WAY OUT WEST

THE SANGRE DE CRISTO MOUNTAINS –

are blood-red and purple under white snow caps. The desert sparkles in the sunshine as the DEADWOOD STAGE climbs the dusty trail to the heights, then sweeps by to reveal...

LUSH VALLEY BELOW

A sparkling stream shimmers in the distance, rimmed by cottonwood trees. The stage jangles down a winding trail toward a tiny hamlet surrounded by peaceful ranches.

A stirring Bernard Hermann western theme rides over a strange metallic minor chord reminiscent of spaces and voids.

INT. STAGECOACH

Bouncing and lurching, an older woman, FREDA, flirts shamelessly with a handsome younger man. JAKE McCORD, 29, is naive but clever. He wears an eastern suit and a bowler.

FREDA

...well you're certainly right, Mr. McCord, this Wild West of yours is beautiful!

JAKE

It's Jake, Ma'am. And it isn't wild at all. Nothing much ever happens except...oh...your occasional gunfight, your drunken violence... stampedes, flash floods, or, of course, your range wars...

FREDA

(amused, smiles)

Oh, you are having fun with me, aren't you, Jake?

(He grins, then turns, looks pensively out the window.)

Been in the east long?

JAKE

Thirteen years.

FREDA

A lot can happen in thirteen years.

JAKE

Yeah, well, there was boarding school, college, med school.

FREDA

No.I mean here. Things can change for the better in that long a time. Progress, you know.

JAKE

Yeah. Sure.

FREDA

So, you're a doctor?

JAKE

No. I was a month short of graduating when...

He breaks off, looks pensively out the window.

FREDA

When what, Jake?

JAKE

What...oh, Got a telegram, from my brother. Some kind of emergency. Didn't say what.

FREDA

Well, I always look on the bright side. Whatever it is, I'm sure a smart young man like yourself can handle it.

JAKE

Yeah, I'm sure.

END MAIN TITLES

as the stage rumbles into a picturesque western town.

DEADWOOD SPRINGS

Jake gets out, tips his hat to Freda as ZANE, the gruff hand riding shotgun, hands down his valise.

JAKE (CONT'D)

Thanks. Bye Ma'am. Hope you get to Tombstone safe and sound. Sounds like a real nice town.

FREDA

Thank you, Jake. Looks like a nice little town you have here too, after all.

Zane SNORTS. Jake grabs his valise, looks at the idyllic village.

JAKE

Can't be as bad as you say.

ZANE

Nope.

(spits)

It's worse.

JAKE

I grew up here. It's a lovely town. Has a library and all.

DRIVER

Well, if you change your mind...

JAKE

I won't...

DRIVER

...we'll be back in two days. Happy hunting. Yehaw!

Snaps his whip, door slams as the stage pulls away. Jake watches curiously. He turns, looks at the town. Looks fine.

JAKE'S POV - MAIN STREET

Mostly adobe. It ends at a small church with a belltower. He walks down the street in Philadelphia suit, squeaky shoes. It's peaceful. Townsfolk stare. He nods to the men, tips his hat to the ladies. They gawk as if he's from outer space.

THE STANSBURY

An edifice of adobe construction including a casino, saloon, dancehall. Upstairs are girls and the offices of Stansbury Enterprises. Jake walks up, looks at it in awe.

JAKE

This... is new.

Several people lounge around chairs on the wooden sidewalk at the entrance. One is LOLA, a heavily made-up dance-hall girl, early twenties, with swept up hair and low-cut gown. On her neck; a gold locket with the letters H/L intertwined.

LOLA

You look familiar. You new around here?

JAKE

Live here. Been away.

LOLA

Away?

JAKE

At school.

(She is familiar in a distant way.)

Do I know you?

LOLA

No.

He turns, walks to the swinging saloon doors, turns back.

LOLA (CONT'D)

Why'd you come back.

JAKE

Got a telegram...

He shows it to her. She reads it, goes white, backs away.

LOLA

Has the stage left yet? When it does, you'd best be on it.

JAKE

That's not a very friendly attitude.

LOLA

It sure is. You don't belong here. Not anymore.

He looks at her strangely. She turns, bangs through swinging doors. He stuffs the telegram into his pocket, follows.

INT. SALOON - BAR

A long bar under a mirror and portrait of a lady. Beyond the bar; a gaming room. Low card tables are filled with a cross-section of western scum. Light streams through windows.

A BIG SQUEAK. Jake stands in the swinging doors, taking in the scene as all eyes turn to him. He strides to the bar. Lola follows him in. A bar girl snickers at his clothes.

GIRL

What, the circus in town?

ANGLE - BARTENDER

A crusty type. Jake steps up, gawking at the elaborate bar.

JAKE

This wasn't here before.

BARKEEP

Five years old.

JAKE

New Hardware. Very nice.

BARKEEP

Gotta stay up with the times.

JAKE

Must have cost a lot.

BARKEEP

That's Mr. Stansbury's business.

JAKE

Who's Mr. Stansbury?

A sudden chill. All turn to a powerful-looking man who glances up from his newspaper and fixes Jake with a merciless stare. Something in the way the others glance at him tells us this is STANSBURY. A long beat as the room holds its breath. Then Stansbury looks back down to his newspaper. The others turn back to their games.

BARKEEP

What'll you have, mister?

JAKE

Ahhh...let me see...

He turns. Down at the end of the bar a tough hombre, SHORTY, is cleaning his nails with a Bowie knife. He glares at Jake.

BARKEEP

You...passing through?

JAKE

(staring at Shorty)

Uh...No. I live here. Got a place north of town.

BARKEEP

Ya don't say? How come I never seen you before?

JAKE

Been away. Philadelphia. Say, I was supposed to meet my brother here. Don't suppose you've seen him?

BARKEEP

Don't know. What's his name?

JAKE

Luke...I guess I'll have a beer. Uh, Luke McCord.

Barkeep starts to draw it when the name sinks in. He stops in mid-pull, sets the half-full glass down in front of Jake.

BARKEEP

Maybe you ought to make it a short one.

The piano player stops. Some eyes turn to Jake, some turn to BART, a rough character at the faro table. Bart glances at Stansbury. Stansbury's eyes could burn holes through Jake's eastern tweeds. Imperceptibly, Stansbury nods. A nearby drunk, BARNEY, hops up, scurries out the swinging doors.

The bar goes quiet. Some gulp their drinks and get out of the way. Bart puts the deck down and stares at Jake. He gets up and slowly, spurs chinking, walks to the bar. He nods to the bartender who pours him a shot and withdraws.

BART

Have a drink. For the road.

JAKE

You going someplace?

BART

No.

JAKE

Then no point in drinking for the road. I live here. My family owns the Lazy R.

Shorty moves next to him.

SHORTY

No they don't.

JAKE

Yeah, you must know it. North of town. On the right fork.

SHORTY

Oh, I know it, alright.

Scattered snickering.

JAKE

Name's Jake McCord.

He puts out his hand to shake. But THE FIST is faster. It comes right into his face.

Bart knocks him across the room. Jake's legs catch the edge of a table. He catapults across, scattering cards and landing on top of REG, a big, bearded cowpoke. Reg picks him up and throws him, skittering, back. Bart waits, timing a round-house right. Jake skids up, sees the punch coming, ducks under it. Bart whiffs. His momentum carries the punch into Shorty, who goes down in a clump.

Bart screams at his fractured hand. Enraged, he charges Jake. Jake sidesteps the charge. Two quick jabs and Bart slams against the bar. They gape. Jake defends himself well. This guy in a stupid suit is a trained boxer.

Jake steps back, lets Bart up. Bart comes at him low. Jake jukes right, slips left and nails Bart with a hard down-snapping right as he charges past. Bart smashes into the bar, scattering glass. Bart turns, a fractured beer mug in his hand. But Jake has followed up. Bart meets three quick lefts and a right cross that turns his knees to jelly. But as Jake follows through, he steps into a cannon right that Shorty launches from his blind side. Jake drops. The barkeep looks down.

BARKEEP

You fight pretty well.

Jake staggers to his feet.

JAKE

Came in second. Intramural boxing. University of Pennsylvania.

Reg punches him from his other blind side. Jake goes down. The barkeep looks down.

BARKEEP

Who came in first?

The cowboys laugh at him as he staggers to his feet.

BART

Watch out, Reg, he's innermural runner up, Pennsylvania.

REG

Well, that's alright. I'm first place champ, Deadwood Springs.

Reg charges, Jake counters, knocks Reg down. But Bart steps in, then Shorty. Outnumbered, Jake is beaten, knocked down.

SWINGING DOORS

SLAM OPEN. EARLE, a big tough guy with a scattergun, enters, followed by Barney. Earle levels the gun casually at the bar. He looks around at the destruction, the broken furniture, the bleeding patrons. His eyes find Stansbury. A slight nod in Jake's direction and Earle has his marching orders. He turns to the bar. The barkeep is dry.

BARKEEP

Howdy Earl, what brings you around?

EARLE

Thought I heard something Ernie. Annoying sound. Like rats scurrying in the barnyard. What's new?

The barkeep looks at Jake, picking himself up, staggering, sinking back, trying to get the roundness back in his derby.

EARLE (CONT'D)

Get up, mate.

JAKE

And who the hell are you?

EARLE

I'm what passes for law in these parts.

He pulls back his vest to reveal a badge.

JAKE

About time! Where you been?

EARLE

Indisposed. Now you, look what you've done.

He indicates the destruction.

JAKE

Had some help.

EARLE

No doubt. That you under all that blood, Reg?

REG

Uuuughh.

EARLE

I guess you're just going to have to keep on fighting until you get good at it.

(turns to the others)

What happened?

JAKE

(cutting in)

I've no idea. Totally unprovoked, your honor. I just introduced myself and...

EARLE

And who might you be?

JAKE

Jake McCord.

He looks up. the last thing he sees is the stock of the scattergun slamming into his face.

DESERT - SOME WAYS OUT OF TOWN - DUST

He wakes, choking on it. He rolls over. He's apparently been dumped from a horse. The sheriff and others loom over him, still mounted. Shorty throws down his coat, his hat.

JAKE (CONT'D)

What happened?

EARLE

Just saved your life. You ought to thank me.

JAKE

Well, then...thank you, Sheriff.

EARLE

You're welcome.

Jake moves his head to see if his neck still works.

JAKE

Goodness of your heart?

EARLE

Uh uh. Budgetary considerations. Would have killed you in the old days. Killed you and set down to lunch. Them days are gone. Fiscally irresponsible. There's the burial fee, the undertaking fee, the permit, body removal. Breakage to property. And the bullets, of course. They all add up. Getting too damn expensive to kill a man. Wild West going all to hell.

JAKE

What's going on, here?

EARLE

You're leaving.

JAKE

But it's my home. I'm in the right.

EARLE

I'm Sheriff. I decide that. Now, I done you a favor. Do me one. Don't come back.

JAKE

But I live here.

EARLE

You die here if the boys see you again. Get outta town and stay out. Stay out of the Territory or I'll kill you, myself.

The Sheriff and Shorty ride off. Jake calls after him.

JAKE

Hey, Sheriff! What'd I do?

Another rider remains. Lola. The Sheriff looks at her hard as he rides past. She throws down Jake's valise.

LOLA

Forgot your kick.

JAKE

I got distracted...Thanks.

LOLA

You okay?

JAKE

Compared to what?

(picks up the valise, dusts it off. Dust chokes him.)

Friendly town.

LOLA

Used to be. Guess they just didn't take a shine to you.

JAKE

Something I said?

LOLA

Your name.

JAKE

My family's lived here for three generations. Never had any trouble before.

LOLA

You got it now.

(He opens his valise. Books tumble out.)

What's that?

JAKE

Books.

LOLA

Books!? What the hell good are books in the desert?

He hands her one. She looks at it curiously. He babbles as he tries to clear his head.

JAKE

More valuable than guns on the frontier. Lot fewer of them. The newest thing. Science Fiction. Poe... Jules Verne. Here, SteamMan of the Prairie. I think you'd like this one.

LOLA

Really?

JAKE

Or this. Horatio at the Bridge. One hero stood against a legion.

LOLA

(sardonic)

Great. I like fairy tales.

JAKE

Not a fairy tale. History. Roman history.

LOLA

(a beat)

What about food, a blanket? What about a gun?

JAKE

Didn't think I'd need that stuff.

LOLA

Jesus!

She reaches under her skirts and pulls out a forty-four.

LOLA (CONT'D)

Take this.

JAKE

What for?

LOLA

They may come after you.

JAKE

Why?

LOLA

Just take it and go.

JAKE

Go? Go where? This is my home.

LOLA

Not anymore.

(She hops down, unties her bedroll)

A blanket. Some food. Not much, but it's all I got.

JAKE

Why are you doing this?

(She doesn't answer.)

I'll pay you back.

LOLA

Do it by not coming back. Stage'll be by tomorrow. Just pick a trail and go.

He turns, walks off in the wrong direction, toward town. She swings into the saddle, spurs her horse, cuts him off.

LOLA (CONT'D)

Hey, where are you going?

JAKE

My family's ranch. The Lazy R.

LOLA

No. Don't go there.

JAKE

Why not?

LOLA

Your family's not there.

JAKE

What?

LOLA

(a beat)

Look, Stansbury...and the others...these are real bad men. Stansbury's vicious, a killer...

(a beat)

He stole your ranch.

JAKE

How can he do that? My brother...

LOLA

(cutting him off)

Your brother's dead. Bart killed him. Stansbury's orders.

JAKE

No!

LOLA

I'm ...very sorry.

Her expression makes him believe. He turns away, suddenly overcome. She looks down. He turns back, angry, determined.

JAKE

How'd it happen?

LOLA

They called him out in the street. Luke must have thought there were rules. They shot him down. That's the last time anyone stood against Stansbury.

She swings her horse around, stops, stares down at him.

LOLA (CONT'D)

He thought he could take them on alone. He couldn't. Don't you make that mistake. No one's gonna help you. I'm sorry. Now go. Go. Don't look back.

Jake walks right past her down the trail.

LOLA (CONT'D)

Hey, where are you going?

JAKE

I never ran from a fight.

LOLA

Now would be a good time to start.

JAKE

I'm a McCord.

LOLA

That's what I'm afraid of. Look, there's nothing you can do. I don't want to see you killed. I don't want you to get anybody else killed. The best thing you can do is leave.

JAKE

Why do you care?

LOLA

You..remind me of someone.

JAKE

Who?

(She doesn't answer.)

Lola spurs her horse, then pulls up, turns back)

LOLA

Oh... What happened to Horatio?

JAKE

Oh, he got killed.

She shakes her head, rides off.

THE LAZY R RANCH - DUSK

An isolated homestead. A low ranchhouse, stables, corrals.

Earle and Shorty ride up, dismount, tie reins to the hitching post. Earle starts to walk in, but STANSBURY rushes out to meet him. Bart trails...watching. Without a word, Stansbury grabs Earle by the neck. Earle's eyes bulge, his veins pop, his arms grab Stansbury's hands, but they are clamped on his throat, choking the air and life out of him. Stansbury draws him closer, studying his face.

STANSBURY

How did McCord get here?

Earle can't get a word out. His throat is clamped, his face is turning blue.

STANSBURY (CONT'D)

Why wasn't I ...informed?!

Earle's mouth opens, his tongue pops out.

STANSBURY (CONT'D)

I don't like surprises. They make me...cross.

He studies Earle a little longer. Earle's eyes roll up. He passes out. Stansbury studies this reaction for a moment, then releases him. Earle drops to the ground in a heap. Stansbury looks up as Lola canters in, staring at Earle.

Earle gasps. His eyes open. He starts to breathe again. Stansbury stands over him...all concern. We don't know if this is an act for Lola or if he's just weird.

STANSBURY (CONT'D)

You remember the question?

EARLE

McCord... I...I don't know how he got here or why. He just got off the stage.

STANSBURY

But...I want to know who's on the stage.

EARLE

What do you expect me to do, meet every stage?

STANSBURY

(almost a whisper)

I could bury you, face-up in the road. That way, passing teams could kick you alert.

EARLE

I'll...I'll bribe the driver. I'll... I'll put the stage operators on the payroll.

(Stansbury waves him off.)

No problem. Consider it done.

Stansbury turns back...a threat.

STANSBURY

I do.

He escorts an apprehensive Lola inside. Lola moves on ahead. Stansbury stops at the door and turns back.

STANSBURY (CONT'D)

Ah...Earle. You didn't happen to kill him for me?

EARLE

Ah...no, Mr. Stansbury. I thought...

STANSBURY

What do I pay you for, Earle?

EARLE

Ah..yessir. I'll kill him, I'll kill him right away.

STANSBURY

No. No Earle. You go back to town and get some rest.

EARLE

But Mr. Sta...

STANSBURY

(cuttin him off)

Rest Earle. And think.

Earle holds a beat, then turn and hurries off. Bart exchanges a glance with Stansbury.

INT. RANCHHOUSE - LIVING ROOM

Stansbury enters. Lola gets right to the point.

LOLA

You're a big man Mr. Stansbury. You've got everything you want. You can afford to let him go.

STANSBURY

Why Lola, first time you've asked me for anything.

He moves to her. She tries not to resist.

LOLA

Yeah, it is.

STANSBURY

A change of heart?

LOLA

I don't know. Depends on you. I'm sure you have the decency to let him live.

STANSBURY

Why Lola... Did you think..? ...I wasn't going to hurt that young man. Long as he clears out and stays out, why that's good enough for me.

He puts his hand on her cheek. She stiffens.

LOLA

Thank you, Mr. Stansbury.

STANSBURY

Is that all...

LOLA

I have to get back.

She breaks away, leaves. Bart steps in from the shadows of an adjacent room.

BART

You serious, Boss? You gonna let him live?

STANSBURY

Yeah. 'Til he gets to the river. Then you kill him and dump him in it.

EXT. DESERT - SUNSET - JAKE

He wanders. Philadelphia shoes and suit, totally unprepared.

CAMPSITE - NIGHT

He cooks a can of Lola's beans over a fire, looks around at the sagebrush, the seguaro cactus, and at the starry western sky. He sights the gun at rocks, at brush. He aims at a seguaro. He fires and blows an arm off the cactus.

JAKE

Out of the night that covers me. Dark as the pit from pole to pole. I thank whatever stars may be for...Holy shit!

OVERHEAD

A shooting star streaks across the horizon.

He shoots at it.

AT THAT SAME INSTANT... A FLASH

The 'star' alters course, falls out of orbit and streaks toward the earth. A FLASH! Something separates from the main body, spins off, whining overhead. The main comet body skims along the pinnacle, clips a peak, flies up, then crashes and tumbles, throwing off glowing pieces that arc high into the air. The very ground shakes and rattles.

Jake looks at his gun in awe. He looks over. A red-hot piece of something has started the sagebrush smoldering. He beats it out with his blanket, then pulls out a ticking-hot piece of metal. He looks closely. It's machined with strange markings. He turns to the butte where the comet impacted. ...a faint glow.

BOOM! - A SECONDARY EXPLOSION

Shrapnel whizzes overhead, ripples through the nearby brush.

YEOW!

Jake grabs his gun and rolls into the weeds. He circles around. Another EXPLOSION lights the sky illuminating Bart, Reg and Lem stalking up to his campsite. The light also reveals Jake. They draw. Jake reacts fast. He blasts at them, driving them to cover, and takes off.

CHASE THROUGH THE SEGUARO

Jake can hear his pursuers stumbling and cursing close behind. The giant cacti loom up out of the darkness. He nearly draws on one of the silent sentinels.

BEHIND

They're also spooked and night-blinded by the crash. They stumble and blast at the cactus figures.

JAKE

turns and slams into one. As he slides down, stunned, it moves. The bad guys catch up and blast away. The cactus figure is hit by a shot, but the slug strangely ricochets off. The pursuers turn their fire on him. The cactus picks up Jake's gun. He glances at it, then points it at the bad guys and fires. The first shot kicks dirt in front of Bart, blinding him. Lem swings his weapon on the figure. But the figure blasts first. Lem's gun flies out of his hand. Reg fires. The figure turns and fires at Reg. He hits a dead branch that flies up and smacks Reg dead in the face. He goes over backwards. Bart fires. The cactus fires once. Bart's hat is blown away. He fires again, again, tearing up the desert floor around the pursuers. They scurry back into the brush, cursing...and stumble away.

Stunned, Jake turns to thank his savior. It's obviously not really a cactus, but it doesn't seem quite human either. It's big and dark. Without a word, whatever-it-is drops Jake's gun and disappears quickly into the desert night.

JAKE (CONT'D)

Hey...Wait!

Jake grabs his gun and other things. He scrambles after the figure. Tripping in the dark, he smacks into a rock...oof! He looks up. The creature is gone. He plunges into the dark.

DAWN OVER THE HIGH DESERT

Jake still trails the figure's tracks and scattered debris.

SUNRISE

He climbs the butte, scrambling up the rocky hillside. He rushes to the top and over the crest...to find...

SMOKING IMPACT CRATER

strewn with pieces of something mechanical, but the stuff is like nothing he's ever seen. He stumbles down to the rubble. One smoking lump throbs, imprinted in strange hieroglyphics.

He touches the lump. A SQUEAL sends him scurrying. The lump moves. Debris falls off as a bent, scorched HATCH creaks open. Rising phoenix-like from below... A HUMANOID FORM, his savior from the cactus; GAD, an alien robot.

It looks metallic...a reddish-brown black that soaks up light like suede, but glints like metal. The one-piece battlesuit could just pass as rough frontier buckskin in dim light. He is massive and well- formed. The build commands respect, the attitude exudes calm authority. He holds a damaged high-tech component which BLINKS.

GAD

XLKFSHKDH. LSKDJF DL.

JAKE

Oh, my God!

GAD

Oh...muy...Gad...

JAKE

Oh my god. It talks.

Something in the rubble explodes, peppering them with hot debris. Jake staggers back. Gad stands his ground, hot sparks bouncing off his shoulders. Jake's terrified.

JAKE (CONT'D)

My god! Fire...Brimstone. You're the devil!

GAD

Points to himself.

GAD

Gad.

Gad moves toward him. Jake stumbles back, fumbles through his pack, throwing books out. He finds it, whips it out.

CU - A BIBLE

Jake holds it up in front of him like a shield.

JAKE

Get thee away, Satan.

Gad recognizes the bible for a book, indicates that he wants it. Jake pulls it back. Gad moves toward him. Jake throws it at him. Gad snatches it from the air. He riffles the pages, scanning rapidly. Done, he throws it back.

GAD

Good. Doest thou have any more?

JAKE

Thou doest. Yes.

Jake grabs books, whips them at him. Gad snatches each out of the air, scans, rapidly rippling pages, then throws them back at Jake's feet. Now Gad speaks more fluently.

GAD

Thank you for the literature. I particularly like the Shakespeare Sonnets...

(he quotes)

"WHEN IN DISGRACE WITH FORTUNE AND MEN'S EYES, I, ALL ALONE BEWEEN MY OUTCAST STATE. AND TROUBLE DEAF HEAVEN WITH MY BOOTLESS CRIES, AND LOOK UPON MYSELF, AND CURSE MY FATE."

Jake's mouth drops open. The creature pauses...then...

GAD (CONT'D)

Very nice. But this Jules Verne has some odd ideas about space.

JAKE

Oh my god.

GAD

No. Gad. Do not be afraid. I mean you no herm.

JAKE

Herm?

A twitch. A GLITCH! Gad freezes for a beat.

GAD

Harm. I mean you no harm. I come in peace.

A RATCHETING MECHANICAL SOUND as he twists his neck, works his shoulder. CLANK! His arm falls off. Jake's aghast, but it doesn't seem to bother Gad.

JAKE

Geez! You come in pieces. Are you...human?

Gad doesn't answer. He picks his arm up, reconnects it, makes minor adjustments...It works. Jake's mouth drops open, again. The robot picks through the white-hot debris. Closely examining each piece, he makes a neat pile.

JAKE (CONT'D)

What are you doing?

GAD

...cleaning up.

JAKE

Isn't that stuff hot?

GAD

(a beat)

Yes.

JAKE

Doesn't it hurt?

GAD

(a beat. He drops it.)

Yes.

JAKE

(getting suspicious)

Gad...What are you?

GAD

What ...are you?

JAKE

Why...I'm Jake McCord.

(the creature just looks)

Jake McCord. I'm a college graduate. Medical school.

(the thing tilts his head inquisitively)

I'm...

(he looks at the creature curiously)

I'm... a man.

GAD

A man.

JAKE

Homo Sapiens. Homo Erectus. Human. Human being.

GAD

Ah...You are based on the carbon atom.

JAKE

Carb... yes. Yes I am.

GAD

I...am not.

JAKE

Not? Uh, oh.

He looks at the book in his hand: Steam Man of the Prairie.

JAKE (CONT'D)

My God! You're a steam man!

He shows him the book. Gad riffles pages, scans rapidly.

GAD

Ah...in a way.

JAKE

What way?

GAD

You don't seem to have a word for it, but if you did, it would be... mechanical person. I am ...what you would call an artificial life form.

JAKE

Oh my god! You look almost human.

GAD

(ironic)

Ahhhh...thank you.

Or maybe sarcastic. Jake is unnerved. He looks around.

JAKE

How'd you get here?

GAD

I ...fell.

Jake looks. They're on a peak. There's nothing to fall from.

JAKE

From where?

The creature doesn't answer.

JAKE (CONT'D)

What's all that?

Jake indicates smoking debris.

GAD

Oh ...nothing.

Another CLANK. Gad's arm pops out of his shoulder socket. He looks at Jake, expectantly. Jake grabs his arm. Gad twists against Jake's resistance. The arm pops back in.

GAD (CONT'D)

Thank you.

(Another GLITCH. His torso freezes up.)

Would you mind?

He nods toward his chest. At first Jake doesn't get it, then he figures out that Gad wants him to smack him there. Jake punches his chest, hurts his hand. Gad re-animates.

GAD (CONT'D)

Thank you again. Must have damaged a circuit in the crash. Keeps cutting out.

JAKE

Yeah? What happened? A comet hit you? A falling star? What were you doing up here?

GAD

Oh, nothing.

He turns away, continues his activity.

JAKE

You're...not from around here?

Gad looks around at the saguaro cactus, at the distant mesa.

GAD

Ah, no. Not from...here.

JAKE

Where are you from?

GAD

From? From Sirius 23.

JAKE

Serious. Where's that, near Albany?

GAD

Ah... Further... north.

He carries a bunch of stuff away. Jake follows.

JAKE

How'd you wind up here?

GAD

Short cut. Took a gravity sling around your sun. I was making a low pass. Then something happened. I don't know.

Gad digs rapidly in the smoking debris. He throws hot pieces over his shoulder, searching for something. Then he burrows under the steaming pile, appearing a few yards away. He picks through debris, putting pieces back together.

JAKE

What are you looking for?

GAD

Oh, nothing.

(Jake adamantly stares)

...prisoners.

JAKE

In there?

GAD

That would be...nice.

JAKE

Nice?

GAD

Dangerous criminals. I was taking them to the penal colony on Golod 5 when...

JAKE

When what?

He stands, makes a robot gesture; like scratching his head.

GAD

I..I don't remember. Must be the crash.

(scans the area)

They're gone. Must have gotten out in the pod. Escaped...

He turns away.

JAKE

Wait! Where are you going?

GAD

I'm programmed to... I must find them, bring them back or terminate them. They are a threat to your world. They must be brought to justice.

JAKE

You're a...a lawman?

GAD

I'm a XkjFlsxl. To you...A..Ranger.

Jake looks blank. Gad opens a flap in his chest revealing a holographic badge; a twinkling 3D star with planet orbits.

JAKE

A Ranger? From?...from Mars?

GAD

No. Further.

JAKE

Beyond Mars?

GAD

Yes.

JAKE

Beyond Mars!!! Oh, my god! A Ranger from outer space!

Gad lifts a pile of selected debris, walks off. Jake chases.

JAKE (CONT'D)

Wait. Ranger!

GAD

Yes?

JAKE

Is justice the same throughout the universe?

GAD

Well, I can't speak for the Alliance on Sargon 6. They are pigs. Quite without morality as we know it.

JAKE

What about here? Similar culture? Similar laws... Commandments.

GAD

Except for that part about locusts. We don't have locusts.

JAKE

Other than that?

GAD

Other than that...Yes.

JAKE

You are sworn to uphold the law?

GAD

That is my design parameter, yes.

JAKE

All law?

GAD

Well...yes.

JAKE

Earth Law too?

GAD

I'm sorry. This is out of my jurisdiction.

JAKE

But it's law. What's right. What's wrong. You see, I've got a problem.

GAD

A problem? With the indigenous population. With...human beings?

JAKE

Of course with human beings.

GAD

Then I am sorry. I cannot help you.

JAKE

Why the hell not?

GAD

Universal Code of Justice. Trignium conference. Third plenary session. Section 6, Paragraph 27.

JAKE

Which states...?!!!

GAD

I cannot interfere in alien culture. I cannot get involved in native disputes. It would distort your history. The law is specific. I am incapable of breaking that law. I cannot impose culture shock on... this place.

JAKE

Then how are you gonna find your men? Escaped aliens from outer space! They're gonna distort history just a bit.

GAD

Yes. I must capture them with a minimum of cultural effect.

JAKE

You? Looking like that?

GAD

I will disguise myself. I cannot reveal my presence.

JAKE

I can help.

GAD

Why would you help me?

JAKE

I...need help, too. I need justice.

GAD

I don't understand.

JAKE

We'll be partners.

GAD

I work alone.

JAKE

I can help.

GAD

Anything that helps complete my mission is good.

JAKE

I help you, you help me. Okay?

GAD

I have my duty. Nothing can interfere. I cannot be concerned about your problem. I must recapture these criminals. Or kill them. Or they must destroy me.

JAKE

You could team up with me.

(Gad just stares)

I can show you how not to stand out, how not to create culture shock? I know the territory. You need me.

The alien doesn't answer, picks through the smoking remnants of his spaceship. Some pieces he keeps, some he throws in the smoking pit. The keepers form a huge pile. He lifts it easily and trudges off with it. Jake follows. Ahead, there is a small fissure in the rock, a tiny cave.

INT. CAVE

Gad enters followed by Jake. He drops the stuff in a pile, sorts it, pulls out a twisted piece with a familiar look.

JAKE

What is that?

GAD

A weapon... useless.

JAKE

See? You use that in public, you're gonna get attention. You're gonna be the next pulp novel. You don't want to leave a trace, use one of these.

Hands him his six-shooter. Gad examines it.

GAD

Only six shots?

JAKE

You can't hit them in six, you deserve to die.

GAD

(examines it closely)

Such tolerances. It's a wonder you can hit anything at all.

JAKE

I do okay.

GAD

I can improve this, make it shoot where you point it.

JAKE

You do that. I'll give you this blanket. Look! Cut a hole here, a serape. A disguise. Deal?

Gad considers. Then he starts tearing apart components from the debris and reconfiguring them...his hands a blur.

CAMPFIRE - LATER THAT NIGHT

The fire has burned low. Faint flashes wake Jake. He rolls over in his bedroll, looks up. Gad works away over a jury-rigged electric forge.

JAKE

Gad.

GAD

Yes, Jake.

JAKE

Aren't you worried that I'll give your secret away?

GAD

You're wandering alone in the desert. According to your Bible, you people see lots of strange things there. Who's going to believe you?... Jake?

JAKE

Yes Gad.

GAD

I must be...outside your experience. How is it you accept me?

JAKE

(shrugs)

See the stars up there? Each one a sun like our own. With planets. I never believed we were alone. However...I do have questions.

GAD

Yes?

JAKE

Don't you sleep?

GAD

Not as you know it.

JAKE

Eat?

GAD

It's not necessary.

JAKE

Oh.

GAD

But you accept?

JAKE

You? Yeah. That's easy. My brother killed, my home taken away... everything ...That's hard to accept.

GAD

I don't understand.

JAKE

Okay. I just came in on the stage...yesterday...

LAZY R RANCH - SAME TIME THAT NIGHT

Lem and Clu gallop up, leap off their horses, stumble toward the house. Bart cuts them off, jumps down, grabs them.

BART

Where the hell you think you're going?

LEM

I...I...I...

BART

You're going nowhere. You're saying nothing to nobody.

He sees by their expression it,s too late. He turns. Stansbury stands there. His expression is one of cool anger. Everything he says is, by the way he says it, a threat.

STANSBURY

I take it...there was a problem.

BART

There was... there was like this comet or something... some shooting star!!

STANSBURY

Comet.

BART

Comet, meteor, something. It shot overhead then it blew, it blew apart in mid-air.

STANSBURY

Disintegrated. In mid-air?

BART

Yah. One part went this way, one part went that. There were pieces landing all around like hailstones. We had the guy. He was meat. Then this thing blew up in our faces. He took off like a rabbit.

STANSBURY

And you didn't by chance ... kill the rabbit?

BART

We chased him. But there wasn't one. There were two of them.

STANSBURY

Two?

CLU

Yeah, and this one was big. He was seven...eight..He was ten feet tall!

STANSBURY

Ten!

LEM

Ten at least! Twelve! Maybe twelve!

Stansbury grabs Lem by his lapels, lifts him straight up.

STANSBURY

Ten feel tall?!!! This... is ten feet tall.

(Lem is sputtering)

Why didn't you shoot him?

LEM

...Erggh!...shot our guns away.

CLU

It was dark. We couldn't see.

STANSBURY

It was dark. You couldn't see. But he shot the guns out of your hands. A comet, two pieces, a man ten feet tall. Expert marksman in the dark. Anything else?

LEM

We tried to kill him. Honest!

STANSBURY

I don't want to hear another word about this. Ever. Is that clear?

He drops him. Lem stumbles back into Clu. They go down. They scrabble up and scuttle away into the bunkhouse.

STANSBURY (CONT'D)

What do you think of this?

BART

I don't know what to think.

STANSBURY

Good. That's what I like about you. In the morning, take ten hands. Find these men...And any sign of this ...comet.

CU - A STICK FIGURE

made of twigs BLOWS APART.

EXT. CRASH SITE - NEXT MORNING - THE SIX-SHOOTER

Gad shows him the new, improved model.

GAD

Six shots in the revolver, twelve in the handle, a hundred and twenty-six down the arm. Rifled barrel, expansion shells.

Jake takes it.

JAKE

Geez. You could take on an army with this...

GAD

Jake, what are you going to do?

JAKE

Get my land back. Avenge my brother.

GAD

How?

JAKE

I guess...I'll just have to kill them all.

GAD

Have you ever killed anyone?

JAKE

No. But I know the theory.

GAD

Theory. Good.

JAKE

I don't have a choice.

GAD

(studies him)

Yes. I see.

JAKE

Will you help?

GAD

I'll teach you what I can.

JAKE

Okay!

GAD

You will have to kill any humans yourself.

JAKE

...Seems only fair.

TARGET

Jake draws fast, fires six, looks at the pistol in awe.

JAKE

Wow!

GAD

draws his own pistol and looses a cannonade. He destroys the target in a gout of fire, shreds trees behind and digs up the hill. He slaps his newly forged gun into a holster.

JAKE (CONT'D)

Jesus! You know...that's gonna cause ...talk.

GAD

Yeah?

JAKE

Yeah...so we gotta call you something. Where did you say you were from?

GAD

Sirius 23.

JAKE

Okay, you're the Sirius Kid.

GAD

Why kid?

JAKE

Anybody that fast gets called Kid.

BODY ARMOR - GAD

hammers it, pulls it off the forge. Jake puts it on.

JAKE (CONT'D)

What the hell's this supposed to do?

GAD

Shoots him. Jake is blown back, rolls over and over, thinks he's dead, feels himself. Looks up at Gad.

JAKE (CONT'D)

Next time. Just tell me. In words.

(He studies the armor.)

Hey, this is great!

GAD

Now all you have to worry about is a head shot.

(Jake looks sick)

Remember, if they stand in front, you can stand them down. If they move to split your targets, you make your move.

Jake looks at the gun, hesitantly. He aims and fires at a target. He misses. He fires again, again. Finally, he hits it. Gad rolls a rock to the cave entrance, turns to Jake.

GAD (CONT'D)

You don't shoot so straight.

JAKE

Maybe I should change my stance.

GAD

Maybe you should change your plans.

JAKE

Maybe you should change yours and help me.

Gad turns away. Jake follows.

JAKE (CONT'D)

They killed my brother. I don't care if there's twenty against me.

GAD

You should stay out of gunfights. And town.

JAKE

I have to go back.

GAD

You should leave that to the professionals.

JAKE

Love to. There aren't any around. Except you.

Gad seals the rock into the cave with pressure, walks away.

JAKE (CONT'D)

Where you going?

Turns, stops, regards him.

GAD

After the aliens.

JAKE

Like that?

GAD

Like what?

JAKE

Walking. On foot.

Gad looks around...like "What else?"

JAKE (CONT'D)

We use horses. You ride. They walk.

Gad keeps walking. Jake catches up. Gad stops.

JAKE (CONT'D)

Horses. Big animals. Four legs. One on each end.

GAD

You mean like those.

He looks far off on the distant horizon. Jake can't see.

JAKE

What?

Dust in the distance... Across the prairie.

GAD'S POV - TELESCOPIC - ZOOMS IN

on a herd of Mustangs grazing in morning mist.

JAKE (CONT'D)

No, not those. Those are wild mustangs. They aren't even broken.

GAD

I don't want a broken one.

JAKE

No. Broken for riding.

GAD

Let me handle this.

Gad runs off, leaps over the cliff, hops down the mesa.

GAD - TRAVELING

Down the butte, leaping from rock to rock at high speed.

LEVEL GROUND

He takes off running fast. Jake tries to keep up, but the alien accelerates and leaves Jake in a cloud of dust. Jake tries a leap that Gad took easily. He slams into a ditch.

JAKE

Oooff! Some partner!

GAD - TRAVELING

Gad runs at SUPERSPEED, vaulting wadis and rock formations.

HERD OF MUSTANGS

Grazing. They perk up, notice something in the distance.

JAKE'S POV

A pinpoint, a long rooster-tail of dust marks Gad's passage.

THE MUSTANGS

A dust cloud approaches them. Leading the cloud, Gad. A warning whinny from the leader. They rear and take off, galloping full tilt across the mesa.

TRAVELING

Gad accelerates up to them. He grabs one by the mane, swings up onto his back and settles in for an incredible ride. The pony tries every trick in the book, but Gad stays on. The others pull up and watch the fight from the distance.

JAKE - LATER

Gad walks up, leading two horses. He whistles. They follow.

GAD

Not so tough. Once you get their attention. See? Gentle as a Simurian Swamp Lizard. Go ahead.

Jake looks askance, but the horse seems gentled. He hops on.

GAD (CONT'D)

See, no prob...

All hell breaks loose. The horse leaps straight up, does a half-gainer and tries to bite him on the way down. Jake hangs on for a beat then is launched into the sagebrush.

Gad walks over, applies a Valdenusian throat hold on the animal and it becomes docile.

GAD (CONT'D)

Just squeeze here.

Jake does. The horse looks at him strangely.

Gad grabs his mustang's mane, swings up on his back. With more difficulty, Jake does the same.

GAD (CONT'D)

Adios. Good luck, Jake.

He turns the horse, starts down the trail. Jake prods his mount, follows. Gad stops and turns to him as he catches up.

GAD (CONT'D)

Where are you going?

Jake hesitates, then points ahead.

JAKE

That way.

GAD

I...am going...that way.

JAKE

I was going that way, too. You got a problem with that? You own the desert or something?

GAD

These aliens...are very dangerous.

JAKE

I can handle myself.

GAD

Turn and run. That's your only chance. They would consider you... xorkspurl.

JAKE

Xorkspurl?

GAD

A form of ...cattle. They would kill you. Take your clothes and take your body form.

JAKE

Now that...would piss me off.

(but he's shaken)

What was their crime?

GAD

Lskdflsk Mlkdjfl.

(Jake just stares)

It's so bad you don't have a word for it. They kill without hesitation. They won't give up. They'll have to be killed. You could get killed.

JAKE

Thanks for your concern.

GAD

It would...

JAKE

I know. Distort history.

GAD

Yes, especially your own.

They ride off down the mesa... Their argument FADING UNDER NATURAL SOUNDS of the desert.

JAKE

Why don't you let me worry about history. See there;s plenty of historical precedent for two guys teaming up...there's... Cain and Abel, Hector and Achilles, there's Wells and Fargo... There's...

EXT. DESERT - TRAVELING - NEXT MORNING

The Sangre de Cristo Mountains are red, pink and purple in the heat shimmers of a rising sun. They ride side by side over broken rock terrain. They ride bareback. Gad seems perfectly balanced on the horse but Jake is having trouble. The horse lurches. He slides off, slams to the ground.

GAD

Something you want to tell me about?

JAKE

Saddles. Big pieces of leather. Tanned...treated animal skin. Look...

He shows him a picture in the Western book, WAY OUT WEST.

GAD

Ah....YES.

(But Gad is not looking at the book. He points down.)

Trails. See?

Gad rides on. Jake leans over, studying the ground.

JAKE

This is rock. How do you track 'em over hard rock?

GAD

Polarized scan. Micro scratches in the crystal.

JAKE

Sorry I asked.

Jack remounts. Gad studies tracks, looks into the distance.

GAD

They couldn't be far. If they think they're being followed, they'll split up.

JAKE

Gad...These aliens, what do they look like?

Turns, stares at him.

GAD

Like you. Only better.

JAKE

Like me?! Just like humans?

GAD

Humanoid, yes. Biped. Air breathing. They come from Conus, a world similar to this one. Little prettier, maybe.

JAKE

Prettier? Prettier than this?

GAD

Don't get mad.

JAKE

I'm not mad.

GAD

It's a nice world.

JAKE

Nice!

GAD

You have to understand. I've been around. I've seen the cliffs on Deros 5, Zirg Swamps on Renil 16. I've seen things.

JAKE

Gad.

GAD

Yes human.

JAKE

How do we recognize them?

GAD

Ah, well, that's the problem. These humanoids are shape shifters.

JAKE

Shape what?

GAD

Masters of disguise, that's why they're so dangerous. They'll kill a human and take his form.

JAKE

Just kill someone?

GAD

Torture and study him first. They'll look human.

JAKE

But you look kind of alien.

GAD

I...have more pride.

(a beat)

If they're mixed with humans, it's tough. Have to confront them, make them give themselves away. Some ability a human wouldn't have. They come from a larger planet. They'll be denser, heavier, stronger.

JAKE

But you'll recognize them?

GAD

Maybe.

JAKE

You're in trouble then. You don't know what they look like now, but you're kind of obvious. They'll recognize you.

GAD

That's what makes police work so interesting. (a beat) They might not expect me. Might think I died in the crash.

JAKE

See? You need somebody to show you how to act, how to dress. Disguise yourself... fool 'em.

Gad stares blankly at Jake's derby, his suit...all in shreds. Jake looks down. His shoes have holes.

JAKE (CONT'D)

Don't go by this. I know what I'm doing.

He hands Gad his derby. Gad looks at it. Jake indicates. Gad puts it on. In serape and derby...he's definitely different.

A SHOT. Then ANOTHER. The horses spook. They spur them, ride. THREE MORE SHOTS, seconds apart. They crest a ridge.

THEIR POV - A CLEARING BELOW

A wagon. Mules hobbled nearby. Four mounds in the field.

ANGLE - THE WAGON - THE FIELD

They ride down. The mounds are dead buffalo.

GAD

Five shots. Four buffalo.

JAKE

So, he missed.

HUNTER

But I won't miss again.

They look. An eye and the large-bore snout of a Sharps Buffalo Rifle appear over the mound of a nearby buffalo. The bore sights on them. Jake raises his hands. The BUFFALO HUNTER raises his head. His big, sun-burned face sports mean eyes, a red-veined nose and wild hair under a broad hat.

JAKE

We mean no harm.

HUNTER

I could kill you right now, just to be sure.

JAKE

Well, if I remember correctly, that's a Sharp's rifle. Single shot. Two of us.

(moves away from Gad)

If you really want to do that, you're gonna have to be quick. And guess right.

The rifle swings back and forth from Gad to Jake as they speak. Gad swings his leg over his horse and slides to the ground. The hunter gets up, backs off slightly. He wears a dirty shirt and blood-stained butcher's apron. He keeps the rifle centered on them. Gad walks over, studies the buffalo.

HUNTER

You pilgrims looking for something?

GAD

A saddle.

HUNTER

A what?

GAD

Big piece of leather.

HUNTER

I know what a damn saddle is. What I don't know is where you expect to find one around here.

GAD

Dead animals.

HUNTER

Them are buffalo. And they ain't even skinned yet, let alone tanned.

GAD

You killed four. You gonna eat them all? By yourself?

Gad's intimidating. The hunter licks his lips, nervously.

HUNTER

What? No. I don't eat 'em.

GAD

No, what do you kill 'em for?

HUNTER

For the pelts, wha'd ya think? And why ya askin' so many damn questions?

GAD

I'm looking for someone.

HUNTER

Oh yeah, Out here?

GAD

Yeah, seen any tracks?

HUNTER

What kinda tracks?

GAD

Five...men. Walking.

HUNTER

Walking! Out here? are you kiddin'?

GAD

No. I'm totally ...Sirius.

He tips his derby. The hunter gets a good look at his face, goes still. Jake inches away. The hunter turns, covering the movement as he slips a big skinning knife from his belt.

Gad leans over the carcass. He grabs the 400-pound animal behind the head. A quick flip, a rip. He does the tablecloth trick. The denuded carcass spins into the brush.

Gad retains the skin. The hunter's mouth drops. He brings his rifle up.

GAD (CONT'D)

Now, what d'you tan it in?

He holds the hide before him like a toreador, cloaking his body, moving slowly toward the hunter, blocking his shot at Jake. Tactically, the hunter cannot allow it. He brings his gun up. They FIRE AS ONE! Gad looks at a hole in the pelt. Missed him. His smoking gun's already back in its holster.

THE HUNTER

has a hole between his eyes.

JAKE

is stunned.

JAKE

You killed him.

GAD

He needed killing.

JAKE

You didn't even give him a warning.

GAD

Don't normally do that. He killed the real hunter, buried him right under the buffalo. He was gonna kill you.

JAKE

And you.

GAD

That'll be the day.

A SOUND. He turns. The skinning knife WHIZZES through the air, followed by a single shot from the Sharps.

GAD

ducks the knife, turns sideways. The shot clangs off his shoulder. Gad RAPID FIRES! The hunter's driven back, a riddled clump. Jake picks himself up.

GAD (CONT'D)

One other thing. You gotta be sure you kill 'em good.

The ALIEN dies. As he does, he shrivels up, SHAPE SHIFTS back to an alien form. Jake is terrified. He turns.

GAD

rapidly disappears into a hole. Dirt flies over his head.

GAD (CONT'D)

Bring him here.

Jake grabs the "arms", tries to drag the body over. He slams to the ground. The body hasn't budged.

JAKE

Ooof! He must weigh 900 pounds!

Gad hops out of the grave, drops the alien in like cordwood. A blur of motion, the grave is covered up and tamped. Gad sits to repair the damage to his shoulder.

JAKE (CONT'D)

You gonna just dump him in and walk away?

GAD

Yeah, otherwise, they smell. What's the matter?

JAKE

You could say a few words.

(Gad just stares)

Not right not to say something.

GAD

Okay.

(Stands over grave)

Here's a Cyntis criminal. Had to kill him. He's dead, so I left him here.

JAKE

Not exactly what I had in mind.

(Gad moves aside, waves Jake to the grave.)

Ahem. Lord... Here's an alien. I suppose he had a soul like we do. If so, may he rest in peace. Amen. Okay, let's go.

GAD

Feel better now?

Jake hands Gad the Skinner's broad hat. Under dark shadow he looks like Clint Eastwood as the Man with No Name. Jake roots through the hunter's wagon and takes western gear; a hat, shirts, a coat. Gad finds a Cherokee arrow and looks at it curiously. Jake takes the Sharps rifle. Gad grabs the Buffalo hide. A lazer glows in his finger. Quick passes, the skin's sliced into rough saddles, bridles. They mount.

GAD (CONT'D)

How do I look?

JAKE

Almost human.

GAD

Almost thank you.

They ride.

TRAVELING - MOMENTS LATER

JAKE

Gad, how'd you know he was one?

GAD

Answer to my question didn't make sense. Kill all these magnificent animals and just leave the carcasses there to rot! Only an alien would think like that. As you say, in-human.

JAKE

Ummm...Gad, I hate to break this to you, but...

Jake gestures and explains VOICE UNDER as they ride away.

GAD

stops abruptly, turns to him.

GAD

You're kidding...

HIGH DESERT - TRAVELING - HOURS LATER

Gad fiddles with the Cherokee arrow as they ride. He has high-tech tools from his utility pouch and seems to be affixing something to it. He shows Jake what he's doing as they ride through beautiful valleys. Gad's impressed.

JAKE

...so, does a person like you ...have a... a family.

GAD

What. Like born beings?

JAKE

Yes.

GAD

No.

JAKE

Do you get lonely?

GAD

No.

JAKE

I bet if you had a friend, you know, someone close... I bet you'd grow to like it...

GAD

I don't think so.

JAKE

My brother Luke and I were close. Whenever I was in trouble he would help me. Whenever he was in trouble I helped him. Now, I don't know what to do.

GAD

That why you want a partner? To replace your brother?

JAKE

No. No one can replace my brother. But whoever did it...you could be my partner and help me kill him.?

GAD

Ah yes. Revenge.

JAKE

You know it?

GAD

It was in your bible. An eye for an eye. A tooth for a tooth. But what for a brother?

He looks down at the alien tracks...they lead to...

STAGE RELAY STATION

A low adobe ranch with corrals and a sod-roofed barn. The unhitched stage stands empty as the driver changes horses. Gad and Jake ride up.

JAKE

Passengers. Drivers. If the aliens are in there, they'll recognize you. Will you recognize them?

GAD

I have to. I must separate them from the humans. Harming humans would be bad. I must shoot only aliens.

JAKE

What if a human shoots at you. Or worse. Me.

GAD

I can only fire back when in mortal danger. And then, to wound, not to kill.

JAKE

Oh, great! Then why'd you save me back at the butte.

GAD

I wasn't saving you. I was defending myself.

JAKE

Oh. Great. Anything else?

GAD

You sure you want to go in there with me?

JAKE

No. I'm not.

GAD

You going in there with me?

JAKE

Yeah. I am.

DOORWAY

Jake and Gad step to opposite doors.

GAD

On the count of two...

JAKE

Two...why two?

GAD

Everybody counts to three.

INT. RELAY STATION

Dusty passengers sprawl at low tables on a thick plank floor. A PRETTY WIFE, a SOUTHERN GENTLEMAN, a FLOOZY.

GAD

At his entrance, he stops conversation dead. The Mexican, host, PEDRO, turns, smiles broadly, moves toward them.

PEDRO

Welcome travelers! Welcome. We have fresh beer. I made it myself.

(Pours beer into mugs, smiles broadly)

Just in time for lunch. You meeting the stage?

JAKE

Ah, no. Just passing by. Smelled the cooking. Smells good.

PEDRO

My Maria, she is best cook in the valley. Come, sit.

(calls toward the kitchen in Spanish))

Maria, two more for lunch, por favor.

Clattering pans from the kitchen. MARIA enters carrying heavy pots filled with chili and tortillas. She is broad and heavy, with the features and black hair of an Indian.

The passengers dig in as if they've never seen food before. They look at the newcomers curiously as they shovel chili in. Their eyes widen as they study Gad who stands quietly but alert back in the corner. His silence is intimidating. Zane walks in, spurs jingling. He recognizes Jake.

ZANE

McCord! What brings you here? What happened to your clothes? And who is that?

Gad stands in shadow, face hidden by the hat. Pedro walks across the creaking floor, passing out beer. Gad notices...

JAKE

Him? Oh... Friend of mine.

ZANE

Well, step up to the table, man. My partner'd like to buy you a drink. That right, Mo?

DRIVER

Sure. Come on into the light. You're making people nervous.

GAD

(to Jake)

They're here. I feel 'em.

JAKE

They all look human to me.

GAD

They would.

The Driver comes over, offers a drink to Gad, studying his face in shadow. Gad hesitates.

ZANE

What is he, Indian?

JAKE

(to Gad)

Try it. It's a social thing.

Gad takes the drink, slowly raises it but doesn't drink.

ZANE

How'd you like Deadwood? All you hoped it'd be?

JAKE

You were right. You taking these people there?

ZANE

No. Heading the long way around. Indians...

WIFE

Indians! Oh, my.

SOUTHERNER

Don't worry ma'am. Just talk. Why, a lady like you has nothing to fear as long as I am around.

WIFE

Why thank you, sir. You are a gentleman. I always depend on the heavy armament of strangers.

They look at Jake and Gad hard. Gad could be an Indian.

ZANE

Heard you were thrown out of town by the Sheriff.

JAKE

That's right.

ZANE

What'd you do?

JAKE

Difference of opinion.

MA'AM

Thrown out! You look like such a nice young man.

JAKE

Thank you ma'am.

MA'AM

But I'm sure the Sheriff has his reasons.

Gad slowly clears his serape from his weapon. They notice the move. The diners look at him nervously. The Southerner wipes his mouth, lets his hand fall below the table. Gad stops his movement with a glance. The Stage Driver turns toward Gad's intimidating presence, clearing his gun hand. On edge, close to going for their guns. Suspicion grows. Zane cradles his gun, stares hard. Jake nods to the window.

JAKE

New graves.

PEDRO

Yes. Terrible thing. Found a couple a bodies on the trail.

JAKE

Yeah, what happened?

ZANE

Don't know.

(looks hard at Gad)

Maybe Indians. Red Wolf's off the reservation. Indians or highwaymen. Dangerous parts these days.

JAKE

Who were they?

PEDRO

Strangers. Never saw them before.

JAKE

Anything unusual about them?

ZANE

They were dead.

DRIVER

Round here, that's not so unusual.

GAD

You bury them?

DRIVER

Me, no. Pedro did that.

Gad eyes everybody. He separates...moves back into shadows. That makes the driver nervous. They turn on him. Zane inches his weapon up. The driver eases a pistol. Gad's hand hangs near his weapon.

JAKE

Wait. No problem here!

The Floozy pulls an enormous weapon from under her skirts. A Mexican Stand-off. Everyone's armed to the teeth. The kitchen door opens. Pedro tries to calm everybody with food and tequila.

PEDRO

Senors. Calm down. Everything is nice. Maria has made tamales. Very good. We eat, drink. There is no need for...

A SOUND. SQUEAK, SQUEAK...SQUEAK. Gad turns.

THE MOVEMENT

Like a logjam breaking, they all grab weapons. Hammers click back. Pedro holds his hands up to stop it. They are frozen.

PEDRO (CONT'D)

Por favor! Por favor!

SILENCE. Except for SQUEAK SQUEAK SQUEAK.

KITCHEN DOORS

swing open. Maria, with plates of food. Her feet on the CREAKING floorboards... They SAG DEEPLY under her weight.

GAD

He knows.

PEDRO

knows Gad knows. A gun appears from under his apron.

THE ROOM EXPLODES

Everybody draws, fires, dives for cover. Maria vaults into the kitchen, reappears, swinging a gun.

JAKE

Gad!

Jake gets off a snap shot. Maria disappears. Her shot goes high, shattering a shelf above Gad. Gad holds his ground, dodging bullets. He doesn't shoot at humans, but at objects, knocking them into humans, spoiling their aim.

PEDRO,

Pistols blazing, he rushes Gad. Gad turns, kills him. The wall behind Gad EXPLODES. Maria, half her human disguise blown away, steps through the hole she's made with a shotgun. She blasts away.

Passengers dive behind tables that are shredded by the shotgun blasts. Maria swings the gun on Gad. She fires as Gad fires. Maria is blown back through the door.

TEQUILA GLASSES spin and jangle on the floor in the silence. The humans pick themselves up, guns leveled. Zane and the Driver have their guns aimed at Gad. Gad holds his ground. He tries to calm the passengers.

GAD

Criminals. Escaped criminals. Dangerous.

FLOOZY

They're dangerous!

JAKE

Aliens.

(Gad glares at him.)

He's a marshal. A lawman.

GAD

(shows his badge)

My apologies, Ma'am.

Jake turns to Zane and the driver.

JAKE

They drew first. Why would they do that? They're criminals. We've been chasing them. The real Pedro and Maria are in those graves in back.

WIFE

(shaken)

They were right about the West.

Gad stares down Zane and the driver. It's safer to believe him. They decide not to take him on. Slowly, everybody lowers their guns.

EXT. STAGECOACH - STOP - GRAVEYARD.

Gad drags the bodies out as they shrivel. Zane sees them start to change as Gad quickly throws a serape over them.

ZANE

What the hell was that?

JAKE

Optical illusion.

ZANE

Huh?

JAKE

Like a mirage.

ZANE

Huh?

Jake ushers him away. Gad's scanner BLEEPS as it confirms their ID. He indicates the recent graves. He starts to dig.

JAKE

Two extra graves?

GAD

It's the Wild West. Who's gonna know?

EXT. STATION

Passengers come out, walk by the graves, dusting themselves off.

DRIVER

What did he say they were, Aliens? What's that mean?

FLOOZY

They must be from Canada.

ANGLE - STAGECOACH

Passengers board. The Driver leans down from his perch.

DRIVER

I don't care if she was an alien...she made damn fine chili...Yehawww!

He whips the horse and the stage pulls away. The corral...

GAD

Three horses gone. Tracks head west. Heavily laden.

DESERT - TRAVELING MONTAGE

They track heavily laden horses through incredible vistas... Jake takes pot shots at various targets. He misses. Gad notes that he does.

GAD

You missed.

JAKE

Wasn't aiming at that.

GAD

Let me fix that front sight for you.

Jake hands him the gun. Gad takes it, works on it as he looks up at the distant mountains.

GAD (CONT'D)

Kind of pretty.

JAKE

Kind of...?!!

GAD

Nothing like Arcturus 5.

JAKE

Arcturus 5! What's Arcturus 5 got?!!

GAD

Boiling methane pits in starlight. Very Nice.

JAKE

Oh, yeah!? You ever see Yosemite... The grand Canyon? We got starlight. We got moonlight over the Sangre de Cristos...

GAD

If you love the West so much, why'd you leave it.

JAKE

I don't love it. I hate it. It's smelly. And it's filled with low-lifes. Good thing I know my way around, or you'd be all at sea.

GAD

At sea?

He looks around.

JAKE

Figure of speech. Never mind. I mean, I'm covering your back, you're covering mine. You saved my bacon at the butte. I ruined Maria's aim at the station.

GAD

Bacon?

JAKE

Figure of speech. Try to get the general gist of what I'm saying. Which is... we're a natural. We're a natural team.

GAD

You mean a homo sapiens medical student and an alien cyborg lawman?

JAKE

(defensive)

Yah, sure. Why not?! I made friends with a prairie dog once. Gets lonely in the West.

They pull up. Tracks lead into a box canyon.

JAKE (CONT'D)

I know this place. Hole in the Wall. Box canyon. One way in. No way out.

GAD

Well, if they went in, that's good for us.

JAKE

No. Bad. Hole in the Wall. It's filled with outlaws, drifters, half-breeds...

GAD

Good. We won't stand out, then.

Gad rides on. They pass through a defile. A SHOT rings out!

WILBUR

Hold it. Who goes there?

JAKE

Jake McCord. And a friend.

The sentry shows himself, looks, comes closer.

SENTRY

Jake?!

JAKE

Wilbur? Is that you?

WILBUR

Yep. Sure is. Jake! You've changed.

JAKE

Wilbur, what're you doing here?

WILBUR

Me? Oh, well, Had some trouble with the law.

JAKE

You?!

WILBUR

(ruefully)

Yeah, me.

JAKE

You've changed.

WILBUR

No, the law did. That's why we're holed up here.

JAKE

Can we come in?

WILBUR

Sure, Jake, if you want to. Kind of a rough town.

JAKE

Need to rest up for a bit.

WILBUR

Sure, I understand. You're welcome to stay. Just, well I probably don't need to tell you...

JAKE

Tell me what?

WILBUR

Well, be careful. Don't get likkered up. And, y'know, stay out 'a the card game.

HOLE IN THE WALL

A street of clapboard hovels set into narrow canyon walls. with one cantina; an all-purpose dry goods store, bar, casino, bed-and-breakfast. They pull up, dismount, go in.

INT. CANTINA

Smoky, dark...figures sit in shadow. An overhead lamp illuminates the Card Game.

A pretty girl in gingham, KELLY, sings plaintively. The piano's badly out of tune. She sings between clinkers, carrying on bravely in the face of indifference.

GAD AND JAKE

enter, throwing a streak of light across the table. The cardplayers look up. One motions to shut the door. Jake does. The player is big, rough and ugly. He has a powerful torso and thick hands that could split rails. BORK.

JAKE

That's them, right?

Gad studies the card players...faces in shadow...just highlights in their eyes visible.

GAD

They look human.

JAKE

Humans! Come on! Them?

CARDPLAYERS

Spitting, grunting, cursing, slapping each other. The girl gamely launches into another chorus. Bork turns.

BORK

Hey you!

The girl stops.

KELLY

Me?

BORK

Shut up.

KELLY

It's my job...to sing.

BORK

It's your life if you don't shut up. You're distracting me. Sounds like hens being serviced.

Cardplayers laugh. She's insulted but defensive., .

KELLY

Nobody objected before.

BORK

They do now. Right, boys?

Some nod, some mumble assent. Nobody's challenging Bork.

Jake and Gad move into shadow. Bork glares at them.

BORK (CONT'D)

How about you?

Gad looks at him in the mirror.

GAD

You talking to me?

BORK

Yeah, you. Her song. What do you think of it?

GAD

I like it.

SCREEE! A chair pushed back. A player gets up. Without a word he walks out the door. Gad's eyes follow, then swing back. Kelly smiles at him, then looks at Bork, worried.

GAD (CONT'D)

It's... lovely.

BORK

Gets up, walks to the bar, studies Gad intently.

BORK

Strangers.

GAD

Just passing through.

BORK

A friendly game of cards?

JAKE

What do you mean friendly?

BORK

No killin.

(turns to others)

Course, a man refused a friendly game, that wouldn't be friendly, would it?

Bork walks back.

AT THE TABLE

He whispers to the player opposite him. The man throws down his cards, gets up, stalks to the bar. Gad looks at Jake. Could Bork be one? Kelly smiles sweetly.

JAKE

You gonna sing?

At Bork's hostile glare she moves further down the bar.

KELLY

Time for my break anyway.

Jake moves closer to Gad.

JAKE

Well, there's good news and bad news: There's trouble brewing. And you got yourself a girlfriend.

GAD

Which is the bad news?

JAKE

Gad.

GAD

Yeah, Jake.

JAKE

You don't know how to play cards.

GAD

They're doing it. How hard could it be? (Bork waves him down.) Quickly.

Jake turns his back to them, mumbles under his breath.

JAKE

Um, 52 cards, four suits of 14 each. You're dealt five...now the object of the game...

The players look suspiciously at them.

GREBE

You gonna ante up or stand there jawin' all day.

Gad pulls out a chair, sits down.

GAD

Ready to play, gentlemen.

GREBE

Name your game.

Gad leans ...Jake whispers ...

GAD

...Straight...draw.

GREBE

What's wild...

Gad surreptitiously glances at Jake. Jake hold up two fingers, pretends to scratch his ear.

GAD

Fingers.

(Jake glares at him.)

Er...twos...

GREBE

Twos? Deuces?

GAD

Yeah. Deuces

BORK

Where you boys from?

GAD

Philadelphia.

He slaps the cards down in front of Gad.

BORK

Deal.

ECU - CARDS, SHUFFLED, RIPPLED AND DEALT.

GAD

Shuffles once with incredible dexterity. Cards ripple. The player's jaws drop. They look suspicious. Bork glares.

BORK (CONT'D)

(a threat)

Play much?

GAD

(straight)

No.

Jake leans over, whispers..

JAKE

Not a good idea to show too much skill.

GAD

Right.

He fumbles, The cards go flying at Bork's face.

GAD (CONT'D)

Xshrxlt!

Bork and Grebe look up, hard.

BORK

What?

JAKE

(faking it)

Xerxnbaty!

The look at Jake, confused. But Gad stares at Bork and Grebe hard. By their reaction they've given themselves away.

MATCH DISSOLVE - LATER:

OVERHEAD - GAD

A mound of winnings in front of him. Jake stands off to the side, nervously watching. He leans over.

JAKE

What are you doing?

GAD

Winning. Big!

They deal again. 9, 10, 2, 5, King. He discards two. They deal. He draws and fills an inside straight. He lays it down, takes the pot. They are bullshit! Jake motions frantically. Gad pushes back. Jake motions him to the bar.

JAKE

You filled an inside straight!

FGAD

Had the cards in his hand.

JAKE

You looked through them?!

GAD

Sure. Doesn't seem like such an interesting game.

JAKE

It'll get interesting real soon. You're not supposed to look!!!

GAD

Should've told me that.

JAKE

That's cheating.

GAD

I can see their hands. What do I do, lose?

JAKE

You don't look. You win, they'll kill us.

GAD

We lose, they'll still try. Winning gives us a superior moral position.

Gad sits. They deal. Gad's cards: FOUR QUEENS! He looks at Jake. Jake sees the cards and blanches. He looks at the gambler's hard stares. They are quietly surrounded by guns.

GAD'S POV

Through the backs, he sees the card faces.

GAD

Takes three cards. Lays down a straight. Bork glares.

BORK

Do you know what the odds are at filling an inside straight without cheatin?

GAD

4,000,780 to one.

BORK

(stares hard at Gad)

Do you know what the penalty for cheatin is?

GAD

No. Don't you?

BORK

It's whatever I say it is.

GAD

...Okay...But when two aces are showing, odds get better; 898,496 to one.

(a glance between them)

You see nineteen cards below the straight and fifteen above, you're down to 6 to one. Considering your abilities. Odds are more like 2 to 1. So I took it.

They're dumbfounded.

GREBE

See? He's cheatin.

Bad guys start to move on him. Gad glances at Jake.

JAKE

Don't look at me. I can't help you, kid.

The players freeze.

GAD

Oh that's okay. I don't need help.

Suddenly, they're hesitant.

BORK

Did you say Kid?

JAKE

That's right.

GAD

You can call me Sirius.

GREBE

The Serious Kid. I think I heard 'a you!

GAD

It's Mister Sirius to you.

(turns to another player who's backing away)

What about you?

BOB

Oh, I didn't know you were the Sirius Kid.

GAD

You've heard of me?

BOB

Ahhh, No, I just know anybody called "Kid" is a problem.

BORK

Well, both you boys has got hisself a problem...

JAKE

Me? I wasn't even playing! Why me?

CLEM

You ain't called kid.

A beat. Jake stares at him hard, then gets his back up.

JAKE

Okay, Kid. Looks like we're both in...

GAD

Okay, Wild...

Now they turn and look at Jake hard.

BORK

Wild? You called him Wild.

GAD

Yeah.

BORK

Wild...Wild what?

GAD

Wild...Jake.

CLEM

Wild Jake? Wild Jake...?

They look skeptical. Jake mumbles out the side of his mouth.

JAKE

Wild Jake? Somehow, it doesn't flow.

GAD

Best I could do on the spur of the moment.

The bad guys move apart.

GAD (CONT'D)

Don't let them spread.

Bork dives. Grebe draws. Gad fires faster than you can see. Guys go down. The room fills with smoke. Light beams streak through holes blasted in the walls.

GAD (CONT'D)

Shoot, will you.

JAKE

At what? I can't even see.

Two figures come in the front.

GAD

Just do it.

Jake shoots. Bullets hit the bar, nowhere near the gunmen, Gad's shots hit rifles held in front of their chests. The force blows them outside, tumbles them across the street.

EXT. STREET

They roll to a stop, stagger to their feet, check themselves. Except for bruises, they're unharmed.

EXT. SALOON

Gad strides out. They reach for their guns. Gad's hand is a blur. The ground around their feet erupts. They do an impromptu bullet dance. He leads them with fire down the street and around the corner. Behind him, Jake fires.

GAD

Enough.

JAKE

What?

GAD

Stop shooting. They're gone.

BORK

So are you, mister.

Bork has the drop on Gad. He leads them out into the street.

EXT. STREET

Bob and Grebe run up, take his gun, curiously look at it.

BORK

We'll teach you to cheat at cards.

GAD

Already know how.

Clem hands Bork a rope. Bork lassos Gad. The rope settles around his shoulders. Jake motions Gad to make his move, but he shakes his head, no.

JAKE

Do something.

GAD

I can't move til they give themselves away. But it looks like they're all in one place. Our troubles are over.

JAKE

Oh yeah?

Bork ties the rope to the pommel of a massive stallion.

JAKE (CONT'D)

Wait!

BORK

No, no. That's alright. Your turn'll come.

MAIN STREET

They hold Jake at gunpoint. They drag Gad over to a horse. He looks at Jake and seems to wink.

KELLY

It's almost like he's having a good time.

JAKE

He's from Sirius. They breed them tough, there.

KELLY

You from Serious, too?

JAKE

Naw, Deadwood Springs.

KELLY

Deadwood!

JAKE

You heard of it?

KELLY

I'm from Deadwood.

JAKE

How'd you wind up here? ...with criminals...?

KELLY

Stansbury. Anybody who got in his way, anybody who had something he wanted, sooner or later found that he had done something against the law.

JAKE

You can't let him get away with that.

KELLY

Yeah, right.

JAKE

But...the law...

KELLY

There is no law. Stansbury makes his own.

They truss Gad up with more rope. Gad looks over at Kelly. She's horrified.

GAD

I liked your song.

KELLY

What?... Thanks.

(She grabs Bork's arm)

Whad'ya think you're doing?

BORK

A horse, a tree, a rope. Seems fairly obvious...

KELLY

You can't just hang somebody for nothing!

BORK

For cheatin at cards, for shootin at the boys here. An' for being a stranger with a bad attitude. (to Gad) I sentence you to this.

KELLY

Who are you to sentence anyone? You're no judge. You just rode into town yourself.

Gad takes note of this.

BORK

I did. And I see this town needs law. And I'm it.

Jake and Gad are dragged to an overhanging branch.

JAKE

He's one, Gad. And Grebe. What are you waiting for?

GAD

One hasn't given himself away.

JAKE

Wait a minute! You want to get hung?! You crazy?!

GAD

Well, it'll announce my presence. And, I'll have a good view of things.

They throw a rope around a branch. Two guys try to hoist him onto a horse but he's heavy. They struggle. BORK leans in. With one great heave, he pushes Gad onto the horse. Gad notes this, and winks. Jake slips up.

JAKE

I really don't think this is how police work's supposed to be done.

KELLY

Yeah, they mean to hang you. Until you're dead.

GAD

Better not wait dinner.

KELLY

You are the strangest...

GAD

'A coward dies a thousand deaths. A brave man dies but once.'

KELLY

What's that? Poetry? You're gonna be hung and you're quoting poetry?

GAD

Actually, it's Oscar Wilde. But of course, he lifted it from Shakespeare. Caesar and Cleopatra.

KELLY

(in awe)

Damn! I finally find a man I can talk to, and they hang him!

Bork and Grebe glance at each other, look at Gad suspiciously. He looks back. They inch toward heavy rifles in their saddle holsters as a wild-eyed PREACHER in a frock coat runs out holding a crusty bible up before him.

PREACHER

Sinner! (Gad looks over at him.) In your hour of death, do you repent?!!

Nonplused, Gad looks at Jake. Jake shrugs. Gad leans down.

GAD

Would it make you happy?

PREACHER

Me? Its your soul I'm talking about. Repent. Meet Jesus!

GAD

Well...okay.

Elated, the preacher hops forward. Looks at Gad hard.

PREACHER

Put your hand on the book.

Bork turns and sees him move. He cuffs the Preacher, knocking him sprawling and away from Gad. The bible goes flying. He falls, making a big indent in the dirt.

BORK

Get near him again, it'll be your soul in question.

GAD

Shouldn't treat people like that.

BORK

Well you're not in a position to complain.

GAD

On the contrary. I've a unique perspective.

Gad looks around, studies the crowd, the men moving up.

BORK

What are you looking for?

GAD

The... other one.

Bork reacts nervously. They take Gad's hat off to fit the noose. Bork recognizes him, moves toward the horse, Kelly intercepts him, grabs him.

KELLY

Let him down!

BORK

Yeah. Pleased to oblige.

He doffs his hat, bows deeply and swats the horse with it. The horse takes off, leaving Gad swinging in the breeze. A gasp from the crowd. Jake and Kelly turn away, can't look.

GAD'S FEET

Swing calmly.

KELLY

Looks up.

GAD

looks down at her and winks. She screams and stumbles back. Gad hangs there swinging...kind of bored.

GAD

And what is the point of this, would you say?

Bob's indignant. Bork and Grebe move toward their saddles.

BOB

To kill ya. Kill ya dead. Supposed to snap your neck, strangle you, at least.

(to others, irate)

Supposed to choke! Eyes pop. Tongue comes out. Turns blue.

CLEM

You ever done this before?

BOB

Suppose we'll just have to get the horse back, do it again. Where's the horse?

CLEM

He run off.

BOB

Well, go get him.

(kicks him in the butt)

What the hell, didn't anybody hobble the horse?

CLEM

Didn't figure we'd have to do it again. Usually, the first time works.

JAKE

You should plan these things better.

BOB

Plan a lynchin?

They freak. They pull on Gad's legs, trying to break his neck. Behind the crowd, he sees Bork and Grebe whipping rifles out of their saddle holsters. He snaps the ropes holding his hands, pulls himself up, slips his head out of the rope, drops down, no worse for wear. The guys back away.

BOB (CONT'D)

I'm ...I'm ...I'm really sorry. Wasn't my idea!

Gad strides through the crowd. They fall away revealing Bork and Grebe at their horses. They don't know whether to fight or run. They separate...and back away. Gad brushes by the preacher, who turns. The preacher moves after Gad.

The Preacher doesn't notice Jake who follows him. Jake can't believe it, but The Preacher is changing before his eyes.. The seam of his frock coat bulges, then rips up the back. His arms burst out of the sleeves, his pant legs explode as he bulks up. His hat shatters as his head swells to alien size. Townsfolk gape and back away. The creature crabs an ax from one of them and lifts it high above Gad's back for a killing blow.

JAKE

Gad, behind you!

Gad turns, ducks the whistling ax, and fires. The preacher's head EXPLODES. Rifle shots ZING past. Gad dives and rolls.

A RUNNING GUNFIGHT

They battle through the scattering crowd, the TWO remaining aliens using humans as cover. Gad exposes himself to their fire to avoid hitting men. The aliens corner him. He's hit, he glitches, freezes up. Jake jumps in front. They turn on Jake, giving Gad a critical respite. Jake fires at them, leaps at Gad, hits Gad's chest with both feet. Gad rolls over backward, comes up, the glitch reset by Jake's blow. Gad's gun swings up as Bork and Grebe, sensing his helplessness, run up firing. He stands in the withering fire, guns down the aliens. They lie sprawled in the dust. Jake picks himself up, looks for holes where there are none. Gad's already digging. Three graves appear. Aliens disappear into them as townsfolk gather. They look to Gad with awe.

BOB

Thanks. I hated those guys.

Gad turns and walks away.

KELLY

Wait! Where are you going?

GAD

...Home.

JAKE

Home? WAIT! I just saved your life here...again.

KELLY

Wait. How can I thank you?

GAD

Thank me? For what?

KELLY

For...for...well, for getting rid of those guys.

GAD

My... pleasure.

KELLY

And ...and for...for... liking my song. And and for the poetry. I never get to hear poetry. From men, I mean.

GAD

No?

KELLY

No...you're something... Something special...

This makes Gad apprehensive.

GAD

No. No I'm not. I'm just a ...man... A normal man. Just passing through. I have to go.

Gad strides to his horse. Reluctantly, Jake follows.

KELLY

Damn my luck. Who's gonna listen to me sing then?

GAD

Anybody. Anybody here would be glad to do that. Bye Ma'am.

Gad tips his hat, spurs his horse.

KELLY

Wait! Stay. We need people like you.

JAKE

Love to. I can't.

She ignores him, calls to Gad.

KELLY

Where will you go?

Gad moves away. Jake steps in front.

JAKE

Uh...Back to Deadwood. We... You know we all could go back.

KELLY

They'd kill us.

JAKE

Not if we kill them first.

KELLY

You can't take on Stansbury and his men alone.

JAKE

No. I need your help.

KELLY

These are just saddle bums. We're no match... Unless...

They look toward Gad.

JAKE

I'm... I'm talking about taking our town back.

(turns to Gad)

Gad wait!

(back to townsfolk)

Who's with me?

KELLY

Is he with you?

JAKE

Sure he is...

(He turns. Gad has mounted. He swings his horse away.)

He...he just doesn't know it.

(Jake runs after him.)

Don't go away. I'll be right back.

He leaps into his saddle, rushes to follow.

KELLY

Where are we going to go?

He rides off to catch up with Gad.

JAKE

Hey, wait up! Where are you going? They love us here, They want to give us the key to the city. And lunch. Wait!

TRAVELING

Jake catches up.

JAKE

They'd follow us. Okay, they'd follow you. We'd have the guns to go against Stansbury. Stop.

(Gad reins up.)

Admit it. I helped you get your aliens.

GAD

I admit it.

JAKE

Now...you gotta help me.

GAD

I'm sorry. No.

JAKE

(staggered)

We're partners. Y'owe me.

GAD

I never asked for your help. I was happy to have you along, but now I've got to go. You stay. They want you. You have a home.

JAKE

They want us both to stay.

GAD

My mission's complete. I cannot take further action. I can go home.

JAKE

Yeah, how you gonna get there? Wait a minute, I'm trying to talk to you!

MAIN STREET

Kelly watches them ride off. She turns toward the stables.

WILBUR

Where you going? After him?

KELLY

Ones like that, you don't let get away.

THE BUTTE CRASH SITE - LATER

Gad stands on the peak scanning with a high-tech scope. He moves to the cave entrance and rolls the rock away.

Gad pulls out one of the units he was rebuilding, aims a solar panel at the sun. Jake throws things in a saddle bag.

JAKE

You're going back to your planet?

GAD

Yes. I have my duty.

JAKE

Then what? You're gonna be sitting in that spaceship thinking about your partner.

GAD

Partner?

JAKE

Yeah, partner. You share food and danger and your fate with someone, you're partners. You watch each other's back...you put your life on the line for each other...

GAD

I don't understand.

JAKE

Yeah. You had a job to do and you did it.

GAD

I completed my mission.

JAKE

I know. You killed and buried them. No one'll ever know. You prevented culture shock. And I helped. Now what?

He powers up. Lights go on. He hits keys rapidly... A BLEEP, MICROBURST goes out as he sends out a distress signal.

GAD

Now I...must return home. The pod must be around here, somewhere. I'll find it.

Jake grabs high-tech things from Gad's cache including a spool of microthin wire. He straps on a second gun, babbles.

JAKE

Fine. I helped you. Put myself in danger. Shared good times and bad. Why? Because we're partners, sidekicks. One for all, all for one.

GAD

I don't understand.

JAKE

Common human feelings.

GAD

Human feelings...are beyond my programming parameters.

JAKE

I know. To be a partner, you have to make a commitment. That's beyond you.

GAD

My mission....

JAKE

The hell with it! There's more to this than your damn mission!

GAD

Yes?

JAKE

There's friendship.

GAD

That would interfere.

JAKE

Must be lonely.

(Gad turns away.)

You're worse off than I am.

Jake straps on his guns, saddles his horse.

GAD

Where are you going?

JAKE

To get my ranch back.

GAD

Alone?

JAKE

A man's got to do what a man's got to do.

GAD

Why?

JAKE

You wouldn't understand.

He swings into the saddle.

GAD

They'll kill you.

JAKE

If they do, then justice won't be done.

(He starts, then turns.)

And you're gonna realize that the bad guys won. And that you let your partner get killed.

He turns, leaves. A few paces. He looks back over his shoulder. Gad has turned away. No help from that quarter. He turns back and spurs the horse to a cantor.

THE CAVE

Gad enters, sits and tries to get his sensor working.

GAD

Human. Crazy. Can't go there. Whole town would find out. Culture shock. Against the law. Sorry.

CU - THE MONITOR FLASHES

He reacts to something. The SENSOR BEEPS - ALARM! A burst of static, then something in his language, then it breaks up.

GAD (CONT'D)

That's odd.

He jiggles it.

ON THE TRAIL TO THE LAZY R - LATER

Jake ties his horse and sneaks toward the ranch on foot. He HEARS HORSES, ducks back behind a sage.

Riders pass by, then a wagon, loaded with an enormous bulging thing, tarped and tied down. The horses strain, the wheels dig deep into the dust. Something very heavy.

EXT. LAZY R RANCH - NIGHT

He sneaks past guards, down a trench between corrals. The horses are spooky. He freezes 'til they quiet, then scuttles across open space to the house, looks in the window.

INT. BEDROOM - HIS POV

Stansbury and Lola. She is seated at a desk, doing the books. He leans over, puts a move on her. She resists.

LOLA

What do you want, Mr. Stansbury?

STANSBURY

Want?

LOLA

You don't want me. You may want to own me...show me off in front of the boys. You may want that. You don't want me. You want something...Don't you have enough?

STANSBURY

I need to be secure.

LOLA

Secure, my god! You own half the territory.

STANSBURY

Then, you might say, I'm half secure.

LOLA

You think you have some right to take over everything?!

STANSBURY

I don't know about right. I just do it and it works.

LOLA

You could be wrong.

STANSBURY

I never considered it.

JAKE

A SQUEAK behind him. He turns. The hands have unhitched the wagon and are dragging it into the barn. Jake scurries to the far side as Stansbury comes out of the house, crosses to the barn, enters. Jake peers in.

INT. BARN

Bart has something under the tarp. He's excited.

BART

Here it is, Boss. Right near where you thought it'd be. Never seen anything like it. What the hell is it??

Stansbury pulls up the tarp, glances under, slaps it down quickly. He's shocked, upset by what he's seen. He thinks. He grabs Bart roughly, pulls him into the corner toward Jake's position. He speaks in a whisper, but Jake can hear.

STANSBURY

How many saw this?

BART

Well, there's me, Shorty, Dog Breath and..Floyd.

STANSBURY

Good. Keep 'em here. And you, forget what you seen.

BART

Forget? How can I forget? It's...

Quick as a cat Stansbury slams him hard. Bart's head slams into the wall and bounces off. He rocks for a moment, blinking. It happened so fast he's not sure it happened.

STANSBURY

What'd you see?

BART

Wha...nothin' Boss. I seen nothin'.

The door SQUEAKS open. They turn. Lola. She gawks. Stansbury movess to her. Lola instinctivly backs away.

STANSBURY

Thought I told you to stay in the house.

LOLA

You did. You told me exactly that.

STANSBURY

Then what are you doing here?

LOLA

I got curious.

STANSBURY

You know what that did to the cat.

LOLA

I'm not a cat.

STANSBURY

Really.

(He takes her face in his big brutal hands At first, its caressing, then he starts to squeeze.)

Come on, now. Give me a little meow.

She resists him as long as she can stand it, then...

LOLA

Meoww...

He releases his grip. Now caressing again...

STANSBURY

Pretty little puss.

Her eyes flash furiously. She backs up. And glares at him.

LOLA

I'm ready to go now, Mr. Stansbury. More than ready.

STANSBURY

Why Lola...you're angry. I hope..I haven't lost a friend.

She's quick to react to the threat. Anger gives way to fear.

LOLA

Why no, no Mr. Stansbury. No. Not at all. It's just. I have to get back... there's the books...the books to do.

STANSBURY

By all means, yes. The books.

She looks at him in terror. His calmness itself is terrifying. She quickly turns and gathers her skirts.

LOLA

I'll... get my things!

He just smiles at her as she passes.

EXT. BARN

The door slams open. Lola crosses to the house in a hurry. Jake ducks down, then slips back up, peers in the window.

INT. BARN - JAKE'S POV

Stansbury beckons Bart. He steps up,

STANSBURY

Take Lola back to town. The back way. Take Shorty.

BART

Shorty? You sure? Shorty?

STANSBURY

Yeah. Have Shorty get rid of Lola. Then you get rid of Shorty. They've both seen too much.

EXT. BARN

Jake ducks down, scurries across the lawn to intercept Lola.

LOLA

You?! What're you doing here? What's the matter with you?! They'll kill you!

JAKE

They're gonna kill you.

LOLA

They're taking me back to town.

JAKE

You won't make it.

LOLA

That's crazy.

JAKE

You saw something. What?

LOLA

I don't know.

NOISE from the barn. He pulls her low. They slowly crawl toward her horse hitched in back. She studies him, whispers.

LOLA (CONT'D)

You ever been in love, Jake?

JAKE

There was a girl, once.

LOLA

Yeah? What was she like?

JAKE

It was so long ago...I was 13. She had beautiful eyes. Like yours, only...

LOLA

Only?

JAKE

Well, her's were innocent. I mean.. Yours are beautiful too, but in a different way, you know.

LOLA

Yeah, I know...

JAKE

I mean, you're different. You're a woman, a grown woman. You know things.

LOLA

Yeah, I know too much.

JAKE

Hanna was her name...

LOLA

Why'd you leave her?

JAKE

I had a chance to go east, to go to college, to learn. She was just a kid. I wrote...After a while...

LOLA

Know what happened to her?

JAKE

I guess she's gone.

LOLA

Yeah.

They come to her horse. Jake slips the reins, hands them to her.

JAKE

Run. Don't look back.

LOLA

Where am I gonna go?

He just looks at her. It's his line. She looks at all the horses, saddled and ready.

JAKE

Get back to town, pack your things and get out of here.

LOLA

I'll...I'll never make it.

JAKE

Yes you will. They'll be chasing me.

Before she can object, he walks out into the open.

Over by the barn, Clu and Floyd notice him. Jake stands up to them, feet spread and balanced, hands near his guns.

One by one, they come out and face him. Last to emerge is Stansbury, first confused at who it is, then outraged. the cowboys snicker as they line up against the lone avenger. Jake stands tall as they cock their pistols...They look at him, expectantly. How can he talk his way out of this...?

JAKE

Alright. All you assholes. Get the hell off my land!