver.
Tonto spurs Scout, into the low-lying fog. The Lone Ranger
follows
ANGLE - ON THE LONE RANGER, riding Silver over a sea of white
fog, the horse's legs lost in the mist, as if he is not
running at all, just a statue flying over the land, although
the POUNDING of his hoofs can still be heard.
Rebecca has her arms around the Lone Ranger, her face pressed
into his shoulder; she closes her eyes and the SOUND FADES,
and it truly seems as if she is flying amid the clouds •.•
EXT. DESERT - ANASAZI RUINS - DAY
Billy Yang scrambles along the cliffs, searching. He drops
down into a sandy clearing. Kneels to the ground. Brushes
away the sand, discovers --
Train tracks.
Yang follows them with his eyes, looks up --
Carved into the sandstone the cliff wall is an archway,
spanned by a huge WOOD GATE. The doors are barricaded with a
long, heavy wood beam.
Yang smiles
EXT. DESERT - TRAIN TUNNEL - DAY
Settlers, working under the eye of Yang and the lash of Dolan,
push and pull the train locomotive up a low embankment --
DOLAN
Put your backs in it! Pull!
(fires his gun in the
air)
PULL!
Above the locomotive, the TRAIN TRACKS have been cleared of
sand, revealing a rough wooden turnaround. The tracks reach
from the turnaround straight to the tunnel gates.
BEYOND DOLAN, the doors to the gate are slowly pushed OPEN,
revealing inky blackness beyond.
PUSH INTO the tunnel:
 102.

INT. MAIN CAVERN - DAY

Torchlight illumines the rock pile, covering the train tracks.

Townspeople, tired and frightened, struggle to lever out and
move the largest boulders.

The bodies have been removed.

ON DANNY as he scrambles out of the way of a falling five

hundred pound stone.

He wipes grime off his face, glances over at --

Charlie, who moves past, crawling up the embankment, half-

carrying, half pushing his rock, making slow progress.

Above him, Cavendish confronts Latham.

CAVENDISH
Been checking the supplies.

LATHAM
Have you now.

CAVENDISH
You didn't stock enough food or water.

LATHAM
Didn't I now.

CAVENDISH
Not for any sort of long haul.

LATHAM
We don't need these folk for any
sort of long haul.

Cavendish gets it. Glances down, notices Charlie approaching.

CAVENDISH
Been meaning to ask.

LATHAM
Charlie? One night, it was after he
took blind, we were messing around.
He was sitting on this rock eating
grub, and we said, hey, Charlie,
that rock you're sitting on, that's
pure goddamn silver! You found
yourself a silver nugget! Told him
he was a gonna be a rich man, and
the ladies would swoon. Now he thinks
that hunk of granite is his fortune,
won't let it out of his you know.
 103.

Charlie arrives, holds out a round canteen to Latham.

CHARLIE
Brought some water for you, Mister
Cole.

LATHAM
Much obliged, Charlie.

Latham takes it, drinks. Cavendish takes the opportunity to

shove Charlie's rock aside.

LATHAM (CONT'D)
Charlie, all the time you was down
in that pit ••. you didn't happen to
run across an old stray cat, did
you?

CHARLIE
Sorry, Mister Cole.

Charlie turns, reaches for his stone, can't find it --

CHARLIE (CONT'D)
Where is it?

CAVENDISH
Right there.

CHARLIE
You took it!

CAVENDISH
Look how pretty it is, all glittering.

CHARLIE
Where? Where?

At the rockpile, Danny and the Blacksmith (eyes covered in a

bloody bandage) pull a boulder loose, causing a mini-cave-
in. Workers scramble out of the way.

The dust clears, and Zach peers in, turns.

ZACH
We broke through!

Latham and Cavendish grin.

At their feet, Charlie comes across the rock, jealously feels

the contours. Raises his blind eyes to Cavendish.

CHARLIE
It's coming for you, next.
 104.

Charlie pushes his rock away, down the embankment. Cavendish

glances at Latham, who stares at the tunnel opening.

CAVENDISH
What the hell did that mean?

LATHAM
Eh. Crazy talk from a blind man.

DISSOLVE TO:

EXT. ANASAZI RUINS - NIGHT

In a pool of light formed by a lantern, a sentry -- the

Sheriff -- looks out over the moonlit canyon, keeping watch.

PULL BACK TO REVEAL: The Lone Ranger, Tonto and Rebecca,

crouched behind an adobe wall. Tonto starts to rise --

LONE RANGER
What's your plan?

TONTO
Capture that man, torture him, make
him lead us to the entrance to the
mine.
(beat)
You?

The Lone Ranger and Rebecca look at each other, shrug.

REBECCA
Works for me.

LONE RANGER
Yep.

EXT. ANASAZI RUINS - NIGHT

CLOSER to the Sheriff, a dozen yards away. The Lone Ranger

and Tonto creep through the shadows, Rebecca holding back --

The Lone Ranger checks his gun.

TONTO
The silver bullet you carry.

LONE RANGER
How do you know about that?

Tonto just gives him a look.

TONTO
Be ready to use it. Only silver can
kill the creature we face.
 105.

The Lone Ranger stares at him, not sure whether to believe

him. He shrugs. Takes the silver bullet from his belt. Slides
it into one of the chambers.

Tonto pulls out his knife.

LONE RANGER
Ready?

Tonto nods --

DANNY (O.S.)
There are three other guards.

They turn -- Dan Jr. is there.

DANNY (CONT'D)
Positioned on the rooftops.

REBECCA
Danny!

Rebecca sweeps Dan Jr. up in her arms. But he's grown up a

lot in the last few days, and is not going to give in to his
emotions.

REBECCA (CONT'D)
Are you aright? Danny?

He stares at her, a long way from aright.

DANNY
They made us all slaves.

INT. ANASAZI RUINS - CAVERN - NIGHT

MOVING ALONG a tunnel with the sound of STEAM ... we emerge

out into

The main cavern. REVERSE TO REVEAL: the locomotive, on the

tracks, engine running, pumping out steam. It rolls to a
stop.

It's a bizarre image, to see a full-sized train amid the

stalagmites and stalactites. The locomotive has a main engine,
a coal car, flat bed, and passenger car.

IN THE CAB, Latham slaps Charlie on the back.

LATHAM
Charlie, that's a right smart bit of
work.
 106.

CHARLIE
I can do it. You just watch, Mister
Cole.

Latham jumps down. He is haggard-looking, bandaged, bleeding,

but his forceful demeanor is unchanged.

Ahead, the rockpile is cleared. The townspeople WORKERS are

held under guard to one side.

LATHAM
All right. Get those folk on board.
Let's get gaited.

INT. ANASAZI RUINS - CAVERN - NIGHT

Charlie switches off the forward break. Steam hisses. Engines

chug, and the train lurches forward.

Latham gazes forward into the darkness, as the walls of the

tunnel pass by.

He flips on the forward light -- Latham looks ahead --

IN THE LIGHT, ahead of them, on the tracks --

Two black silhouettes.

LATHAM
Brakes!

Charlie slams on the brakes and the train screeches to a

stop. Cavendish and his men drop down, swarm forward --

In the light is: Rebecca, dirty, disheveled, rifle pointed

at a figure. The figure is Tonto, wrapped in chains.

LATHAM (CONT'D)
You.

REBECCA
Leave me alone. I got a job to do.

Latham gets in her way, stops her.

LATHAM
What job?

REBECCA
Kill this man.

She looks around, takes in the others.

 107.

REBECCA (CONT'D)
You should leave this place. tt is
evil.

Her words have the desired effect. Everybody looks scared,

Dolan, the Sheriff especially Cavendish.

CAVENDISH
Evil, you say.

LATHAM
Him. What has he done?

Rebecca laughs.

REBECCA
You wouldn't believe me if I told.

She pushes past Latham, gun barrel in Tonto's back. Cavendish

FIRES his revolver. It ECHOES in the tunnel.

CAVENDISH
Try us.
(beat)
Start with them chains.

He stares at Tonto. Tonto stares back. Rebecca regards him.

REBECCA
Cavendish. Have you heard of the
Wendigo, Cavendish?
(he has)

REBECCA (CONT'D)
A spirit, that takes over a man,
turns him into a cannibal an' makes
him do things you couldn't stomach,
things to make your misdeeds look
like child's play.

Despite himself, Cavendish looks scared. He glances back at

Tonto. Rebecca leans in close.

REBECCA (CONT'D)
The chains keep it trapped, Cavendish.

LATHAM
Sounds like a load of schecoonery to
me.

CAVENDISH
(to Rebecca)
Where you taking him?
 108.

REBECCA
Gotta shoot him. Can't do it here.

DOLAN
That's right. I heard the stories.
You can't shoot 'em, or the spirit
will flee, find someone else.

CAVENDISH
That true?

REBECCA
Not if he's surrounded by silver.

LATHAM
Ah.

REBECCA
You don't believe me?

LATHAM
I think you might be stretching the
blanket a bit.

CAVENDISH
I don't think we can take that chance,
Latham.

There is a 'click', Latham looks down, finds himself staring

down the barrel of a gun.

CAVENDISH (CONT'D)
I'm standing underground in front of
a locomotive in a haunted Indian
mesa, and something tore into those
people and tore apart my men.

Latham considers his options. Looks at Rebecca.

LATHAM
We kill 'em both, then.

STEAM HISSES, WHEELS TURN, and the train shudders forward.

It picks up speed, moving along, into the DARKNESS --

INT. PASSENGER CAR - UNDERGROUND

Rebecca is alone in the car as it shakes and rattles down

the tracks. Latham enters.

REBECCA
So. This is it. Your vision. The
promised land. A place of slavery.
 109.

LATHAM
Hello, Rebecca.

REBECCA
You promised to keep us safe.

LATHAM
I promised to keep you safe.

REBECCA
Not doing a very good job of it.

He approaches her. Reaches out, caresses her hair.

LATHAM
A kind heart might grant a man a
second chance.

She pulls back.

REBECCA
Not. Likely.

LATHAM
See, once a man gets a glimpse of
paradise, you can't just snatch it
back. You and I ain't over, not by a
long shot.
(whispers)
It's going to be good.

REBECCA
Touch me and I'll gouge your eyes
out.

LATHAM
(grins)
That's what's gonna make it good.

She spins away from him.

LATHAM (CONT'D)
Hah. Where you gonna run, Rebecca?

EXT. TRAIN - PASSENGER CAR - REAR DECK

Rebecca looks from the rail, Latham behind her. And the train
rumbles on --
PAN DOWN to REVEAL -- clinging to the undercarriage of the
train, riding along is -- the Lone Ranger.

INT. RUINS - CAVERN - NIGHT

BLACKNESS.
 110.

But there is a SOUND, growing louder. The distinctive CHUG

of a locomotive. Gradually, the darkness lifts as the train
approaches --

Shadows grow and leap away as the train arrives, covered

like a Christmas tree with lanterns, rolling underground
past huge stalactites and stalagmites, this giant mechanical
beast rollicking ahead through the dark, a phantasmagorial
sight, and then just as it arrived it starts to fade, the
light dwindling, the sound receding, until again all is --

BLACK.

INT. TRAIN - CAB - MOVING

Latham climbs into the cab, joining Cavendish, with blind

Charlie at the controls. Cavendish clutches the handrail,
pale with fear, as he peers ahead --

The approaching tracks fall off quickly into DARKNESS, they

are flying into the void BLIND.

CAVENDISH
Does it have to go so fast?

LATHAM
What, you want to live forever?

He laughs. Suddenly, the tracks ahead turn, and bend downhill.

CAVENDISH
What's happening --

LATHAM
Those Injuns was greedy, Cavendish.
Almost as greedy as you. They dug
deep. Way deep --

INT. WIDE CAVERN - UNDERGROUND

The train has emerged out into

A wide, vast cavern. The train tracks corkscrew down and

around trestles constructed along the cavern walls, a steep
angle into darkness below --

where there waits a silver glow --

At the bottom of the corkscrew, the train plunges into a

tunnel -- we FOLLOW

INT. SILVER MINE - UNDERGROUND

-- the train EMERGES from the tunnel and reaches its

destination --
 111.

An entire cavern of silver.

It glitters. And shines.
Silver ceiling, silver stalactites and stalagmites, silver
boulders and stones. Silver dust suspended in the air.
Like no cavern ever seen before.
The train slows. Ahead, the tracks end at another wood base
turnaround.
Beyond the turnaround, a wrecked locomotive. Tumbled onto
its side, crumpled, broken. Several train cars lie on their
sides, many bars of SILVER strewn about. Large iron kilns
and other smelting equipment, this is where the silver was
processed.
The train pulls to a hissing stop. Cavendish stares out at
the ceiling, the walls.
LATHAM
That enough silver for you?
For once, Cavendish is speechless. He hops down --
CRUNCH.
Cavendish looks down --
Bones. Everywhere. Human bones. The entire cavern floor is
covered with bones.
Latham jumps down, starts giving orders.
LATHAM (CONT'D)
To work! Everyone! Turn this engine
around, re-load that silver. Let's
have some more torches lit!
ON THE TURNTABLE, the locomotive is already being moved,
reversing its direction on the tracks, supervised by Yang. A
side track allows the cars to be reconnected --
Meanwhile, Cavendish's gang supervises loading of the silver
bars onto the flat car, bucket-brigade style
BEYOND THE TRAIN, the Lone Ranger appears in the rocks, amid
the shadows. FOLLOW as he moves, angling for a better vantage
point --
The Sheriff indicates his prisoner, Tonto.
 112.

SHERIFF
I'd feel better if we got this over
with.

LATHAM
Ayep. Bring him down.

The Sheriff nods. CAMERA swings back over -- where Tonto was
just a moment before -- empty!

All that are left are the chains.

SHERIFF
Hey. Hey!

LATHAM
What?

SHERIFF
He's gone!

LATHAM
How?

SHERIFF
I don't know. He was right there!

Sheriff lifts up the chains. Cavendish turns to Rebecca.

CAVENDISH
I thought the chains were supposed
to hold him.

REBECCA
You lost him. Not me.
(playing into their
fear)
We're dead.

Sheriff flings the chains away, looks around. The cavern is

filled with shadows. The silver is beautiful, but menacing.

CAVENDISH
He could be anywhere.

DOLAN
He could be anyone.

LATHAM
You don't buy into all them skeersome
tales, doya?
 113.

DOLAN
(stomps his foot)
I believe in a great big pile of
bones! I want out of here.

Cavendish searches the cavern, genuinely scared.

CAVENDISH
Yeah. Good idea.
(yells)
Get that train hitched, and ready to
go!

Bars of silver are dropped. The flatbed, is re-hooked to the

locomotive.

Latham is not happy.

LATHAM
Cavendish. There's more silver.

CAVENDISH
I don't care.

LATHAM
I care --

Latham raises a pistol, points it at him

AMID THE ROCKS, the Lone Ranger aims his gun at Latham,
prepares to shoot

Suddenly, a VOICE from the darkness.

TONTO ( 0 . S . )
And so it starts.
(beat)
The killing. The slaughter.

Eyes turn -- and Tonto steps forward, out of the shadows.

Such is his presence, and power, all present are compelled
to listen.

TONTO (CONT'D)
You think any of you will leave this
place alive? Rich men? No.

Cavendish exchanges glances with his gang members.

TONTO (CONT'D)
The silver never leaves. Does it,
Latham Cole?
(MORE)
 114.

TONTO (CONT'D)
(steps fully into the
light)
How many times have people come for
it, how many massacres have there
been? A dozen?
(kicks the bones)
A hundred?

Cavendish glances doubtfully at Latham.

TONTO (CONT'D)
Don't you see, Cavendish? Lust. Greed.
Betrayal. And death. Always the same.
(points)
Already, the spirit is strong in
him. Here, the place where he was
born --

Latham raises up. He steps forward, and here in the cave, he

is suddenly a tall, dark, commanding presence, with his own
power, his own will. His black eyes glitter.

LATHAM
You would cross me?

TONTO
Look at him. See him for what he
really is.

Cavendish stares.

CAVENDISH
My god.

TONTO
The chains. Bring them. We have to --

Suddenly Latham's body JUMPS as bullets pound into him

BLAM! BLAM! BLAM! three shots, into the torso --

TONTO (CONT'D)
No!

Latham falls. Behind him stands Cavendish, his gun smoking.

Latham is dead

PULL BACK from Latham, in a BLUR, fast, toward Rebecca

the implication is that the Wendigo spirit has fled.

Tonto follows it with his eyes --

CAVENDISH
Get that train moving! Load up,
everybody
(MORE)
 115.

CAVENDISH (CONT'D)
(a glance at Tonto)
As for you

Cavendish raises his gun to shoot

A SHOT rings out, and Cavendish's gun flies from his hand.
Cavendish looks over --

The Lone Ranger steps forward into the light.

CAVENDISH (CONT'D)
Kill them. Both!

But another SHOT from the Lone Ranger rings out, and Dolan's
gun flies from his hand --

Another SHOT --

-- and Yang's gun flies into the air; another SHOT hits the
gun in the air and it pings away

Tonto dives for cover as all hell breaks loose --

Rebecca sweeps up one of the rifles, takes position, starts

shooting --

The train starts moving, out of the cavern, townspeople racing

to jump on, along with Cavendish and his gang members

More SHOTS, as the Lone Ranger takes out every gun in sight

ON THE TRAIN, Cavendish confronts Charlie.

CAVENDISH (CONT'D)
Faster! Get us out of here!

CHARLIE
My rock. Can't find it.

CAVENDISH
Aw, Jesus, Charlie --

Cavendish throws him out of the cab --

IN THE ROCKS, the Lone Ranger is pinned down by gunfire,

coming from the train. Tonto joins him.

TONTO
The creature.

LONE RANGER
What?
 116.
TONTO
The Wendigo.

He indicates, and the Long Ranger looks -- at Rebecca,

positioned in the silvery boulders, a hundred feet away. She
fires her rifle

The Lone Ranger shakes his head. He stands.

LONE RANGER
Rebecca! Over here --

Rebecca looks at him with cold eyes. Swings her rifle around
and FIRES -- the Lone Ranger dives down. SPARKS fly off the
silver rocks.

LONE RANGER (CONT'D)

She's gone mad.

Tonto stares at him.

TONTO
The silver bullet.

LONE RANGER
No.

TONTO
. What is the next bullet in the
chamber?

Lone Ranger checks the chamber. CLOSE ON: the last bullet
left is silver. He sighs.

LONE RANGER
Time to start acting like there is a
bear.

Once he has made his decision, there is no hesitation. The

Lone Ranger turns and FIRES --

-- FOLLOW the bullet as it flies at Rebecca --

And HITS her in the shoulder -- blood blossoms -- she glances

down and then SCREAMS an otherworldly SCREAM --

PULL BACK from Rebecca, in a BLUR, fast, toward Rebecca

the implication is that the Wendigo spirit has fled

TRAVEL across the cavern floor, toward Latham .•.

Who opens his eyes.

The Lone Ranger and Tonto break cover, the Lone Ranger FIRING,
as they race toward Rebecca.
 117.
She clutches her shoulder -- wounded, but all right.

LONE RANGER (CONT'D)

The train.
Sure enough, the train is headed out, picking up steam. Soon
they won't be able to catch it.

They race toward it, shooting --

Latham -- impossibly -- sits up, then stands. Bloodied,

wounded, he turns, starts toward the train. Hears a sound

Latham turns -- and there -- surprise -- is Dan Jr., holding

Charlie's rock over his head. (Dan Jr. must have stowed away
on the train.) Dan Jr. screams as he slams the rock down
onto Latham's head --

DAN JR.
Bastard!
Rebecca turns.

REBECCA
Danny!
The rock hits, and Latham crumples to the ground -- onto the
chains.

The rock rolls away ... to Charlie's feet. He feels it, picks
it up, and races toward the train --

passing Rebecca, coming the other way --

Danny drops down, starts wrapping the chains around Latham

Rebecca, favoring her bleeding shoulder, grabs Dan Jr. as

Latham opens his eyes

Rebecca pulls Dan Jr. away -- hesitates when she notices --

the chains seems to be tightening, twisting themselves around
Latham --
LONE RANGER
Rebecca!
Rebecca turns away; she and Danny race toward the train.
Tonto leaps aboard, the Lone Ranger fires, giving him cover.

The Lone Ranger hands Dan Jr. up to Tonto. Leaps aboard,

firing ahead, as Tonto pulls Rebecca up --

Just as the train plunges into the tunnel.

 118.

INT. CAVERN - TRAIN - MOVING - DAY

The train struggles up the corkscrew inclined tracks.

ON THE TRACKS, Latham emerges, draped in chains. He spies a

support beam to the tracks, where the train must circle around

Latham scrambles up the structure, quickly, like a spider.

Despite his wounds, he moves with speed, with purpose, with
seeming endless reserves of strength.

ON THE TRAIN, the Lone Ranger and Tonto -- on the passenger

car, shoot it out with Cavendish, and his gang, on the far
side of the flatbed car.

Bullets SPARK off of the bars of silver. The Sheriff tries a

shot -- and his hit, falls. His coat splays open, revealing
the lining of lawmen badges.

The Lone Ranger and Tonto stalk forward.

CAVENDISH
(calls out)
Ranger. I got no beef with you.

But then he sees an opening, and FIRES.

CAVENDISH (CONT'D)
But I got to know.
(ducks a shot)
Your name. It's John Reid. Ain't I
right?

LONE RANGER
That so?

CAVENDISH
No. It can't be.

LONE RANGER
You'd be surprised how far a man can
crawl.

Cavendish goes pale with fear. He is distracted, just long

enough for Tonto to charge at him from the side --

And get a knife to his throat. Cavendish holds out his gun.

CAVENDISH
I ain't going to jail.

LONE RANGER
Drop the gun.
 119.

CAVENDISH
Shoot me. After all I've done.

LONE RANGER
Jail. Or death.

Cavendish drops the gun.

CAVENDISH
You can still shoot me. No one would
ever know.

LONE RANGER
I would.

CAVENDISH
You're a cruel man.

LONE RANGER
Not cruel. Just.
(beat)
I said drop the gun.

Tonto and Cavendish look at him. The gun is already dropped.

The Lone Ranger FIRES --

Hitting Cavendish in is one good hand, destroying it. He

screams, crumples to the ground.

TONTO
Lone Ranger. Look.

The Lone Ranger turns, sees

Behind them, on the flatbed car, closest to the locomotive,

stands Latham Cole, holding Dan Jr.

The chains draped on Latham clink and clank with the swaying
of the train. He is bleeding from his wounds, and his skin
is pale, he looks dead already.

There is no possible way for him to be there.

LONE RANGER
Is he a ghost?

TONTO
Does it matter?

The Lone Ranger raises his gun.

LONE RANGER
Let him go.
 120.

LATHAM
Give up, Ranger. Or he comes with me
... over the side.

LONE RANGER
Let him go. Or I shoot.

Dan Jr. struggles, trying to get free, but Latham holds him
with an iron grip. Dan Jr. looks up at him

DANNY
What are you?

LATHAM
Just a bad man. Nothing more.

Latham grins. Pulls Dan Jr. to the edge, swaying as the train
climbs higher, nearing the top

REBECCA
John.

Rebecca holds out a silver bullet.

REBECCA (CONT'D)
It was Dan's. From your father. He
gave it to me.

The Lone Ranger takes the bullet.

LATHAM
Give up, Ranger. Now.

TONTO
Shoot. Not to wound. To kill.

The Lone Ranger loads the bullet.

LONE RANGER
Not in cold blood.

TONTO
He is not a man. You cannot kill
him. Look at him, John Reid. See
him, for what he truly is.

CLOSE ON: the Lone Ranger's eyes, beyond the mask, as they
widen slightly --

Whatever he sees, he squeezes the trigger --

SOUND DROPS AWAY

The train seems to be floating up the tracks --

 121.
The gun FIRES, smoke and a SILVER BULLET exit the barrel

EXTREME SLOW MOTION of the bullet traveling toward Latham

.•. growing larger in frame, spinning slowly ... it is a

silver bullet, so Latham's reflection appears, growing as
the bullet moves closer to its target

LATHAM'S true appearance is revealed by the reflection in

the silver bullet as it moves past, filling the frame now
and the REFLECTION is not Latham, it is the creature,
the beast that possesses him --

The Wendigo.

Holding Dan Jr.

We FOLLOW the bullet as it passes by, headed toward Latham,

and now he looks like normal man, when he is not in the
reflection -- the bullet SLAMS into his chest, knocking him
back, dancing along the edge

Latham teeters, grabs at his new wound, and falls. For a

moment there is an infinite sadness in his eyes.

LATHAM
Wonder where that damn cat got off
to

Tonto rushes forward -- holding the Sheriff's coat. He wraps

it around Latham quickly --

Just as Latham suddenly LEAPS UP, a marionette now as the

Wendigo spirit struggles inside him, trapped •.• he dances
on the deck of the car --

until Tonto SHOVES HIM, and he topples over the edge,

tumbles down into the pit --

-- as the train reaches the top of spiral cavern, and plunges

into the tunnel

EXT. ANASAZI RUINS - GATEWAY - DAY

First the sound, then the sight of the train emerging, our
of the darkness; it SCREECHES to a hard grinding stop. Many
of the townspeople are there to greet it --

TONTO
The doors! Quickly.

The doors are pushed shut. The barricade beam lifted, and
locked in place, with a low, satisfying BOOM!

The Lone Ranger and Tonto wait. And listen.

 122.

Silence.

LONE RANGER
Latham could still be alive in there.

TONTO
He may not be dead. That does not
mean he is still alive.

And then, a sound, very soft: tap-tap-tap. Tap-tap-tap.

LONE RANGER
Do you hear that?

Tonto shakes his head.

TONTO
I hear the whispering of the wind.
That is all.

EXT. RUINS - SHANTY TOWN - DAY

Comanche and other tribes work alongside the U.S. Cavalry

attending to the refugee settlers.

IN THE CAMP, an ASSAYER has set up an outdoor shop. Charlie

has placed his rock onto a scale, and the Assayer weighs it
as if it were priceless.

ASSAYER
Nine thousand three hundred and twenty
two US dollars.

Charlie lets out a WHOOP!

The Assayer exchanges a knowing glance with

The Lone Ranger, who tips his hat, carrying his own leather
saddlebags heavy with ore. He passes Doc Drummond.

DOC DRUMMOND
I dunno. Silver from that mine, maybe
best it never gets spent.

LONE RANGER
I have other plans for the silver.

Doc nods. Moves on, as the Lone Ranger loads the saddlebags
onto Silver, ties them down.

He turns -- and Rebecca is there. Bright and radiant, despite

her arm in a sling.

REBECCA
Goodbye, lawman.
 123.

The Lone Ranger looks past her, sees a wagon, packed for
travel. Dan Jr. holds the reigns in his hands.

LONE RANGER
You're headed back east.

REBECCA
No. San Francisco.

The Lone Ranger looks at her, surprised, impressed. She steps

close to him.

REBECCA (CONT'D)
What sort of future is there for a
man who wears a mask?

LONE RANGER
I am a lawman. Nothing can change
that.

REBECCA
Leaving no room for anything else.

She stares into his eyes. The mask can't hide his desire.

LONE RANGER
You can't build a home behind a gun.

If there was any doubt as to Rebecca knowing the Lone Ranger's

identity, it's gone now. She looks at him with yearning.

REBECCA
Why do you value the law over what
the law protects?

LONE RANGER
If we don't value the law over what
it protects, there is nothing left
to protect.

Rebecca nods. A quick smile.

REBECCA
Goodbye, lawman.

The Lone Ranger forces himself to turn away, and it costs

him. He climbs onto Silver, and rides, not looking back.

EXT. CANYON - BRYANT'S GAP - SIX GRAVES - DAY

Back to the scene of the ambush. Five crosses, five graves.

Five Texas Rangers laid to rest, including Reid's brother.

At the end of the line, Tonto looks on as Reid regards the

sixth grave, his grave -- empty.
 124.

REID
We fill in the grave. Add a sixth
cross.
(beat)
John Reid is dead.

Reid looks at Tonto, and smiles.

REID (CONT'D)
From this day on --

EXT. MESA - EVENING - LATER

The evening sky is on fire. John Reid, in silhouette on

Silver, ties on the Lone Ranger mask.

REID
(softly)
I have no name. From this day, I
ride as ••. the Lone Ranger.

Tonto, riding Scout, pulls up alongside him. CAMERA ROTATES

to REVEAL:

In the distance, evening falls on Waystation, once again a

bustling frontier town.

THE LONE RANGER rides forward, regards the town through masked
eyes.

LONE RANGER
When the story gets told, do you
think anyone will believe it?

TONTO
Time passes, and what will they
remember? A bad man did bad things,
then a man with a mask, riding a
silver horse, came to help them.

LONE RANGER
Then let's make sure they remember
at least that!

With a cry, the Lone Ranger spurs Silver, and races down the
slope

EXT. WAYSTATION - EVENING

The silver horse THUNDERS into the center of town, drawing

stares. Doc Drummond emerges from his office. Dan Jr. hurries
out from the stables.

The Lone Ranger rears up on Silver -- and TOSSES something

to Danny, who catches it.
 125.
Silver rears up again, even higher

LONE RANGER
Hiyo silver -- away!

-- and then the mighty horse wheels off, the Lone Ranger
racing back through town --

DOC
Who was that masked man?

DANNY
I don't know, but

Danny holds up an object that GLITTERS he doesn't have to

say the words -- the evening sky inflames the bright surface
of a SILVER BULLET --

PUSH IN on the bullet, the sunset FILLS THE FRAME --

EXT. TEXAS DESERT - SUNSET

TRACKING the Lone Ranger and Tonto, riding hard, quickly

outdistancing the camera

•.• and we fall behind, we can only watch as the pair rides
off, into the sunset --

FADE OUT

THE END