BUFFALO BILL AND THE INVISIBLE CITY

by

Michael Stark & Terrell T. Garrett

Management

Eva Lontscharitsch

EML Entertainment

Phone 323-806-5141
CLOSE ON A POSTER
A wanted poster for Chief Red Shirt. The caricature makes the
Indian look decidedly bloodthirsty. It’s quickly rolled up
and tucked away in a U.S. CAVALRY saddlebag.
EXT. MESA COUNTRY - DAY
1875, Colorado. A CAVALRY UNIT of fifty men stalled in the
high desert, waiting. Waiting a helluva long time under the
blasting sun. From their horses, the GENERAL and his SERGEANT
watch as a MAN IN A BUCKSKIN JACKET snakes slowly on his
belly through the dirt and brush.
GENERAL
Madness! The Government is pissing
away a hundred dollars a week for
this?
They hear a few HUMMED bars of Down in the Valley from the
over-priced consultant.
MOVING WITH THE MAN
He inches through the grass, searching, scouting. His
trademark beard and long locks giving him away -- he is none
other than the first Western hero, BUFFALO BILL CODY.
BILL
(from humming to singing)
Down in the valley, the valley so
low. Hang your head over, hear the
wind blow...
He suddenly stops and smiles, his eyes focused on a single
BLADE OF GRASS. Off this, he flashes and we enter his mind:
BILL’S FLASH
A sudden image of the day before. TEN INDIANS gallop past
this spot, bending that blade of grass. We follow their path
north-east.
CLOSE ON BILL
He blows on the grass and a tiny HORSE HAIR lands in his
glove. He squints hard and studies it.
BILL (O.S.)
(singing)
Writing this letter, containing
three lines. Answer my question,
will you be mine?
 2.

BILL’S FLASH
The Indians are more specifically riding black mustangs.
MOVING WITH BILL
Pleased with himself, he gets up and approaches the General.
BILL
General Pace, sir, we’re a day and
a half behind Red Shirt. They went
towards those mountains there.
GENERAL
And you know this how?
Bill holds the tiny hair up to the General’s eye.
BILL
From the mane of a black mustang.
Those were Sioux horses that passed
here. They’re a long way from the
prairies. The Pueblos in this
territory favor a different ride.
GENERAL
(unnerved)
Fine ... Lead the way!
EXT. VALLEY PASS - LATER
The troop follows Bill. A CAVALRY GRUNT idol worships from
behind. He shows his friend a copy of a dime store novel,
“Buffalo Bill and the Massacre on Mars Hill.”
CAVALRY GRUNT
Think I can get him to sign it?
GRUNT 2
Sure. For a couple of drinks.
Bill suddenly pulls back on the reigns, taken by surprise.
BILL
Whoa, Old Charley.
Rising above them is a forboding sight -- an ANCIENT CAVE
DWELLING CITY, carved in the side of the mountain. It looks
like it hasn’t been used in centuries.
EXT. VALLEY - STILL LATER
They’ve been here a while. The General studies the ruins with
a spyglass. He collapses it loudly.
 3.

GENERAL
You’re a long way from the prairies
too, Cody. No Indian would ever
hide there. They all think it’s
haunted.
BILL
Begging the General’s pardon, but
there's not much Red Shirt is
afraid of.
GENERAL
We’ve wasted hours staring at this
ghost town. We’re setting up camp.
He raises his hand and signals his men to follow.
GENERAL
Maybe our scout can find us some
pottery shards.
The grunt puts away his paperback, disappointed. Bill hangs
back as they ride off. He takes out his tobacco pouch and
rolls a cigarette. Suddenly, he sees MOTION IN THE RUINS --
even from a quarter mile away.
BILL
Damn.
He digs his heels in and races after them.
BILL
General, I don’t think they’re
quite closed for business!
THE CLIFF CITY
Bill catches up to them just as they enter the entrance of
the ancient pueblo.
BILL
Sir, you’re riding right into an
ambush.
GENERAL
Nonsense. I told you. It’s as
quiet as a tomb.
On that, ARROWS SUDDENLY FLY -- THUNKING! -- into five of the
men. The city comes to life with WAR CRIES.
BILL
Why don’t generals ever listen to
me?
 4.

He pulls a RIFLE out of his saddlebag and takes aim. He --

BOOM!BOOM! -- FIRES two rounds.
From the top caverns, TWO ARCHERS go down.
Bill rides forward, dodging arrows, quickly reloading.
Cavalry men dying all around him. The General’s horse is
struck and goes down. The officer runs into one of the caves
for cover.
BILL’S POV:
TWENTY ARCHERS come out of hiding, hanging off the cliff’s
ladders.
CLOSE ON BILL
In an instant, he sizes up his shot and FIRES. Swivels, then
FIRES again --
THE ARCHERS
The steps of TWO LADDERS on opposite ends suddenly BREAK
apart. The Indians slip off, knocking down other archers as
they PLUMMET down the canyon.
CLOSE ON BILL
A volley of arrows come at him. He holds up his rifle --
THUNK!THUNK!THUNK! -- catching them all in its stock.
He throws it down and picks up another Winchester. Bill leaps
off his horse and swats its behind.
BILL
GET OUT OF HERE!
Bill takes safety behind some boulders and surveys the scene.
An ant colony of Indians SWARM out of hiding. Half of the
Cavalry Troop is dead; the other half fled.
Bill only has one pistol -- and just a handful of bullets.
CLOSE ON THE GENERAL
He comes out of the cave, holding an Indian Woman and a LIT
STICK OF DYNAMITE.
GENERAL
Stand down, Red Shirt. I found
your squaw.
We see that the woman has a baby in her papoose. The arrows
stop flying. So do the war cries.
 5.

CHIEF RED SHIRT, handsome and regal, suddenly appears on the

ground. He signals his braves.
RED SHIRT
(in good English)
Spare my wife and child and I’ll
come with you.
GENERAL
That’s more like it.
Suddenly, a SHOT echoes through the canyon. The General
staggers, hit in chest.
Bill quickly catches the dynamite and extinguishes the fuse.
Smoke billows out of his pistol as he re-holsters.
BILL
Hiding behind women and children is
a new low -- even for you, Pace.
The squaw runs to her husband. The Chief holds up his baby,
smiling. He doesn’t seem quite so savage now.
Bill is surrounded by a DOZEN TOMAHAWK WIELDING BRAVES. They
frisk him, taking away his weapons. He doesn’t flinch as
he’s threatened with his own knife.
They find a FLASK in his pocket. That, he grabs back.
BILL
I’ll be needing that right about
now.
He takes a drink. The tomahawks are raised, ready to chop.
RED SHIRT
(subtitled from Sioux)
Leave him to me.
His men back off. The Chief circles around his prisoner,
sizing him up.
BILL
You must be Red Shirt. Your poster
wasn’t very flattering.
RED SHIRT
Why did you do that, Long Hair?
Why’d you shoot your chief?
BILL
That man was no chief. He was a
first class coward.
 6.

He offers the flask to Red Shirt. The warrior angrily throws

it to the ground and puts his face right up to Bill’s.
RED SHIRT
(surprisingly softly)
I’m the only of my tribe that
speaks English ... Just so you
know; I would have had that drink
with you.
BILL
But, you have to look chiefly?
RED SHIRT
Yes.
He SLAPS his prisoner hard against the chops.
RED SHIRT
Sorry about that.
BILL
(wiping blood from his
lip)
Understood. You have to make it
look good.
RED SHIRT
I’m afraid I’ll have to yell at you
a little.
BILL
Go ahead. Put on a show.
Red Shirt YELLS at the man; his words not matching his tone.
RED SHIRT
You saved my family, Long Hair. I’m
in your debt. To spare your life,
you’ll have to be my prisoner. But,
your bonds will be loose. You can
slip away late tonight.
BILL
Much obliged.
RED SHIRT
Least I can do.
He holds up a knife and YELLS to his troops IN SIOUX.
RED SHIRT
(subtitled)
I will deliver his corpse to their
President Grant myself!
 7.

HOLLERS of excitement from his braves.

BILL
That got a rousing response. My
Sioux is a little rusty. What’d you
just say?
RED SHIRT
Best you don’t know.
BILL
You know, Chief, after this gig, I
was heading to New York. Some
Broadway producers want to put me
in a play ... Money’s real good.
And, you’re mighty damn convincing.
Just might be a role for you too.
The Chief smiles. This is the beginning of a lifelong
friendship.
CUT TO:
EXT. ENGLISH COUNTRYSIDE - DAY
A steam-powered train chugs through the bucolic scenery,
passing unmistakably British greenery: stately manors,
grazing sheep and vicars on bicycles.
A TITLE CARD reads: London, Twelve Years Later.
INT. TRAIN - DAY
A stuffy, private cabin. The HEADLINES of the commuters'
papers vie for attention: MUSEUM HOSTS THE INVISIBLE CITY and
BUFFALO BILL CODY’S WILD WEST SHOW STORMS LONDON.
A stern AUNTEE sips her tea. She has heard quite enough from
her squirming NEPHEW.
NEPHEW
Auntee, do you think there will be
actual Mayan Mummies at the museum?
AUNTEE
Edward, enough.
NEPHEW
And, if they came alive, could
Buffalo Bill beat them?
AUNTEE
Edward!
 8.

NEPHEW
And, if they let the Indians loose,
do you think they’d scalp someone?
AUNTEE
I said enough! We have a long trip
ahead of us.
Defeated, the boy presses his face against the window. His
fellow passengers -- even the pretty, RED-HEADED LADY across
the aisle -- seem just as boring as his Auntee.
HIS POV:
He stares out the window. Just more endless Merchant Ivory
landscape.
Then, suddenly, a HERD OF BUFFALO stampede past the train!
NEPHEW
Auntee...
He's SHUSHED before he can even point them out.
Then, he sees INDIANS ON HORSEBACK charging after them!
NEPHEW
But, Auntee...
Another pre-emptive SHUSH.
COWBOYS suddenly appear on the scene behind the Indians! A
perfect John Ford meets Jane Austen mash-up.
The boy rubs his eyes. Even he can’t believe it!
One cowboy, FRANK BUTLER, 25, rides up along side the train.
He is two-fisted, lantern-jawed and handsome. Butler peers
in, spots the pretty redhead and winks at the wide-eyed lad.
MOVING WITH BUTLER
He gallops his horse kissing-close to the speeding train. He
stays here a few beats, waiting for something, anything to
grab onto.
BUTLER
I can do this.
Finally, he finds his toehold and leaps aboard.
MOVING WITH BILL AND RED SHIRT
Riding neck and neck, catching up to the train.
 9.

RED SHIRT
It’s the second time this week. Why
do you allow this behavior?
BILL
Red Shirt, you were a bit of a
prima donna when you joined us too.
RED SHIRT
Prima what?
They jump off their horses and effortlessly board the train.
INT. STUFFY CABIN - DAY
Butler enters the cabin.
BUTLER
Pardon me, folks.
Before he can remove his hat, the pretty passenger, ANNIE
OAKLEY, 21, has TWO PISTOLS aimed at his head. He doesn’t
flinch. Doesn’t blink. Apparently, this is their norm.
BUTLER
Annie Oakley, where do you think
you’re going?
ANNIE
I’m going home, you big lug. Or
Paris ... Or maybe to Siam.
Seems The Wild West Star is a regular Prairie Diva.
BUTLER
Siam?
ANNIE
Yes, Siam. The king of Siam asked
me to get rid of his little tiger
problem. I’d be living in a palace
over there. Or their fanciest,
Siamese hotel. Not in the leaky
tents you arranged for us.
BUTLER
We’re getting off this train. We
have a contractual obligation.
ANNIE
How could you sell me out for third
billing? How did you ever woo
yourself into being my manager in
the first place?
 10.

With no time to coddle the temperamental performer, he WHIPS

his PISTOLS out too.
BUTLER
We’re getting off this train now!
The Brits are shocked -- is this how Americans quarrel? All
the in-public firepower has aroused the little gunslinger.
ANNIE
You think so? You know I'm a better
shot, Butler.
BUTLER
Maybe with a rifle, but not with
pistols.
ANNIE
I could’ve shot you six ways
through Sunday.
BUTLER
Maybe -- If you’d packed a rifle.
The train JERKS, sending Annie -- OH -- right into his arms.
BUTLER
You okay?
ANNIE
My ankle.
She likes it in his arms. They both soften.
BUTLER
Think you can ride back?
ANNIE
(nods)
What about my bags?
He points a pistol at the PORTER who just entered.
BUTLER
See that Miss Oakley’s things get
back to the Wild West Show.
PORTER
Of course, sir ... As always.
Butler holsters his pistols with a flourish, grabs his girl
and whisks her out of the cabin.
 11.

BUTLER
Mighty sorry about the intrusion,
folks.
The little boy tries to follow them out. His Auntee grabs
his arm, terribly displeased. Yanks!
INT. TRAIN - THIRD CLASS COMPARTMENT - DAY
Passengers are thrilled by their special guests. Red Shirt,
in full regalia, walks down the aisles, handing out adverts.
Bill sits next to a PRETTY YOUNG WOMAN, chatting her up.
BILL
Well, ma’am, breaking a wild horse
ain’t much different than courting
a young lady like yourself ... You
keep all your movements slow ...
and steady ... and quiet.
She flips her fan open, suddenly rather hot.
BILL
You get up close. Let them feel
comfortable. And, then, with the
palm of your fingers ...
As he’s about to stroke her hair, Red Shirt suddenly
interrupts them.
RED SHIRT
It’s time to go, Long Hair. He’s
got Annie.
BILL
Sorry, ma’am. I hope to see you
soon at BUFFALO BILL CODY’S WILD
WEST SHOW.
He stands, opening his arms to the whole train:
BILL
FOR THE PRICE OF ONLY ONE GUINEA,
YOU TOO CAN EXPERIENCE THE TRUE
ADVENTURE OF THE AMERICAN FRONTIER!
CLOSE ON A NEWSPAPER
The headline reads: Buffalo Bill to Meet The Queen.
INT/EXT. VARIOUS LONDON SITES - MONTAGE SEQUENCE
From a podium, Bill’s COWBOY BAND plays “God Save The Queen”.
 12.

Cowboys and Indians on horseback parade through the busy

streets towards the palace. Reporters and photographers
behind them at every step.
At BUCKINGHAM PALACE, The Indians watch the CHANGING OF THE
GUARD.
Inside the PALACE, Bill, Red Shirt and Red Shirt’s Wife pow
wow with QUEEN VICTORIA and MEMBERS OF PARLIAMENT.
The queen hesitantly reaches her hand out to Red Shirt’s.
BILL
Don’t worry, Ma’am. He ain’t gonna
bite ya.
In WESTMINSTER ABBEY, a group of cowboys and Indians join the
parishioners in a service, singing “Nearer My God To Thee”.
For a crowd of delighted schoolboys, Bill lassos A STATUE OF
A DRAGON, the city’s mascot.
Assorted cowboys and Indians in an UNDERGROUND STATION.
They’re astonished as a TRAIN whizzes by.
On a horse-drawn, DOUBLE DECKER BUS, a PICKPOCKET tries to
dip one of the cowboys. He is met by a half-dozen pistols
aimed at his head.
The same pickpocket is hog-tied outside of SCOTLAND YARD.
Bobbies find him with a note that reads: “Courtesy of Buffalo
Bill’s Wild West Show.”
END OF MONTAGE
INT. BILL’S TENT - MORNING
His days of traveling light have long since passed. This is
more a portable, Five Star hotel room. Bill, in front of an
elegant mirror, brushes out his hair, counting each stroke.
In the reflection we see -- a BEAUTIFUL WOMAN, very high
society, getting up from the bed. She wraps herself up in a
sheet and comes over, kissing him on the cheek.
BEAUTIFUL WOMAN
Honestly! You take longer to get
ready in the morning than I do.
BILL
I’ll be back by intermission, my
dear, if you want to wait around.
 13.

BEAUTIFUL WOMAN
William, there is a small favor I
need to ask you.
BILL
Anything, Darling ... I can get you
as many free passes as you want.
BEAUTIFUL WOMAN
I’m concerned about my father. I
think the Colonel has gotten
himself into some real trouble.
This isn’t the kind of favor he’s interested in hearing. He
starts getting dressed for the show.
BEAUTIFUL WOMAN
I don’t like the so-called gentle-
men he’s mixed up with. Sometimes,
he goes missing for days. I’ve even
tried to follow him, but he’s an
old hunter. He easily lost me ...
It would be a relief if you’d find
out what he’s up to.
BILL
My dear, isn’t that better suited
for the police -- or Sherlock
Holmes?
BEAUTIFUL WOMAN
Please, Sherlock Holmes is a work
of fiction.
(she lays her hand on his
shoulder)
While Buffalo Bill Cody is the
genuine article ... You’re the
finest tracker in the world.
He puts on his hat.
BILL
I’m afraid that was a long time
ago. These days I’m strictly an
entertainer.
(kissing her hand)
I’m sorry I can’t be of more help.
I’m sure your father will be fine.
And, on that, he exits.
 14.

EXT. WILD WEST SHOW CAMP - BILL’S TENT - DAY

We get a glimpse of the Wild West Show Camp. Think a small
scale Frontier Land. Instead of mountains in the background,
there’s the Tower of London and Big Ben.
Outside, a frowning Red Shirt is waiting for him.
BILL
(off his look)
What?
RED SHIRT
Long Hair never learns his lesson
... How many angry husbands have
almost killed us?
BILL
You love when that happens, Red.
It’s the only adventure we have
anymore.
The showman puts a hand on his friend’s back. It starts to
drizzle.
BILL
So which one of you did a Rain
Dance?
They stroll through the show’s makeshift western town. It
consists of working tepees, tents, mess halls, stables,
general stores, stagecoaches and a blacksmith.
BILL
You’ve done a few in your time
haven’t you?
RED SHIRT
Done many.
BILL
It ever rain?
RED SHIRT
It often rains.
BILL
(a beat)
I mean after the dance, Chief. Does
it rain right after the dance?
CUT TO:
 15.

EXT. STREET - DAY

A crowded London avenue. A NEWSIE hawks the latest edition.
NEWSIE
Parliament to visit the Invisible
City today!
INT. THE INVISIBLE CITY EXHIBITION - DAY
The exhibition is massive, a city block long, housed in an
all glass building.
These are the PARTIAL RUINS of a lost city, transported brick
by brick from the Rain Forest, complete with a pyramid-shaped
temple, huge idols and six observatory domes.
All that good stuff is roped off. We’re kept to the side in a
smaller area. Hundreds of artifacts are displayed here.
Guests hover around the open sarcophagus of a MUMMY QUEEN.
Members of HIGH SOCIETY and THE PRESS mill about. Two GUESTS
stare at the hieroglyphics of an ancient, STONE CALENDAR.
GUEST ONE
I heard Lodge paid for this all
himself. They say he has more money
than Queen Victoria.
OSCAR WILDE studies PHOTOS from the excavation. The dig’s
leader, ALEXANDER LODGE, seems a ruddy, pulp action hero.
There are older PICS of him as a General in the Anglo-Indian
Wars. Wilde CLUCKS. The Adventurer hasn’t aged a day.
He notices his contemporaries, BRAM STOKER, H.G. WELLS and
ROBERT LOUIS STEVENSON.
WILDE
Stoker. Wells. Stevenson. Here to
soak up some inspiration?
STOKER
I thought you were strictly
sticking to plays, Wilde.
WILDE
Don’t be so territorial. I believe
Sir Lodge has more than enough
material for the four of us.
SIR ALEXANDER LODGE comes to the podium. The charming noble
is an impeccable showman.
 16.

LODGE
Ladies and Gentlemen, I give to
you, Calitak, The Invisible City!
Rousing APPLAUSE.
LODGE
After leaving the Queen’s service
in India, I decided to pursue my
boyhood dream of adventure and
discovery in the New World --
which, as you can see around me --
is actually quite old. Were the
legends I read about of lost
civilizations and cities of gold
true or just the figments of some
wild, malarial imaginations? ... It
took me seven years to find
Calitak. They called it “The
Invisible City” for good reason, it
was bloody hard to find!...
Lodge spies cowboy hats and feathered headdresses joining the
crowd.
LODGE
While Europe was still locked in
the Dark Ages, Calitak made major
advances in architecture, mathe-
matics and astronomy ... We can
learn a great deal from the ghosts
of their culture...
The crowd’s attention starts drifting towards the new guests:
Buffalo Bill, Red Shirt and Red Shirt’s wife.
REPORTER ONE
Mr. Cody! How do you like England?
BILL
I’m enjoying it very, very much.
Your people are quite hospitable!
By now everyone has their back turned to Lodge, in awe of the
American showman. The noble man pulls at his collar,
irritated.
CLOSE ON RED SHIRT AND HIS WIFE
The chilling city definitely creeps her out.
 17.

RED SHIRT’S WIFE

I don’t like this place, Red Shirt.
Lost things are usually lost for a
reason.
His sentiments exactly. They’re suddenly blinded by a
photographer’s FLASH POWDER.
CLOSE ON BILL AND THE CROWDS
Wilde makes his way through the crowd to shake his old
friend’s hand.
WILDE
Good to see you again, Mr. Cody.
BILL
As well, Mr. Wilde. As I recall, we
still have the matter of a small
poker game to be resolved.
WILDE
(playing the crowd)
So, do you think London is big
enough for both Buffalo Bill and
the Invisible City?
BILL
Sir Lodge has collected himself
some mighty impressive antiques ...
We’re gonna have to put on quite
the show to top this!
Lodge is suddenly at Bill’s side and puts out his hand.
LODGE
I dare think England can host two
wonders of the world!
Bill takes his hand. It’s a long handshake. Each man sizes up
the other, gripping harder and harder.
BILL
So, I’m a wonder? I like that.
(sotto to Lodge)
I didn’t mean to steal your
thunder, Sir.
LODGE
(smiling back)
We’re both showmen. We both know
what you’re up to.
Photographers snap pictures of them together. They both play
off the camera, still shaking hands.
 18.

We see a glimpse of pain in Bill’s face. Lodge is a hell of a

lot stronger than he looks.
EXT. FANCY RESTAURANT - NIGHT
Posh, exclusive and very romantic.
INT. RESTAURANT - MEN’S ROOM - NIGHT
Butler looks handsome but unaccustomed to the evening wear he
borrowed. He nervously spits down his hair while the
ATTENDANT helps with his tie.
With gunslinger-speed, he whips a JEWELRY BOX out of his
pocket and flicks it open, revealing the DIAMOND RING inside.
He snaps it shut, pockets it, then quick-draws it out again.
He practices this a few times in front of the mirror.
ATTENDANT
You’ll do fine.
BUTLER
You don’t know who I’m up against.
THEIR TABLE
He rejoins Annie. They’re already set up with champagne,
flowers and candlelight. She’s perusing the newspaper under
her menu.
He sits down, gathers his courage and takes her in. She’s a
handful, but she’s beautiful and he’s crazy about her.
BUTLER
So, what looks good?
ANNIE
Not me. Not according to Fleet
Street ... Why do they give Buffalo
Bill all the good press?
BUTLER
Don’t know. Age before beauty?
She continues her ingenue tirade.
ANNIE
You have to do something, Butler.
I’m tired of just getting the
scraps.
 19.

BUTLER
You won’t get scraps tonight.
Salsbury says this is some of the
finest chow in all of London.
ANNIE
So, you talked to Salsbury about
chow. Did you manage to talk to him
about my contract?
BUTLER
Annie, this is a real swell place.
Can’t we have a nice time without
always bringing up business?
ANNIE
Fine.
She puts down her newspaper, looks around, takes in the
ambience, smells the flowers --
-- and WE HEAR the CLICK of a COCKED PISTOL. She smiles
sweetly.
ANNIE
So, what looks good to you?
He puts down his glass and slowly peaks under the table,
where, of course, she has a dainty revolver pointed at him.
BUTLER
We couldn’t eat first?
ANNIE
I’m working up an appetite. Would
you cut me a piece of bread?
WE HEAR the CLICK of another COCKED HAMMER. Butler returns
the sweet smile.
Annie peers under the table and finds his much bigger pistol
aimed right back at her. She’s gleeful, totally aroused.
ANNIE
You know I could have killed you
twelve times over before you drew.
BUTLER
As always, I appreciate your
restraint.
ANNIE
How are you again with a knife?
 20.

BUTLER
Unparalleled.
ANNIE
Good, then cut me a piece of bread.
Their sexy standoff is interrupted when a SOCIETY LADY comes
to their table. Their guns are quickly holstered.
SOCIETY LADY
I’m sorry to intrude. But are you
Annie Oakley?
ANNIE
Why, yes, I am.
She’s more turned on from being recognized.
SOCIETY LADY
I’m so sorry, but can I have your
autograph?
ANNIE
No reason to be sorry at all. I’d
be glad to.
She produces a photograph out of thin air and signs it. By
now, a small crowd gathers around the table. Butler flusters.
This is not going as planned.
SOCIETY GENT
Is it true you can hit a clay
pigeon from fifty meters?
ANNIE
I don’t know. Let’s find out.
She stands up with a pistol in her hand.
BUTLER
Annie, don’t!
ANNIE
Please, I’m not a savage.
(to the Waiter)
Do ask your manager if he has a few
plates he can spare.
INT. FANCY RESTAURANT - LATER
Butler sits by himself in the back while Annie puts on a show
for the diners. The place looks like the Wild Bunch crashed a
Greek wedding.
 21.

The WAITER throws a plate in the air. Annie draws her pistol
and BLASTS the fine china into a million pieces.
The small crowd ROARS. This is her element, feeding off the
attention. There are people watching from the street outside.
Butler checks his watch. It’s been hours. His companion, the
champagne bottle, is now empty.
One by one, Annie SHOOTS out all the empty wine bottles lined
up on the fireplace mantle.
The Society Lady holds up a wine glass.
SOCIETY LADY
Shoot at this, Miss Oakley! Shoot
at this!
She obliges, the bullet safely cracking it at the stem.
MOVING WITH BUTLER
He’s had enough rejection for the night. He slips on his
coat and slips out of there, unnoticed.
EXT. STREET - NIGHT
An empty street. Butler is still walking it off, muttering
to himself.
BUTLER
Anything she can do, I can do
better!
He WHIPS OUT his Colts and performs a lightning fast array of
TWIRLS and TRICK GUN FLOURISHES.
Then, some fancy marksmanship, SHOOTING OUT every street lamp
as he moves down the street. He’s just as good as Annie,
maybe even better -- just don’t tell her that!
INT. THE EXPLORER’S CLUB - NIGHT
The smoky back room of a private club done in a big-game
hunting motif. Around a card table, Bill entertains the BLUE
BLOODS with his tall tales and the intricacies of American
poker. He has amassed a huge pile of money.
BILL
(in mid-tale)
We fired at each other simul-
taneously. His bullet parted my
hair. Mine struck him in the chest.
Before he could touch the ground, I
was on him with knife in hand.
(MORE)
 22.
BILL (CONT'D)
I jerked off his war bonnet and
scientifically scalped him. “The
first scalp for Custer!” I
screamed...
Suddenly, COLONEL DAVIES (70s), drunkenly SLAMS into their
table. Drinks spill. Cards fly everywhere. The retired
military man points his finger at Bill.
COLONEL DAVIES
YOU! YOU CAN’T BE HERE!
Bill instinctively reaches under the table for his pistol.
COLONEL DAVIES
Your men aren’t safe here! All of
you must leave London immediately!
TWO BOUNCERS quickly grab Davies, pulling him away.
COLONEL DAVIES
(as he’s dragged off)
The whole world is...
He’s cut off, his mouth covered by one of the guards. Bill
relaxes, taking his hand off his pistol. He goes right back
to his charming self.
BILL
Now, fellas, where were we?
Lodge, from out of nowhere, is by Bill’s side, handing him a
replacement scotch.
LODGE
I apologize for the Colonel’s
behavior. The poor soul has been
drinking heavily since the loss of
his daughter.
The men around the table gather what’s left of their money
and excuse themselves, shaking the American’s hand.
BLUE BLOOD ONE
It’s late.
BLUE BLOOD TWO
It was a pleasure meeting you.
Bill is now left alone with Lodge.
BILL
Sir Lodge, what a nice surprise. I
didn’t see you come in.
 23.

LODGE
I used my own entrance. My family
has owned the Club for generations.
(and, then)
I’ve interrupted your game ... Why
don’t the two of us play a few
hands to make up.
Lodge produces a huge wad of cash from his breast pocket.
Bill’s eyes widen.
BILL
Have a seat ... Please.
(and, then)
I must warn you. I’ve been on
something of a winning streak.
LODGE
Then this should be interesting.
Cause, I seldom ever lose.
INT. THE EXPLORER’S CLUB - LATER
They’ve been at it some time. Bill has lost most of his
winnings to the nobleman. Wilde, the writers and even the
wait staff hover around, watching the showdown.
BILL
(dealing; in mid-tale)
The card cheat didn’t get too far
from Buffalo Bill Cody cause the
steamboat he was working didn’t get
too far without its paddle wheel.
They pick up their cards. Lodge smiles.
LODGE
What an enjoyable evening. You tell
quite the ripping yarn.
BILL
I admit, Sir, I’ve had some
practice telling them.
LODGE
But, tell me. One war hero to
another. Don’t you ever miss living
them?
BILL
I live them twice daily. At twelve
and again at three thirty.
 24.

LODGE
Touche.
(throwing in more money)
I’ll raise you a hundred guineas.
He studies his cards, throws in more cash.
BILL
I’ll see your hundred. How many
cards do you want?
LODGE
I’m fine.
BILL
Good. I’ll take two.
He deals himself two cards.
BILL
I guess there are things I miss and
there are things I don’t. Like
getting shot at. And, going
hungry.
LODGE
Well, we wouldn’t want either of
those to happen, would we? ...
I’ve heard rumors that you’re up to
your eyeballs in debt bringing your
show to Europe.
BILL
You shouldn’t believe all the back
fence talk you hear. We had a
silent investor in London that paid
our way. Didn’t cost me one red
cent.
LODGE
So, who is this mysterious partner?
BILL
Don’t know. Don’t care. Nate
handles the business end. I just
handle the spectacle.
LODGE
I’m glad then things are going so
well ... I’ll raise you another
thousand.
 25.

BILL
(counting what he has)
I’d see you. But, I’m afraid I
don’t have it on me.
LODGE
Don’t worry. We’re both gentlemen.
(flipping over his cards)
So, let’s see what you’re made of,
Mister Cody.
Lodge has THREE SIXES. Bill’s nostrils flare. Are these
cards marked? Bill throws down his hand -- TWO KINGS.
LODGE
That was amusing. Let’s play again
some time.
Bill doesn’t like to lose. Not with a crowd watching.
BILL
It would be an honor to have you as
my guest at tomorrow’s show. Let
you really see what I’m made of.
Lodge is already standing. The money pocketed.
LODGE
I’d be delighted.
As he leaves, Bill downs another Scotch from a waiter’s tray.
BILL
(to himself)
I’d be delighted to win some of my
damn money back.
EXT. LONDON - VARIOUS ALLEY WAYS - NIGHT
WE FOLLOW a FLEEING MAN as he loses himself in a maze of
poorly lit back alleys.
We HEAR HOOVES CLACKING AGAINST THE COBBLESTONES.
He gets further lost in narrower, darker, more medieval
streets.
FLEEING MAN
No no no no no...
Something suddenly comes out of the mist -- a GLOVED HAND
SHAPED LIKE A TALON.
 26.

The hand grabs the man, pulling him into the fog as he
SCREAMS.
DISSOLVE TO:
EXT. THE SAME STREET - DAY
INSPECTOR ANDREWS of Scotland Yard examines what’s left of
the body. It’s naked. Skin savagely torn. Decapitated,
leaving only the bottom jaw.
The BOBBY next to him turns and retches.
BOBBY
Who could have done such a thing?!
We PULL BACK from the murder site to reveal -- A GIANT POSTER
for Buffalo Bill’s Wild West Show plastered on the wall. It
features a towering image of RED SHIRT AND HIS BAND OF
INDIANS.
On the ground, Andrews spies a lone, GREEN FEATHER. One that
would fit nicely in the headdress hovering above him.
EXT. THE WILD WEST SHOW CAMP - DAY
The compound is a city unto itself. The production includes
200 performers, 100 horses, a herd of buffalo, wild steers
and a couple of pack mules.
WILD WEST ENTRANCE
Barnum had nothing on Buffalo Bill. By the entrance, we see
the crowds accommodated by ticket takers, refreshment stands
and hordes of souvenir hawkers.
STADIUM
An amphitheater with covered seating for the wealthy and
standing room for the commoners. It’s another sold out
performance. We see Lodge in the VIP section.
The Cowboy Band breaks into YANKEE DOODLE. NATE SALSBURY,
Bill’s business partner, NARRATES with a huge MEGAPHONE:
NATE
Ladies and gentlemen of Great
Britain, Buffalo Bill Cody proudly
present America’s National
Entertainment, the bona fide and
original, Wild West Show!
Everything in the show is at Niagara Falls-speed. Two TRICK
RIDERS burst into the arena, carrying the Stars & Stripes and
the Union Jack.
 27.

They LEAP up and off their horses, BALANCING atop the

saddles. They toss their flags one to the other, catching
them and waving them proudly.
NATE (O.S.)
Now, a taste of the true wildness
of the Old West.
THE INDIANS
On cue, THE HERD OF BUFFALO stampedes into the ring. Behind
them are Red Shirt and his INDIAN BRAVES, reenacting a hunt.
They are fierce, war painted, WHOOPING and SHOUTING,
brandishing bows and arrows.
NATE (O.S.)
Chief Red Shirt and twelve of his
fiercest braves recreate for your
wonder and amazement, the danger of
a buffalo hunt.
ARROWS FLY. Each one hitting the bulls-eyes of the targets
around the ring.
NATE (O.S.)
Chief Red Shirt, leader of the
Sioux nation, a great warrior.
Second only in fame to Sitting
Bull.
The Braves CHASE the bison herd out of the arena. Chief Red
Shirt stays in the ring.
TWO TOMAHAWKS appear in his hands. He throws them, slicing
the head off of a DUMMY OF CUSTER half a football field away.
NATE (O.S.)
Once great foes to our hero,
Buffalo Bill Cody, now they are the
best of friends.
THE ROUGH RIDERS
BUCK TAYLOR, a cornfed hulk, and a team of ROUGH RIDERS
barrel in on their bucking broncos. It’s a ballet of beasts.
Leaning low from his saddle, Taylor picks up assorted
handkerchiefs from the ground. He hands one to a PRETTY LADY
in the stands.
 28.

NATE (O.S)
And now, Buffalo Bill’s Wild West
Show is proud to present our first
attraction, the peerless Lady Wing
Shot, the lovely lass who can out
shoot any man, Miss Annie Oakley.
ANNIE AND BUTLER
The crowd ROARS as Annie skips into the ring, blowing kisses
to her fans. Butler follows behind her, accustomed to his
gal being the belle of the ball.
NATE (O.S.)
And assisting her is Frank Butler,
the human target.
He WINCES at that title. Why is he always the second banana?
Butler fans a deck of cards, holding up four aces.
With the help of a small mirror, Annie checks her hair, then
aims a rifle over her shoulder and -- BAM -- PUNCHES BULLET
HOLES IN EACH OF THE CARDS.
NATE (O.S.)
For Mr. Butler’s sake, we ask for
complete silence.
Butler lights a CIGARETTE and puts it between his lips. Annie
traipses back another twenty yards, picks up her rifle and
BLOWS IT AWAY.
They both take a bow. Annie suddenly adds a little improv.
She takes out her TWO PISTOLS and BLASTS Butler’s hat -- HEY -
- off his head.
She SHOOTS the hat away every time he tries to pick it up.
The crowd ROARS. She smiles sweetly to them.
Butler, however, is PISSED. He plugs his fingers through the
holes in his cap. As they take a bow together, he WHISPERS.
BUTLER
What’s gotten into you? That’s my
good hat!
ANNIE
That was your good hat ... That’s
for leaving me at the restaurant,
hotshot.
CLOSE ON LODGE
He applauds loudly, seemingly smitten.
 29.

LODGE
Where on Earth did they ever find
her?
NATE (O.S.)
Please, welcome the star of our
show, the living legend himself,
America’s national hero, Buffalo
Bill Cody!
BACKSTAGE
Bill, atop his horse, soaking in the applause.
BILL
(to his horse)
That’s our cue, Old Charley.
But suddenly, the applause is drowned out by the SCREECH OF A
HUNDRED BOBBY WHISTLES.
STADIUM
It’s surrounded by about a dozen PADDY WAGONS.
MOVING WITH BILL
As he rides into the ring. A POLICE WAGON barrels in, cutting
him off.
THE RING
Inspector Andrews jumps out of the carriage with about fifty
officers gathering behind him.
BILL
What in tarnation! We’re in the
middle of a performance!
INSPECTOR ANDREWS
Show’s over, Cody. Your Indians are
coming with me.
By now, Bill’s men, both cowboys and Indians, are behind
their boss.
BILL
Who the hell do you think you are?
INSPECTOR ANDREWS
Inspector Andrews of Scotland Yard.
I’m bringing your redskins in for
questioning. A man was brutally
murdered last night.
 30.

BILL
So?
INSPECTOR ANDREWS
In all my years, I’ve never seen
anything so vicious. Only a savage
could have possibly done that ...
And, you, Sir, have just brought a
hundred savages to London.
(to his officers)
Start rounding them up!
We HEAR THE LOUD CLICK OF A HUNDRED WEAPONS. Bill and all his
men have their pistols aimed at the policemen.
BILL
Yeah? You and who’s army?
The policemen sheepishly all take out their nightsticks. The
stand-off weighs a little uneven.
INSPECTOR ANDREWS
You were once a lawman, Cody. You
know you have to stand down.
BILL
This is an outrage! How dare you
insult my men!
After a few tense seconds, Red Shirt gently pushes Bill’s
pistol down.
RED SHIRT
It’s okay, Long Hair. We’ll go with
them.
BILL
No, Red. I can’t let them treat you
like this.
Red Shirt steps forward, surrendering.
RED SHIRT
We’re used to it.
(to his men, in Sioux)
We’re going with them.
CLOSE ON ANNIE AND BUTLER
Annie is spitting mad, pistols packed in both hands. Butler
holds her back.
BUTLER
This isn’t our fight, Annie.
 31.

ANNIE
Whose fight is it then?
CLOSE ON THE INDIANS
As they’re marched into the paddy wagons. Their women
wailing. Bill comforts MRS. RED SHIRT.
BILL
Don’t you worry. I’ll get them
out.
FADE OUT.
FADE IN:
EXT. TOWER OF LONDON - DAY
Formidable. Impregnable. A presence of gloom that hovers over
the Thames.
PRISON FLOOR
The Indians have been separated, scattered throughout the
dungeon-like hive of cells.
INTERROGATION ROOM
Inspector Andrews is YELLING at a completely stone-faced
Sioux Brave.
PRISON YARD
Guards on the tower wall. Convicts wander the prison yard.
Red Shirt sets himself apart, grounding himself with the
earth. He kneels in prayer.
RED SHIRT
(subtitled)
Oh, Great Spirit, whose voice I
hear in the winds. Whose breath
gives life to the world, hear me,
I come to you as one of your many
children and ask for wisdom.
THREE BRUISERS watch him, snickering. BRUISER A is a freaking
John L. Sullivan with bulging muscles and sledgehammer fists.
BRUISER A
What do you think the red nigger is
saying?
They lumber over, menacingly.
 32.

BRUISER A
(yelling at Red Shirt)
Oi! You’re in England now! You got
something to say, say it in
English!
Red Shirt ignores them, continuing his prayers. The brute is
practically in his face. He plucks a feather off the Indian’s
headdress.
BRUISER A
Look at the pretty flowers he’s
wearing! Do all you cannibals dress
so queer?
Red Shirt pays him no notice.
BRUISER A
Hey! I’m talking to you, savage.
From his crouched position, Red Shirt suddenly pounces. He
smacks the top of his head into the brute’s jaw, breaking
teeth, knocking him into his mates.
Bruiser B flicks his wrist, revealing a SHIV. He comes at Red
Shirt swinging, but the Chief ducks. He grabs the guy’s shiv-
wielding arm and breaks it at the elbow, kicking him into the
dirt.
Bruiser C dives for the knife, but Red Shirt catches him and
hurls him head-first -- CRACK! -- into the stone wall.
Bruiser A gets up, striking a prize fighter pose. He smiles.
Half his front teeth are gone.
BRUISER A
This is gonna be fun.
He comes at Red Shirt like a well-trained boxer, ducking and
weaving. But Red Shirt is faster. He’s suddenly behind the
brute, pummeling him in the kidneys. The bruiser drops like a
sack of grain, convulsing.
Red Shirt plucks the feather out of the bruiser's fist and
puts it back in his headdress.
RED SHIRT
Eagle feather ... Not so queer.
And on that, he’s suddenly apprehended by ten prison guards.
INT. RED SHIRT’S CELL - DAY
Red Shirt is confined to a tiny, dingy cell. Manacled.
 33.

He looks up and sees two Bobbies escorting Bill through the

hall. A hint of a smile on his face.
BILL
I see you’re staying out of
trouble.
(to the Bobbies)
Can you give me a few minutes,
fellas?
As they walk off.
BILL
So, how are you holding up?
Red Shirt holds up his chains.
RED SHIRT
I’ve been better.
(and, then)
I worry about my men, Long Hair.
We’re people of the open plains.
We’ll die locked up like this.
BILL
I’m working on it. I’m meeting with
the Home Secretary today to argue
your case.
RED SHIRT
You better argue real good.
BILL
You ever see me lose one?
(in faux Indian)
We didn’t cross heap long water to
a strange land for nothing, Chief.
RED SHIRT
(in Bill’s drawl)
I remember Buffalo Bill Cody crying
and throwing up like a little girl
while crossing that heap long
water.
BILL
That ever gets repeated, you will
be a dead man.
They shake hands -- then embrace through the bars.
BILL
I’ll get you out of here. I’ve
broken out of far tougher prisons.
 34.

RED SHIRT
In your books, maybe, In real life,
I’m not so sure.
BILL
Your memory is going bad, Red. You
must be getting old.
(to the Bobbies)
I’d like to see the rest of my men.
INT. PRISON HALLWAY - DIFFERENT LEVEL
Bill visits with the other Indians. They’re broken up into
different cells, scattered through the building. He tries to
cheer them up, keeping his outrage to himself.
INT. THE HOME OFFICE - MINISTER’S CHAMBERS - DAY
The well-appointed opposite of Red Shirt’s cell. Bill tries
to stay civil and in his chair as the HOME SECRETARY and
Inspector Andrews judicially double-team him.
HOME SECRETARY
I’m sorry, Mr. Cody. There’s the
public’s safety to consider.
BILL
You’re telling me there’s never
been a murder in this town before
we showed up?
HOME SECRETARY
None so heinous. None so brutal.
And none so uncivilized.
BILL
They’re not savages, Sir. They’re
no more uncivilized than you or me.
I’ve worked with them for years. I
trust them with my life every day.
I resent this very accusation.
INSPECTOR ANDREWS
Yet, your own volumes of books
speak otherwise.
He gets up, removing book after book from his satchel.
INSPECTOR ANDREWS
(reading off the titles)
Buffalo Bill and The First Scalp
for Custer ... Buffalo Bill and
the Massacre at War Bonnet Creek
... Buffalo Bill Tracks The
Cheyenne Devil.
 35.

BILL
Those are merely stories, Sir.
Dime store novels.
INSPECTOR ANDREWS
So, you’re saying that these
stories aren’t true? That the
legendary Buffalo Bill is just a
work of fiction?
BILL
I’m saying that some of that stuff
might have been a little punched
up. Exaggerated. You know, to
appeal to the readers.
INSPECTOR ANDREWS
Weren’t you a scout during the
Indian Wars? Didn’t you track and
kill Indians for your own
government?
(reading from one of the
books)
“I had my first encounter with a
hostile indian when I was twelve.
It was a moonlight attack on our
wagon train. I had no choice but
to kill the godless monster to
protect my family.”
BILL
I pray for forgiveness every night
for the things I’ve done to those
people ... We didn’t treat our
natives so well, Sir. So, they at
times, didn’t treat us so well
either.
INSPECTOR ANDREWS
Apparently not.
(reading from a different
one)
“My bullet struck Yellow Hand in
the chest. Before he had hit the
ground, I was upon him, knife in
hand, and drove it up to its hilt
into his beating heart. Jerking his
war bonnet off, I scientifically
scalped him in about five seconds.”
(to the Home Secretary)
I’m not so sure, Your Honour, how
safe the public is with this man
and his cowboys running around
either.
 36.

BILL
What do I have to do to clear their
names? Find the killer myself?
(getting up)
Deputize me. You have the greatest
tracker in the whole United States
at your service.
HOME SECRETARY
You can sit back down, Mr. Cody. I
rather doubt Scotland Yard needs
any help.
BILL
Yet, you still haven’t identified
the victim ... Please, just give me
five minutes with the body.
INSPECTOR ANDREWS
That’s completely out of the
question. We can’t have you
tampering with evidence.
HOME SECRETARY
I’m sorry, Mr. Cody. You’ll just
have to let our police do their
job.
INT. ABSINTH BAR - DAY
Wilde and his writing buddies are at the bar, hovering around
their absinth fountain. Bill moseys up to the tripping
dandies.
BILL
Writer’s block again?
WILDE
It’s far more stimulating than tea
... Care to indulge with us?
BILL
I’ll take your word for it ... You
know all the big muckety mucks in
town, don’t you?
WILDE
But, of course.
BILL
And, their wives too?
WILDE
Just what mischief are you up to,
Cody?
(MORE)
 37.
WILDE (CONT'D)
(a beat)
And, can we come along?
INT. TEA ROOM - DAY

A very posh high tea is served. Patrons are shocked at the

PEALS OF IMPROPER LAUGHTER coming from one of the tables.

Bill, with his pinkie extended, sips divinely. His completely

charmed companion is an aristocratic woman with a hearty
belly laugh -- THE CORONER’S WIFE.
BILL
(in mid-tale)
There was no time for pleasantries.
Not with the banderoles after our
army’s payroll ... I had to ride
her hard and had to ride her long.
The entire night, nonstop.
CORONER’S WIFE
The entire night, nonstop?
BILL
Yes, ma’am, nonstop ‘til we crossed
the Brazos ... It was an amazing
feat of endurance if I do say so
myself.
CORONER’S WIFE
And, were they shooting at you the
whole time?
He pulls out his long-barrelled pistol.
BILL
Relentlessly ... There was little
rest for the wicked that evening.
She flips open her fan, her temperature suddenly rising.
CORONER’S WIFE
Why, Mr. Cody, I never realized the
West was so wild.
BILL
You can’t imagine how wild things
got.
She imagines, blushes and LAUGHS again.
CORONER’S WIFE
Oh, I’m sure I could.
 38.

BILL
The frontier is no place for a
genteel lady like yourself. Why,
I’d have to spend all my time
watching over you. Keeping you
safe from all manner of beasts,
marauders and desperados.
CORONER’S WIFE
The life you must lead. My husband
isn’t much of an adventurer.
BILL
I’d think a doctor’s life would be
rife with excitement.
CORONER’S WIFE
Not when your patients are all
dead. My husband is The Yard’s
Chief Coroner.
BILL
That sounds awfully exciting! Tell
me more.
EXT. WILD WEST SHOW CAMP - BILL’S TENT - DAY
Morning. Nate Salsbury knocks on the flap of Bill’s tent.
NATE
Bill? ... Bill, are you decent? ...
Are you alone?
(to himself)
Hell, what’s left of our show must
go on!
He sticks his head inside.
HIS POV:
The place is empty. The bed hasn’t been slept in.
NATE
Damn it, Cody!
INT. MORGUE - DAY
No Victorian CSI here. It’s dark, dingy and damp with
multiple drains that siphon directly into the London sewers.
Bill, Butler and Buck Taylor enter, holding candle lanterns.
The stench is overpowering. Flies BUZZING everywhere. The
cowboys immediately pull their neckerchiefs over their noses.
 39.

BUTLER
How’d you get the key again?
BILL
There’s no greater love than to lay
down one's life for a friend.
BUTLER
So, you’re not saying?
BILL
Nope, I’m not saying ... You boys
guard the door. I just need a few
minutes.
MOVING WITH BILL
He pulls the sheet off various slabs til he comes to --
THE VICTIM
Even for a man who’s seen it all, the gruesome sight still
makes Cody flinch.
The corpse has been stripped of all its clothes and
identifiable objects. His head has been cut off at the
bottom jaw. What’s left of his skin has been deeply and
repeatedly slashed.
Bill studies the depth and angle of the wounds and starts to
sing softly to himself.
BILL
(singing)
I danced with a gal with a hole in
her stocking. And her heel kept a-
rocking and her toe kept a-
knocking.
Singing seems to unlock another part of his brain, that can --
BILL’S FLASH
We see a QUICK MENTAL ARSENAL of weapons making contact with
human flesh: Various knives, daggers, swords and tomahawks.
But, none of his cerebral inventory come close to making
similar marks.
BILL (O.S.)
The murder weapon wasn’t anything
from our toolkit. It couldn’t have
been our boys.
 40.

BILL’S NEXT FLASH

THE MURDER SCENE. The murder weapon is blurry and
unidentified, but the depths of the wounds required three
men. Three men of very different heights -- A SHORT MAN, an
AVERAGE SIZED MAN and a QUITE TALL ONE.
CLOSE ON BILL
He puts down the candle and lifts the body, studying the
SCRATCHES on the corpse’s shoulder.
BILL
(singing)
I danced with a gal with a hole in
her stocking. And we danced by the
light of the moon.
BILL’S FLASH
The scratches seem to have come from a FALCON’S TALONS. It
morphs to something much larger. Human-sized. Metallic.
CLOSE ON BILL
He takes out his knife and pushes down what’s left of the
body’s lower lip. He studies the teeth.
He pulls out a TINY FISH BONE between the man’s back molars.
BILL’S FLASH
We return to his night of card-playing at the Explorer’s
Club. From his perch at the gaming table, he can pretty much
see all the action around him.
No detail gets past Buffalo Bill. We see the writers at the
bar writing copious notes with leaky fountain pens.
We see a waiter almost spilling a tray of drinks.
We see a man at a different card table pulling an ace out of
his pocket.
We see a tray of FRESH FLOUNDER being served to a few of the
gentlemen dining that night.
CLOSE ON BILL
He studies the FISH BONE.
BILL’S FLASH
Colonel Davies SLAMS into Bill’s table. The military man
opens his mouth. The CAMERA ZOOMS INTO Davies’ mouth.
 41.

A SUPER CLOSE UP. There’s the VERY SAME BONE in the very same
molar.
CLOSE ON BILL
He studies the CORPSE’S FINGERS.
BILL’S FLASH
We retrace all of Davies’ steps before slamming into the
table.
He was arguing with someone unseen at the bar. His hand
slides across one of the writer’s pads, SMUDGING PART OF HIS
FINGER WITH INK.
The Colonel slams into Bill’s table and points an accusatory
finger.
COLONEL DAVIES
YOU! YOU CAN’T BE HERE!
Focusing on the TINY SPLOTCH OF INK.
CLOSE ON BILL
He lifts up the corpse’s finger. The BLACK INK STAIN is
still there.
THE DOOR
WE HEAR FOOTSTEPS. Taylor and Butler pull their weapons.
From behind them, we HEAR a KEY trying to open the LOCK.
Butler grabs a SCALPEL and pushes it through the keyhole,
pushing the key back out. We hear it CLATTER on the floor on
the other side.
MAN OUTSIDE THE DOOR
Hey!
Butler BREAKS the scalpel off into the keyhole.
SEWER GRATE
One of the drains seems large enough to pass through. Bill
lifts up the grate and they quickly vanish down it.
INT. SEWER - LATER
The three cowboys ankle-deep in sewage. Light streams down
from the grates above them. Rats scurry across the ledge.
 42.

TAYLOR
I hope you got what you were
looking for, because these are
twenty dollar boots.
BILL
You’re a cowboy. You should be used
to walking in horseshit.
BUTLER
This ain’t horseshit, boss.
A NEWSPAPER floats by. The headline reads: ROYALS VS. YANKS
IN SHOOTING COMPETITION TOMORROW.
CUT TO:
CLOSE ON THE WILD WEST ENTRANCE
A BANNER READS: “International Shooting Competition. $1000
Grand Prize.”
EXT. WILD WEST STADIUM - DAY
We’re in the middle of competition. But the stands are only a
quarter full this time.
A ROYAL GUARDSMAN, A NAVAL OFFICER and a RUSSIAN DUKE are
shooting at glass balls.
The ROAR OF RIFLE FIRE and EXPLODING TARGETS hardly cover the
Duke’s CURSING when he misses.
CLOSE ON THE WRITERS
Wilde passes his cigarette case to our Greek Chorus of
writers (Stevenson, Stoker and Wells). They’re discouraged at
the lack of attendees.
WILDE
This is a public relations
nightmare. I don’t know how Cody is
gonna turn this around.
WELLS
He’d need a time machine.
Good line. They all take out their notebooks and start
jotting.
WELLS
Hold on!
 43.

EXT. ARENA - DAY

Salsbury is on the field, announcing into a megaphone.
NATE
For Round Four, we have Count
Esteban Molina from Madrid, Sir
Alexander Lodge representing
England and America’s sweetheart,
Miss Annie Oakley!
The crowd CHEERS for Annie as the contestants take their
stances.
SIX GLASS BALLS are catapulted up. Each contestant knocks
their two out of the air. The glass balls explode, leaving
multi-colored trails. APPLAUSE from the crowd.
LODGE
(to Annie)
You’re a pretty impressive shot.
ANNIE
I know.
(looking him over)
You’re not so bad yourself.
NINE BALLS GO UP THIS TIME. Each contestant has to hit three
each. Annie and Lodge hit their targets.
ANNIE
Nice to be with someone who can
keep up.
The Spaniard misses one, unaccustomed to such speed. The
Count stamps his foot and leaves the field, disgraced.
LODGE
Now that wasn’t rather sporting,
was it?
ANNIE
Some guys can’t take the pressure.
CLOSE ON WRITERS
Watching in rapt attention.
STEVENSON
I’d love to know what they’re
talking about.
 44.

WILDE
Sir Lodge can be quite charming.
And, we know how he likes to
collect pretty things.
STOKER
Charming? He makes the hairs stand
up on the back of my neck.
ARENA
A STRANGE DEVICE is brought onto the field. Part clockwork,
part iron-springed catapult and all steampunk. The workers
fire it up, engulfing them in a puff of smoke. This is
STEAMED LIGHTNING.
NATE
(into megaphone)
For the Elimination Round, we’re
gonna try something different. Our
good friend, Thomas Alva Edison,
has personally designed for us, our
new trap shooting device --
‘Steamed Lightning!’
Annie and Lodge raise their rifles, ready.
NATE
For this round, we’ll see how fast
these guys really are.
ANNIE
So, you’re the big muckety-muck I
keep hearing about. Adventurer.
Hunter. Archeologist. How do you do
all that?
LODGE
I have obscene amounts of money.
ANNIE
Really?
Steamed Lightning throws TWELVE BALLS up into the air.
The two marksmen, quickly pump their rifles and effortlessly
knock out their six. The crowd ROARS in amazement.
LODGE
This is amusing, but no substitute
for the thrill of a real hunt.
(and then)
The Explorer’s Club is hosting a
ball at my estate tonight. We’ve a
fox hunt in the morning.
(MORE)
 45.
LODGE (CONT'D)
I know it’s terribly last minute,
but I’d love for you to be my
guest.
As she’s about to answer...
The battlebot suddenly JERKS, and with a mind of its own,
SPITS A VOLLEY OF GLASS BALLS TOWARDS THE AUDIENCE.
Annie and Lodge quickly react, SHOOTING out the balls,
PROTECTING the startled audience. They’re safe but till panic-
stricken.
The machine SUDDENLY SENDS A SALVO THEIR WAY.
Annie unholsters her Colts and -- BLAM!BLAM! -- tries to take
out the infernal machine.
CLICKCLICKCLICK. She’s out of ammo.
Lodge pushes her to the ground and BLASTS the thing to
smithereens, but not before taking a hit to the shoulder.
CLOSE ON THE AUDIENCE
Fearful people file out of the stadium. Wells is the
exception, smitten by the strange tech.
WELLS
What a delightful machine!
CLOSE ON NATE
Salsbury tries to calm the shocked audience:
NATE
Ladies and Gentleman! Please, stay
in your seats! This was all just
part of the show! A taste of some
new stunts we’ve been working on!
But, nobody pays him any attention.
CLOSE ON ANNIE & LODGE
Lodge is on the ground passed out. Annie plays Florence
Nightingale, ripping his shirt, tending to his wound.
She notes he has a pretty decent bod for an archaeologist.
INT. TOWER OF LONDON - JAIL CELL - DAY
The HYPNOTIC POUNDING of a SHAMAN’S DRUM. Even manacled, Red
Shirt has managed to go into a trance.
 46.

He focuses on the skinny RAT sharing the cell with him.

CLOSE ON THE GUARD
He smirks at Red Shirt, miming his inevitable fate -- the
quick, messy jerk of a hangman’s noose.
CLOSE ON RED SHIRT
As the meditating chief’s eyes roll back in his head, the rat
scurries off.
MOVING WITH THE RAT
It crawls under the bars, over loose stones, to the next cell
of Sioux braves.
THE RAT’S POV:
It’s as if Red Shirt is looking through the rodent’s eyes.
The braves are huddled on the cold floor, defiant, not
touching their meals. One of them has taken sick. He’s
sweating, pale.
From the hall, Inspector Andrews and the Home Secretary study
the prisoners like exotic animals in a zoo.
INSPECTOR ANDREWS
They’re not talking. They’re not
eating. They’re not breaking.
HOME SECRETARY
Nonsense. You just haven’t gotten
creative yet.
CLOSE ON RED SHIRT
The DRUMMING in his head stops. He jerks awake.
RED SHIRT
Bill!
EXT. LONDON STREET - TOWN HOUSE - DAY
A quiet, respectable residential street. The cowboys come to
Davies’ townhouse. They walk up the stairs and as they
approach, the door CREAKS open.
INT. TOWN HOUSE - DAY
They’re too late. The place has been totally ransacked. In
the sitting room, they notice, a woman motionless on the
Settee.
 47.

Bill and Butler run to her side. It’s the Beautiful Woman
that had earlier asked Cody for help. Butler checks her
pulse.
BUTLER
She’s dead.
Bill notices the marks on her neck.
BILL
Strangled ...
(feeling her head)
Just recently.
They HEAR A FLOORBOARD CREAK. All three men instantly have
their pistols out.
But, suddenly, a SCARF UNFURLS -- knocking the guns out of
Bill and Butler’s hands.
CLOSE ON TAYLOR
A little human cannonball (we’ll call him THE BELGIAN) shoots
out of nowhere, barreling into Taylor, sending him sailing
through the window.
MOVING WITH THEM
They fall one story, Taylor breaking the Belgian’s fall,
probably dislocating some bones in the process.
The human cannonball SLAMS Taylor’s head against the
concrete, knocking him out, then runs off into the alley.
INT. TOWN HOUSE - DAY
Now with their left hands, Bill and Butler draw their other
pistols.
Again -- the scarf unfurls -- disarming them.
BILL
Who the hell fights with a scarf?!
The guy who fights with a scarf is an imposing SIKH. A holy
assassin.
As they take him in, he -- CRACK! -- slams their head’s
together.
His scarf whips out a third time, SHATTERING A GASLIGHT --
WOOSH! -- setting the room on fire.
He flees out the back door.
 48.

Bill and Butler, disoriented, crawl around for their weapons

as the place quickly burns down around them.
From outside, WE HEAR the CRACK OF A WHIP and CLACKING
HOOVES.
BILL
You okay?
BUTLER
What was that?
BILL
Hell, we’re gonna find out.
And they run out the front door.
EXT. TOWN HOUSE - DAY
AN IRON-CLAD CARRIAGE flies out of the alley way.
Butler helps Taylor up as Bill runs after the coach,
unleashing all barrels.
But his bullets harmlessly bounce off the IRON HIDE of the
cab. He’s thunderstruck.
BILL
I’m fighting the friggin Monitor
and the Merrimac.
Butler and Taylor have caught up, firing.
Bill shoots at the carriage's only Achilles' heel -- THE
WOODEN AXLE. The wheel begins to wobble.
But, the carriage is gaining far too much speed. They can’t
keep up with it.
They HEAR BOBBY WHISTLES in the distance behind them --
THEIR POV:
Police wagons coming up two blocks away.
MOVING WITH THE COWBOYS
Taylor holds his ribs. He can’t go any further.
TAYLOR
You guys go on. I’ll hold ‘em off
at the pass.
Taylor turns towards the approaching paddy wagons and takes a
stance in the middle of the street -- a human barricade.
 49.

MOVING WITH BILL AND BUTLER

At the end of the block, the cowboys find a HANSOM CAB
stopped there. The excited CABBIE recognizes them.
CABBIE
Aren’t you Buffalo Bill Cody?
BILL
(catching his breath)
The genuine article.
On that, he pulls the guy off his perch. The two cowboys
commandeer the vehicle and charge after the carriage.
CLOSE ON TAYLOR
The police wagons gets closer. He doesn’t budge. The street
is far too narrow for them to go around him.
It’s an intense game of chicken.
CLOSE ON THE POLICE WAGON
The driver finally pulls on the reigns.
POLICE DRIVER
Whoa!
The horses abruptly halt, sending the paddy wagon TUMBLING
over.
The wagons COLLIDE, creating a PILE-UP that slides to a stop
mere inches away from Taylor.
He hasn’t broken a sweat.
MOVING WITH THE HANSOM CAB
Bridging the gap, Bill rides the horses harder than they’ve
ever gone before.
Butler turns and notices PASSENGERS still inside. It’s the
Auntee and Nephew from the opening sequence.
NEPHEW
Auntee! It’s Buffalo Bill!
She closes the curtain, clutching her purse tightly.
BUSY LONDON STREET
Both carriage and cab weave around pedestrians and other
vehicles. VENDORS quickly move their carts out of the way.
PEOPLE SCATTER. BOBBIES blow their whistles.
 50.

ON AUNTEE AND NEPHEW

The young boy is having the time of his life. Auntee is
trying hard to remain calm.
ON BILL & BUTLER
Butler points to their slight hiccup.
BUTLER
We have passengers.
BILL
Lose the dead weight.
(over his shoulder)
No offence, ma'am.
Bill jumps onto one of the horses. Butler UNHITCHES them from
the cab and springboards onto the other mare.
CLOSE ON THE CAB
As the chase veers off at an intersection, the UNMANNED CAB
KEEPS ROLLING FORWARD --
It eventually stops in front of the STATUE OF SAINT GEORGE
SLAYING THE DRAGON, mere inches from the slayer’s pointy,
STONE BLADE.
INT. CAB - DAY
The Nephew just had his first theme park ride.
NEPHEW
That was Buffalo Bill! That was
Buffalo Bill!
He turns to his Auntee, who has already passed out.
EXT. TRAFALGAR SQUARE - DAY
Bill and Butler ride in tandem, gaining on the carriage.
They’re galloping at breakneck speed. They DISTURB HUNDREDS
OF PIGEONS resting by Nelson’s Column. Bill and Butler fire
at the WOBBLY WHEEL AXLE.
BILL
Keep shooting, Son ... You’re truly
the best shot I’ve got!
BUTLER
Better than Annie?
 51.

BILL
Much better. But I ain’t suicidal
enough to tell her that.
That’s enough to boost Butler’s confidence. His NEXT SHOTS
are the COUP DE GRACE:
CLOSE ON CARRIAGE
The AXLE SNAPS and the WHEEL flies off, buzzsawing into a
fountain. The carriage turns at the TRAFFIC CIRCLE, somehow
still balanced.
CLOSE ON THE ASSASSINS
It’s time to push the eject button. They leap off the
carriage and onto their horses, SHOOTING OUT THE HARNESS.
CLOSE ON CARRIAGE
It flops backwards, iron scraping cobblestone, SCREECHING and
SETTING OFF SPARKS.
SHOPPING DISTRICT
Bill and Butler catch up. Shots are exchanged. But in all
this whirlwind, none hit their marks.
The assassins DIVIDE at the traffic circle. Bill and Butler
split up.
CONGESTED STREET
Both traffic lanes are packed with a wall of TROLLEYS and
HORSE-DRAWN OMNIBUSES.
The Belgian is about to smack into the back of a DOUBLE
DECKER TROLLEY...
In parkour-motion, this acrobatic sonofabitch leaps off his
ride and onto the second floor of the trolley.
As the passengers scatter, he HOPS from FLOOR to SEAT to RAIL
and onto the WINDOW-LEDGE OF AN ADJACENT BUILDING. He
scurries up the brick-face to the roof.
CLOSE ON BUTLER
Astonished. He’s up against the human fly.
BUTLER
(not so sure)
I can do this...
 52.

He spies a STAIRCASE through a building’s BAY WINDOW. A plan

is laid out. That-a-way! He gallops the horse towards it.
But, THE STUBBORN MARE STOPS SHORT, sending Butler head over
heels, CRASHING THROUGH THE WINDOW.
BUILDING
Butler brushes himself off and runs up the stairs. He bursts
through a door --
ROOFTOPS
He sees him a few buildings away. He LINES UP A SHOT. His
sight blocked by a ROW OF CHIMNEYS. When the Baddie finally
comes into the cross-hairs -- CLICK! -- HE’S OUT OF AMMO.
He will have to follow by foot. But, his foe flies from
rooftop to rooftop with near supernatural agility.
BUTLER
Damn Circus Freak!
Butler takes off after him. But it’s like TIGHT-ROPE WALKING
on these narrow tiles. By the time he reaches --
THE ADJOINING ROOF
His guy has vanished into the tangle of chimneys and steam-
pipes.
Butler unsheathes his KNIFE, the only weapon he has left.
TWO FEET SUDDENLY SWING OUT OF THE SMOKE, snapping the blade
out of his hand. The cowboy doesn’t even know what hit him.
The arrogant, little man struts his way over, taunting him.
BELGIAN
So you fancy a fight?
HIS HANDS ARE LIGHTNING FAST. A quick combination of punches.
Butler manages to block some, but TAKES A FEW IN THE FACE. He
spits blood.
BELGIAN
I thought all you cowboys were
tough ... Or are you just a pretend
cowboy?
Fighting words! Butler shows off some fancy footwork of his
own, GASHING THE GUY’S ANKLE with the STEEL SPUR of his boot.
 53.

A PUFF OF CHIMNEY SMOKE

Provides the Belgian some convenient cover, and, once it
dissipates, he’s gone.
BUTLER
Turns his head -- where’d he go?
POOF! The guy materializes right behind him. He wraps his
arms around the cowboy in a bear hug.
BELGIAN
Jacques be nimble.
He lifts Butler up over his head.
BELGIAN
Jacques be quick.
And TOSSES the cowboy off the roof.
BELGIAN
Jacques jumped over the candle-
stick!
Voila! He brushes his hands and leans against the chimney,
quite pleased with himself.
THE GAP BETWEEN THE TWO BUILDINGS
Butler is safely sandwiched here, holding onto a ledge.
BUTLER
I’ll show you a real cowboy.
Using his STEEL SPURS for support, he’s able to --
-- CLANK!CLANK!CLANK! -- shimmy up the narrow passageway to
the roof.
BUTLER’S POV
The impish assassin leaps onto the next rooftop, ESCAPING
THROUGH AN ATTIC DOOR.
INT. ATTIC - DAY
Musty, dusty and in ill repair. The Belgian tends to his
wounded ankle.
Suddenly, Butler CRASHES through the window, landing on him.
The Americain proceeds to BASH the guy’s head against the
floor. Each SMASH produces a cloud of dust and plaster.
 54.

BUTLER
Jacques ain’t so nimble...
SMASH.
BUTLER
Or so quick now...
SMASH.
BUTLER
Is he?
The assassin locks his legs around the cowboy, flipping him
over. Now he’s the one SMASHING a head against the floor.
And, on the third smash --
-- the whole floor COLLAPSES beneath them.
INT. PRINTING PRESS ROOM - DAY
A hangar-sized room, housing an infernal, steam-powered
PRINTING PRESS. The WORKERS scatter as the ceiling collapses
over them. The NOISE from this mechanical monster is
DEAFENING.
FOLLOWING BUTLER AND THE BELGIAN
Catching themselves on two adjoining LIBRARY LADDERS. The
whole perimeter of the room is lined with them.
They trade PUNCHES, each blow sending their ladders wheeling
off in different directions. A room full of shelves and
staircases is perfect for the Flying Wallenda.
THE BELGIAN
Leaps from LADDER to SHELF to SCAFFOLD -- up and over -- to
the ladder on the other side of Butler. He KICKS the cowboy
hard, sending him careening halfway across the room --
BUTLER
Flies off face-first into a bookcase. Dozens of freshly
bound books tumble on top of him. Making the best out of a
bad situation, he starts THROWING THESE TOMES AT THE LEAP-
FROGGING ASSASSIN.
BUTLER
Stand still, you little monkey!
THE BELGIAN
Lands, looking for some weapons of his own. All that’s handy
is a box of METAL TYPESET.
 55.

He throws them at Butler like Chinese-throwing stars. They

rip his clothes, tearing his flesh.
BELGIAN
Words hurt, don’t they!
BUTLER
Pulls a broad sheet that’s fresh off the presses -- a POSTER
for “Buffalo Bill’s Wild West Show.” The little weapons
BOUNCE off until its finally torn to shreds.
THE PRINTING PRESS
Both men respectfully give this contraption ample room. This
beast is called a “MANGLER” for good reason. It sports huge,
Rube Goldberg rollers. Modern Times-type gear shafts. Sharp-
fanged, steel sprockets and fifty flying-nunchuck-style
handles. The MECHANIZED PAPER CUTTER seems insatiable.
MOVING WITH THE FIGHTERS
Butler nails the assassin with a VIAL OF INK, BLINDING him in
one eye --
-- He leaps away, his depth perception totally off. He’s no
longer such a sassy, little saltimbanque now.
Butler grabs a stack of FANCY INVITATIONS and starts THROWING
them Ricky Jay-style.
The Belgian PROTECTS his face as the cards rip into the palms
of his hands. He quickly escapes through a small gap in the
printing press.
BUTLER
-- WHOMP! A GIANT PAPER ROLL comes out of nowhere, knocking
Butler over. He TUMBLES onto the HUGE ROLLER that feeds the
chomping machine.
THE BELGIAN
Has his tiny hands around the cowboy’s neck, helping to stuff
him into the mouth of the Mangler.
CLOSE ON THE FIGHTERS
Butler arches forward as much as possible. His arms FLAIL,
looking for anything to grab onto or to use against his
opponent. He reaches into his pocket --
-- the only thing he can come up with is the JEWELRY BOX he
intended for Annie.
 56.

He QUICK-DRAWS it out of his pocket and FLIPS open the box,

exposing the DIAMOND RING.
BELGIAN
(can’t help but look)
Nice rock.
Butler FLINGS the ring into the JAWS OF THE MACHINE, which
SPITS IT RIGHT BACK OUT into the assassin’s one good eye.
THE BELGIAN WAILS IN PAIN. Butler immediately switches
places, throwing him into the GNASHING TEETH of the
machinery.
The beast gets fed.
A SIGN hanging over the print room’s entrance. It reads,
KNOWLEDGE IS POWER.
CUT TO:
EXT. LONDON STREET - DAY
Bill, still in pursuit of the Sikh, reloads his revolver.
He’s running short on bullets.
BILL
Damn.
FLOWER MARKET
The street widens into a square, hosting a sprawling flower
market. The various carts turn this into an equestrian event.
Both riders must VAULT over these hurdles.
After a few jumps, the Sikh UPSETS A CART with his boot. It
flies out at Bill’s horse.
LONDON UNDERGROUND ENTRANCE
The assassin rides his horse down the stairs of this early
Victorian tube station. Bill follows a few beats behind him.
CLOSE ON THE STAIRS
Here’s the POTEMKIN SHOT. Hooves TRAMPLING down marble
stairways.
TURNSTILE
Like centaurs, they vault over the turnstiles.
 57.

PLATFORM
The chase takes to the platform. Commuters SCATTERS. Bill
lines up a shot. There’s way too much confusion even for him.
THE TRACKS
The Sikh jumps his horse down to the TRACKS below,
disappearing into the tunnel. Bill follows suit.
TUNNEL
Pitch black. We HEAR the HOOFBEATS. The men’s PANTING.
They’re in uncharted territory now. And out of nowhere --
-- a great RUMBLING. It sounds like an earthquake. And then
a bright, blinding LIGHT.
CLOSE ON THE SIKH
Illuminated by the ONCOMING TRAIN. His horse is spooked.
There’s no time for errors. He sees glimpses of PIPE-WORK to
his side and latches onto them.
CLOSE ON BILL
Figuring out what’s coming. He sees the Sikh entangled in the
pipes. The guy’s horse racing right at him.
Bill looks for something against the wall he can grab onto.
His horse WHINNIES and BUCKS. He uses this momentum to get
hold of a STEAM-PIPE.
MOUTH OF THE TUNNEL
The two horses fly out of there, crossing over to the next
set of tracks. Just as THE SUBWAY TRAIN roars out.
CLOSE ON BILL
The scene is lit by the passing train. The subway cars
thunder past, mere inches from his face. He hangs there,
perfectly still.
The last car passes. The rumbling stops. It’s pitch black.
We HEAR Bill’s feet hit the ground. They’re off running.
TUNNEL
A MATCH SCRATCHES against the heel of a boot. Bill uses this
to navigate. He’s in a vast, underground cavern. There are
THREE DIFFERENT TUNNELS up ahead.
He lights another match and holds it low to the ground to
inspect the gravel. He sees IMPRINTS. He makes his decision --
 58.

CONSTRUCTION TUNNEL
Workers have recently broken ground. SHAFTS OF LIGHT come
down from grates and ventilation ducts. There’s SCAFFOLDING.
Rocks and boulders. Plenty of hiding places.
The trail leads Bill to this dead end. The guy must be here.
He checks his revolver. Two bullets left.
BILL
Show yourself and I’ll have mercy.
The Assassin reveals himself --
BILL’S FLASH
THE EXPLORER’S CLUB. The Sikh and The Belgian were the
BOUNCERS, dragging Colonel Davies from his table.
BACK TO SCENE
THE ASSASSIN’S YELLOW SCARF unfurls at whiplash speed,
knocking the revolver from Bill’s hand as he FIRES,
practically breaking his knuckles.
BILL
Again with the scarf!
This is no Burberry knockoff. It’s a killer's tool lined with
lead. In the right hands it’s lethal.
SIKH
You’re out of your league, old man.
BILL
Old?
He advances a few steps closer, flashing his trademark
magnetic smile.
BILL
Maybe you should listen to your
elders.
He’s in raconteur mode. His silver tongue the only weapon
he’s got left.
BILL
You know I was in a similar
situation down in the Mystery Mines
of Silver City...
He advances, trading on his charm.
 59.

BILL
... I was outgunned and
outnumbered. Apaches everywhere.
Red-skinned fellas. Quite like
yourself ... All I had with me was
a pickaxe, a lantern and a bird
cage I had for the missus.
The assassin's scarf is around Bill’s neck like a garrote,
shutting him up.
SIKH
I’m afraid this tale won’t have
such a happy ending.
He HEAD-BUTTS the Sikh with all his might.
BILL
No one interrupts one of Buffalo
Bill’s stories!
On that, he manages to get a few good punches in before --
THE SIKH UNLEASHES A FLURRY OF COMBINATIONS. Bill is
seemingly flogged from all possible angles.
WE HEAR BOBBY WHISTLES in the distance.
CLOSE ON BILL AND THE SIKH
The Sikh crouches over Bill, his thumbs pressing into the
cowboy’s windpipe.
Bill sees the DAGGER on the assassin's hip and reaches for
it. The Sikh anticipates the move, grabbing the knife
himself.
SIKH
I told you. Out of your league.
The cowboy has one trick left up his sleeve --
-- He KICKS at the surrounding SCAFFOLDING, hard enough to
loosen some PLANKS. They rain down on the assassin's back. He
SCREAMS out in pain, dropping the dagger.
A SMALL PACKAGE falls out of the pocket of his tunic.
BILL
Flips the man off of him, quickly scooping up the package and
the dagger. WE HEAR AN ARMY OF FOOTSTEPS ECHOING CLOSER.
 60.

BILL
Hurry up, Boys! I’ve got the
savage you’ve been looking for!
But in the blink of an eye --
THE SIKH
Scrambles up the scaffolding, vanishing through the top
grating. He KICKS over the platform just as the policemen
enter the room.
BILL
Jumps away from the avalanche of debris, landing right at the
feet of the Bobbies. They all have their guns pointed at
him.
INT. SCOTLAND YARD - DAY
The Inspector UNCUFFS Bill and Taylor.
INSPECTOR ANDREWS
It’s against my better judgment,
but it seems the Queen is still
your biggest fan.
BILL
I led you straight to the murderer
and he slipped straight through
your men’s fingers.
INSPECTOR ANDREWS
So you say ... According to my
sergeant, you and one of your
circus performers nearly destroyed
the London Underground with your
horseplay.
BILL
Why won’t you let me see Red Shirt?
Why won’t you let me see my men?
INSPECTOR ANDREWS
Don’t worry. We’ve been taking
excellent care of them.
Uncuffed, Bill stretches his legs a bit. He notices a
picture on the mantelpiece.
BILL’S POV:
A tiger hunt in India. General Lodge, Colonel Davies and a
man who looks quite like the Inspector proudly displaying
their trophy Bengal.
 61.

BILL
You were stationed in India?
INSPECTOR ANDREWS
Not me. My father.
BILL
You’re his spitting image.
INSPECTOR ANDREWS
I’m nothing like him.
BACK TO SCENE
The Inspector turns the picture around.
INSPECTOR ANDREWS
Your days of terrorizing London
will soon be over, Cody. I can’t
wait to put you on a boat back to
America myself.
INT. TOWER OF LONDON - JAIL CELL - NIGHT
Red Shirt is shackled to the wall. He’s on the floor
meditating. There are fresh bruises on his face. The police
have been trying to beat a confession out of him.
A TAPPING NOISE gets his attention.
He squelches out the PRISON SOUNDS. He puts his ear to the
bars. It’s some kind of SIOUX CODE.
THE CAMERA follows the bars, rising up to the next floor,
where a Sioux Brave is sending a message, striking a stone
against the iron bars.
WE MOVE ACROSS THE ROOM -- past a few empty cells -- stopping
at one cell where TWO GOONS DRESSED LIKE POLICEMEN are
wrestling with an Indian.
They knock him out with an ether-doused rag and drag him
away.
CLOSE ON RED SHIRT
Message received. He stands up, incensed and screaming out:
RED SHIRT
I need to see Buffalo Bill! Someone
is taking my men!
FADE OUT.
FADE IN:
 62.

EXT. WILD WEST SHOW CAMP - BUTLER’S TENT - DAY

The COWBOY DOCTOR stitches up Butler’s arm using cowboy
anesthesia -- whiskey. The patient is already nicely buzzed.
BUTLER
Nice Needle Work.
COWBOY DOCTOR
Not so pretty, but you’ll live to
fight another day.
Just as the Doc cuts the thread with his teeth, Butler turns
to catch Annie outside her tent, loading her bags into a
carriage.
BUTLER
Why wait a day?
ON ANNIE AND BUTLER
He catches up to her as she throws the last bag inside.
BUTLER
Annie Oakley, where do you think
you’re going?
ANNIE
I told you before. I’m going to
dinner.
BUTLER
With that Lodge guy!
ANNIE
It’s just dinner.
BUTLER
You’re packing an awful lot of bags
for just dinner!
ANNIE
They’re planning a fox hunt in the
morning. Doesn’t that sound grand?
He’s trying not to explode.
BUTLER
Yeah, grand.
ANNIE
Butler, this could be the break
we’ve been waiting for.
(MORE)
 63.
ANNIE (CONT'D)
Alexander is inviting all sorts of
blue bloods to this soiree. It’ll
be good for my career.
BUTLER
Then why can’t I come with you?
ANNIE
Cause this isn’t for the hoi
polloi. It’s at his manor. You do
know what a manor is, don’t you?
It’s like a mansion.
BUTLER
I know what a manor is.
ANNIE
Have you ever been to one?
BUTLER
No ... But, neither have you!
ANNIE
Then how could I possibly turn this
down?
BUTLER
You’re not going anywhere. This
time I’m putting my foot down!
ANNIE
My stars. Don’t tell me you’re
jealous?
BUTLER
So, what if I am? I thought you
were my gal.
ANNIE
It’s not like I have a ring on my
finger.
BUTLER
Uh, about that...
ANNIE
I’m tired of it, Butler. You
treating me like a child. Always
hovering. Always spying.
(Getting on her horse)
Sir Lodge risked his life for me.
Have you ever risked your life for
me?
 64.

BUTLER
Damn it, Annie, I’ve been your
human target for the past three
years. I’ve almost risked my life
for you a thousand times.
ANNIE
Well, almost doesn’t cut it.
And on that, she rides off. Butler kicks at the dirt, letting
off steam.
INT. BRITISH MUSEUM - LIBRARY - DAY
A dusty rotunda stuffed with knowledge and the stuffy people
seeking it. Bill finds Wilde and the writers working at one
of the back tables.
He drops the STONE TABLET down on the table with a room-
reverberating THUD. All the readers turn to look. The HEAD
LIBRARIAN puts his fingers to his lips, annoyed.
BILL
Sorry.
(quietly, to the writers)
You’re the sharpest minds I know in
London. One of you should be able
to tell me what this is.
The four almost smack their heads together getting up to
examine it.
WILDE
Well, obviously, these are Pre-
Columbian hieroglyphics.
WELLS
It looks like something Lodge
brought over from the Invisible
City. Why don’t you just ask him?
BILL
Cause I don’t exactly trust him. A
man might have been murdered over
this piece of rock.
WILDE
Murdered?!! How thrilling ...
Stevenson, you’re the dead language
expert. What do you make of it?
STEVENSON
It’s definitely Mayan. Could
possibly be from Calitak. Let me
grab some books.
 65.

He runs off to one of the towering shelves. The other writers

are intrigued. They get out their note pads.
WILDE
So, the plot thickens. What are
you up to, Cody?
STOKER
Shouldn’t you be bringing this to
the police?
BILL
(getting louder)
I don’t trust the police. I don’t
trust hardly none of the swells
I’ve been crossing paths with
lately.
The Head Librarian rises from his desk, dramatically, with
his fingers to his lips.
HEAD LIBRARIAN
SHHHHH!!!
Bill turns -- CLICK! -- his pistol suddenly pointed at the
mousy guy.
BILL
That’s enough out of you.
The Librarian sits back down, white as a sheet. Bill holsters
his weapon and addresses the other patrons.
BILL
Go about your business. We’ll be
out of your hairs soon.
WELLS
Mr. Cody, this is the National
Library.
BILL
I’m sorry. I ain’t accustomed to
whispering.
Stevenson returns with a stack of books. He excitedly drops
them on a table, stirring up a cloud of dust.
STEVENSON
This may take a while.
BILL
Why don’t we take them back to your
place, Wilde?
 66.

HEAD LIBRARIAN
You can’t take books out of this
room.
Bill takes out his pistol and walks over to him, aiming it at
his head.
BILL
Oh, I think in this case you’ll
make an exception.
INT. WILDE’S HOUSE - SALON - NIGHT
Bill, paces as Stevenson continues his research. The other
writers have been indulging at Wilde’s absinthe fountain.
STEVENSON
It’s definitely something about the
Invisible City. I just can’t make
sense of it ... It’s reads like an
ancient instruction manual
WILDE
My dear boy, please stop pacing.
I’m in the middle of a very
delicate process.
Wilde prepares the absinthe as if it were a sacred ritual.
First, he pours the liqueur into the glasses. Then he places
a sugar cube onto a slotted spoon on top of each glass.
BILL
So what do you boys think of that
Lodge character?
WILDE
I dare say he’s a British version
of you. Fodder for hundreds of
stories not yet written ... We’re
all fascinated by him. All except
for Stoker. He thinks Sir Lodge is
some kind of ghoul.
Finally, the playwright pours ice water over each spoon,
dissolving the sugar, turning the glasses a milky green.
STOKER
How do you not see it? There’s
something definitely dodgy about
him. He left England a complete
wreck. And, suddenly, he returns,
fourteen years later, looking
younger than when he left.
 67.

WILDE
You’re such a superstitious
Catholic. You make it sound like
he sold his soul for eternal youth.
Wells likes that one. He takes out his pad and starts to
jot.
WILDE
Hold on, Tubby. That’s mine.
STOKER
He had quite the horrific
reputation in India. Mistreating
his men. Plundering sacred
artifacts. But, his wealth and
contacts bought him a clean record.
BILL
How the hell did Davies get his
hand on this? ... All I got is a
jumble of pieces. I can’t put them
together yet.
WILDE
Whenever we’re blocked, the Green
Fairy always helps us to see more
clearly.
He hands Bill a glass.
BILL
This is hardly the time to go on a
bender.
WILDE
Think of it as medicine. Absinthe
has liberated stories that were
buried far too deep within our
consciousness to mine. ... I’m
curious to see what doors of
perception it will open for you.
He hands the cloudy glass to Bill. Wells, Stevenson and
Stoker join them for a toast.
STOKER
To illumination.
WELLS
To awareness.
STEVENSON
To the senses.
 68.

Bill slugs it down like whisky.

WILDE
Careful, cowboy, go slow. The
first stage is like ordinary
drinking. The second can have you
seeing some cruel and monstrous
things.
(chugging his)
But if you can persevere, you’ll
enter upon the third stage. Where
your past, present and future will
be laid out in front of you, as if
you were in the audience of a play.
The other writers are already a bit buzzed and inspired.
They start jotting some notes down on their napkins.
WILDE
What are you feeling?
BILL
Not a blasted thing. But, I do have
the constitution of a horse.
He sits down at the table and starts shuffling a deck of
cards.
A beat later, his head HITS the table, totally knocked out.
Wilde lifts his friend’s head, making him comfortable.
Bill’s SNORES loudly like his namesake.
WILDE
I believe he has reached the dream
state.
DISSOLVE TO:
BEGIN BILL’S ABSINTHE DREAM
A horrific vision of a POST APOCALYPTIC, Victorian London.
The burning husk of a once great city. JUNGLE VEGETATION has
grown over much of the rubble.
Desolation row. Nothing has survived, except for the RATS. A
FALCON swoops down and grabs a rodent for takeaway.
CLUNK...CLUNK...CLUNK...
A SUIT OF ARMOR. KNIGHT ERRANT, BUFFALO BILL, walks
Trafalgar Square, exploring the devastation.
He uses his sword to chop at the VINES that wriggle about
like tentacles.
 69.

Suddenly, WE HEAR AN AVALANCHE OF STONES breaking apart. The

STATUE OF ST. GEORGE AND THE DRAGON has just come alive.
Man of La Mancha-style, Knight Bill fights the Dragon.
FLAMES SNORT out of the creature’s snout. Bill protects
himself with his shield.
After a few parries, he cuts the monster’s head off.
CUT TO:
LATER. Bill follows a stream of blood flowing through the
crevices of the cobblestone street.
It leads him to the EXPLORER’S CLUB, where he finds a ghostly
COLONEL DAVIES, dressed in his old military uniform.
He points to the TEMPLE of the INVISIBLE CITY. It rises
through the ashes of the London skyline.
COLONEL DAVIES
You! You did this! You were never
supposed to come to England!
CUT TO:
TEMPLE. Bill and Colonel Davies climb up the great stone
stairs. The stairs seem Escher-esque, nearly endless.
We HEAR CHILDREN SINGING THE NURSERY RHYME Ten Little
Indians:
CREEPY CHILDREN’S VOICES
One little, two little, three
little Indians...four little, five
little, six little Indians...
CUT TO:
INSIDE THE TEMPLE. Red Shirt is tied to a STONE ALTAR.
Sir Lodge is standing above him, dressed like a Mayan High
Priest. He has his SACRIFICIAL DAGGER held above him.
CREEPY CHILDREN’S VOICES
...seven little, eight little, nine
little Indians...ten little Indians
boys!
And scattered on the floor around him are the corpses of NINE
OTHER SIOUX BRAVES.
RED SHIRT
LONG HAIR!!!!!!!!!!!
 70.

Lodge PLUNGES the dagger deep into the Chief’s heart --

END BILL’S ABSINTHE DREAM
INT. TOWER OF LONDON - RED SHIRT’S CELL - NIGHT
Red Shirt is awakened by the SOUNDS OF FOOTSTEPS. A RING OF
KEYS JINGLE. The cell is unlocked. The door swings open.
In come TWO MEN DRESSED AS GUARDS.
RED SHIRT
(standing up)
What do you want?
It’s The Sikh and a HENCHMAN.
SIKH
You’re needed elsewhere.
The Henchman douses a RAG WITH CHLOROFORM and puts it over
Red Shirt’s face.
The Chief droops into The Sikh’s arms.
INT. WILDE’S HOUSE - SALON - NIGHT
Stevenson tries to shake Bill awake.
STEVENSON
Mr. Cody! Wake up!
WILDE
There’s no use. He’ll be out
dreaming until morning.
STEVENSON
But I figured it out!
He waves around the pages of hieroglyphic gibberish.
STEVENSON
The Invisible City has been
slumbering for centuries! The
tablet describes how to wake it up!
... It feeds on blood! I think it
needs the blood of Bill’s Indians!
WILDE
Seems time we do a little detecting
ourselves.
He pulls a Colt out of Bill’s holster.
 71.

WILDE
Are any of the rest of you armed?
EXT. INVISIBLE CITY - EXHIBITION HALL - NIGHT
Wells fumbles, trying to pick the lock of a back door.
WELLS
It’s time to see exactly what Lodge
brought over.
Wilde taps him on the shoulder.
WILDE
Let me have at it. I’m Irish.
CRASH! He kicks in one of the glass panes. Wells is
impressed.
WELLS
You’ve got a lot of spunk.
WILDE
You’d be surprised.
He breaks the rest of the glass with the elbow of his jacket
and they follow him inside.
INT. INVISIBLE CITY - NIGHT
Moonlight comes in through the glass ceiling. The men
navigate through the fog by candle lantern. They’ve left
civilized London and are suddenly in Alan Quatermain
territory.
BALL COURT RUINS
From here, we really get an idea of the Invisible City’s
grandeur and menace. The motifs in the stones are of skulls,
daggers and fanged serpents. Jeweled idols of jaguars seem
frozen in mid-pounce.
STEVENSON
This is the ball court. Not unlike
Nero’s Coliseum. The conquered
tribe would compete in sport and
the losers would be sacrificed.
Wilde comes face-to-face with a screaming skull sculpture.
WILDE
Why couldn’t he have just brought
back a few postcards?
 72.

They come to the first of the domed observatories. It seems

almost alien in design, seamless and organic.
STEVENSON
They were extremely advanced in
physics and astronomy. There were
six observatories with six high
priests for the six gods they
worshipped.
Stevenson is so excited playing tour guide that he doesn’t
notice his nose is bleeding. Wilde hands him a handkerchief.
A FEW DROPS have already hit the floor -- the ancient stones
lap them up, still thirsty for blood.
Suddenly, the DOME starts GLOWING RED, the light pulsating
like a heart.
WILDE
Christ.
WELLS
What’s going on?
Stevenson puts on his monocle and squints.
STEVENSON
I don’t have the foggiest.
CLOSE ON STOKER
As the others are distracted by the dome, Stoker is entranced
by something else -- a STRANGE PAN-PIPE MUSIC seemingly only
he can hear.
He drifts away from the others to follow it.
MOVING WITH STOKER
Guided by the music. It’s coming from inside the TEMPLE.
Torchlights flicker from the top chamber.
He slowly climbs up the steep stone stairs.
TEMPLE ENTRANCE
The heavy wooden door slowly CREAKS OPEN. He goes inside.
INT. TEMPLE - NIGHT
One of Red Shirt’s BRAVES is tied to an altar. His mouth
gagged and his eyes screaming.
 73.

Above him, is A MAN IN AN EMERALD, MAYAN MASK. He menacingly

holds up the TALONED GLOVE we saw earlier --
And PLUNGES it into the Brave’s chest, RIPPING OUT HIS HEART.
He SQUEEZES it like a piece of fruit, DRINKING from the
dripping juice.
Stoker is shocked back into consciousness.
STOKER
Dear God.
He holds up his CRUCIFIX. The man HISSES and laughs.
MAN IN MASK
Your god can’t help you now.
Stoker reveals the SWORD, hidden within his cane --
STOKER
You monster!
MAN IN MASK
Not yet. But, soon enough.
-- and LUNGES AT THE MAN.
But he’s way too fast. With great physical strength, he
pushes the writer into the wall, knocking him out cold.
BALL COURT RUINS
The night’s fog has rolled in. The men are still studying the
dome.
Suddenly -- a FALCON swoops down out of the mist, its CLAWS
tearing at Well’s jacket.
WELLS
Bloody hell! What was that?!
They take out their guns and start shooting at it.
From out of the mist -- THE TALONED GLOVE captures Wilde by
his hair, dragging him backwards.
And one by one, the others fall victim to the city’s
protector.
EXT. LODGE MANOR - NIGHT
We follow a trail of lanterns and ride into Bodice Ripper
territory -- a sprawling, country estate, a topiary garden
and the 30-room stone mansion that has been in the family for
generations.
 74.

INT. LODGE MANOR - NIGHT

A lavish party in full swing. This is wealth at its greatest.
There’s an army of MESO-AMERICAN SERVANTS tending to the
guests. A SOUTH-AMERICAN ORCHESTRA plays classical music. The
room is a swirl of WALTZING ARISTOCRATS. An exotic spread of
food laid out with a WILD BOAR as its centerpiece.
We see the Home Secretary speaking to a BEAUTIFUL BLONDE in a
stunning evening gown. It takes us a while to recognize that
it’s Annie. She can totally pull off High Society, completely
charming the nobleman.
Suddenly, Lodge appears in the room, dressed to the nines.
Quite the handsome devil.
Annie sees him. She puts her hand on the Home Secretary’s arm
and excuses herself. She takes two glasses of champagne from
the passing waiter and hands one to Sir Lodge.
ANNIE
My, my. Fashionably late to your
own party.
LODGE
Annie, I’m so thrilled you’re here.
ANNIE
Well you certainly know how to
throw a do. There are so many
interesting people.
LODGE
Yes, there are quite a few princes,
sultans and sheiks.
ANNIE
Should I fix you a plate?
LODGE
No thanks, I’ve already dined in
town.
ANNIE
Your servants really fascinate me.
Where did you ever dig them up?
LODGE
When I brought the Invisible City
back from the jungle, a few of them
tagged along for the ride.
 75.

ANNIE
From the jungle? They seem pretty
civilized.
LODGE
Well, England will do that to you.
Tames the savage right out of the
beast.
The orchestra begins to play a waltz.
LODGE
May I have the pleasure of this
dance, Miss Oakley?
He takes her hand.
ANNIE
Mr. Lodge, I’m just a girl from the
prairies.
LODGE
Just follow my lead.
They start to dance. For a novice, she does just fine.
LODGE
You’ve been playing the part of a
simple cowgirl far too long. I
think it’s time you step up and
enjoy the finer things in life.
ANNIE
(realizing)
Your shoulder! What happened to
your sling?
LODGE
Oh, that ... I’m quite the fast
healer.
A finger taps Lodge’s on the back. It’s the Home Secretary.
HOME SECRETARY
Are you gonna share that prize with
the rest of us?
(cutting in)
May I?
She giggles, loving being the belle of the ball. Lodge
watches her swirls a few times on the dance floor.
He then motions the musicians to take five. As they do, he
CLAPS his hands and gets the whole room’s attention.
 76.

LODGE
Ladies and Gentleman, welcome to
Lodge Manor ... Please, everyone,
find a glass.
The servants make sure that all the various princes, sultans
and sheiks have a glass in their hands.
LODGE
We have a very big day ahead of us.
Instead of celebrating into the
night, I think we should get some
proper rest.
(raising his glass)
But, first, let me propose a toast.
To the Invisible City! To the
resurrection of its culture, its
royalty and its gods!
Annie, a little woozy from the champagne, has no idea what
he’s talking about.
ANNIE
I thought we were having a fox
hunt.
HOME SECRETARY
We will, my little minx. We will.
INT. TOWER OF LONDON - PRISON HALLWAY - DAY
WE HEAR INDIAN CHANTING and the DRUMMING OF HANDS AGAINST THE
STONE FLOOR. The guards are fearful. The Inspector is
escorted in.
INSPECTOR ANDREWS
What the devil is going on here?
GUARD ONE
They’ve all gotten out of their
cells, sir.
INSPECTOR ANDREWS
I can see that. Have you find out
how?
GUARD ONE
We thought we’d leave that up to
you.
As they approach the pow-wow, they see the dead body of the
uniformed Henchman.
INSPECTOR ANDREWS
Who the hell is this?
 77.

He looks closer.
INSPECTOR ANDREWS
He’s not one of my men. Where did
he get that uniform? How’d he get
in here?
Red Shirt, unshackled, leaves the cell, startling him.
RED SHIRT
That’s what I would like to know,
Inspector Andrews. Ten of my braves
are gone.
CUT TO:
BEGIN RED SHIRT’S FLASHBACK
Back to the Chief's nocturnal visit from the assassins.
SIKH
You’re needed elsewhere.
The Henchman douses a RAG WITH CHLOROFORM and puts it over
Red Shirt’s face. The Chief droops into The Sikh’s arms.
The Henchman unlocks the chain from the wall.
Suddenly -- Red Shirt explodes into motion.
He locks his legs around The Henchman’s neck and quickly
SNAPS it.
He wriggles out of The Sikh’s arms and COLD COCKS him with
the hard metal of his manacles. He has the cuff’s chains
around The Sikh’s neck.
RED SHIRT
Who are you?!
SIKH
You should kill me while you have
the chance...
RED SHIRT
Fine.
He pulls his hands away, twisting the chain, STRANGLING the
assassin until he PASSES OUT.
RED SHIRT
After we’ve had a nice chat.
 78.

END RED SHIRT’S FLASHBACK

BACK TO:
THE TOWER OF LONDON. HALLWAY. Inspector Andrews stares at Red
Shirt, aghast.
RED SHIRT
I believe this man knows where my
braves are.
He escorts the Inspector to another cell where The Sikh is
chained to the wall. He’s been badly beaten. It seems the
Indians have been busy questioning him.
RED SHIRT
So far I’ve gotten nothing out of
him. Perhaps you would like a
chance.
INSPECTOR ANDREWS
I most certainly would.
GUARD ONE
What should we do with the Indians,
Inspector?
INSPECTOR ANDREWS
(staring at Red Shirt)
I have a feeling we may need their
help.
INT. WILDE’S HOUSE - SALON - MORNING
Light shines through the window. Bill wakes up with the
mother of all hangovers. He holds his head and looks around.
The place is empty.
BILL
Wilde? Fellas? Where are ya?
He discovers he’s missing his gun.
BILL
Damn!
He gets up, stumbling around the house.
EXT. WILD WEST SHOW CAMP - MORNING
There’s a new banner over the entrance: CLOSED. It’s like a
ghost town. Eerily quiet.
Old Charley gallops over to his master. Bill is happy to see
him, strokes his old pal’s head.
 79.

BILL
I’m glad to see you, too.
From the saddlebag, he takes out a BUGLE.
BILL
(to Old Charley)
Mind your ears.
And he proceeds to BLOW A VERY LOUD, BUT VERY OFF KEY
REVELRY.
Suddenly the whole town wakes up. Nate, Butler, Taylor and
all the cowboys come out of their tents.
BILL
(ordering)
I want our entire armory loaded on
wagons. Every rifle, every box of
ammo and every single barrel of
gunpowder we have.
NATE
What’s gotten into you?
BILL
We’re breaking Red Shirt out.
NATE
(trying to calm him)
But Bill! They’re in the Tower of
London!
BILL
I know.
NATE
Bill, this ain’t some small-time
jailhouse, it’s a damn medieval
fortress!
BILL
You’re not remembering The Alamo.
(doing a headcount)
Taylor, start loading! Butler,
where the hell is Annie?!
BUTLER
She’s at Lodge’s estate for a
frigging foxhunt.
BILL
And you let her go?!
 80.

BUTLER
Don’t get me started, boss.
BILL
Go and get her, boy. She’s not
safe.
(to Nate)
Better wrangle us a boat, Nate. We
may need to make a quick exit.
INT. LODGE MANOR - GUEST ROOM - DAY
Annie wakes up to the sun. She stretches, admiring her high-
end surroundings. She can get used to this. A fresh rose has
been placed in the bedside vase. Today’s clothing already
laid out.
INT. HOUSE - GRAND STAIR CASE
She makes her grand, swellegant entrance, all decked out in
the fox-hunting ensemble: Hounds-tooth jacket, tight
jodhpurs, knee-high boots and hunting cap.
ANNIE
Hello. Is anybody there?
Her voice ECHOES through the empty mansion.
GRAND HALL
She pokes around. Where is everybody?
ANNIE
Sir Lodge?
She passes an ornate, hall mirror and admires herself. She
can totally do Gentry.
HER POV:
With the house to herself, she has time to take in her
surroundings in greater detail. THE TASTEFUL HUNTING
TAPESTRY, on closer inspection, is actually quite gory. Some
of the animals are feasting on a human carcass.
STUDY
The ultimate trophy room, showing off his exploits as a
hunter and a collector of antiquities.
On his desk, by his collection of pipes, there’s a TRAY OF
SYRINGES and half empty vials of DRIED RED INK.
ANNIE
Poor, poor, Lodgey.
 81.

DINING ROOM
She finds a tray of breakfast delectables on the dining-room
table. And a NOTE, reading: “Please excuse my absence. My
driver will take you to the hunt.”
EXT. LODGE MANOR - FRONT LAWN - DAY
A SILENT FOOTMAN opens the carriage door for Annie. She
tries out her formal voice.
ANNIE
Thank you, my good man.
He just closes the door and drives them off.
INT. CARRIAGE - DAY
Lodge’s property seems endless.
ANNIE
Does all this belong to Sir Lodge?
The driver remains silent.
ANNIE
It must go on for miles and miles.
They pass the ruins of a crumbling castle.
ANNIE
It’s just like Wuthering Heights.
(to the Driver)
Have you read Wuthering Heights?
After a few more meters, the driver stops. He gets off his
perch and opens the door for her.
EXT. ENGLISH COUNTRYSIDE - DAY
It’s a breathtaking view. A lake, more crumbling ruins and
the outskirts of a huge forest. There are, however, no
horses, no hounds and no fellow hunters.
There is a huge RIFLE RACK -- complete with ammo and just
about every caliber of firearm imaginable.
ANNIE
Holy Hannah.
In the distance she hears a HUNTING TRUMPET BLOW. By the time
she turns around, the carriage and driver are gone. She’s
totally alone.
 82.

ANNIE
(calling out)
Is anyone there!?
Another BELLOW from the hunting trumpet.
ANNIE
You didn’t start the hunt without
me, did you!??
She stomps her foot in disappointment.
ANNIE
I didn’t take that long to get
ready.
Suddenly, from out of the ruins, a CLAY PIGEON is catapulted
into the air. Annie grabs a rifle and shoots it down.
ANNIE
Is this a warm up?
Two more pigeons go into the air. She blows them both away.
ANNIE
Annie Oakley doesn’t need to warm
up.
(realizing)
Jeeze, I’m starting to sound like
Cody now.
The next SALVOS aren’t aimed in the air. They’re AIMED
STRAIGHT at her.
ANNIE
What the...
She nails them before they get too close.
ANNIE
Hey, Mr. Groundsman, there’s a
problem with your gadget!
But this was no accident.
From behind the stone, the GADGET emerges. Its another
automated trap shooting device. Like the show’s Steamed
Lightning, but with far more fiendish modifications.
It HURLS half-a-dozen PROJECTILES at her at once.
She blasts them out of the air, the last one landing inches
from her feet. This time, they’re made out of SPIKED METAL.
 83.

ANNIE
This isn’t funny.
The battlebot ambles towards her. Puffing steam. Ratcheting
up. We HEAR MORE BALLS dropping into its launcher.
ANNIE
Not funny at all!
She picks up the biggest weapon on the rack -- AN ELEPHANT
GUN -- and blows the contraption to smithereens.
ANNIE
I want to go home this instant!
Her prissy fit is interrupted as THREE MORE OF THESE BEASTS
roll out. They’re far more monstrous, armed with heavier,
deadlier, spikier munitions.
ANNIE
...Oh, no.
She loads a GAME BAG with as many firearms as she can.
ANNIE
No no no no no no no no...
As she flees, the GUN RACK promptly EXPLODES, pulverized by a
spiked boulder.
FOREST
She’s taken cover behind the trunk of a HUGE TREE. There’s no
sign of the steam-bots. She lets out a sigh of relief.
Her ears pick up some RUSTLING in the distance. And a
FEROCIOUS GROWL.
ANNIE
No. No no no no no no no.
Emerging out of the brush is a bloodthirsty JAGUAR. Its
penetrating, emerald eyes locking right on her.
It POUNCES. Six hundred pounds of fur, fang and fury flying
at Annie --
-- BANG! It lands on top of her, hopefully quite dead. She
rolls from underneath it and shoots it some more.
She’s in tears. And of course, more RUSTLING from the
underbrush. Another pair of GLOWING EYES piercing through
the leaves. It’s a virtual Dr. Moreau’s Wild Kingdom.
 84.

She shoots at it - whatever the Hell it is -- and runs

further into the woods.
CLOSE ON ANNIE
The forest is quiet and seemingly safe for now. With her back
against a tree, she slides down, hugging her knees, SOBBING
uncontrollably. Her tough gal persona totally gone now.
We HEAR LODGE’S VOICE BOOMING out of the woods:
LODGE (O.S.)
You know, you’re really doing quite
well.
ANNIE
Why are you doing this to me?
LODGE (O.S.)
Because you’re Annie Oakley! The
world’s greatest marksman! ... We
never did finish our competition! I
just had to see for myself how good
you really are!
ANNIE
I’m really not all that good! We
can stop now!
LODGE (O.S.)
So soon? How else can I gauge how
good I’ve become?
She goes off in the opposite direction, away from his voice.
ANNIE
Trust me, I’m totally outclassed
here!
LODGE (O.S.)
Nonsense, so far you’ve been a
worthy adversary.
His voice following her.
LODGE (O.S.)
I haven’t had such a thrilling hunt
since returning to England.
CLOSE ON LODGE
Totally decked out for The Most Dangerous Game. He’s wearing
the TALONED GLOVE we saw before. His PET FALCON perched upon
it. He is finally showing his Hyde side.
 85.

LODGE
(to his falcon)
Track her!
It soars off.
LODGE
(loudly, to Annie)
You might not have known this, but
when I came back from India, I was
near death’s door. Seemed to have
picked up a rare disorder of the
blood while in service to the
Queen. Damned doctors couldn’t
help me ... So, I went looking for
help elsewhere. I became obsessed
with the tales of lost cities and
lost cures and lost gods. Luckily I
had the money to find them all.
BEGIN LODGE’S FLASHBACK
SOUTH AMERICAN JUNGLE. TWELVE YEARS EARLIER. We see the
remnants of Lodges expedition arguing. Their NATIVE GUIDES
refusing to go any further. Lodge seems older here, frail.
Very sickly.
EXPLORER #1
This is a dead end. How many more
have to die out here?
LODGE
We’re close. I hear it calling.
EXPLORER #1
You’ve gone insane! The guides are
going back. And so are we.
LODGE
(to the rest)
For those who stay and see this
through, I will make you all rich
and powerful!
CUT TO:
LODGE, on his own, hacks his way deeper into the jungle with
a MACHETE. He can’t stop coughing. Feverish. Clothes nearly
torn to rags. He reaches a clearing and collapses from
exhaustion.
He has company. TWO MAYAN WARRIORS pick him up and drag him
to his new home --
CUT TO:
 86.

THE INVISIBLE CITY. Before it was partially relocated.

LODGE (V.O.)
I finally found the Invisible City.
A place so brutal that God hid it
from the rest of the world.
CUT TO:
THE DYING LODGE IS ON AN ALTAR inside the temple. The HIGH
PRIEST takes out his dagger.
But, this is no human sacrifice. He cuts his own hand and
feeds his blood into the nobleman’s mouth. Lodge’s eyes snap
open.
LODGE (V.O.)
The ancients wrote of a great white
god that would bring the city back
to prominence.
CUT TO:
THE 1600s. Even further back in time. CONQUISTADORS battle an
army of savages -- and they are winning.
LODGE (V.O.)
In the 1600s, Conquistadors came
with their weapons and diseases.
CUT TO:
THE JUNGLE, time-lapse photography-style, grows over the
remains of the Invisible City.
LODGE (V.O.)
The city didn’t die. It merely
slept. And became invisible. Until
I found it and woke it up.
CUT TO:
BALL COURT. A procession of PRISONERS from a neighboring
tribe are brought before a much healthier Lodge. They plead
for their lives.
LODGE (V.O.)
The Invisible City thrived on the
blood of the conquered ... And,
after seven years...
Lodge raises his cup; blood is spilled.
 87.

LODGE (V.O.)
...There was nothing left to
conquer.
CUT TO:
A STEAM SHIP. Lodge walks among a deck full of cargo. He’s
bringing over what seems like thousands of HUGE CRATES.
LODGE (V.O.)
So, I brought the Invisible City to
England. To declare war on the
rest of the world.
PULL BACK TO REVEAL
A VIRTUAL FLOTILLA hauling the Invisible City across the
Atlantic.
END LODGE’S FLASHBACK
BACK TO:
ANNIE IN THE FOREST. She trips over a snarl of roots. She’s
scared. She’s muddy. She’s about ready for her meltdown.
LODGE (O.S)
When I become divine, you can rule
besides me as my huntress ... Or,
you can be my first sacrifice!
On that, THE FALCON swoops out of the sky, taking a CLAWFUL
OF HER HAIR.
It circles for its next attack. Another swoop. It claws at
her jacket, ripping cloth.
Another aerial assault. The cowgirl regains enough composure
and BLASTS it into a BLOODY BALL OF FEATHERS.
ANNIE
Did you hear that!? I killed your
little tweetie! Come any closer and
you’re next!
LODGE (O.S.)
Annie, please, let’s not quarrel.
She catches her breath. Tries to pull herself together.
MOVING WITH LODGE
Dutifully stalking his quarry, following her trail of bent
leaves and broken branches.
 88.

LODGE (O.S.)
You’ve been such a good sport. But
I really must get ready for opening
night. It’s time for the world to
meet the Invisible City.
In mid-villain monologue, he walks right into her ambush. She
has two pistols in her hands, finally on the offensive.
ANNIE
You really know how to show a girl
a good time.
He takes a step back, surprised.
ANNIE
Sorry, Lodgey, but you’re just not
my type.
(and, then)
Why am I constantly surrounded by
men with such big egos?
He takes another step back. She’s on a roll.
ANNIE
And all they do is talk-talk-talk.
Like the whole world revolves
around --
BOOM! The ground suddenly GIVES WAY beneath her. She tumbles
into a GIANT PIT.
CLOSE ON ANNIE
In the pit. About to pass out from the fall. The last thing
she sees before losing consciousness is --
AT THE MOUTH OF THE PIT
-- thirty of Lodge’s men, gone TOTALLY PRIMITIVE. Lodge
hovers over, surveying his prize. To his men:
LODGE
Take her to her new home.
CLOSE ON ANNIE
She moans.
ANNIE
Butler, where are you when I need
you?
 89.

INT. GROVE - DAY

Butler gallops down a road framed by trees. Lodge’s manor is
off in the distance.
BUTLER
(still replaying it)
It’s just dinner ... Just dinner.
Suddenly a carriage trots into view from the opposite
direction. The CARRIAGE MAN tips his hat to him.
It’s Lodge.
The cowboy slows, returning the gesture. He stops, realizing
who that just was. As he turns his horse around --
-- Suddenly, from out of the trees, a HAND swings into view,
WIELDING A CLUB. It knocks Butler from his horse.
CLOSE ON BUTLER
It takes him a little while to come to.
HIS POV:
Blurry at first. Slowly SHARPENING. He sees something
swinging from the trees back at him. Holy Edgar Rice
Burroughs!
ON BUTLER
He draws down on it. BLAM. The thing falls out of the
branches, landing right at his feet.
It’s one of Lodge’s SAVAGES. Totally Apocalypto-style. Loin
cloth. War paint. Piercings. Scarification. Big, PRIMITIVE
WEAPON.
He rubs the back of his head. Still dizzy from the assault.
Then, he sees more movement from within the trees around him.
MORE OF LODGE’S MEN SWING TOWARDS HIM. He shoots them out of
the trees.
It rains savages.
Butler opens his jacket, revealing a BANDOLIER. He’s brought
plenty of ammo this time.
In the distance, he sees DOZENS OF THESE PRIMITIVES swinging
from tree-to-tree. He stands his ground, ready for them...
 90.

INT. TOWER OF LONDON - PRISON CELL - DAY

Inspector Andrews and Red Shirt trying to get information out
of The Sikh. He raves like a religious fanatic.
SIKH
It doesn’t matter what you do to
me. All of you will be dead tonight
like dogs. His army is coming.
(to Red Shirt)
The blood of your men has awakened
his city. There’s nothing you can
do now to stop it.
INSPECTOR ANDREWS
(turning to Red Shirt)
What the hell is he rambling about?
RED SHIRT
(realizing)
Lost things should be lost for a
reason ... We need to go to the --
Suddenly, AN EXPLOSION ROCKS the building, throwing them to
the ground.
FOLLOWING INSPECTOR ANDREWS
As he bursts out of the hall to the outside tower wall.
EXT. TOWER OF LONDON - TOWER WALL - DAY
Guards at the turrets nervously have their rifles aimed. The
Inspector runs out here.
PULL BACK TO REVEAL
Cowboys by the side of the prison, armed to the teeth.
Barrels of gunpowder strategically placed around the walls
every few feet.
One of these walls had been freshly blasted to a mere pile of
stones.
CLOSE ON BILL
He steps into view. A CIGAR in one hand, a HUGE FUSE in the
other.
BILL
Let my men go, Andrews! And no one
gets hurt!
(and then)
(MORE)
 91.
BILL (CONT'D)
This is much like the time in the
San Paloma prison --
Red Shirt appears on the wall with Andrews.
RED SHIRT
Long Hair, there’s no time for
stories!
INSPECTOR ANDREWS
Would you mind terribly to put down
that fuse?
Bill does so.
BILL
Now, that’s the politeness your
country is so famous for ... Can
you ask your guards to lower their
rifles just a tad?
INSPECTOR ANDREWS
(to his men)
Stand down.
(to Bill)
It appears that I need your help
after all, Mr. Cody.
RED SHIRT
We need to get to the Invisible
City. Now!
INT. INVISIBLE CITY - TEMPLE - DAY
Annie awakens to a familiar smell -- Butler’s Pomade. His
head is next to hers. Relieved, she snuggles closer.
ANNIE
Oh, Butler ... I had the most
horrid dream. I was in a forest and
there were...
Then, her eyes fully open --
-- They are both tied up on a STONE ALTAR. Two JAGUAR STATUES
staring back at her.
And, all around them, the TEN MISSING BRAVES, hanging upside
down, quite dead, bled dry.
She lets out a classic, damsel in distress SCREAM.
Her SCREAM immediately wakes Butler up. When he gets an
eyeful, he SCREAMS too! They both SCREAM until their lungs
give out.
 92.

BUTLER
You okay?
ANNIE
I think so. What about you?
BUTLER
I’ve been better. But, I sure am
glad to see you.
They turn their faces to each other and start KISSING. Really
going at it. Three years of pussyfooting around finally
reaching the boiling point.
ANNIE
(between smooches)
Oh, Butler, you don’t know how I
much I missed you.
BUTLER
You’re sure a sight for sore eyes.
ANNIE
When we get out of here, I promise
that we’ll never fight again.
BUTLER
Annie, I’m holding you to that.
He starts wriggling around, trying to get his hands loose.
ANNIE
Good, now get us out of here.
BUTLER
I’m already on it.
ANNIE
Try a little harder, Sweetie!
He twists here and turns there and is still getting nowhere.
BUTLER
Just give me a few seconds.
ANNIE
Butler, we’re not getting any
younger.
BUTLER
You got any better ideas?
 93.

ANNIE
Than wriggling around like a fish
in a tin? Can’t you see it’s a
simple triple-loop knot?!!
BUTLER
Great, here we go...
ANNIE
What kind of galoot can’t untie a
simple, triple-loop knot? ... Any
child from the age of five can...
Lodge enters with the Home Secretary and a few of his
primitives.
LODGE
Gag her.
They gag her. We only hear her muffled curses.
BUTLER
So, what’s the big idea?
LODGE
(looking him over)
You’re of Scandinavian descent, if
I’m not mistaken.
BUTLER
What’s it to you? I’m also a
quarter Cherokee, pal.
LODGE
Oh, that’ll do.
He pulls out a KNIFE. Annie screams through the gag.
LODGE
We won’t have to wait for another
little Indian to arrive.
(and then)
Now, this may sting.
Lodge slices open Butler’s hand. Blood drips on the floor,
spilling into the crevices of the CALENDAR MOSAIC beneath
them.
BUTLER
What the hell are you doing?!!
An ANCIENT PIECE OF MACHINERY has been activated. All the
blood collected here suddenly channels out, flowing into a
viaduct, feeding various primeval, power objects in the room.
 94.

LODGE
What am I doing?
(in his stuffy voice)
Well, it’s all quite complicated to
explain. It combines arcane
rituals with ancient astronomy and
rather advanced physics and -- blah-
blah-blah -- it’s not something a
cowboy could possibly understand.
Lodge’s men gag Butler.
LODGE
Just know that your death will play
a small role in the fall of Western
Civilization.
HOME SECRETARY
(checking his pocketwatch)
It’s almost time. Has the shipment
come?
LODGE
I believe it’s docking now.
EXT. LONDON DOCKS - DAY
Nate is here speaking to a few SHIP CAPTAINS.
A STEAMER suddenly approaches the wharf full speed ahead. The
HARBOR MASTER signals, then panics -- It’s coming right at
him at ramming speed. He jumps into the water.
The ship CRASHES into the dock.
And, a few hundred CALITAK SAVAGES escape out of the hull
like a plague of locusts.
FOLLOWING THE SAVAGES
Half Pandora’s box, half barrel-full-of-monkeys, the horde
DESCEND onto the London docks, SWINGING from lamp-posts,
CLIMBING onto buildings and ATTACKING anyone or anything that
gets in their way.
Two savages CLUB a dock worker.
They STAMPEDE through an outdoor fish market, tearing the
stalls apart.
Dozens of warriors now running on the rooftops.
A spear PIERCES the chest of an unfortunate Bobby.
 95.

One savage, obsessed with a GAS LANTERN outside a shop,

breaks it, starting a FIRE.
PULL BACK ON THE HARBOUR
If this wasn’t bad enough, we pull back to reveal TWO MORE
STEAMERS crashing into the docks. There are now thousands of
these things invading London.
VARIOUS LONDON STREETS
Pure chaos.
An entire platoon of these primitives plow through the
streets. Carriages overturned.
Bystanders attacked.
People barricading themselves inside any shelter they can
find.
CUT TO:
THE CAVALRY
They’re riding all together: Bill and his cowboys, Red Shirt
and his braves, Inspector Andrews and his bobbies.
BILL
It’s good to be riding with you
again, Red.
RED SHIRT
If the English Indian is telling
the truth, we may have a battle on
our hands.
BILL
(excited)
A battle? It’s been a while. You up
for it?
RED SHIRT
I’m not the one who has put on so
much weight.
BILL
Ha! I’m not the one who needs
glasses.
Suddenly, all the men PULL ON THEIR REINS simultaneously. The
Cavalry comes to a halt.
 96.

THEIR POV:
An entire PERIMETER OF PRIMITIVES. Hundreds of them.
INSPECTOR ANDREWS
Bloody hell. They’re surrounding
Buckingham Palace!
CUT TO:
INT. TEMPLE - DAY
Butler and Annie, still gagged, try to get out of their
bonds. All this wiggling has exposed the Bowie knife sheathed
in Butler’s boot.
They suddenly hear a GREAT SCREECH OF GEARS TURNING.
INVISIBLE CITY EXHIBITION
Some HIDDEN MACHINERY underneath the museum has been set in
motion. The walls of the place COLLAPSE OUTWARD like a giant
gift box falling open. An EXPLOSION OF GLASS.
When the dust settles, the Invisible City is fully revealed
to London.
ROOF OF THE TEMPLE
More bits of scary architecture up here -- a trimming of
sculpted skulls, statues of serpents and falcons, a sun dial
and, topping it all off -- a GIANT THRONE, carved into the
stone.
Fifty of LODGE’S PRIMITIVES are up here as bodyguards.
The Home Secretary and some blue bloods from Lodge’s party
are decked out in regal, high-priest garb.
Wilde and the writers are here as well. Tied up.
HOME SECRETARY
(to the writers)
You’re only alive so someone could
chronicle this.
WILDE
Chronicle what?
HOME SECRETARY
The coming apocalypse.
He hands Lodge an ORNATE SCEPTER tipped with a HUGE RUBY.
Lodge checks the SUN DIAL, looks up at the SKY and RAMS the
staff into place.
 97.

Then, listening to the SYMPHONY OF DESTRUCTION around him, he

closes his eyes, and just for a moment, conducts.
THE SKY
A shadow falls upon the city as the sun is slowly blotted
out. The red corona of an ECLIPSE appears. It’s like a giant
malevolent eye -- black pupil and red iris -- watching over.
CLOSE ON LODGE
His guards bring over torches.
LODGE
Bring me the girl.
We watch the eclipse cast the city into shadow.
DARKNESS
The SCREEN, like London, TURNS TO BLACK. We HEAR the area-
wide BEDLAM continue. Then, someone switches on the GAS. A
constellation of GAS LIGHTS illuminates the city.
CLOSE ON SUN
Peeking its way through the moon. An eerie red light casts
downwards.
CLOSE ON THE SCEPTER’S RUBY
Perfectly positioned to catch this first ray of light. It
soaks in the sun’s power, evidently recharging.
ROOF OF THE TEMPLE
Lodge’s minions bring Annie to him. Her gag is off, but her
hands are still tied behind her back.
LODGE
I thought, my dear, I’d give you a
front row seat for my ascension.
Annie blows a strand of hair out of her eyes, disinterested.
ANNIE
Just throw me into a volcano and
get it over with.
Lodge glares at her -- “As you wish.”
INT. TEMPLE
Butler has managed to cut the ropes with his knife. And, just
as he’s about to bust free, THREE SAVAGES waltz in.
 98.

He FLINGS HIS KNIFE into the chest of the first brute. He

instantly goes down. Butler WRIGGLES out of the rest of his
bonds a half second before they can get their mitts on him.
The cowboy is on top of the altar, giving him the advantage
of height.
All they have to stop him are their fists and their torches.
He JUMPS and KICKS to avoid their lunges.
Then, Butler takes a RUNNING START and DIVES over their
heads, landing squarely by the downed primitive.
He RETRIEVES his weapon out of the guy’s chest and proceeds
to dazzle his foes with a FLOURISH of KNIFE TRICKS. Their
eyes can barely keep up with his BLURRED HANDS.
One savage gets the bright idea of taking a SPEAR off of one
of the dead braves, hanging from the wall.
Butler’s smile vanishes. Why didn’t I think of that? He
quickly THROWS THE KNIFE, catching the brute in the neck.
Butler and the last savage race towards the spear...
CUT TO:
INT. BUCKINGHAM PALACE
The Queen is surrounded by her bodyguards. One of them
nervously takes a peek out the barricaded window.
EXT. BUCKINGHAM PALACE
The Royal Guardsmen are surrounded by a hundred savage
primals. They’re doomed...
ABOVE THEM
THE SUN comes back full force, revealing --
BUFFALO BILL AND RED SHIRT
Riding out of the darkness, leading their cowboys and Indians
into the fray.
The braves are war-painted, HOOPING AND HOLLERING, ready for
battle. Like a choreographed Roman army, they pull back their
BOWS.
RED SHIRT
Fire!
Arrows fill the air.
 99.

As the Royal Guards tussle with these primals, a DOWNPOUR OF

ARROWS find their mark. A good chunk of the ancient army
goes down.
Red Shirt leads his braves in a charge to take out the rest.
RED SHIRT
Hoka Hey! Hoka Hey!
CLOSE ON THE PRIMAL CHIEFTAIN
Their leader emerges out of the Buckingham battlefield. He
commands an eerie presence, a headdress like a SPIKED CROWN
and PAST TROPHIES (human ears and fingers) dangle from his
neck.
He is the definitive, anti-Red Shirt. He leaves a swathe of
bodies, cutting his way through the Royal Guardsmen like a
scythe through wheat.
Red Shirt and his doppelganger LOCK EYES.
The Chief downs an attacker with his tomahawk and rides
through the crowd. The sea of warriors part as the Chieftains
make their way to their inevitable clash...
CUT TO:
CLOSE ON BUCKINGHAM PALACE
Like a swarm of roaches, DOZENS OF PRIMALS scale the walls of
the building.
CRASH! Glass shatters as Royal Guardsmen struggle to shoot
them away from the windows.
CLOSE ON BILL AND ANDREWS
They and their men unleash a FUSILLADE OF RIFLE SHOTS at the
crawling savages.
CLOSE ON BUCKINGHAM PALACE
The savages are picked off, falling off the building.
CLOSE ON BILL AND ANDREWS
Bill is impressed by the Inspector’s marksmanship.
BILL
You ain’t half a bad shot. I might
be able to use a man like you in
the show.
 100.

INSPECTOR ANDREWS
What? And leave all this?
CUT TO:
RED SHIRT AND THE PRIMAL CHIEFTAIN
A CHALLENGE RING is formed around the two leaders, their
soldiers instinctively giving them space. The two men CIRCLE
each other, measuring, studying, searching for a weakness.
Each let out a horrific WAR CRY.
ANTI takes the first swing with his ugly, BLUNT WEAPON. He’s
fast --
-- Red Shirt just barely BLOCKS it with the haft of his
tomahawk. All the savagery that was exorcised from the Sioux
by the American government has now resurfaced.
Both men STRUGGLE TO STAB the other with their knives. ANTI
bares his teeth -- they’ve been filed down to points.
A tense moment as Anti gets the upper hand, the tip of his
knife TEARING at the flesh of Red Shirt’s torso.
But, our Chief spins away, and in one swift movement,
DECAPITATES Anti with his tomahawk.
His head rolls into the circle of his warriors.
CUT TO:
INT. TEMPLE - DAY
Butler has just finished dispatching his last primal,
impaling him with the spear. The cowboy tries pulling the
weapon out.
BUTLER
C’mon. I’m gonna need that back.
The spear breaks in the process, leaving with him a sword-
length, BROKEN STICK.
MOVING WITH BUTLER
He takes to the SPIRAL STAIRCASE, leading to the top of the
temple.
This is a great place for some SERIOUS SWASHBUCKLING. So, of
course, Butler and his pointy stick are met by FIVE MORE
SAVAGES on their way down.
 101.

He takes the EN GARDE position and lunges onwards and

upwards...
CUT TO:
EXT. THE PERIMETER AROUND THE INVISIBLE CITY - DAY
Cowboys, Indians and Bobbies CUTTING through the WALL of
savages. Bill, Red Shirt and the Inspector hang back.
INSPECTOR ANDREWS
We’ll never get through them in
time.
RED SHIRT
We’ll go over them.
And, just as he says that, savages appear on the ROOFTOPS
above them with BLOWGUNS.
A few of Andrews’ men are HIT by DARTS. They nosedive from
their horses, CONVULSING.
A FLURRY OF DARTS fly at Bill and Red Shirt.
Bill SHIELDS them both, CATCHING all the darts --
THUNK!THUNK!THUNK!THUNK! -- with the butt of his rifle.
Another volley rains down.
The Inspector quickly OPENS his UMBRELLA, protecting them
all.
BILL
Honestly? An umbrella?
INSPECTOR ANDREWS
This is England, you know.
But bullets trump darts. A BATTERY OF PISTOLS spit lead into
the savages.
The three men dismount and run into a building.
THE ROOFTOPS
Bill, Red Shirt and Andrews have made it up, clearing the
topside of sentries. It’s like shooting fish in a barrel --
-- until one of the savages CLUBS a bobby and gets his
PISTOL.
The FIRE-STICK is new to him. He pulls the trigger. BLAM. He
points it at our heroes and pulls the trigger some more.
 102.

Our heroes quickly hit the tar.

CUT TO:
EXT. TOP OF THE TEMPLE - DAY
The Home Secretary hands Lodge a strange, METALLIC DISC --
Definitely not engineered on this world.
LODGE
(to Annie)
You’re going to love this. More
toys I dug up.
He holds the disc to his Adam’s apple and CLEARS HIS THROAT.
THE NOISE SHAKES THE GROUND -- Whatever this technology does,
it uses the entire temple as an AMPLIFIER, broadcasting to
half of London.
LODGE
Good People of London, may I have
your attention...
VARIOUS SHOTS OF PEOPLE LOOKING UP
Where is that voice coming from? The ground vibrates for
miles around.
The fighting and mayhem around the city stops. The savages
know the voice of their master.
It has even gotten the Queen’s attention.
ON THE ROOFTOPS
Bill, Red Shirt and the Inspector in mid-fight sequence with
the sentries. They have to stop and HOLD THEIR EARS. They’re
sonically at ground zero.
CLOSE ON LODGE
Having gotten the city’s attention, he delivers his patented
doomsday speech.
LODGE
Superior, smug England, what have
the past fifty years of peace done
to you? The Anglo Saxon race has
grown fat and weak and horribly,
horribly proper ... Your once great
empire is in decline. You have
imperialized the four corners of
the Earth, trying to nobalize the
savages when no one asked you to.
(MORE)
 103.
LODGE (CONT'D)
You expanded your western culture
and morals where they weren’t
wanted. How much blood was spilled
across the continents for the great
white race to spread its
civilization? ... Today that all
will be reversed. The colonizer
will become the colonized. Your
noblemen will become savages. Your
land will be their frontier. I will
bring England back to the old world
order ... You will learn their
ways. You will speak their
language. You will worship their
gods.
CLOSE ON THE RUBY
Fully charged and is ready to go. A HOLOGRAM appears around
it -- hundreds of mathematical equations downloading and
dancing about, bathing the Invisible City in a sea of
numbers, glyphs and ancient, forbidden knowledge.
LODGE (O.S)
Deny them and it will take more
than just a stiff upper lip to
survive.
Then, BLAM, it emits a RAY OF LIGHT. The focused, pointed
beam of a precision laser.
We follow this BEAM as it bounces off the various refractive
edifices of the city --
-- until it finally lands on one spot -- ASTRONOMICAL DOME
#1.
CLOSE ON THE ASTRONOMICAL DOME
It’s bathed in the light. The white building just soaks it
in, incubating from all the unearthly energy until it glows a
toasty hue.
Cracks start to form on the outer walls like on the surface
of an egg.
CLOSE ON BILL AND RED SHIRT
They’ve cleared the rooftop of the savages posted there. Bill
gets into sniper stance. Red Shirt protects his back.
Bill rubs his eyes, slips a pair of SPECTACLES out of his
pocket and refocuses.
 104.

RED SHIRT
I’m the one who needed glasses?
BILL
It’s further than it looks, Red.
CLOSE ON THE ASTRONOMICAL DOME
It’s really cracking now. This thing really is some kind of
egg and something really big is about to hatch out of it.
LODGE (O.S.)
Prepare, England, to worship
Quetzalcoatl, the God of
Destruction.
CLOSE ON BILL
Trying to get a shot throughout all this chaos.
HIS POV:
We see what he sees through his RIFLE SIGHT. The CAMERA
suddenly ZOOMS CLOSER as he goes from LODGE to the DOME to --
CLOSE ON RUBY
It lets out another burst of light. Leaving a trail of
SYMBOLS and FORMULAS. It zig-zags off different artifacts,
heading for another egg.
CLOSE ON BILL
He’s lined up the shot and gives his rifle a little pep talk.
BILL
Okay, Lucretia. You’ve never failed
me yet.
And, he pulls the trigger.
CLOSE ON RUBY
The stone SHATTERS into a million pieces. Its laser show
stopped a second before reaching the second dome.
TOP OF THE TEMPLE
Lodge is devastated. His years of scheming foiled by one well
placed shot.
LODGE
NO!!!!
 105.

CLOSE ON BUTLER
He has sneaked up there. He shushes Annie, cutting her bonds
with his knife.
LODGE
You’ve made a grave mistake,
London. You have just sealed your
fate.
CLOSE ON THE ASTRONOMICAL DOME
The egg hatches.
Emerging from the broken shell is something lesser of a god,
more of a Godzilla!
CLOSE ON BILL AND RED SHIRT
They’ve seen it all, but not this!
CLOSE ON THE SAVAGES
They all stop their fighting and bow down in awe. This is
what they’ve waited centuries for. The reign of their God.
CLOSE ON THE MONSTER
It rises. On first impression, it’s not unlike the SPACE
TRIPODS from H.G. Well’s “War of the Worlds”.
But this thing is no machine. It’s Quezalcoatl -- half-bird,
half-serpent, all monster.
The creature takes its first baby steps on three long spindly
legs. As it stretches out, we see that it’s even bigger than
the temple.
CLOSE ON BILL AND RED SHIRT
From their perch, they both start firing at it.
BILL
Now, that’s what I call a show-
stopper!
CLOSE ON COWBOYS, INDIANS AND ASSORTED POLICEMEN
They all start firing at the beast.
CLOSE ON THE MONSTER
Bullets fly off its armor-like hide. It ROARS.
 106.

It takes a giant step forward, CRUSHING both its worshippers

and a few of the good guys shooting at it.
A barbed and spiked tail unravels. This thing is looking more
and more like a prehistoric beast.
The monster shakes his money-maker, testing it out. SMASHING
some buildings and indiscriminately killing anything that’s
in its path.
It just seems to be getting bigger. It cranes its long,
Brontosaurus neck.
CLOSE ON TOP OF THE TEMPLE
Lodge’s men are all prostrate, praying to their deity. Their
attention is definitely off Annie and Butler. The couple are
pretty much dumbstruck. The writers, however, are
fascinated.
WILDE
It’s magnificent...
Like Doctor Frankenstein before him, Lodge beckons his
creation over.
LODGE
Quetzalcoatl. I am your high
priest!
(too excited for
formalities)
Come to daddy!
Annie, using this distraction, grabs the pistol from Lodge’s
belt.
ANNIE
You must be so proud!
BLAM! And, she shoots him, both rounds. Lodge stumbles back
and falls over. His men rush to his side.
Annie blows away the gunsmoke.
ANNIE
Ya big jerk.
The Englishman gets up and dusts himself off. He’s perfectly
fine.
LODGE
I told you I’m a fast healer. The
Invisible City will never let me
die.
 107.

Lodge’s men seize Annie and Butler, holding them back.

LODGE
Can’t you see? Nothing on heaven
nor earth can stop me now.
CLOSE ON THE HOME SECRETARY
He pulls an ANCIENT DAGGER from his robe. We notice that some
of the CARVINGS on it match the motifs around the temple.
HOME SECRETARY
I’m not so sure about that, old
chap.
He PLUNGES the dagger into Lodge’s chest. A look of SHOCK and
HORROR on his face.
HOME SECRETARY
Why should I settle for being a
king ... when I can be a god?
Lodge falls to the ground, lifeless.
CLOSE ON THE MONSTER
Everyone by now has given it ample room. It surveys its
surroundings. Its fixated on movement right now -- the Home
Secretary waving it over.
The monster ungainly stumbles forward. Each step like a mini-
earthquake.
It cranes its snake-like head towards the top of the temple,
Sniffing around.
Annie and Butler are frozen in fear. The great gusts from its
nostrils nearly blow them over.
The Home Secretary claps his hands in delight. It’s his
constant motion that attracts the behemoth.
HOME SECRETARY
You’ve slumbered for centuries! I’m
the one that has brought you back
to life! I’m the one who controls
you! You are here to do my...
The bored monster promptly bites the Home Secretary’s head
off.
Butler hides Annie’s eyes.
And the ADHD monster is now distracted by something else --
The loud RINGING OF BIG BEN.
 108.

CLOSE ON THE HOME SECRETARY’S HEADLESS BODY

It remains standing for a few moments, before it tumbles down
the hundred or so stairs of the temple.
CLOSE ON BILL AND RED SHIRT
They didn’t see that coming.
BILL
Works for me.
They start shooting at the monster. It’s heading their way.
RED SHIRT
I think we better get off this
building, Long Hair.
CLOSE ON THE SAVAGES
They’re stunned. Their leader is dead and their God is cruel.
The fight has been knocked out of them. They pretty much
allow the advancing Londoners to euthanize them.
CLOSE ON THE MONSTER
This is Cloverfield in Victorian London. It can’t help but
crumble buildings. It’s still learning how to walk, still
trying out its tail --
-- and, it’s still hungry. With a taloned claw, it reaches
into a building. Its fist BREAKS through a window, grabs an
unfortunate inhabitant and eats ‘em.
Big Ben still CHIMES. It continues towards the BELLS.
CLOSE ON RED SHIRT AND HIS MEN
Red Shirt has positioned his archers with West Point-
precision.
RED SHIRT
Fire!
FOLLOWING THE ARROWS
They first swoosh through a GAS LAMP, setting them ABLAZE,
creating FLAMING ARROWS -- which PLUNK -- THWACK! THWACK!
THWACK! -- into the monster.
CLOSE ON THE MONSTER
That hurt! It ROARS, totally pissed now. And it just
discovered a new trick. FLAMES FIRE OUT OF ITS SNOUT.
 109.

The Indians back away.

CLOSE ON THE ROOFTOPS
A SQUADRON OF ROYAL GUARDSMEN have their GATLING GUNS mounted
here. As the creature passes between the two buildings, they
start firing -- RAT-A-TAT-TAT! -- bullets piercing into its
face.
This has done some damage to it. It bleeds. The bullets
actually knocked out a few fangs.
Its head WHIPS to one of the rooftops and sets the gunner’s
on fire.
They’re still shooting it from the building across the
street, searching for any kink in its armor. It swings its
head again, over to them, swallowing the entire crew whole.
MOVING WITH BILL AND RED SHIRT
They’re pursuing this thing on horseback. They have to
navigate their way through the avalanche of falling
architecture.
BILL
When we catch up to this thing, do
you have a plan?
RED SHIRT
We’ve hunted bear and bison
thousands of times. Every creature
has a weak point.
Red Shirt aims for the spindly legs. BLAM! BLAM! This part’s
not bullet-proof. Blood flies.
They’ve found a weak point. They both start shooting at it.
The monster tries to SWAT these nuisances away with its tail.
It flails inches away from their heads.
They go for another round. Separating. Each getting aside a
leg. They start BLASTING them.
BILL
This thing’s no God. It’s got
chicken legs.
The creature has gotten more precise with its tail -- another
swing -- Bill’s rifle is flung out of his hands.
Red Shirt leaps off his horse to avoid contact. He continues
the pursuit on foot.
 110.

CLOSE ON BILL
He’s basically riding right under it. The thing has slowed
down; its legs weakened.
From here, Bill gets a great undercarriage view of the
behemoth.
HIS POV
The monster’s entire body is shielded with thick, armor
scales.
But, as it breathes in, we see that the scales slightly part,
and when they do, we’re able to spy some TRANSLUCENT ORGANS --
-- Including its GELATINOUS HEART.
RIDING WITH BILL
The cowboy just might have found it’s Achilles’ Heel. But, he
must get closer.
As the thing raises its leg, Bill takes out his ROPE and
LASSOS it.
FOLLOWING RED SHIRT
He actually blows a toe off this thing. The monster SCREAMS
in agony, flames engulfing the sky.
CLOSE ON THE MONSTER
And then, it shows us another side -- it’s AVIAN SIDE. Two
huge WINGS unfurl themselves from its rib-cage.
Buildings rip apart as these sails are raised.
It flaps and takes to the air, taking Bill with it.
MOVING WITH RED SHIRT
He loops a rope around the haft of his tomahawk then hurls it
at the behemoth -- THUNK! -- and he’s pulled up into the air
with Bill.
MOVING WITH THE MONSTER
It’s flying over the skyline of London. Bill and Red Shirt
dangling underneath it from their lassos.
RED SHIRT
(swinging by Bill)
I couldn’t let you have all the
fun!
 111.

BILL
Dammnit, Red! You’re really turning
into a credit-hogging primadonna!
They get SMACKED into various chimneys, smokestacks, and
rather precarious pointy peaks.
CLOSE ON BILL
He KABONGS into a passing tower and loses his grip. Bill
flies backwards. Luckily, he has his foot wrapped around the
end of the rope.
His hat falls off and his famous long hair cascades down.
RED SHIRT
You okay?!
BILL
This is gonna be a damned good
story to tell!
He pulls himself up the rope and starts climbing, inching
closer to the beast.
ROOF OF TEMPLE
Annie, Butler and the writers see Bill dangling from the
bottom of the monster. Jealous.
WILDE
He’s gonna have a damned good story
to tell!
BUTLER
(noticing)
What happened to Lodge?
His body is indeed gone.
FOLLOWING THE MONSTER
It’s still honing in on Big Ben. THE CATHEDRAL TOWER is now
the only thing in its way.
The landmark coming up fast. They’re hanging far enough
below to make impact. It’s way too huge to swing away from
or dodge.
With their free arms, they -- BLAM! BLAM! BLAM! -- blast out
the tower’s TOP WINDOW.
And using the ropes momentum -- they swing in -- CANNON-
BALLING through the opening.
 112.

MOVING WITH BILL AND RED SHIRT

They land on their feet inside the tower. They run towards
the window on the other side, SHOOTING the stained glass out.
But, Bill is faster.
BILL
So who’s the one who put on weight?
He sees the rope just about to pass by, and --
-- LEAPS across the room and out the opening --
-- CATCHING onto the rope once again.
CLOSE ON RED SHIRT
He halts, watching his friend swing through the London sky.
RED SHIRT
He always gets the damned good
story to tell.
CLOSE ON BIG BEN
The famous clock suddenly stops DING-DONGING.
CLOSE ON THE CREATURE
For some reason, this greatly upsets it. The BELLS must have
been soothing like a lullaby.
So, the spoiled brat INCINERATES the clock-face with a ROAR
OF DRAGON’S BREATH.
It hovers there, like a humming bird, not sure what to pick
on next.
BILL’S FLASH
He sees a CHINK in its armored-belly. When the thing takes a
deep breath, its HEART IS EXPOSED.
CLOSE ON BILL
He reloads his revolver, flicks the cylinder shut and makes
the sign of the cross with his gun.
BILL
(in prayer)
I’ve had a good run. Time to ride
into the sunset.
 113.

And, he starts shooting at it -- BANG! BANG! BANG! BANG!

BANG! BANG!
CLOSE ON THE MONSTER
A round of bullets, penetrating its heart. One last THUMP and
it stops beating.
The creature suddenly PLUMMETS like a stone. It’s so heavy it
falls past Bill, dragging the cowboy down after it.
Its great fall cushioned by parts of Westminster Abbey, which
CRUMBLES underneath it.
Bill has manages to get on the back of this thing, holding
onto the ridges of its armored scales.
He rides it down.
The dying monster hits ground and breaks ground -- creating a
GIANT CRATER several stories deep.
It takes a few moments for the dust to settle.
CLOSE ON THE CRATER
A deep impact site.
Slowly, bystanders start to surround the perimeter, gawking.
Members of our troupe converge here.
CLOSE ON THE TROUPE
As close to ground zero as possible, Butler consoles Annie.
ANNIE
I can’t believe it. I thought that
old coot was gonna last forever.
The Inspector and his men don their hats, paying tribute.
INSPECTOR ANDREWS
He will be known forever as the man
who saved England.
The writers arrive. They simultaneously pull FLASKS out of
their pockets.
Taylor and the cowboys BLUBBER like little girls.
Red Shirt wipes away a tear.
RED SHIRT
Goodbye, my old friend.
 114.

CLOSE ON VENTILATION SHAFT

Just outside the circle of mourners, the door creaks open.
An extremely sooty Bill emerges. He moseys to the crowd to
see what all the commotion is about.
BILL
What’s with all the waterworks?
... This ain’t Shakespeare. A
Buffalo Bill tale always ends on a
hairbreath escape.
They turn to the familiar voice. He brushes himself off and
gets right back to business.
BILL
I want that damn monster carted out
of there before Barnum hears about
it. ... Nate? Where’s Nate?
His business partner arrives at his side, taking notes.
BILL
I can see it now. An even bigger
production. Buffalo Bill Versus The
Creature from the Invisible City!
How’s that sound?
Bill’s troops are ecstatic. They rally around their death-
cheating boss, cheering.
ANNIE
(to Butler)
See, I keep telling you. There’s
no business like show business.
FADE OUT.
FADE IN:
EXT. WILD WEST SHOW - DAY
A huge crowd has gathered for this ceremony. At the podium,
Queen Victoria stands over the kneeling Red Shirt and Bill.
They are weighed down already with the various medals,
medallions and sashes they’ve been awarded.
With the sword, she KNIGHTS them both.
There’s a ROUSING ROAR OF APPLAUSE, and even the notoriously
frumpy Queen smiles.
 115.

RED SHIRT
You have more medals than me, Long
Hair.
BILL
I can’t believe you counted ... You
really do want your own show, don’t
you?
EXT. WILD WEST SHOW CAMP - DAY
It’s like a ghost town with everyone at the ceremony.
INSIDE A TEEPEE
The corpse of an Indian on the ground.
Crouching over it is a ghoulish figure. Long, scraggly white
hair hangs around a haggard face.
It’s Lodge -- an absolutely ancient version.
He dips his taloned glove into the corpse’s blood, holds it
up to his weathered lips and drinks. As he partakes, we see
him getting younger.
WILD WEST STREET
We HEAR the ceremony in the distance. Bill has come out here
for a breather. He lights a cigar. Gives his town one last
look like a protective sheriff.
And like a sheriff in any good Western, he’s called out:
LODGE (O.S)
Cody!
Bill turns.
At the end of the street is Lodge. Totally reverted back to
the handsome devil he was.
BILL
You?!!
Bill’s hand automatically goes to his holster.
They start walking towards each other. Showdown style.
LODGE
You ruined everything. You
destroyed my city. Now, I’m going
to destroy yours.
 116.

BILL
I’ve never shot an unarmed man ...
But in your case, I’m going to make
an exception.
LODGE
Who said I’m not armed?
He opens up his TALONED GLOVE.
CLOSE ON THE CLOCK TOWER
About to strike twelve.
BILL AND LODGE
Each man studies the other, twenty paces between them.
A pause. The wind blows Wild West Show flyers across the
street like tumbleweeds.
BILL
I must warn you, I’ve been on
something of a winning streak.
LODGE
Then this should be interesting.
Cause, I don’t like to lose.
Bills fingers hover over the butt of his gun; Lodge raises
his taloned glove into the air and --
Suddenly, the clock tower -- TICK! -- strikes twelve --
-- and Lodge charges Bill.
Bill draws down on Lodge -- BLAMBLAMBLAMBLAMBLAM -- but the
bullets hardly slow down the Englishman.
Lodge leaps, throwing Bill to the ground.
LODGE
(pinning him)
I neglected to tell you, I’m
awfully hard to kill!
He raises his talons, each finger a sharp steel dagger.
BILL
That makes two of us.
And he flips Lodge off him.
BILL
But I didn’t have to sell my soul.
 117.

He rolls to his feet, draws his other pistol and unleashes

all barrels.
Lodge staggers with each hit but still keeps coming. He makes
a FIST out of the glove and smiles.
LODGE
This is going to be fun.
He PUNCHES Bill in the face and he FLIES through a PLATE
GLASS WINDOW.
Lodge disappears into the building after him.
A beat later. Bill CRASHES through the window on the other
side.
CLOSE ON BILL
Trying to get to his feet. Lodge is suddenly behind him,
grabbing him and lifting him off the ground.
LODGE
I’m so glad you came to England,
Cody.
He throws him into a trough.
LODGE
(walking over to him)
I’m going to rip out the heart of
every single one of your men ...
And I’m going to live forever.
Bill tries to crawl away from him.
BILL’S FLASH
Bill and Lodge back around the poker’s table at the
Explorer’s Club.
BILL
We had a silent investor here that
brought us over. Didn’t cost me a
red cent.
LODGE
So, who is this mysterious partner?
BILL
Don’t know. Don’t care. Nate
handles the business end. I just
handle the spectacle.
 118.

BACK TO SCENE
Lodge grabs him by the hair and starts dragging him caveman-
style through the mud.
BILL
It was you! Damn it! You’re the one
who brought us here!
LODGE
Of course. Who else was going to
feed my city? It needed the blood
of a conquered tribe. Your
government did an admirable job
conquering their natives for me.
BILL’S FLASH
The picture of Lodge and Davies in the Inspector’s Office.
BACK TO SCENE
Lodge throws him into the center of the street.
BILL
And why did you kill Davies?
LODGE
The Colonel had been with me from
the very beginning. Somehow, he
lost the liver for it ... I guess
not everyone’s cut out for ruling
the world.
(and then)
Killing you, Cody, wasn’t half as
pleasurable as I thought it would
be ... Mind if we just get it over
with? ... At least you’ll live on
in your insipid books.
Bill pulls out a BOWIE KNIFE and PLUNGES it straight through
Lodge’s foot into the ground.
BILL
The story ain’t over until I say
it’s over!
Lodge bends down and pulls out the knife, as easily and
painlessly as tying a shoe.
LODGE
Why did you have to go and do that
for? Those were my favorite boots!
And, he kicks Bill hard in the stomach.
 119.

Bill coughs up blood. There’s no more fight left in him.

LODGE
When I’m done here, I think I may
just visit your country.
Lodge yanks him up by the hair, talons ready to strike...
LODGE
In which parts can I find your
family, again?
And right before he delivers the final blow --
THUNK! A TOMAHAWK cuts into his chest.
A HAND plunges into the hole and pulls out Lodge’s heart.
Red Shirt holds the STILL BEATING HEART up to Lodge’s face.
The Englishman looks at it in disbelief as the Chief CRUSHES
it.
BILL
Red!
RED SHIRT
See, I get to kill a monster, too.
As all life drains out of Lodge, we witness a STARTLING
TRANSFORMATION -- every cell in his body ages rapidly until
he withers into a heap of bones.
CLOSE ON BILL AND RED SHIRT
The Chief helps his friend up.
RED SHIRT
You okay?
BILL
I’ve been better ... What took you
so long?
RED SHIRT
Working for you all these years, I
must have gained a little weight.
As they walk off, the CAMERA PULLS BACK THROUGH THE WILD WEST
TOWN, revealing what’s left of the landmarks of Victorian
London.
 120.

BILL (O.S.)
We’re gonna have to put you on a
diet, Red. Can’t have my men
getting so flabby.
FADE OUT.
FADE IN:
EXT. ENGLISH COUNTRYSIDE - DAY
A steam-train cutting through the heather-hilled scenery.
INT. PRIVATE CABIN - DAY
A luxury, private sleeper with all the amenities. A bucket of
iced Champagne. Candlelights.
Butler enters the cabin in his pajamas, freshly shaved, hair
slicked back. He locks the door behind him. We notice a
WEDDING RING on his finger.
Annie gets out of the bed, wearing a robe. She hands her
husband a glass of champagne.
BUTLER
I’ve been waiting three years for
this, Mrs. Butler.
Annie takes off her robe, revealing some naughty Saloon-type
lingerie.
ANNIE
Has it been worth the wait?
BUTLER
(gulping)
And how.
ANNIE
It’s going to be just perfect.
They kiss. And, we HEAR a familiar CLICK.
ANNIE
But, about that Mrs. Butler...
She has pulled a dainty Derringer out of her garter belt.
ANNIE
Won’t it be bad for business to
change my name?
 121.

BUTLER
I’m kinda an old fashioned guy,
Annie.
ANNIE
I know.
BUTLER
And Butler’s an awfully good name.
ANNIE
Awfully good ... But the whole
world already knows Annie Oakley.
Annie Butler would be like starting
all over again.
Another CLICK. Somewhere, Butler has pulled a pistol out of
his pajamas.
BUTLER
You’re taking my name and that’s
final!
Annie lays down on the bed, aiming the gun in one hand,
patting the empty space next to her with the other.
ANNIE
Let’s discuss this in my office.
Butler pulls down the window-shade and joins his bride.
ANNIE
You big lug.
CAMERA PULLS BACK, giving the newlyweds some privacy, leaving
the cabin and TRACKING BACKWARDS through the many cars of the
train, until we stop at the --
LAST CAR
The Auntee and her Nephew are once again aboard, finally
going home.
NEPHEW
Auntee! That was the best trip to
the city we’ve ever had!
AUNTEE
(smiling for a change)
Yes, it was rather memorable,
wasn’t it.
They both look out the window.
 122.

THEIR POV:
A herd of buffalo stampedes past the train.
Red Shirt’s Indians chasing after them. Bill’s cowboys
bringing up the rear. A wagon train of packed stagecoaches
following them.
And, at the very end, Buffalo Bill drives the last wagon. He
lights a cigar and takes one final look back, bidding England
farewell, setting off on his next adventure.
BILL
I wonder what could possibly be
waiting for us in Spain?
DISSOLVE TO:
INT. PRINT SHOP - DAY
The mangler, that monster of a printing press, is back in
action, spewing out the pages of a new, dime-store novel.
The BOOK-BINDERS stacking their latest editions: “The War of
The Worlds” by H.G. Wells, “The Strange Case of Dr. Jekyll
and Mr. Hyde” by Robert Louis Stevenson, “Dracula” by Bram
Stoker, and “The Picture of Dorian Gray” by Oscar Wilde.
CLOSE ON A POSTER
A BROADSHEET comes fresh off the presses. It reads:
“Join Us Next Time, For Our Next Thrilling Adventure --
Buffalo Bill & The Ghosts of The Alhambra!”

THE END