double barrel pilot

8/13/2019 Double Barrel Pilot

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COLD OPEN:

EXT. SIERRA MOUNTAIN PASS -- DAY

CLOSE ON: A rabbit sniffs the cold air, its breath visible.Snow tumbles softly onto its eyelids. A SOUND. The rabbittwitches -- then darts into the brush as:

TWO WAGON WHEELS speed past. Bouncing over the frozen turf.

REVEAL: A stagecoach. Two heavily armed US MARSHALS rideshotgun. Lean, mean and alert. The windows of the coach arebarred with steel. A moving prison.

TITLE CARD: Sierra Mountain Pass, California. January, 1875.

We take in the scene now. Gorgeous mountain terrain, coveredby a white blanket of snow and ice. Cold. Gray. Desolate.

INT. STAGECOACH -- CONTINUOUS

Two more US Marshals, JASPER and MULLOY, sit on the bench inthe back. Both hardened by years in the elements. Not thesorts youd ever want to fuck with, armed or not.

Shackles CLINK as the coach hits a rut. Across from theMarshals, a PRISONER sleeps. His head rests against thebulkhead, a three week old beard on his face. Dirty.

Jasper KICKS the prisoners leg. Jolting him awake.

JASPERGit up.

The Prisoner sits back. Cold, emotionless. His handsshackled, his legs in irons. A chain runs through both setsof shackles and tethers him securely to the cabin.

EXT. STAGECOACH -- CONTINUOUS

The Driver pulls the four horses to a stop.

DRIVERWhoa.

Ahead, in their path, a tree has fallen. But theres no snowon it. Its as if it was recently placed there. The USMarshals riding shotgun ready their weapons. Nervous.

INT. STAGECOACH -- CONTINUOUS

Mulloy draws his colt revolver.


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MULLOYWhatya got?!

US MARSHAL (O.S.)Roadblock!

Jasper eyes the Prisoner whos fallen back asleep.

MULLOYWell, why dont you --

A GUNSHOT tears through the bulkhead andMulloys throat! Itsurprises the shit out of us and jolts the Prisoner awake --

JASPERSon of a --

GUNSHOTS riddle the bulkhead. Jasper and the Prisoner hit thedeck as wood splinters above their heads.

The Prisoner struggles with the chains, trying to kiss thefloor as the lead flies. He strains to get a look through oneof the many bullet holes in the bulkhead. The chains dig intohis flesh as he stretches closer. He can almost reach it --

THROUGH THE BULLET HOLE:Figures dart. Horses. Tough to seethrough this limited perspective. The Marshals return fire.

A FIGURE drops from the stagecoach and onto the ground. Oneof the Marshals. Gut shot. A pool of crimson spilling ontothe white snow. He writhes on the ground as a PINKERTON AGENTnears.

US MARSHAL

Please, help me--

A GUNSHOT cuts him off. The Prisoner strains to see more whensuddenly: A FACE APPEARS! Close! Scary as hell.

PINKERTONHello, there.

INSIDE THE CABIN:The Prisoner scrambles back from thebulkhead. He turns to Jasper but:

Jaspers dead. Eyes still open, a bullet hole through hisskull.

PINKERTON (O.S.)We can hear those chains of yours.

The Prisoner soaks in the sight. His eyes turn to Mulloysdouble barreled shotgun ...

PINKERTON (O.S.)Did ya really think hed let yajust walk away?

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Another GUNSHOT tears through the bulkhead.

OUTSIDE THE STAGECOACH:The Pinkerton walks closer to thecoach. Three more Pinkerton Agents surround the carriage,searching the Marshals bodies.

PINKERTONHe wants his merchandise.

The Agents open fire again. Unleashing round after round intothe coach. Then, suddenly, silence. Smoke rises as thePinkertons listen. Theres no sign of movement inside thecoach.

The men begin to reload as lead Agent nears the carriage.Cautious. He cocks his head, examining the bullet holesstrewn throughout. He bends down, taking a closer look.

Something metallic glints just inside.

BOOM!Both barrels discharge! Taking the Agents head alongwith it.

INSIDE THE CABIN:The cabin erupts with wood and splinters asthe remaining agents rain holy hell down upon the Prisoner.He ducks, covering his head, waiting for them to reload.

They do.

He spies the keys on Mulloys belt. He reaches, but itsimpossible. Hes stuck. The Pinkertons UNLOAD AGAIN!

The Prisoner covers his head. A round RIPS through his side.He winces. Blood blossoms under his shirt. No time for pain.

His eyes find the anchor hook on the ceiling. Withouthesitation, he quickly wraps the shackles around the hook,hoisting himself into the air ...

OUTSIDE THE STAGECOACH: The carriage smokes in the winter airas the Pinkertons encircle the wagon. Careful. Slowly closingin. One reaches the door ---

INSIDE THE CABIN:The Prisoner SWINGS his weight, thecarriage rocks and --

OUTSIDE THE STAGECOACH:-- Falls on top of the approaching

Pinkerton, pinning him underneath!

The last three Agents OPEN FIRE.

INSIDE THE CABIN: The impact jars the hook free from theceiling. The Prisoner is loose now, though still shackled. Hequickly grabs the pistol and keys from Mulloys belt.

He UNLOADS four shots on the overturned coachs floorboards.The wood splinters and weakens ... He kicks the boards loose--

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OUTSIDE THE STAGECOACH:Three Pinkertons left. They walkcloser to the overturned carriage.

CHUTHUNK. Two shells loaded into a double barrel. The Agentsnaps the weapon closed. He rounds the corner of the carriageand UNLOADS!

The shot scatters into the snow, kicking fluffy powder intothe air. No Prisoner. The Agent panics ...

THUD The Prisoner flings one of his un-cuffed shacklesthrough the floorboard and clanks it off the Agents head!

The Agent staggers as the Prisoner bursts through the brokenwood, quickly wrapping his shackles around the Agents neck.

The second and third Pinkerton round the corner --

In one fluid movement, the Prisoner snaps the Agents neckand grabs his arm, discharging the second round of the

shotgun into the chest of the approaching Pinkerton.

Before the last Pinkerton even knows what happened, thePrisoner fires two rounds from Mulloys pistol into his gut.The Agent drops to the snow. Bleeding out fast.

The Agent crawls in the snow towards his horse leaving atrail of crimson in his wake. The Prisoner takes the time tounshackle himself completely as he coolly walks next to thedying man.

The Agent reaches his horse and tries to hoist himself out ofthe snow by latching onto the stirrup. He reaches up,stretching for the pistol tucked neatly away in his saddle

bag.

THWACK! The Prisoner kicks the man back to the snow. ThePinkerton settles, coughs blood. It wont be long now.

PINKERTONHell find you.

The Prisoner keeps his weapon trained on the man as he riflesthrough the saddle bag. A letter with a blue seal catches hisattention. Its addressed to JAMES CUTTER. The Prisoner opensit and begins to read.

THE PRISONERYou James Cutter?

No response. The Prisoner kneels down close. He fishesthrough the mans pockets and finds his Pinkerton Badge.James Cutter, Pinkerton Agency, Chicago.

THE PRISONERWheres Mr. Cobb?

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The Agent looks away. The Prisoner slaps him across the face.He holds up the seal on the back of the letter. It has a nameetched in blue wax: COBB.

THE PRISONERGot a letter just like this oneawhile back.

The Pinkerton laughs, nearly choking on the blood quicklyfilling his lungs.

PINKERTONGo to hell, convict.

The Prisoner pockets the mans badge and stands.

THE PRISONERLead the way.

The Prisoner puts a bullet in the Gunmans brain. Then,

coolly, starts to unbutton his shirt ...

CUT TO:

EXT. SIERRA MOUNTAIN PASS -- DAY

The snow continues to fall. Heavier now. A thick, black smokebegins to obscure our view as we pull back.

REVEAL: The Prisoner, now dressed in Cutters clothes, slowlyrides off. Behind him, black smoke plumes in the cold air --the stagecoach set ablaze.

To us, he is no longer the Prisoner. To us hes now: JAMESCUTTER.

END COLD OPEN:

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ACT ONE:

EXT. URBAN STREETS -- NIGHT

CLOSE ON: Feet running like hell. A boot splashes a puddle,nearly trips but quickly regains balance.

REVEAL: THOMAS MCCLAY (20s), running for his life. A fullmoon bleeds through the thin layer of clouds, revealing afamiliar city in its infancy.

Thomas ducks down a narrow alley, heading away from thedocks. He rests against the wooden walls of a shanty.

He listens. Trying to control his breathing.

Footsteps. Coming fast.Thomas reaches for his revol--

THWAP THWAP Two gunshots ring out, the bullets just missingtheir mark. Thomas ducks and takes off running again.

Panicked. He races back towards the docks. We crane up,revealing:

TITLE CARD: San Francisco, February 1875.

The picturesque city in the making. A blend of a modern cityand frontier town blending into one.

CUT TO:

BLINDING SUNSHINE

EXT. DOCKS -- DAY

We regain focus. A CHILD, no more than 8, stands, eyes lockedon something we cant see. He cocks his head. Studying.

RACK BACK and now we see it. Thomass body, lying face down.

The child bravely pokes the body with a stick. No movement.Then, the child takes off, running.

EXT. STREET -- DAY

The child runs through the morning rush hour of horses andpedestrians. He runs into a --

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INT. SALOON -- DAY

The child ducks under the swinging doors and sprints quicklythrough the bar and out the back door. The saloon is halffilled. A lively card game in one corner, working girls anddrunks in the other.

COWBOY (O.S.)You cheatin bastard!

BENNY (20s), a bit too smart for his own good, rakes in hislatest pot. Based on the size of his stack, hes having agood day.

BENNYI wouldnt cheat you, Don. It dontmake no sense to.

COWBOYWhats that supposed to mean?

BENNYIt means youre terrible at this.

The rest of the poker players stop. It takes Benny a tick torealize hes thrown down a gauntlet. After a beat, he looksup from his stack of chips. He smiles innocently.

The other players lean back in their chairs, giving the twomen some room. The Cowboy stares at Benny. Intimidation.

BENNYI cant be the first person to tellyou that. You havent won a pot in

hours.

COWBOYIts hard to win when you beencheated.

Benny shakes his head. Knows where this is headed.

BENNYThats the second time youvecalled me a cheat.

Benny gets up, puts his money in his pocket.

COWBOYYou think youre leavin?

BENNYIll be at the bar. Drinking mywinnings. When youre ready to loselike a man, come and get me.

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LATER, AT THE BAR:

Benny takes another drink, careful to keep his eyes locked onthe bar mirror and the card game behind him. On alert.

CUTTER (O.S.)All these years and youre stilllooking over the wrong shoulder.

Benny turns to ice, forgetting to swallow his drink. He knowsthat voice. The whiskey in his mouth begins to burn. He downsit as we REVEAL:

CUTTER. Now freshly shaven, hat low on his brow. He motionsto the barman, ROMAN, for a drink. Roman pours a shot.

ROMANNew in town, friend?

Cutter glares at Roman. After a beat Roman nods and leaves

the bottle--

ROMANLet me know if you need anythingelse.

Roman scurries away to the far side of the bar as Cutterdowns his drink.

CUTTERI heard you left Nevada.

BENNYI heard you were dead.

CUTTERHeard that one too.

BENNYI swear, I didnt know--

CUTTER--I dont care what you didnt knowthen. I care what you know now.

BENNYI dont know nothing. And if I did,

Id tell you. I swear.

Cutter pours himself a second drink. His eyes flick to themirror. He notices Bennys card game breaking up. Thedisgruntled Cowboy still looks pissed -- and drunk.

CUTTERYour friends are about to pay you avisit.

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Benny sees them in the mirror.

CUTTERWheres Jim?

BENNYGone.

That hits Cutter, though its hard to tell.

CUTTERHow?

BENNYPinkertons. Last fall.

Benny shifts closer to Cutter.

BENNYI dont know what youve heard, but

this isnt the place to hang yourhat. I still got the cabin inAntelope Valley, I can get youthere by nightfall if we leave now--

CUTTERIm here for Cobb.

BENNYAnd you think I know where he is?

Cutter does. Benny scoffs and downs the rest of his drink.

BENNYI spent the past two years runningfrom that man--

CUTTER--And yet, here you are. In thevipers nest.

He stares right through Benny. Bennys poker face is good,but Cutters is better.

BENNYIm trying to put together enoughcash to get across the border.

Thats all. I swear.

CUTTERJust a working man, Benny, is thatit? The Pinkertons that came for mehad orders to report to SanFrancisco when the job was done.

Cutter takes out his Pinkerton badge and shows it to Benny.

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BENNYThats your plan? Ride into townwearing the skin of the snake andhope he sticks his head up longenough for you to cut it off?

Cutter just takes another drink. Fuck, hes serious.

CUTTERAnd youre going to help me.

Cutter looks right through the petrified Benny. Benny finallybreaks and looks to the mirror. The Cowboy is walking towardsthem, looking for a fight.

BENNYI cant do nothing if these guystake me out.

Cutter sees them coming. Shit.

COWBOY (O.S.)Hey, cheat.

The Cowboy nudges Benny in the back. Benny doesnt turnaround and instead remains locked on Cutter. Pleading.

COWBOYIm talking to you.

He pushes Benny again, this time harder. The rest of thesaloon slowly makes their way to safety.

CUTTER

I wouldnt do that again.

Cutter doesnt turn to face the Cowboy directly. He justraises the glass to his lips.

COWBOYThis dont look like none of yourconcern.

The Cowboy goes to nudge Benny again--

Cutter uncoils faster than a hiccup, grabbing the mans handand using his leverage to SPIN the Cowboy face-first onto the

bar. Before the Cowboys scream leaves his lips, Cutterdrives a blade through the mans hand, pinning it to the bar!

PRELAP: THE SOUND OF GEARS CHURNING!

INT. PINKERTON DETECTIVE AGENCY, QUINNS OFFICE -- DAY

CLOSE ON: a hand turns a CRANK. A mechanical sound churns.

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REVEAL: CHARLES QUINN (50s), rugged and weathered face hiddenbehind spectacles and a smart suit. He looks more like aretired librarian than a Pinkerton.

He pushes a WHIRLWIND across the floor -- a hand operatedvacuum. Its a fancy new machine made all the more difficultby having to turn the crank as you push it across the floor.

Not the most efficient, but to Quinn its catnip.

QUINNSee that?

JUDSON (50s and showing it) observes. Clearly disinterested.

JUDSONThat son of a bitch is walkingaround right outside your window.

Quinn demonstrates the vacuum more. Delighting in it. Tryingto amuse Judson to no avail.

JUDSONThey pushed my brother off nowtheyre trying to get me. Im notgoing to stand by and watch ithappen. No, sir.

Quinn releases the hand lever. The vacuum powers off.

JUDSONThese guys they squeeze ya out.They push and pull. Fight dirty. Itry to get an advantage. I go toyou, but do you help?

QUINNI am helping.

JUDSONI hired you to take care of him,Quinn.

QUINNPicking a fight with Glenn Littleis not the solution to yourproblem.

JUDSONI dont remember the Pinkertonsbeing so mild mannered.

QUINNIts a big agency.

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JUDSONYou put on that fancy suit andthose spectacles and you expect meto forget who you are. I know you.I know what you done. You owe me.

Quinn stops. Looks up to Judson for the first time.

QUINNI am aware of my ledgers and I willsquare them.

Quinn motions Judson to the window.

OUTSIDE:Six men stand in front of a freshly laid keystone,for the new US MINT. The men pose for pictures, a ribboncutting ceremony. These are six men well come to know later.

JUDSONIs that--

QUINNMayor McCoppin, Marshall Hill, BartMcClay and that gentleman there,right next to Little, is an attacheof our esteemed Governor.

The men exchange handshakes as they each take turns with theceremonial golden shovel, posing for pictures.

QUINNThey represent most of the wealthin our fair city.

JUDSONBastards. The lot of em.

QUINNIf you want to go down there andstart a ruckus without knowingwhos backing Glen Little. By allmeans. But youll be doing italone.

JUDSONThe rats always scuttle to the top.

Theres a knock at the door. Quinns assistant MARTIN (20s),nebbish and finely dressed, enters. He tries to get Quinnsattention but --

MARTINExcuse me, boss?

QUINNGo home, Judson. Hug your wife andboy.

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And try not to piss on anyonesshoes until I sort this out.

Judson looks at Quinn, shakes his hand and pushes pastMartin. Quinn finally registers his assistant and smiles.

QUINNMartin! Have you seen thisastounding machine?!

He reaches for the lever and powers up the vacuum again.Showing off.

MARTINBoss! Theres a deputy here to seeyou!

Quinn shuts off the machine.

MARTIN

Hes waiting for you downstairs.

EXT. SHERIFFS OFFICE -- DAY

More modern than youd expect. Quinn and Martin areaccompanied by a DEPUTY as they hitch their horses outside.

The Cowboy from the saloon, his hand wrapped in bloody gauze,walks out from the jail, flanked by his equally bruised andbattered buddies.

Quinn and Martin register the beaten men as they pass.

INT. SHERIFFS OFFICE -- DAY

CLOSE ON: A Pinkerton badge.

SHERIFF BARKLEY (O.S.)He dont say much. But when wefound that on him I figured I besthave you take a look.

QUINNWhat else did he have on him?

SHERIFF BARKLEYJust this.

SHERIFF BARKLEY hands Quinn the letter Cutter took with theblue seal. He flips it over and sees Cobbs seal. Quinn opensthe documents in the envelope and quickly scans them.

We cant read every word but we see enough: OfficialPinkerton documents transferring Agent James Cutter from theChicago office to San Francisco.

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QUINN (CONT'D)


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QUINNThis all?

SHERIFF BARKLEYNo. He also has a bullet wound inhis rib cage. Still fresh.

Quinn looks to the Sheriff. For the first time we see theSheriffs face. His nose is totally fucked, lip split.

QUINNHe did all that?

The Sheriff nods but clearly doesnt want to elaborate.

INT. SHERIFFS OFFICE, HOLDING CELL -- LATER

Cutter sits against the wall in his cell. A bloody towelpressed against the large gash on his forehead.

ANGLE ON fine dress shoes as they walk into frame. Cutterstudies them for a moment before looking up. Quinn standsoutside his cell, carrying a small doctors bag.

Cutter slowly gets to his feet. Every bit of movement hurts.

CLINK-CLACK-CLINK-CLACKthe steel bars slide open as Quinnwalks into the cell. He stands close to Cutter, studying him.

QUINNDont be shy, Im a doctor.

Cutter cautiously removes the bloody towel from his forehead,allowing Quinn to examine the gash. As he inspects the wound-

QUINNSheriff Barkley tells me youre areal curly wolf. Took three of hismen just to get you on the ground.

(no response)My apologies for the overnight staybut the good Sheriff didnt alertme to your presence until just thismorning.

Still nothing from Cutter. Quinn, annoyed by Cutters

silence, flicks the wound causing Cutter to wince.

CUTTERJesus!

QUINNOh, good. You can speak. Thatllmake things easier.

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Quinn reaches into his bag and pulls out a salve and startsapplying it to the wound.

QUINNPut this on the wound twice a day.Itll leave a nasty scar but atleast itll match the rest of ya.

The bandage is next ...

QUINNWhy didnt you identify yourself asa Pinkerton agent at the bar?

Still nothing from Cutter. Quinn finishes applying thebandage and steps back and admires his work.

QUINNWell ... you still look like hell.

(over his shoulder)

MARTIN! Get Avery to lend me a newjacket.(sizes Cutter up)

42 if shes got one.

We hear Martin scurrying off. Cutter sizes up Quinn.

CUTTERWho are you?

Quinn shows Cutter his Pinkerton badge. Cutter goes cold.

CUTTERI thought you were a doctor.

QUINNIts more of a hobby than acalling. Names Charles Quinn. Andyoure James Cutter of Chicago.

Cutter cocks his head, wheels spinning.

QUINNYouve had a lot of people inChicago worried about you. Whathappened to the rest of yourconvoy?

Cutter studies Quinn in silence. What does he know?

QUINNIf you wish to stay here beatinthe devil around the stump, far beit for me to get in your way.

Quinn packs up his bag and turns to walk away. He gets nearlyall the way to the door before--

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CUTTERWe were ambushed.

QUINNWhere?

CUTTERTwenty miles outside of Carson.

QUINNThat when you were shot?

Quinn nods to Cutter who raises his shirt and shows thewound. Quinn examines the wounds crude stitching.

QUINNYou did this yourself.

Quinns eyes turn to a BRAND on Cutters chest: the letterR. Cutter notices and lowers his shirt.

Quinn studies Cutter for a moment, reading him. Finally...

QUINNIf youre to be in my employ,youre going to want to tuck inyour shirt.

CUT TO:

EXT. JAIL -- MOMENTS LATER

Quinn walks out of the jail with Cutter on his heels. Theyreinstantly greeted by Martin who hands Cutter a new suit coat.Quinn is drawn to the fabric of the coat. Envious.

QUINNAvery, that scag! She told me shedidnt have any imports!

Cutter spots Benny waiting for him across the street. Bennyremains at a distance. Not willing to get too close.

Martin attempts to help Cutter put the jacket on but Cuttergruffly pushes him away.

QUINNPut it on. You cant meet theclient dressed as you are. Youllterrify him.

Cutter takes the coat and puts it on. Quinn, already on hishorse, tosses Cutter his Pinkerton badge.

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QUINNSan Francisco is the tenth biggestcity in the world, Mr. Cutter.Citys too big and Im too old tokeep doing this job alone. For thepast eighteen months Ivepetitioned Chicago to send me more

men. They promised me five -- butall I got was you. And right now,we got a job to do.

Cutter looks at the badge.

QUINNOf course, if you take issue withthat, we can always put you back inthe good Sheriffs custody.

Cutter looks back to the bruised Sheriff and several pissedoff looking deputies.

The Sheriff tips his hat menacingly towards Cutter. Cutterlooks back to the crowd and Benny, but Bennys long gone.

Out of options, Cutter climbs onto his waiting horse.

QUINNIll give you this, youre smarterthan you look.

With that, Quinn smiles and trots off as we:

END ACT ONE

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ACT TWO

EXT. DOCKS -- DAY

CLOSE ON: Thomass body. Splayed out in the same position asthe child found it earlier in the day.

RACK BACK and reveal the scene: San Franciscos famousFishermans Wharf. Only now its crude. Seawalls, jetties andsmall fishing boats dot the darkened landscape.

A small smattering of onlookers have gathered around the areabut theyre kept at bay by several Deputies.

Quinn, followed by Cutter and Martin, pulls his horse to astop and quickly dismounts. Up ahead he spots BART MCCLAY(50s), impeccably dressed. Reeks of money and power even fromthis distance. Quinn spots the body and motions to Martin.

QUINNGo on and get set up.

Martin climbs off his horse and grabs a wooden tripod fromhis saddle bag along with a covered object.

McClay spots Quinn as he dismounts and heads for him. McClaystarts barking as he closes in--

MCCLAYYou told me youd find him,Charles! Thats what you told me!

QUINNMr. McClay, this is Agent Cutter--

McClay charges right past Cutter, locked on Quinn.

MCCLAYI dont give a damn who he is. Ihired you to do a job!

QUINN(to Cutter)

Help Martin. Ill join you shortly.

Quinn pulls McClay away from the prying ears of the crowd.

Cutter looks over to Martin and watches as he sets up a moremodern than expected CAMERA on the tripod.

WITH QUINN:

QUINNBart, Im terribly sorry for yourloss.

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MCCLAYThats bullshit, Charles. My sonslying on his cheek. Dont tell mehow sorry you are for my loss, tellme what youre going to do to findthe bastards that did this.

WITH CUTTER AND MARTIN:

POOF A BLINDING FLASH as the bulb explodes on Martinscamera. The light fades, leaving us CLOSE ON the body.

Thomas lies on his side, pistol still holstered. His eyeshave hemorrhaged, leaving the face frozen in a look of pain.The body itself is stiff, not fresh. The middle finger onThomass right hand appears to have been broken.

Cutter watches Martin as he reloads the camera for the secondshot. Curious but trying to hide it.

MARTINEver seen one before?

Martin carefully removes the dry plate and setting it in acase. He quickly loads a second plate.

MARTINThe boss has a lot of hobbies,cameras being his favorite. Hesgot over twenty at the office.Probably another dozen at home withthe Misses. Drives her nuts.

POOF A second photo. Martin restarts the process once again.MARTIN

Help me move this, will ya?

Cutter holds the camera as Martin detaches the tripod.

MARTINPut it down next to the body.

(off Cutters look)Just need a few more.

WITH QUINN:

MCCLAYI want the bastard that did thishanging by his nuts. You understandwhat Im telling you, Charles?

QUINNWith respect, thats not how Ioperate.

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MCCLAYJust get it done. Or Ill haveChicago put someone in your officewho will.

With that, McClay pushes past Quinn. He stops when he seesMartin and Cutter near his sons body.

MCCLAYI want my boys body off the streetin the next ninety seconds!

WITH CUTTER:

Cutter sets the camera down on the ground for the low angleshot. Hes close enough to the body to notice the dead mansfingers -- theyre blackened at the tips.

MARTINTurn those towards the lens, will

you?

Cutter slowly reaches out and manipulates the dead mans handso the fingertips can be photographed. POOF The flash blindsCutter as Quinn rejoins the group.

QUINNHow many more do you need?

MARTINGot em all, boss.

Quinn stands back, studying the scene. His eyes flickrapidly, making mental notes. Cutter gets to his feet as

Martin packs up the gear.

Cutter waits awkwardly as Quinn mumbles to himself whileexamining the scene. Finally ...

QUINNWhat do you see?

Cutter isnt sure who Quinns addressing, even if he knew hewouldnt respond.

QUINNYou could at least grunt to let me

know youre still in the world ofthe living.

Cutter sours as Quinn bends down closer to the body. He goesright for Thomass hand, noticing the broken middle finger.

CUTTERWhat are we doing?

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QUINNWere solving a murder.

Quinn moves on to Thomass weapon. He spins open the pistol:empty.

CUTTERIsnt that the Sheriffs job?

QUINNNot today.

Quinn picks up the bodys right hand again and SNIFFS. Cutterreacts to it. Quinn turns the hand over and notices theblackened finger tips.

GOON (O.S.)Step aside!

Three of McClays GOONS push their way in and begin to load

the body into a wagon.

QUINNCareful! I need the body intact!

The Goons work fast and are soon on their way. With the showover, the onlookers return to their day.

CUTTERIntact for what?

Quinn doesnt respond. Instead he heads for the horse.

QUINNMartin here will get you set up atyour quarters while I get the bodyprepared.

(to Martin)Have him back to the office bythree.

With that, Quinn trots off into town, leaving Cutter behindwith a very nervous looking Martin.

CUT TO:

EXT. BOARDING HOUSE -- DAY

A small, two storied boarding house lies across the streetfrom the Pinkerton Office. Martin and Cutters horses arehitched outside.

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INT. BOARDING HOUSE, FRONT DESK -- CONTINUOUS

Martin and Cutter stand by the front desk, waiting inagonizing silence. Until Martin works up the courage to speak-

MARTINFirst time in San Francisco?

Cutter glares at Martin who squirms under the intense stare.

LAUREL (O.S.)Be right with you!

Cutter breaks off his stare allowing Martin a chance toexhale.

LAUREL (30s) enters the front room. The kind of woman youunderestimate at your own risk. She stops cold when she seesCutter. Everyone sees it but for Martin. Recognition.

MARTINPerfect timing as always.

Cutter hasnt moved since his eyes found Laurel. Frozen,waiting for the hammer to drop.

MARTINMay I introduce you to--

Laurel cuts Martin off.

LAUREL--Laurel. You can call me Laurel.

Martin isnt sure how to take that so he plows on.

MARTINAnd this is Mr. Cutter.

LAURELCutter, is it?

Cutter takes off his hat and offers his hand.

CUTTERThats the name they gave me.

Laurel doesnt take his hand. She coldly turns her attentionto the registry book on the front desk.

LAURELMake your mark here if you would.

Cutter makes his mark.

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LAURELAnd how will you be paying? Youwill be paying, I presume?

MARTINHes a guest of Quinns.

LAURELWell isnt that nice of Mr. Quinn.Howd you come to that arrangement?

MARTINMr. Cutter just transferred in fromChicago. Hell be working at theagency.

LAURELIm sorry I could have sworn yousaid work.

CUTTERIts temporary.

LAURELId imagine itd have to be.

That one stings Cutter. She snaps the book closed.

LAURELFollow me to your quarters.

CUT TO:

INT. BOARDING HOUSE, HALLWAY -- MOMENTS LATER

Laurel stops by Unit 2 and throws open the door with as muchwarmth as a blizzard.

LAURELHeres the room.

INT. BOARDING HOUSE, UNIT 2 -- CONTINUOUS

A small living room with a bedroom attached through a slidingdoor. More modern than it looked from the outside. Laurel

gruffly tosses the key to Cutter who snatches it in mid air.

LAURELTry to keep it down. This is arespectable place of business. Nota brothel. Anymore.

Cutter wants to respond but cant. He ushers Laurel into theroom and closes the door right on Martins face.

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CUTTERA word?

LAURELIm afraid youve used up all yourwords for the day.

Laurel walks past him and reopens the door.

LAURELGood day, Martin.

Cutter watches Laurel as she glides down the stairs. Sheturns back and gives him a FU stare.

CUT TO:

INT. PINKERTON OFFICE, BASEMENT -- DAY

The basement is a combination of a workshop, laboratory anddoctors office. Work benches with scattered tools and partsaccompanied by examining tables. One of which is currentlyoccupied by the body of Thomas McClay.

Quinn wears a smock and stands over the body as Cutter andMartin make their way down the stairs. Quinn doesnt weargloves as he works.

QUINN(without looking up)

Youre late, Ive already finishedmy examination. The victim waskilled by gunshot. Three to the

sternum. Two of which shredded theheart. See?

He points to the heart in his hand, hoping for a reactionfrom Cutter but instead Cutter keeps his gaze affixed toQuinn. Ice.

QUINNFine, dont look if you dont wantto.

(puts the heart down)Now this is the real mystery--

He holds up Thomas blackened fingers.

QUINNIts not printers ink. Nor is itgunpowder residue.

MARTINBurn marks? Maybe he was workingnear a furnace?

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QUINNCant be. If he was around enoughheat to scald the skin, thered beno hair left on his knuckles.

Quinn looks to Cutter whos eyes wander around the room.Bored and not trying to hide it.

QUINNAre we moving too fast for you? Imnot sure how things work inChicago, but here when you have anopinion, feel free to speak up.

Cutter just glares. Wont give Quinn the satisfaction.

QUINNFair enough. Maybe youd be morecomfortable doing some filing forme while I work the case?

Quinn nods over to a huge pile of files scattered about thebasement. A lot of paper work.

QUINNOf course that requires knowledgeof the alphabet. You can read,cant you?

(still nothing)Do I need to be more patronizing toprovoke a response? Because Im notreally sure I have the energy--

CUTTER

--He was dealing Opium. Probablywhat got him killed.

Quinn and Martin look to one another.

QUINNIs that a guess?

CUTTERA fact. When opium is transportedits packed in animal bladders.

MARTINHow does that explain the marks?

CUTTERFirst thing an opium dealer does isturn the bag inside out and scrapeout the residue. The opium canstick to the lining leaving blackmarks on your fingers.

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QUINNYou sound like quite the expert.

CUTTER... Ive seen it done before.

MARTINYoure implying Bart McClays sonwas an opium dealer?

CUTTERIm not implying it.

Martins brashness drains from his face as Cutter stares himdown.

Quinn considers the new information, the pieces begin toslide together. He looks through the developed photographsfrom the crime scene hanging on a clothes wire.

MARTINBut how does that deduction endwith him being an opium dealer? Hecould have just partook--

QUINN--Where the body was found.

(off Martins look)Seventy percent of the opium inCalifornia comes through our fairport.

Cutter nods. Impressed but trying not to show it.

MARTINIm sorry, Im not following. Whywould the heir to the McClayfortune need to deal opium?

CUTTERDoes it matter why?

QUINNIt does when its Bart McClaysson.

CUTTER

Was this man elected Presidentrecently or something?

QUINNBigger. McClay owns and operatesthree of the four railroads in thestate.

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He also holds the deed to the landwhere the US Mint is beingconstructed just a few yards fromthis building. Is that impressiveenough for you?

Cutter doesnt respond.

QUINNIll pretend that was a yes.

(takes off his smock)Every man has a vice, lets say wefind out what Thomass was. Maybethat will shed some light on thematter. Martin, go find whicheverrock Newel is under and bring himin for a chat. Cutter and I will gotest his hypothesis.

MARTINYou got it, boss.

Martin heads out. Quinn turns to Cutter.

QUINNUp for a stroll?

Off Cutters look we:

CUT TO:

EXT. CHINATOWN, STREET -- DAY

Cramped and overpopulated, even in 1870, Cutter and Quinnmake their way down the cobble stone street.

QUINNThe stones for this section of thestreet were imported from SanPablo. Took them over two years.

CUTTERYou come here a lot?

QUINNOne of the best parts of living in

the city is witnessing historybeing born.

CUTTEROkay.

QUINNBesides, I figured you would wantto know these things.

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QUINN (CONT'D)


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CUTTERWhy?

QUINN(sincere)

Why wouldnt you?

Quinn stops in front of one of the only brick and mortarbuildings on the street. He takes out his badge and pins itto his coat. Motions for Cutter to do the same.

QUINNThis is it.

Cutter looks to the building. Its in no way hiding the factits a brothel.

CUTTERSo you do come here a lot.

INT. BROTHEL, BAR -- MOMENTS LATER

Crowded and dim. You can smell the sweat and booze from yourchair. Cutter flanks Quinn at the bar. The patrons haventtaken their eyes off our guys or their badges since theywalked in, clearly ill at ease with their presence.

A DRUNK accidentally bumps into Quinn as he passes by.Quinn takes it in stride. The Drunk thinks about doing thesame to Cutter but that changes once he sees Cutters glare.

CUTTERMind telling me what were doing

here?

QUINNWere waiting.

Quinn nods to a pretty BARMAID as she passes.

CUTTERThats enlightening.

QUINNThis establishment is owned by LaoXiu. One of the largest opium

importers in all of San Francisco.

CUTTERAnd standing by the bar in hisbrothel tells us what exactly?

QUINNWell ... nothing per se. But Laosnot the sort of person you can justgo and meet unannounced.

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Quinn motions to the door at the back of the Brothel. Itsguarded by two very large and very tough looking GOONS.

QUINNWhich is why I need your helpgetting through that door.

CUTTERHow am I supposed to do that?

Behind Cutter, Quinn sees a large Chinese BODYGUARDapproaching.

QUINNWell, ordinarily, just the site ofa Pinkerton Agent in hisestablishment is enough to kick upa row.

Cutter doesnt follow. The approaching Bodyguard is almost

upon Cutter now--

QUINN(casually)

Might want to watch your back.

Cutters eyes light as he catches movement to his left. Heturns at the last moment, just able to block the Bodyguardshaymaker!

On pure instinct, Cutter kicks the Bodyguards knee out,buckling him. The large Bodyguard groans as he lilts, openinghimself up to a kick to the chest! The kick sends him backand over a card table.

It only takes seconds for the entire brothel to explode intoa full on bar fight!

THUD A second Lao TOUGH clocks Cutter, staggering him. TwoCowboys hold Cutter up as THWACK Hes leveled by a sharphook, dropping him to the ground.

Quinn just watches, leaning back against the bar, enjoyinghis drink and the chaos around him. He looks to the proneCutter.

QUINN

It helps if you stay on your feet.CUTTER

Are you planning on helping?

QUINNIm not much for pugilism thesedays. Besides, this is a new shirt.

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The Bodyguard winds up to deliver a kick to Cutters face buthe moves too slow. Cutter catches the mans kick and pusheshim back, right into Quinn, spilling his drink all over hisclean shirt.

Before the Bodyguard man can react, Cutter is on his feet,delivering punishing blows, staggering the larger man. The

man slumps, bloodied and unconscious to Cutters feet. Heglares at Quinn who is wiping his shirt down with a napkin.

QUINNYou did that on purpose.

Cutter almost lets out a smile but--

QUINNWatch yourself--

THWACK A pissed off Bar Maid brawling with a Cowboy missesher mark and DECKS Cutter, pulling him back into the fray.

Quinn looks back to the guarded door. Both of Laos Goonsjump into the fight. Quinn takes his opportunity and makesfor the door.

QUINNKeep them busy, will ya? Ill meetyou out front in ten minutes.

Cutter looks over to Quinn in disbelief. THWACK Cutter takesanother punch to the face as we:

END ACT TWO

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ACT THREE

INT. BROTHEL, LAOS OFFICE -- PICKING RIGHT UP

Lavish compared to the exterior. The din of the brawl outsidedrifts through the walls.

LAO (40s), a large Chinese man in a fine suit, sits at hisdesk. He nuzzles the nape of a young WHORES neck. She seemsto be enjoying it.

The door suddenly swings open, stopping Lao before thingsprogress any further. Still, Lao doesnt look all thatsurprised to find Quinn standing in his office.

LAOAh, Charles. I take it I have youto thank for all the excitement.

QUINNI needed a private audience.

LAODoes this mean youre finally goingto accept my generous offer?

QUINNNo. Not this time.

Lao nods to the whore who smiles at Quinn as she walks out.Quinn takes a seat in front of Laos desk.

LAOShame. I can provide addedcompensation if thats what ittakes. On the house, of course,anytime you wish.

Quinn reaches into his bag and pulls out a photograph ofThomas McClay and places it on Laos desk.

QUINNDo you know who that is?

LAOEveryone know who that is.

Lao doesnt offer any more.

QUINNIm going to need more than that.

(still nothing)Bart McClays boy was foundmurdered on the docks. Yourdocksas you like to remind anyone withears.

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LAOI had nothing to do with his death.

Quinn doesnt back down. Hes got as good a stare as anyone.

QUINNYou can either tell it to me orSheriff Barkley. Im sure he andhis deputies are already on theirway to break up the very noisy barfight youre hosting.

Theres a loud crash outside. Neither man flinches.

LAOThe boy and his associate came tome last week with businessproposition. Apparently he cameinto possession of merchandise hethought I could help move.

QUINNOpium.

Lao smiles but wont respond.

QUINNWhered he say he got it?

LAOHe didnt.

QUINNThen what happened?

LAOI informed him that Im anupstanding member of this communityand showed him the door.

QUINNIs that so?

LAOAfraid so.

QUINN

This associate that was with him,did he have a name?

Off Laos look we:

CUT TO:

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EXT. CHINATOWN, BROTHEL -- DAY

Cutter leans against a hitch as a horde of Deputies clear outthe brawl. Cutter sports a freshly split lip, but looks infar better shape than the rest of the lot filing out of thebrothel.

Quinn strolls out the front door, without a care in theworld. Careful to step over two unconscious gentlemen lyingon the steps. He beams when he sees Cutter.

QUINNExcellent work!

Without warning, Cutter DECKS Quinn with a staggering hook.The older man takes it better than wed expect. Composeshimself but doesnt retaliate.

Instead, Quinn just walks past.

QUINNAre you coming or what?

CUT TO:

INT. PINKERTON BUILDING, QUINNS OFFICE -- DAY

Cutter looks out Quinns large windows and down onto thestreet.

OUT THE WINDOW:Cutter watches as Laurel sweeps the steps ofthe boarding house.

QUINN (O.S.)Son of a bitch.

Cutter looks back to Quinn who stands in front of the mirror,looking at a stain on the collar of his dress shirt.

QUINNThe Misses got me this for mybirthday. Now look at it. Ruined.If she sees this Ill never hearthe end of it.

Quinn begins to change his shirt. He turns to the makeshift

murder board tacked to his wall: pictures of the crimescene, Thomass body as well as a rough time line of theevents their investigation has uncovered.

QUINNSo what do we know?

CUTTERThat youre scared of your wife.

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QUINNBelieve me, you would be too. Weknow that Thomas was trying to sellopium to Lao but someone killed himbefore he could complete the sale.

CUTTER

What makes you so certain yourChinaman friend didnt pay the kidwith three bullets to the chest?

QUINNA couple of reasons. The mostobvious of which is that when Laogoes through the trouble of killingsomeone, hes much better atcleaning up after himself.

Quinn points to one of the crime scene photos.

QUINNThen of course theres the boyspistol. The revolver was empty, nospent shells anywhere at the scene.But the gunpowder on his sleevesmelled fresh. Then theres theboys hand. Clearly locked inrigamortis, positioned as if itwere holding a weapon when he died.But yet the gun was holstered whenwe found it.

He points to a close up of Thomass broken middle finger.

QUINNHis Digitus Medius, middle finger,was snapped in half. Almost likesomeone broke it while prying theweapon from his cold dead hand.

Quinn finishes buttoning up his shirt.

CUTTERMeaning what?

QUINNMeaning the body was staged.Someone either took the time to

remove all the shell casings fromthe scene before we got there. Andbased on the lack of blood at thescene along with the lividity ofthe corpse, its likely the bodywas moved to the docks after he waskilled.

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CUTTERYou got all that from an empty gunand a broken finger?

QUINNImpressive, no?

Cutter glares. Martin enters the office.

MARTINNewel is waiting for you, boss.

QUINNExcellent. We are on our way.

Quinn heads for the door but Cutter takes another look outthe window to Laurel. Quinn stops when he realizes Cutterisnt following.

QUINN

Come now, I might need your ratherintimidating stare to get someanswers from our friend.

Cutter takes one last look but Laurels gone.

INT. PINKERTON BUILDING, HALLWAY -- CONTINUOUS

The trio walk down the hall towards the Holding Room.

QUINNWhile Mr. Cutter and I are in withNewel, I want you to see what youcan find out about this gentleman.

Quinn hands Martin a slip of paper.

QUINNAlso, I need you to do some digginginto Mr. McClays finances with thebank.

MARTINThat wont be easy, boss.

QUINN

Find a way.

MARTINIll go talk to Ms. Dahlia andreport back.

Quinn stops outside the Holding Room door.

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QUINNJust to warn you, this guy Newelcan be a little ... off putting.

CUTTERWhy are we talking to him?

QUINNHes a cockroach who happens to bewired in to the seedy underbelly ofour fair city. Fortunately for us,hes my cockroach.

CUT TO:

INT. PINKERTON OFFICE, HOLDING ROOM -- MOMENTS LATER

NEWEL (30s but looks 50s) sits across from Quinn and Cutter.Hes a small man, dirty, yet carries himself with a self

assuredness that contrasts with his rodent like appearance.

NEWELWhos the new guy?

QUINNThats Cutter. Hes new.

NEWELHe looks like his mother slept witha sheep dog.

Cutter absolutely LEVELS Newel with a right cross, bustinghis nose. It happens too fast for Quinn to stop it. Not that

he would have.

NEWELJesus!

QUINNI tried to warn you.

NEWELThis is how you treat people?Goddman Pinkertons! Bastards, everylast one of ya!

He gets back to his chair, hand cupped over his bloody nose.

QUINNI want to know about Thomas McClay.

NEWELI didnt kill him.

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QUINNIf anyone thought you did, Im sureyou would already be dead. What Iwant to know is why Thomas wasselling opium?

Newel snorts. He constantly scratches his arm. An addict.

NEWELWhy does anyone? Money.

QUINNMcClay was already quite wealthy.

NEWELAnd quite a shitty card player. Kidwas constantly at Daisys losinghis shirt. It always catches upwith you in the end, no matter howmuch your daddys got. Now can I

get my payment and go get my nosefixed?

Cutter hits him again, right in the nose. Quinn looks toCutter who sheepishly shrugs.

NEWELWhat do you want me to tell you?!He got involved with the wrong guyand had to get creative with hisdebt repayment.

QUINNHow creative?

NEWELYoud have to ask him, I wasntthere.

QUINNBut you have quite the imagination.

NEWELHe and his partner pulled a job andtook the wrong persons loot.

QUINNWhose opium was it?

NEWELThe kind of guy who dont takekindly to being robbed. Word gotaround pretty quick that anyone whobought the stuff would be dealtwith in the same fashion as thecrooks.

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QUINNI need a name.

NEWELIt wont make no difference.

QUINNThen might as well tell me.

Newel looks at the floor. Then Cutter moves to strike but--

NEWELCobb! He Goes by Cobb!

Cutter reacts to that. Quinn notices but remains stoic.

QUINNThat name supposed to meansomething to me?

NEWELIf it dont then consider yourselflucky. This is the last guy youwant to know, believe me.

QUINNSo you know him?

NEWELOnly what I heard. And that wasenough to keep me up at nights.Once it spread that it was Cobbsdope, it only became a matter oftime before Thomas wound up taking

a dirt nap. And once they find him,his partner will be next.

QUINNThis partner, do you know where wecan find him?

CUT TO:

EXT. CITY STREETS, TENEMENTS -- DAY

Quinn and Cutter ride in silence through a rough part of

town. The edge of the city consists of shanty towns mixedwith brick and mortar tenement buildings. Theyre built sideby side, making for narrow, darkened streets. Finally--

QUINNChicagos a nice town. Its noFrisco, but it has its charms.

Cutters a bit caught off guard but hides it well. He canttell if this is chit-chat or fishing.

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QUINNHad a cousin that lived in Chicago.He loved it. Always made me laughwith that accent though.

(looks right at Cutter)Guess you lost yours over theyears.

Cutter doesnt say anything, instead he holds his gaze asQuinn tries to read him. Cutter notices two large ASIAN GOONSfollowing them. The Goons try to blend in with the crowd butdo so poorly.

CUTTERFriends of yours?

Quinn turns to look, letting Cutter off the hook.

CUTTERAnything to worry about?

QUINNNot presently. They wont pose aproblem until we find the opiumtheyre hoping were going to leadthem to. Were here.

Quinn pulls his horse to a stop.

QUINNLao didnt give me this gentlemansname from the kindness of hisheart. While Lao is a man of manyresources, he cant compare to

Martins reach when it comes tobureaucracy.

Cutter dismounts. But Quinn does not.

QUINNStay in a city like this longenough, everyone leaves a papertrail. Give Martin a name and hellfind out everything about a personfrom the time they were born towhere they lost their virginity.

The thought of that unsettles Cutter as he hitches his horse.He turns back to Quinn and freezes.

Its at that moment that Cutter realizes Quinn hasnt gottenoff his horse. Instead, the older man holds an elevatedposition with his pistol drawn.

While its not pointed at Cutter, its a threatening gesturethat gets his attention. Quinn has him dead to rites andCutter knows it.

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QUINNBefore we walk in here, is theresomething I should know about Mr.Cobb, Mr. Cutter?

If Quinn expected to intimidate Cutter, it didnt work.Cutters a cool customer, willing to play this out.

QUINNYou show up in town carrying atransfer order bearing his seal.That same day a boy winds up dead,apparently for taking somethingthat belonged to Mr. Cobb. Butheres the thing, in all my yearsat the agency, Ive never heard ofanyone named Cobb.

Cutter keeps his mouth shut. Quinn coolly cocks the pistol.

CUTTERBecause Cobb is an alias. No oneknows who he is. But hes the headof the snake thats devouring thisnation.

QUINNAnd yet despite your disdain, youseem to be in his employ.

CUTTEREveryone is in his employ. He hashis fingers in everything. Banks,railroads, government. If he wants

you to do something for him, healways finds a way.

Someone comes out of the tenement building, drawing Quinnseye for just long enough for Cutter to pull his iron. Quinnraises his as well, but both stop.

CUTTERYoure pretty fast for an old man.

QUINNI have my moments.

CUTTERDo you think we can put our dicksaway and do what we came here todo?

Cutter un-cocks his pistol and holsters it. Quinn takes amoment but follows suit.

CUT TO:

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INT. TENEMENT BUILDING, SECOND FLOOR -- MOMENTS LATER

The duo walk down the narrow hallways, Quinn in front.

QUINN(checks the door)

23. This is it.

Quinn goes to knock but Cutter grabs his hand, stopping him.Cutter edges Quinn to the side of the door. Better cover.Cutter takes position on the other side of the door and drawshis pistol. Finally he reaches out and knocks.

Quinn rolls his eyes.

QUINNSo dramat--

KABOOM A shotgun blast tears through the door! Quinnflinches as wood splinters past their heads. Cutter waits for

a second before looking into the room through the new hole inthe door:

INSIDE:A man crouches behind an overturned table, reloadinghis double barrel. His back is turned, impossible to see hisface.

Cutter takes his shot and BURSTS through the door, firing ashe goes!

INT. TENEMENT BUILDING, UNIT 23 -- CONTINUOUS

Two of Cutters rounds SNAP into the table next to the manshead. He ducks behind cover before we get a look at his face.

Cutter dives for cover as the man unloads two more roundsfrom his shotgun. Cutter pops up and is about to return firewhen--

QUINNWe need him alive!

Cutter holds his fire as Quinn takes cover next to him.

QUINN(to the Man)

No need to shoot! Were just hereto talk!

The man fires two more shotgun blasts from his coveredposition. Off the mark, but close. Cutter looks at Quinn indisbelief.

CUTTERDont do that again.

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Cutter looks around at his options. There arent many. Cuttersees Quinn has yet to draw his weapon. So Cutter does it forhim, grabbing Quinns gun and tossing it to the floor.

CLANKThe man reacts to the sound, firing both barrels! Cutter popsup from cover and fires the perfect shot, right through themans shoulder.

The man spins like a tin can and falls onto his back. Cuttercloses ground fast, kicking the shotgun out of the wailingmans hand. The man squirms on the ground at Cutters feet,writhing in pain. As he rolls over we see his face--

BENNYOwww!

QUINNI said dont kill him!

BENNYHe didnt kill me, he fucking shotme!

Benny rolls over and locks eyes on Cutter. Oh shit ...

BENNY(about to give us Cuttersreal name)

Dav--

Cutter quickly KICKS Bennys mouth shut with his boot as we:

END ACT THREE

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ACT FOUR

INT. PINKERTON OFFICE, HOLDING ROOM -- NIGHT

Benny sits alone in the room. His shoulder wrapped in asling. He stares at the wall. Waiting.

INT. PINKERTON OFFICE, QUINNS OFFICE -- CONTINUOUS

Cutter stares at the wall in Quinns office. Quinn opens thedoor, fire in his eyes.

CUTTERHas he said anything yet?

QUINNJust that he wont talk to anyonebut the asshole that shot him.

Quinn cant hide how annoyed he is to have to admit that. Heholds the door open for Cutter.

CUT TO:

INT. PINKERTON OFFICE, HOLDING ROOM -- MOMENTS LATER

Cutter walks in, Bennys eyes lock on him instantly. Butbefore he can say anything, he sees Quinn enter the roomright behind Cutter. They both take their seats across fromBenny. Benny stares at Cutter in disbelief.

BENNYAnd all these years people thoughtI was the dumb one.

Cutter glares. Knows Benny has him by the balls with Quinnaround.

CUTTERAnd here you are. With my bullet inyour shoulder.

Touche.

BENNYI requested a private conversation.

QUINNAnd this is my compromise.

BENNY(to Cutter)

You gotta get me out of here.

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QUINNIm afraid thats out of thequestion until you answer some ofmine.

BENNYThe longer Im in here the closer I

am to the grave.

CUTTERThen I guess you better speed thisup.

QUINNHowd you get involved with ThomasMcClay?

BENNYI didnt kill him, if thats whatyoure asking.

QUINNThat wasnt what I asked.

CUTTERHe cheated him.

Quinn looks to Cutter, surprised but impressed. Cutter stayson Benny.

CUTTERYou find a rich kid who cant spota cheat at cards and you milk him.

BENNYDont make me a killer.

QUINNWhat does it make you?

BENNYAn entrepreneur. I heard about aneasy mark -- a ship making anunexpected stop in the harbor. Butit was a two man job. So Iconvinced him to be my partner.

QUINNWhy him?

BENNYKids father owns the docks.Cutting him in gave me completeaccess.

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QUINNBut then it all went wrong, didntit?

BENNYNo. It went perfectly. The ship wasright where she was supposed to be.

We were out in ten minutes.

CUTTERSo then you didnt need the kidanymore.

BENNYI needed him more than ever. Oncewe figured out whose stuff we took,our resale options were limited.Only Lao would have the balls totry to move it but he and I...well, we dont exactly see eye toslanty eye.

QUINNHowd you find out whose shipmentit was?

BENNYEvery bag had a seal.

Quinn reaches into his pocket and fishes out Cutters letter.He slides it across the desk, with Cobbs seal facing up.

Cutter didnt expect that.

QUINNDid it look like this?

Benny nods.

QUINNWheres the opium now?

Benny laughs.

BENNYGo to hell.

QUINNIf you tell us where it is, we canuse it to flush out this Mr. Cobb.It could be the only way to proveyour innocence.

BENNYThat stash is the only thing thatmight save my skin. The second Igive that up Im a deadman.

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Quinn slides his chair back.

QUINNThen Im afraid I cant help you.

Quinn heads for the door.

BENNYWhere yall going?

QUINNThe Sheriff and Mr. McClay arewaiting downstairs to take custody.

Benny bolts up from his chair.

BENNYYou cant turn me over to theSheriff.

Quinn leaves the door open as he leaves.

BENNYYou know theyll come for me, justlike they came for you.

CUTTERWhy should I help you?

BENNYBecause Ill tell em youre stillalive. And once they hear youre inSan Francisco how long do you thinkitll take them to figure out

thats where she moved?(Cutter begins to boil)

I followed you. If I can find her,what do you think will happen whentheystart looking?

Cutter rages, grabs Benny by the throat and throws him upagainst the wall.

BENNYIm trying to help us both here!You know I cant take no pain!

Cutter releases Benny who gasps for breath. Cutter recomposeshimself quickly. Hes like a fucking light switch.

CUTTERIll get you out. Just give me sometime.

Cutter heads for the door. As he leaves--

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BENNYThats the one thing I dont got!

CUT TO:

EXT. PINKERTON OFFICE -- NIGHT

Quinn stands with McClay and the Sheriff as two Deputiesescort a cuffed Benny into a wagon. McClay offers a handshaketo a somewhat surprised Quinn.

Cutter stands removed, smoking a cigarette and watching froma distance. Bennys eyes never leave Cutter as hes loadedinto the back of the wagon. The wagon takes off as Quinnambles over.

CUTTERWhere they taking him?

QUINNSheriff Barkleys holding him forthe night. McClay wants himarraigned first thing in themorning.

Cutter puts out his smoke as Martin walks over, a large fileunder his arm.

MARTINEvening, gents. I come bearinggifts.

Quinn takes the file.

MARTINEverything the state of Californiaknows about a Mr. BenjaminScaprese.

Cutter doesnt like the sound of that as he eyes the folder.Thats a big fucking folder.

QUINNAnd here I was thinking Id get tospend the evening at home with somefine brandy.

MARTINAnd your wife of course.

QUINNIf she insists.

CUTTERWhat are you hoping to find inthere?

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QUINNAnything that can help me find thisMr. Cobb.

CUTTERI thought your case was over.

QUINNIm nothing if Im not thorough.

Quinn turns to head inside but stops.

QUINNYou did well in there tonight, kid.You should feel good.

With that, Quinn and Martin head inside.

CUT TO:

INT. BOARDING HOUSE, UNIT 2 -- NIGHT

Cutter opens the door and heads into his darkened room. Helights a candle. Light slowly builds as he ignites severalmore. We notice the darkened FIGURE sitting on his couch longbefore Cutter does.

He heads for the basin and pours some fresh water into it. Hebegins to take off his shirt but stops when he finally senseshes not alone.

LAUREL (O.S.)Dont stop on my account.

Cutter turns and sees Laurel sitting on the couch in theliving room. She gets up and takes a step towards Cutter butstops herself from getting too close.

LAURELYou look awful.

CUTTERYou dont.

She slaps him. Hard.

LAURELDont.

He blinks as his cheek reddens.

CUTTERIts the--

She hits him again.

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LAURELShut up.

He does. But she hits him again anyway. She turns her back tohim and starts to walk away.

Cutter reaches out and grabs her shoulder. Laurel spins andPUNCHES Cutter. Hard. She charges and shoves Cutter roughlyup against the wall.

LAURELDont.

In a hiccup, Cutter pivots and reverses position, pushingLaurel hard against the wall. Their eyes locked. He goes tokiss her but she moves her head, stopping him.

Then without warning she gives in and kisses him hard. Cutterpresses her up against the wall as she wraps her legs aroundhim.

INT. PINKERTON BUILDING, QUINNS OFFICE -- NIGHT

Quinn and Martin pour over Bennys file. Clearly growingfrustrated. We see some photographs of a Civil War regiment.

MARTINIts the same story in every fileand I cant make sense of it.

QUINNI love a good yarn.

MARTINBenny was part of a gang thatrobbed the Rock Island Express outof Salt Lake in 69.

He hands Quinn a piece of paper.

MARTINAccording to the US Marshalls,Benny, along with five othermembers of the gang, were killed inthe spring of 1870 outsideFlagstaff.

Quinn studies the document. Double checking.

QUINNSo youre saying we have a deadmanlocked up in our city jail?

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That lands on Cutter. Laurel turns and heads for the door.But before she can get there--

KNOCK KNOCK The noise startles them both.VOICE (O.S.)

Mr. Cutter?

Laurel freezes.

CUTTERWho is it?

VOICE (O.S.)Please come to the door, sir.

Cutter quickly pulls Laurel back into the bedroom and closesthe door behind him. He grabs his pistol and cocks it.

CUTTER

Can this wait until morning?

VOICE (O.S.)Im afraid not.

Cutter opens the door, revealing REVEAL: AGENT FISHER (40s),imposing and finely dressed. Fisher holds up a Pinkertonbadge--

FISHERAgent Fisher. Sacramento office.

Fisher notices the pistol in Cutters hand.

FISHERHow do you want to do this?

Cutter considers, then lets Fisher inside. Cutter keeps hisweapon at his side and makes sure Fisher sees it. Fishercomes in and shakes off the cold. He sizes up the room.

WITH LAUREL:listening through the wall, she tries to seethrough the slit in the door but cant make out much.

CUTTERWhat do you want?

FISHERWhiskey, if you got it.

Fisher makes himself comfortable on the couch, careful tonever turn his back on Cutter as he does. Cutter watches asFisher reaches into his pocket and ... takes out a pencil.

FISHERYou dont mind if I write thisdown, do you?

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Cutter goes for the whiskey. He grabs the bottle and a glassand sets it on the table in front of Fisher.

FISHERHow are you finding San Francisco?

CUTTERBusy.

Fisher pours himself a glass.

FISHERArent you having one?

(eyes the gun)That wont be necessary for this.

Fisher hands Cutter a bound letter. Cutter slowly reaches outand takes it. He opens the letter as Fisher continues.

FISHER

Pinkerton order 23-b. All survivingparties shall be debriefed when anAgent is lost in the field.

(sips his drink)In this case, four agents. And yetsomehow, you survived.

Cutter takes a seat across from Fisher. He sets the pistoldeliberately on the table next to the whiskey. An arms reachfor both of them. Fisher notices.

CUTTERAlways been lucky.

Cutter pours himself a glass. Fisher waits for more but getsnothing.

FISHERYou know what they say, luck willget you so far. Then itll get youkilled.

Fisher studies Cutter. Letting him stew. He takes a drink.

FISHERSo how is it you managed to escape?

CUTTERWhen it was all over, I was theonly one left alive.

FISHERAre you certain about that?

Fisher lets that one hang in the air.

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FISHERI doubt youre aware of this, butwe had the same training officer.

CUTTERYou said you were from Sacramento.

FISHERAgent Hoyt finally moved out west.Even got himself a grass widow.

Cutter finishes his glass, never breaking eye contact.

FISHERHoyt used to talk about you all thetime. How he used to make yousuffer through his Shilo stories atthat bar ... shoot what was thename? That bar on Rush street. Hepractically lived there.

He looks to Cutter who doesnt offer any help.

FISHERDo you remember?

Fuck.Cutter for the first (and only time) smiles.

CUTTERAnother drink?

Fisher sets his empty down, eyes locked on Cutter who leansover and begins to refill the glass.

FISHERThanks--

Without warning, Cutter smashes the whiskey bottle on theedge of the table and plunges the glass rod deep intoFishers unsuspecting chest!

Blood fills his lungs as Fisher tips backwards over the couchand THUMPS on the floor.

WITH LAUREL:She jumps back, startled by the sight.

Cutter calmly finishes his glass of whiskey before grabbing

the pistol on the table. We can hear Fisher wheezing asCutter walks around the couch.

The slowly dying Fisher tries for the pistol in his holsterbut he doesnt have the strength. Theres a moment of defeaton his face as he realizes hes already dead.

ANGLE ON Cutter as he stands over Fisher, watching him die.He raises his pistol when suddenly we see the bedroom dooropen behind him. Laurel stands in the doorway. Watching.

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Cutter knows shes there. He hesitates. Fisher lets out abloody smile. It hurts to talk, but Fisher takes his chance-

FISHERYou wouldnt shoot an unarmed man,would ya?

BAM Yup. Guess he would.Laurel flinches from the gunshot. Cutter walks closer andcalmly puts two more in Fishers skull. Laurel flinches eachtime. He stands over the body, soaking in the image.

CUTTERWe have to hide the body.

Cutter keeps his eyes on Fishers corpse rather than look atLaurel.

CUTTER

We have a couple hours at leastbefore people start askingquestions.

Laurel doesnt respond. Cutter finally turns to her. Seesshes gone white, but still shes strong enough to keep ittogether.

Finally, she nods.

CUT TO:

INT. SHERIFFS OFFICE, HOLDING CELL -- NIGHT

Dark. Moonlight provides the only light in Bennys cell.

CLACK CLACK CLACK The bars to his cell slide open, joltingBenny awake. We hold on him as he watches someone enter hiscell. His face drains of color.

BENNYI didnt do what they say I did.

REVEAL: BART McCLAY as he takes a seat on the cot across fromBennys. A stoic expression on his face.

MCCLAYI dont care if you did or didnt,son.

(menacing)But you are going to tell me whereyou hid the opium. And right now.

Off Bennys terrified look we:

END ACT FOUR

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ACT FIVE

EXT. SHERIFFS OFFICE, CITY JAIL -- DAWN

More people are out than usual this early in the morning.Cutter, in a fresh shirt, makes his way towards Quinn whowaits for him on the front steps.

QUINNYou look like hell.

CUT TO:

INT. SHERIFFS OFFICE, BENNYS CELL -- MOMENTS LATER

CLOSE ON: Benny, hanging from a makeshift noose made from hisrope belt, swings slowly in the morning breeze. Hes beendead for hours. Two Deputies work on untying the noose.

RACK BACK and find Cutter, staring, trying to hold everythinginside but not doing a good job of it. Behind him, Quinnstands with Martin and Sheriff Barkley.

THUD The body falls to the ground, freed from the belt.SHERIFF BARKLEY

Easy, dammit!

The Deputies step aside as Quinn and Cutter move in toexamine the body.

Cutter takes care to set Bennys head down, tenderness thatQuinn catches. Quinn also notices--

QUINNWhat happened to your hands?

Cutter looks down. CLOSE ON his knuckles: beat to shit.

SHERIFF BARKLEYWay I see it, the bastard figuredhe try to save himself some pain bydoing the job himself.

Quinn returns to examining the body. Bennys shirt is ripped,

exposing a BRAND on his chest -- the letter R, just likethe one Quinn saw on Cutters chest earlier.

CUTTERWho had access to him last night?

SHERIFF BARKLEYI dont answer to you, son.

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QUINNThis mans neck is broken.

SHERIFF BARKLEYThat happens when you hang someone,Quinn. Thought a smart guy like youwould know that.

QUINNThe man was hanging two feet offthe ground, it takes a fall of atleast six to break the neck.

CUTTERIts also hard to tie a noose whenyour thumbs are busted.

Cutter nods to Bennys hands, theyve been mangled.

QUINN

Someone took their time askingquestions.(to Cutter)

Care to guess what they were askinghim?

Cutters eyes flint as his wheels begin to spin. He rises andcalmly walks out of the cell. Quinn goes to follow but theSheriff stops him--

SHERIFF BARKLEYThe kid got what he had coming. Youunderstand what Im telling you,Charles?

QUINNNo. Honestly I dont. Ed.

Quinn heads after Cutter.

INT. SHERIFFS OFFICE -- MOMENTS LATER

Cutter walks out from the cells but stops when he sees therack of shotguns against the Sheriffs wall. Withouthesitating, Cutter turns and grabs a rifle and a doublebarrel shotgun.

Cutter violently SNAPS the double barrel open--

CUT TO:

EXT. SHERIFFS OFFICE -- MOMENTS LATER

With his new rifle and shotgun slung over his shoulders,Cutter gets on his horse.

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He doesnt flinch when Quinn saddles up right beside him.Theres a moment of silence between the two. Until--

QUINNIll tell you what I cant figureout. I cant figure out how youknow where the opium is.

Nothing from Cutter.

QUINNThe scar on your chest. Its abrand. Benny had the same one.Quantrills Raiders all had brandslike that. I read it in Bennysfile.

Cutter doesnt react. Cool as ever. The Sheriff steps outonto the walkway, leering at Quinn but well out of ear shot.

QUINNYou think Cobb killed your friendto find the opium. And Im certainyoure going after him.

CUTTERYou aint the law, this isnt yourconcern.

QUINNThat doesnt mean I dont know thedifference between right and wrong.If youre right about Cobb, thatmakes him my killer. Which means,

Im coming with you.

Cutter turns his horse, preparing to ride off.

QUINNYou still havent answered myquestion. How do you know whereCobb is going?

CUTTERBenny told me.

Cutter nods to the two pistols in Quinns belt.

CUTTERYou any good with those?

QUINNBetter than some.

Cutter looks to Quinn and nods.

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CUTTERI guess well find out.

With that, Cutter takes off, his horse quickly working into afull sprint. Quinn nods to Sheriff Barkley and follows.

CUT TO:

EXT. BENNYS CABIN, ANTELOPE VALLEY -- DUSK

The isolated cabin is especially foreboding at this hour.Several horses and a large wagon are hitched out front. Fourwell armed TOUGHS stand guard on the perimeter.

THROUGH A SPYGLASS: Quinn observes the cabin from a safedistance, using the terrain for cover. He ducks down andoffers the spyglass to Cutter whos loading his weapons.

QUINN

Four on the outside, who knows howmany on the inside.

CUTTERWait here.

Cutter charges his rifle and starts for the cabin.

QUINNWait for what?

CUTTERFor me to come back and get youwhen its over.

WITH THE TOUGHS:A FAT TOUGH smokes a cigarette, his eyeslocked on the trail up ahead. Two more thugs wait on thewagon looking bored.

Fatty puts out his smoke and heads for the brush. We stay onhim as he pushes through the thick brush, leaving the twothugs behind him. He finds a tree and takes a piss. Finished,he heads back for the wagon.

HOLD ON Fatty as he pushes back through the brush towards thewagon. He freezes when he sees the wagon, panicked.

REVEAL: The two thugs on the wagon are both dead. One with adagger through his chest, the others throat cut.

Fatty reaches for his weapon but hes too slow. He senses itand turns to his left where Cutter already has him lined upin his double barrels sights--

BOOM Fatty falls back into the brush, a new hole in hischest. Cutter begins to reload his shotgun when--

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SNAP A single gunshot rings out, causing Cutter to flinch.He looks into the brush ahead and sees Quinn holding asmoking gun. Cutter checks behind him.

REVEAL: The now very dead fourth guard had gotten the drop onCutter before Quinns bullet put a stop to it.

BANG BANG Shots ring out from inside the cabin as someoneopens fire! Cutter and Quinn hit the dirt and roll to cover.

QUINNAny ideas?

Cutter looks back to the cabin. He can make out a figure inthe window, weapon at the ready. But theres no clear shot.

CUTTERIn thirty seconds youre gonna runfrom this spot to the left side ofthe wagon there.

QUINNYou mean directly in the line offire?

Cutter doesnt wait to explain, instead he slinks off to theright side of the Cabin.

QUINNShit.

WITH CUTTER:Cutter moves through the brush until he reachesthe right angle. He draws his rifle and flicks up his sights.

THROUGH THE SIGHTS:We see Cutters target. Through the sidewindow Cutter can make out just a tiny sliver of the shooter.His only hope is if the shooter moves to his right. But eventhen its a near impossible shot.

INT. BENNYS CABIN -- MOMENTS LATER

McClay stands at the window, scanning for something to shootat. After a moment he sees Quinn racing towards the wagon.McClay has to move to take the shot. But just as he does--

THWAP A bullet tears through the window and hits McClayright in torso. He spins and screams in pain as he hits theground. He writhes as blood pools on the floor.

Cutter kicks the door open, weapon trained on McClay wholooks up to him through teary eyes. Cutter circles his prey.

Quinn is two steps behind, he freezes when he sees McClay.

MCCLAYCall this animal off, Charles!

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Cutter puts a bullet in McClays leg. He bellows in pain.

QUINNHe thinks you killed his friend,Bart. You tell me you didnt andIll call him off.

MCCLAYI did what I had to do! Dont youget that? He was going to takeeverything from me.

QUINNWho? Benny?

MCCLAYNo, Cobb!

Cutter puts another round in McClays leg.

CUTTERDont bullshit me!

MCCLAYIm not! My boy was stupid -- Ishouldnt be responsible for hissins! I tried to tell him but hewouldnt listen. He left me nochoice!

Quinn looks to Cutter. Both of them get it.

QUINNYou killed your own boy?

McClay breaks down. The pain and anguish too much for him.

MCCLAYAll he had to do was tell me wherehe hid the dope. Thats it. But hewanted to show me how he was hisown man.

(spits blood)If he hadnt gotten in with thatfour-flusher bastard Id still havea son!

QUINNSo you dumped Thomass body on thedocks and hired me to do what? Makeyou look innocent?!

We hear horses pull up outside. Quinn races to the window.Outside he can see at least half a dozen men arriving.

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MCCLAYI needed to use every resource Ihad available to me to find theopium. You dont know what kind ofman this Cobb is.

QUINN

We got visitors! Well armed andpissed off. Who are they, Bart?

MCCLAYYou didnt do your job fast enough.I wasnt going to let him just takewhat I spent a lifetime building.

QUINNWho are they?!

MCCLAYLaos men. Once I knew where the

opium was, I had to make a deal.Cutter looks out the window, he sees the men moving in.

CUTTERDOWN!

Cutter dives and tackles Quinn to the ground as the houseerupts in gunfire! Two rounds strike Cutter in the side, hewinces in pain.

McClay isnt so lucky. Hes TORN apart by bullets as Quinndrags the injured Cutter to cover by the stone fireplaceuntil the Gunmen begin to reload.

Quinn examines the rounds -- theyre deep. Quinn tears offpart of Cutters shirt and uses it to staunch the wound.

QUINNHold that there.

Cutter grunts from the pain. CRASH Suddenly three molotovcocktails are tossed through the windows of the cabin,quickly setting it ablaze. Through the smoke and fire we canhear the men taking the wagon of opium and riding off.

Quinn rips his sleeve and covers his mouth as the smoke

begins to build. They dont have much time.With one working arm, Cutter crawls towards the only door inor out. He takes a look through the shattered window --doesnt look good. Quinn takes position on the other side ofthe door frame.

CUTTEROnly got one option.

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Cutter tries to reach for his pistol but he cant move hisright arm. Quinn reaches over and does it for him, placingthe pistol in Cutters working hand. Cutter looks to him.

CUTTERThanks.

Cutter cocks the hammer. Quinn does the same with his twopistols.

QUINNId say its been fun, but thatdbe a lie.

Cutter scootches himself upright against the wall.

CUTTERYou ready?

Quinn nods and steels his nerves. Theyre just about the

charge through the door Butch and Sundance style when Quinnsees something off screen.

QUINNWait!

Cutter does. Even though it pisses him off to no end.

CUT TO:

EXT. BENNYS CABIN -- MOMENTS LATER

Fire rapidly devours the cabin. Thick black smoke plumes astwo GUNMEN wait, ready to fire at whoever comes out the frontdoor.

BOOM The front door is kicked open. Quinn charges out usingMcClays body as a human shield! The Gunman open fire buttheir bullets only find McClay.

Cutter dives out from behind Quinn and fires two perfectlyplaced shots, taking out both Gunmen in a heartbeat. He landshard on the ground, pain registering throughout his body.

Quinn throws McClays body down and grabs a horse. He picksCutter up and slings the injured man over the back of his

horse.

CUTTERS POV:Cutters eyes flutter as the thick smokeobscures his view. Through the smoke he can just make out thewagon racing the other direction. Getting away. Secondslater, the world goes black.

FADE TO:

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INT. PINKERTON BUILDING, QUINNS OFFICE -- 2 DAYS LATER

Cutters eyes flutter open. He finds himself on Quinnscouch, fresh sutures in his side. He takes a deep breath andtries to sit up but the pain prevents him.

QUINNYoure going to want to take iteasy for a bit.

Cutter notices Quinn sitting at his desk. From the looks ofthings, hes been there awhile. The Murder Board has beentaken down and replaced by a new one devoted to Cobb.

QUINNGood sleep?

CUTTEREverything hurts.

QUINNIll take that as a thank you.

Quinn puts McClays financial file down in front of Cutter.

QUINNCourtesy of Martin. Two days beforeBenny was killed, Bart McClayliquidated most of his assets.Cash, land, title.

CUTTERPayment to Cobb for the stolenopium.

QUINNThat was my conclusion as well. Butwhen Martin attempted to track thenew owner of the McClay fortune,the paper trail vanished.

CUTTERThat can happen?

QUINNNot that Ive ever seen before. Theway I figure it, McClay was

planning on trying to sell theopium to Lao in order to buy backhis claim.

CUTTERBut Lao ratted him out to Cobb.

QUINNFor what Im sure amounts to ahandsome price.

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Cutter gets up and starts to put on his shirt.

CUTTERSo thats it then.

Cutter heads for the door. Hes almost out when--

QUINNHowd your talk with Agent Fishergo?

Cutter freezes.

QUINNMartin mentioned he arrived latelast night and was in an awfulhurry to find you.

CUTTERHe never made it.

Quinn walks over to Cutter. Gauging him once more.

QUINNI dont know why you came here, Mr.Cutter. But I know a good man whenI meet one. This town needs moregood men. If you stick around,maybe I can help you find whatyoure looking for.

Cutter looks to the new Murder Board. He isnt sure how torespond. Quinn can see it and lets him off the hook.

QUINNMartin knows where to find me whenyoure ready to talk.

Cutter nods and heads out.

EXT. PINKERTON OFFICE -- DAY

Cutter limps outside.

LAUREL (O.S.)Why is it every time I see you, you

have a new bullet wound?

Cutter turns and finds Laurel sitting on the bench outsidethe Pinkerton Office. She has a picnic basket next to her.

CUTTERForce of habit I think.

Laurel smiles but its not full. Cutter can tell. Neither oneknows what to say next, so they stall.

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Cutter notices the basket. Laurel looks to it, almost likeshe forgot it was there.

LAURELI was headed out to lunch.

CUTTERSmells good.

LAUREL(long beat)

I heard about Benny. Im sorry.

Cutter doesnt respond.

LAURELSo I take it youll be moving on?

CUTTERDid you mean what you said the

other night? About Oregon? Does theoffer still stand?

That surprises Laurel.

CUTTERI know you think I cant walk awayfrom this, but I can.

(reaches out for her hand)Its you I cant walk away from.

LAURELYou dont know what youre saying.

CUTTERYes I do.

Behind them, we hear the front door opening. Laurels eyes gowide as she pulls her hand away, suddenly going rigid.

LAURELIm pleased to hear youre feelingbetter, Mr. Cutter.

CUTTERYou havent answered my question.

QUINN (O.S.)Whos ready for lunch?

Cutter turns. Quinn walks towards them, all smiles. He headsright for the picnic basket.

QUINNPlease tell me you brought pudding.

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Before Cutter knows whats happening, Quinns got his armsaround Laurel. He smiles and turns to Cutter.

QUINNI see youve finally met theMisses.

No way. Quinn kisses Laurel on the cheek.

QUINNCare to join us for lunch?

SLAM TO BLACK:

END OF PILOT

66.

double barrel pilot

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