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CREDITS FADE IN AND OUT AS THE MUSIC BUILDS Backgrounds are
rolling hills varying from desert to grassland and woods.
Bassoons, Timpani, glockenspiel and tubular bells. The theme
of bad guys yet to be revealed.
After the titles a rolling curser.
THE TIME OF NOWN IN MIDDLE EARTH WAS A TIME OF TROUBLE A
TIME WHEN HUMBLE AGRARIANS WERE THE PREY OF BRIGANDS AND
OTHER WAYFARERS.
ABOUT THE TIME OF THE FEY REVOLUTION THERE WERE CIVIL WARS
IN MEDITERREANIA.
AND THE GNOMES WERE BEING crushed by the brigands AND THE
BRIGANDS WERE TROLLS...FOR THE MOST PART.
DISSOLVE TO:
SCENE 1. EXT: PLAINS DAY.
Long High shot into a grassy plain, and PULL back across to
the horizon with the dawn sky above.
Trolls ride and appear on the horizon and ride across toward
camera.
PAN OVER:
As they pass. Their horses seem to goosestep contrary to
their nature.
CUT TO:
Medium Shot On one of the trolls galloping past, camera
panning left with him.
He is short and stocky with a blotchy face. He wears leather
armor and carries a crossbow. His knee pads are of leather
with steel spikes.
Hold as the others pass after him.
CUT TO:
Long shot of the Trolls galloping across frame, silhouetted
against the sky.
PAN left, And then hold as they pass.
CUT TO:
Very long shot of the Trolls galloping up the slope against
the sky.
QUICK DISSOLVE TO:
Medium shot looking along a path. The trolls ride up in the
foreground and turn going away up into the path. They are
of similar build and dress as their leader and all carry
crossbows. Slung across the haunches of their animals, swing
battle axes.
CUT TO:
Medium shot Another part of the countryside with grass and
trees in the foreground. The Trolls gallop passed in the
background. In soft silhouette.
PAN LEFT:
As they gallop in the background. Up an incline.
DISSOLVE TO:
A HIGH ANGLE MEDIUM shot of the Trolls, seen from behind.
They stop their horses at the top of the hill, looking down
into a valley where the roofs of houses can be seen.
As they RIDE past. Their horses goosestep contrary to their
wild nature.
They move forward, slightly, to get a better look.
PAN OVER:
MEDIUM CLOSE UP OF THE TROLL CHIEF AND HIS CAPTAIN, SALATICUS.
SALATICUS
We'll take this place next!
HIGH ANGLE SHOT LOOKING DOWN OVER THE VILLAGE. IT IS PEACEFUL
AND QUIET. SMOKE DRIFTS UP FROM ONE OR TWO CHIMNEYS. A
WELL KEPT VILLAGE
WIDE SHOT TO INCLUDE ALL OF THE TROLLS
The Trolls agree noisily, wheel to the left and gallop off.
CUT T0:
EXTREME LOW ANGLE MEDIUM CLOSE UP OF THE CHIEF AND HIS HORSE,
WITH THE HORSES HEAD NEAREST THE CAMERA.
CHIEF
We took it last autumn. They haven't
got Anything left. Yet! Let us
wait.
(As he speaks, he has
trouble controlling
his horse that keeps
turning in circles...)
DISSOLVE TO:
Low angle medium close up of the CAPTAIN SALATICUS on his
horse.
SALATICUS
Ok! We'll come back after the Barley
harvest.
Closer on the Salaticus as he turns his horse.
CUT TO:
MEDIUM SHOT OF THREE TROLLS WHEELING THEIR HORSES ROUND AND
GALLOPING PAST THE CAMERA.
DISSOLVE TO:
MEDIUM LOW ANGLE SHOT LOOKING UP THE SLOPE, THE TROLLS GALLOP
UP FROM THE FOREGROUND TO THE TOP OF THE HILL.
The CHIEF follows with a loud sound of galloping hooves.
CUT TO:
HIGH ANGLE SHOT FROM THE RIDGE, OF THE VILLAGE BELOW… WITH
ROUGH HEDGE OF BRUSHWOOD IN THE FOREGROUND.
Trolls, Humans, a scattering of Dwarves they are a grimy,
sweaty lot, ragged and unkempt, with bolt-belts Xed across
their chests, crossbows slanted across their backs and
axes flopping at their waists.
THE MEN'S FACES ARE STEELY, BLEAK AND SULLEN. THEIR CHIEF'S
FACE IS SOMETHING ELSE AGAIN.
His name is MALVERA and he is a BIG Troll wearing a broad
smile. Cheerful, almost innocent, it is the smile
that is an irresistible force and knows it and knows you
know it, too. His size and bulk testify to his strength.
That he has survived to the age of forty is evidence of his
shrewdness, ruthlessness and cunning. The weapon he carries
and the men he leads bear witness to his power. His self-
assurance, therefore, is overwhelming and from it derives
certain bravura in manner and dress: expansive gestures,
slightly exaggerated facial expressions, broadly striped
pants, enormous rowels to his spurs.
Salaticus the CAPTAIN, his second-in-command, plucks an
ear of corn from a stalk as he rides past and, spurring to
Malvera's side, hands it to him. Malvera examines it with
interest as he rides, pinching it, stripping it and nibbling
experimentally at a kernel.
CUT TO:
The hoof beats, gradually fade away into the distance. Music
follows along.
CUT TO:
Title page:
BACK TO:
SILENCE! ONE
SCENE 3. EXT. RIDGE - DAY.
CLOSER.
The hedge begins to part and rise. Shadows of the leaves
play in the dieing sunlight.
It is the faggots of wood carried on the back of a GNOME
peasant, as he lay hidden over the ridge listening to the
Trolls…
WIPE TO:
LOW ANGLE CLOSE UP:
His face appears, frightened and scared from behind the pile.
A bird fly's off, singing.
The GNOME turns and looking back at the camera for a second,
flees down the hill, scattering his load as he runs.
CUT TO:
Long shot as the GNOME runs down the hill and reaches his
village.
WIPE TO:
SCENE 4. EXT: VILLAGE PLAZA - DAY.
A VERY LONG HIGH ANGLE SHOT OF THE VILLAGE.
The gnomes are gathered in the center of town, chattering.
DISSOLVE TO:
Follow shot of the bird that sings and flies off.
PAN OVER:
HIGH ANGLE SHOT OF THE GNOMES CROUCHED IN A CIRCLE MOTIONLESS
CUT TO:
MEDIUM SHOT OF SOME OF THE GNOMES' THEY ARE A PUDGY SHORT
PEOPLE WITH PREMATURE WHITING HAIR AND LARGE NOSES. THEY
DRESS BRIGHTLY IN PRIMARY COLORS AND CHATTER MORE THAN THEY
TALK.
DISSOLVE TO:
Women and children sitting aback of them in support. They
are smaller versions of their menfolk. The men chatter and
the women wail and moan, both with equal solemnity.
UNKNOWN WOMAN (V.O.)
Wailing and moaning.
PAN OVER:
MEDIUM SHOT, ANOTHER ANGLE ON THE GROUP OF GNOMES.
Closer.
We see that they are Gnomes and humans. A tiny people of
good nature. Non more than five feet high but all hard
working, worried and defenseless.
CUT TO:
Medium shot of another group all crouched forward in despair.
CUT TO:
Another angle.
Closer on a WOMAN.
WOMAN(SOBBING)
There are no gods here anymore....
forced labor, war, drought - and now
the Trolls!
PAN OVER:
CAMERA TILTS UP SLIGHTLY TO MEDIUM CLOSE-UP OF TWO OF THE
GNOMES, WHO LOOK AT THE WOMAN WITH ANXIETY.
CLOSER MEDIUM SHOT OF THE GNOMES IN THE CENTER OF THE CIRCLE.
THE WOMAN CAN JUST BE SEEN NEAR THEM, WEEPING IN DESPAIR.
Gnomes are chubby, bearded caring people who dress loudly!
The bird sings again, off.
TILT UP AS ONE OF THE GNOMES ON THE LEFT FINALLY STANDS UP.
IT IS HAMLIN. A YOUNG GNOME THOUGH STRONG AND ENERGETIC AND
AT LEAST TWO INCHES TALLER THAN THE REST. HE IS A HAFLING,
HALF GNOME AND HALF MAN. AN ANGRY YOUNG HAFLING!
PULL BACK:
BIG CLOSE-UP OF HAMLIN, STANDING, AGITATED.
HAMLIN: (PASSIONATELY.)
Let's kill them - kill them all! So
they will never, never come here
again!
PAN OVER:
CLOSE-UP ON YONEI, AN, OLDER GNOME, PARTLY OBSCURED BY
HAMLIN'S HAND, WHICH IS VISIBLE IN THE FOREGROUND. THREE
OTHER GNOMES CAN BE SEEN IN THE BACKGROUND.
THE SUN GLARES SLOWLY THROWING THEM INTO SILHOUETTE.
YONEI: (FRIGHTENED)
You can't do that!
Medium close-up ON YONEI, shorter that the others and with
others behind. HAMILIN'S hand is in the foreground, his
fist tightly clenched.
CUT TO:
Medium close-up of another Gnome, MANZOO, the tubby, with
other gnomes gathering, mincing behind him.
MANZOO
It is impossible.
Close-up ON HAMLIN, looking down at the gnomes, out of shot.
DISSOLVE TO:
Medium shot ON HAMLIN standing, surrounded by all the seated
Gnomes, only their heads in shot.
PAN SLIGHTLY RIGHT:
As HAMLIN makes A threatening movement towards MANZOO, Who
sits back to camera.
Another GNOME, ALDWIN restrains him. A pantomime of
squabbling, like children, is in view. Hilario stands by,
quietly, listening.
PAN OVER:
MANZOO gets up and walks up to HAMLIN, who is being held
back by ALDWIN.
HAMLIN:
You kill the deer in the forest,
all right, but you can't kill Trolls!
CUT TO:
CLOSER. ON ALDWIN.
ALDWIN IS AN OLDER, PORTLY BEARDED, A GNOME WITH PRESENCE.
ALDWIN
Stop this! This is no time for
quarreling.
CUT TO:
Close-up ON MANZOO as he sits down. HAMLIN, held by ALDWIN,
is visible in the background.
CUT TO:
MANZOO
But we haven't a chance. What if we
lost? They'd kill us all! They'd
kill the women, even. And the babies!
Even the dogs.
CUT TO:
Close up on Hamlin struggling to free himself.
HAMLIN:
I've had enough. I would rather
take that chance than go on like
this. Let's either kill them or be
killed by them.
PAN OVER:
ON ALDWIN, FURIOUS!
ALDWIN
HAMLIN!
PAN BACK:
ON HAMLIN BREAKS AWAY FROM ALDWIN; WHO LETS HIM GO WITH
RESIGNATION.
CUT TO:
MANZOO
We were born to suffer. It is our
lot in life.
CUT TO:
Close-up ON HAMLIN as he sits down beside MANZOO and buries
his head in his arms.
HAMLIN does not look at MANZOO.
CUT TO:
HAMLIN
When they come, let us not fight.
Let us give them the harvest...
CUT TO:
A WOMAN next to him sinks down at these words and some gnomes
begin to weep quietly, off....
ALDWIN
We could ask for just enough so we
don't starve. We'll beg, we'll go
down on our knees.
He begins to sob as well.
DISSOLVE TO:
High-angle medium long shot of the circle of gnomes, all
bowed down, some of their backs heaving with sobs. Continuing
his movement, HAMLIN stands up in the center and turns towards
MANZOO
CUT TO:
ALDWIN rushes up and motions him back as he begins to harangue
MANZOO.
PAN OVER:
ON HAMLIN AS WE SEE THE GROWING BRAVADO OF ONE AND THE
SUBMISSION OF THE OTHERS.
HAMLIN:
And you think they'll listen? Have
you forgotten what we had to go
through to keep the little corn that
we have now?
CUT TO:
WIDE SHOT ON ALL OF THE ASSEMBLED GNOMES MANY OF THEM LOOK
UP ON HEARING THESE WORDS.
TILT UP SLIGHTLY AS HAMLIN STRIDES OUT OF THE CIRCLE AND
STANDS ALONE, HIS SHOULDERS BOWED, BACK TO CAMERA.
CUT TO:
MEDIUM SHOT OF HAMLIN FACING CAMERA IN THE FOREGROUND, WITH
THE GNOMES SITTING CROUCHED BEHIND HIM, ALDWIN STANDING IN
THEIR MIDST.
HAMLIN drops down on to his haunches and buries his head in
his arms. ALDWIN comes to the edge of the circle, looks
worriedly towards HAMLIN and then turns back to the motionless
gnomes.
ALDWIN
Let's go and see The OLD MAN and let
him decide.
CUT TO:
ALDWIN COMES UP TO HAMLIN
And sympathetically lays a hand on his shoulder as some of
the gnomes stand up slowly and turn to follow him. Gradually
all the gnomes stand up.
DISSOLVE TO:
MEDIUM LONG SHOT OF A WATER-MILL, THE WHEEL TURNING. AND
DROPLETS OF WATER DRIPPING ON TO LILY PADS, BOUNCING AND
SPLASHING A FROG.
CLOSER ON THE FROG WITH TRANQUILLITY IN THE BACKGROUND.
The frog leaps off. .
DOLLY IN:
LOW ANGLE MEDIUM SHOT OF A GREAT MILL-WHEEL TURNING, WITH
THE SOUND OF RUSHING WATER. THE STREAM RUNS PAST IT INTO
THE FOREGROUND.
CLOSER:
A CLOSER MEDIUM SHOT OF THE MILL WHEEL TURNING IN THE BOULDER-
STREWN STREAM.
CUT TO:
SCENE 5. EXT. WINDMILL - DAY.
CLOSE-UP OF THE FACE OF AN OLD MAN, A VERY OLD MAN, WHO IS
THE VILLAGE PATRIARCH. HIS EYES ARE SHUT, HIS MOUTH TIGHTLY
CLOSED: THE REGULAR SOUND OF THE TURNING MILL WHEEL CAN BE
HEARD OFF CAMERA.
Behind THE OLD MAN, in soft focus, are a young GIRL and a
MAN.
CUT TO:
MEDIUM SHOT HAMLIN IS STILL COMPLAINING.
HAMLIN: (O.S.)
Bargain with them? You give the
wolf your leg and he'll take your
arms too. You cannot bargain with
trolls. You reason with them now,
give them something, and they will
be here in the autumn just the same.
BACK ON:
CLOSE UP. ON THE OLD MAN.
MANZOO (O.S.)
If they do come and we lose, what
then?
HAMLIN: (FURIOUSLY OFF)
So we lose. Without the barley and
corn we'll die anyway.
THE OLD MAN suddenly opens his eyes and looks straight into
camera.
A PAUSE.)
THE OLD MAN (Deliberately)
We'll fight.
CUT TO:
Close-up ON HAMLIN, his eyes shining with surprise and joy.
CUT TO:
Close-up ON THE OLD MAN, nearest camera in profile, with
MANZOO in the background, looking terrified.
MANZOO
We can't. We're Gnomes, not soldiers.
CUT TO:
THE OLD MAN
Then we'll hire Elf.
CUT TO:
MEDIUM SHOT ON THE OLD MAN SURROUNDED BY THE GROUP OF GNOMES.
CLOSER ON MANZOO
MANZOO
What? Hire Elf? Who ever heard of
such a thing?
PAN OVER TO:
WIDE SHOT TO INCLUDE THE OLD MAN;
THE OLD MAN
I did.
CUT TO:
BIG CLOSE-UP ON THE OLD MAN, FACING CAMERA.
THE OLD MAN
Years ago, when all of you were still
babies, all of the villages were
burned out by the Trolls. When I
was running away I saw something.
There was one village left unburned.
It had hired Elf.
The Old Man draws on a strand of leather around his neck.
From under his shirt he brings forth a soft leather pouch,
inside the pouch is a fine gold watch. He looks at it for
the last time, hands it to HILARIO who is quietly standing
by.
CUT TO:
Medium close-up of MANZOO and THE OLD MAN.
MANZOO
There are all kinds of villages, all
kinds of Gnomes. We're too poor.
We can only afford to eat barley.
CUT TO:
REVERSE-ANGLE MEDIUM CLOSE-UP OF MANZOO STANDING UP, FACING
HAMLIN, WHOSE HEAD IS VISIBLE IN THE FOREGROUND, THE OLD
MAN'S HEAD IS BETWEEN THEM. MANZOO IS COMING AROUND TO ???
MANZOO
But would they fight for us - only
for food?
TILT DOWN AS MANZOO SITS DOWN, HOLDING ON MEDIUM CLOSE-UP
WITH THE OLD MAN AND HAMLIN IN THE FOREGROUND.
MANZOO
Elves are very proud.
CUT TO:
Close-up ON THE OLD MAN.
THE OLD MAN
You must find hungry Elf... even
bears come out of the forest when
they are hungry. Choose three and
go and find: Cheap Elf!
DISSOLVE TO:
SCENE 6. EXT: COUNTRY DAY
LONG FOLLOW SHOT
THREE village committee-men on their way to the border town.
Hilario, Miguel and Tomas.
DISSOLVE TO:
SCENE 7. EXT: CAMARGUE - DAY
CAMARGUE IS A BORDER TOWN. ALTHOUGH IT LIES ON THE NORTH
BANK OF THE TRIOS GOLDIE RIVER, THE PROXIMITY OF HAFLAND IS
IN EVIDENCE. MOST OF THE BUILDINGS - FEW OF THEM MORE THAN
A SINGLE STORY HIGH - ARE OF MUD, MOSS AND SHINGLE. BUT
HERE AND THERE THE PRIMARY WHITE PAINTED STRUCTURES CAN BE
SEEN. ALSO, AMONG THE HUMAN SIGNS - CAMARGUE BANK, CAMARGUE
HOTEL - ARE A FEW THAT SAY PISSDA, ABBROUTE, CARNICERIA,
FAMILIAR TO ALL.
ON THE MAIN STREET ARE HUMANS AND TROLLS, DWARVES AND GNOMES,
ELVES AND DRAYS. FAIRIES AND OTHERS. THE TRAFFIC INCLUDES A
FEW CARTS BUT MOSTLY CONSISTS OF TIRED OLD MULES AND A FEW
HORSES AND A CAMEL.
DISSOLVE TO:
DOWN THE MAIN STREET, ON THEIR SMALL, BONY MULES, COME
HILARIO, MIGUEL AND TOMAS. TOTAL STRANGERS TO THIS LAND,
THEY HAVE NO IDEA WHERE OR HOW TO PROCEED WITH THEIR QUEST.
Anxiously, timidly, they swivel their heads from side to
side. Everywhere are men and elves with Bows.
IF WE COULD READ THEIR MINDS, THE THREE GNOMES ARE THINKING,
DOES WEARING A BOW MAKE A MAN A BOWMAN? IF SO, HOW DOES
ONE MAKE A CHOICE? WHAT QUESTIONS DOES ONE ASK? ARE THEY A
DANGEROUS BREED, EASILY OFFENDED? THEY CHATTER ENDLESSLY
'SOTRE VOTE.'
SLOW DISSOLVE:
They nudge one another and point, shoot covert glances,
growing-more uncertain and apprehensive by the moment. They
continue on.
ANGLE ON HILARIO.
HILARIO's response is a gesture of blank, open handed,
perplexity.
CUT TO:
SCENE 8. EXT: CAMARGUE - DAY.
A curious crowd closes in to watch an incident. HILARIO, MIGUEL
and TOMAS dismount from their mules. From a safe distance they,
too, watch the proceedings.
DISSOLVE TO:
MEDIUM CLOSE-UP OF A TALL ELF IN PROFILE, WALKING ALONG THE
STREET.
Hero Music in.
Camera pans slightly left as he walks; hold as he walks off,
revealing another Elf in medium shot, walking in the opposite
direction. Both command through their presence our gnomes
interest.
PAN RIGHT:
WITH HIM AS THEY COME INTO THE FOREGROUND LOOK AT EACH OTHER
IN AMAZEMENT AND THE SECOND ELF TURNS AWAY.
BACK TO:
MEDIUM CLOSE-UP OF THE FIRST ELF, BACK TO CAMERA,
As he approaches the crowd which melts away before him.
SLOW PAN OVER:
The Gnomes and other town people, all turn to watch him as
he goes to look back through an archway. Many of the crowd
are carrying clubs and pitchforks. The elf turns and comes
back again.
CUT TO:
MEDIUM CLOSE-UP OF THE TOWN LEADER. A MAYORAL LOOKING GNOME!
The elf strides over and joins him.
CUT TO:
MEDIUM CLOSE-UP OF ANOTHER GROUP OF ONLOOKERS JOSTLING ONE
ANOTHER TO GET A BETTER VIEW.
CUT TO:
MEDIUM CLOSE-UP OF OTHERS IN THE CROWD, CARRYING PITCH FORKS
AND SCYTHES.
CUT TO:
MEDIUM SHOT OF A GROUP OF PEOPLE, INCLUDING THE THREE GNOMES
AND ANOTHER MAN AND A WOMAN.
They are all watching intently
TOMAS leans forward, and then turns to the WOMAN next to
him.
TOMAS
What's happening?
WOMAN
There's a thief in that barn.
At that moment the first Elf, LIVEN TELL, appears behind
them,
LIVEN TELL is the tall Elf. In a bright suit of good cloth
cut well but going threadbare, boots with the trousers
outside.
CLOSER
He watches and listens, silently, his enlarged ears turning.
He is tall and wears a gorgeous old black Kosruth hat with a
floppy brim and a high, pointed-topped, crumpled crown.
He wears Xed belts across his chest carrying an assortment
of knives and mysterious, shiny rings. Across his shoulder
is a golden colored bow with a quiver of arrows. He has
been around and, in that course, has developed a
considerable manner best described as panache.
WOMAN
They found him and he ran in there.
TOMAS rushes out of shot, followed by the other Gnomes.
The tall elf stands watching with a slight frown then follows
them, calmly.
CUT TO:
MEDIUM LONG SHOT OF A BARN WITH ITS THATCHED ROOF. THE WIND
BLOWS THE DUST UP IN THE YARD.
DISSOLVE TO:
Long shot of the barn through the gateway, with two gnomes
standing looking towards it in medium long shot. The three
Gnomes, followed by LIVEN TELL, pass through the gateway
from the foreground, back to camera.
Medium shot from the side of the two gnomes standing at the
gateway. LIVEN TELL comes up and stands by them, furthest
from camera, and the Gnomes gather behind. They all stare
forward.
LIVEN TELL
How many are there?
ANOTHER ANGLE ON:
GNOME:
Just one.
WIDEN:
MEDIUM CLOSE-UP OF THE GNOME AND LIVEN TELL, WITH HILARO,
MIGUEL AND TOMAS VISIBLE BEHIND THEM.
ANOTHER ANGLE.
CLOSER ON LIVEN TELL
LIVEN TELL: (INCREDULOUSLY)
One! But there are so many of you.
Widen to include.
GNOME:
We can't do anything. He took a
child in with him. If we try to get
him he says he'll kill it.
A child is heard crying.
GNOME
There, hear that?
CUT TO:
MEDIUM LONG SHOT OF THE BARN.
The child can be heard screaming above the noise of the wind
Medium shot of the three Gnomes with the gnomes and LIVEN
TELL at the gateway, listening.
2ND GNOME (GRIMLY.)
Oh, the poor thing. And he's only
seven.
CUT TO:
Medium shot of the group at the gateway from behind. The
2ND GNOME turns towards camera.
PAN SLIGHTLY RIGHT:
As Liven Tell walks towards camera and the gnomes surround
him sympathetically.
MIGUEL
But who is that Elf?
2ND GNOME:
Nobody knows. We asked him to save
the child and he agreed. Then he
asked for two rice balls. And a
bottle of Purin as payment.
She goes off.
CUT TO:
Wide shot on 1st Gnome approaching the camera.
IST GNOME:
I don't know what he intends to do.
WIDER
AS THE 1ST. GNOME FINISHES SPEAKING, THEY ALL WALK PAST CAMERA
GOING OFF IN THE FOREGROUND, LEAVING LIVEN TELL LOOKING BACK
AT THE BARN. THEN HE FOLLOWS THEM OFF, LEAVING THE DESERTED
YARD IN VIEW.
A woman runs out of the house by the barn in long shot,
carrying a dish. She pauses for a moment as the child screams
again, and then turns and runs towards camera, which tracks
back through the archway.
PAN RIGHT:
WITH HER AS SHE COMES UNDER THE GATEWAY, HOLDING AS SHE PUSHES
HER WAY THROUGH THE CROWD AND DISAPPEARS FROM VIEW.
LIVEN TELL and the Gnomes move past camera.
PAN OVER:
MEDIUM SHOT OF LIVEN TELL AND THE FOUR GNOMES COMING ROUND
BEHIND THE CROWD TO GET A BETTER VIEW OF LIVEN TELL ON THE
RIVER BANK
PAN RIGHT:
WITH THEM AND HOLD AS THEY STAND, BACK TO CAMERA, IN THE
FOREGROUND.
Kneeling on the ground in front of them is the 2nd. Elf,
MONVEN. He looks up at LIVEN TELL, who is just behind him,
and stands up, giving them all a dirty look. The Gnomes
back off slightly, and MONVEN settles down again to watch
LIVEN TELL.
CUT TO:
Medium shot ON LIVEN TELL, back to camera, his head completely
shaved.
WIDEN.
On the other side of the stream, MONVEN can be seen crouching
down watching, LIVEN TELL and the Gnomes directly behind him
and the group of gnomes looking on.
CUT TO:
Close-up Low angle ON LIVEN TELL looking across the stream.
PAN OVER TO:
Close-up ON MONVEN staring back.
Low-angle close-up on LIVEN TELL. He turns away, and then
looks up again.
Close-up on MONVEN. He scratches his neck.
Low-angle close-up on LIVEN TELL, staring towards MONVEN.
He lowers his eyes and turns his back as LIVEN TELL stares
across the stream again.
Close-up on MONVEN looking up, a puzzled frown on his face.
Low-angle close-up on LIVEN TELL, looking across impassively;
he turns away.
PAN LEFT:
With him as he takes a few paces forward to where the woman
is holding out her dish with two rice balls on it. He takes
it and walks past her.
FOLLOW SHOT:
Camera panning further left and tilting up slightly as he
starts to go through to the gateway.
Long shot, looking along the stream to the bridge. The crowd
hurry through the gateway, disappearing from view as they
follow LIVEN TELL.
Long shot of the gateway from the other side, with LIVEN
TELL coming through and the crowd following.
CUT TO:
Medium shot on LIVEN TELL.
He crowd pressing up behind. MONVEN pushes his way between
them.
Medium shot of the owner with his wife and the other MAN
standing watching. MONVEN pushes his way past them and comes
into the foreground, standing in low-angle medium close-up.
Medium shot ON LIVEN TELL From behind, approaching the barn.
MONVEN comes into shot in the foreground, only the lower
half of his body in shot.
He stops in low-angle medium close-up, kicks over a barrel
and sits down on it.
The child can be heard screaming from inside the barn, and
the THIEF begins yelling hysterically, off, as LIVEN TELL
comes up to the barn door.
Medium shot on LIVEN TELL outside the barn door. He places
the dish of rice balls on a stone outside the barn.
THIEF: (OFF)
So you've come. Well don't come any
nearer or I'll kill the boy. You
hear me.
Closer.
LIVEN TELL:
I'm a priest. I have brought you
food.
CUT TO:
Medium shot of MONVEN sitting on the barrel, watching.,
MONVEN
Fool!
The thief aims his crossbow. WHOOF POWf The thief's arm
and forehead are hit with a steel ring and his hand gets a
knife through it. He stares at LIVEN TELL, wide-eyed at his
virtuosity.
LIVEN TELL, leaning back casually, a large knife in his left
hand, studies him with professional objectivity. A second
ticks by and then another while he estimates the fight left
in the stunned thief.
Meanwhile, TOMAS and the crowd have run up to the hill, have
crouched behind an adobe wall and are peering at LIVEN TELL.
Liven Tell moves swiftly, snatching the child and drops the
thief to the ground.
LIVEN TELL turns around, looks at the crowd.
LIVEN TELL
Will the child's mother come and get
him soon. While we are STILL young.
PAN OVER:
Left to right and tilt up as MONVEN passes, coming into low-
angle medium shot.
Pan further left to right with the Elves as they go out of
shot in very low-angle medium close-up.
Slight high-angle medium close-up of the thief bowing down
on the ground, only his back visible. His shoulders are
shaking with silent sobs.
LIVEN TELL
Leave while you still can!
A choir begins a monotonous and mournful "Sergio Leone" style
humming, over.
Big close-up ON MIGUEL. Standing over HILARIO.
MIGUEL (MUTTERING)
I told you so.
CUT TO:
BIG CLOSE-UP ON HILARIO. HE LOOKS IN THE DIRECTION ON MONVEN
WHO IS OUT OF SHOT. HE FROWNS AND THEN LOOKS DOWN.
LOW-ANGLE MEDIUM SHOT ON HILARIO HEAD BOWED, WITH TOMAS AND
MIGUEL STANDING BEHIND HIM AND WOMEN AND CHILDREN WATCHING
IN THE BACKGROUND.
MIGUEL goes up to HILARIO and bends over him, brushing the
dust off his clothes as HILARIO slowly lifts his head. People
begin to walk past in front of them again, with only the
lower part of their bodies in frame as HILARIO slowly gets
to his feet.
LIVEN TELL, bottle to his mouth, gestures back over his
shoulder. Hands the bottle to MONVEN.
LIVEN TELL smiles and nods.
LIVEN TELL
Thanks for the back up.
MONVEN grins.
MONVEN
You're more than welcome.
MONVEN returns the bottle to LIVEN TELL who takes a swig.
There are two drinks left in the bottle. LIVEN TELL hands
the bottle to MONVEN.
MONVEN
Where are you headed?
LIVEN TELL
South, more or lESS. You?
MONVEN
Just drifting. Finishes the bottle,
tosses it aside.
LIVEN TELL
Any action here?
MONVEN
Grocery clerk. Bouncer in one of
those bars across the street — if
that's your taste.
LIVEN TELL's grunt, accompanied by a sidelong look is answer
enough.
LIVEN TELL
Well, see you!
MONVEN
Yeah.
MONVEN crosses over to his horse and mounts.
LIVEN TELL takes his saddle bags off his horse and starts
off. He takes a few steps, stops and turns.
LIVEN TELL
What's your name?
MONVEN
Make it. MONVEN. What's yours?
LIVEN TELL
LIVEN TELL
He flips a salute and walks on.
CUT T0:
SCENE 8. EXT. STREET - DAY
LIVEN TELL starts across the street toward the Belabier
Hotel as MONVEN rides his horse out of the corral and on
away up the street.
ANGLE ON LIVEN TELL
LIVEN TELL reaches the front of an Hotel, he notices Hamlin,
who has been standing there noticing LIVEN TELL. He seems
to wish to speak to LIVEN TELL or, at least, have LIVEN
TELL take notice of HIM
FOLLOW SHOT.
LIVEN TELL Crosses up on hotel porch. Sizes it up Looks a
little expensive. He turns around and stares at Hamlin, who
is still staring at him. Hamlin turns away and moves down
the street.
LIVEN TELL crosses to edge of porch, looks off, across the
street. Sees a sign - ROOMS - and an arrow pointing
CUT TO:
SCENE 9. INT: HOTEL ROOM DAY.
There is a KNOCK at the door.
Liven Tell considers this briefly, lifts the saddle-bag to
the cot, flips open the flap and poises his hand near the
protruding Bowie KNIFE-butt.
Close up on the hand! On Liven Tell.
LIVEN TELL
Yes!
CUT TO:
Tight reveal shot.
The door swings open, revealing Hilario, Miguel and Tomas.
TRUCK BACK AND THEN FORWARD.
They enter with great dignity, hats in hand.
HILARIO
We think you are an Elf that we can
trust.
LIVEN TELL
(A little startled) Thank you very
much, but..
TOMAS
We wish you to help us.
HILARIO
There is this Troll, Malvera....
MIGUEL
A thief and a murderer.....
TOMAS
He And his band, they steal our food
And they leave us to starve, not
only that but our Women. They —
LIVEN TELL
Wait, wait, Just a moment. If you
need protection, why not go to the
Rurales?
HILARIO
We did. Twice. But they can't
station men in a small village for
who knows how long. So they left
TOMAS
And when they left, he came again,
Malvera. And every year since. And
he will do so until he's stopped.
CLOSER ON LIVEN TELL
LIVEN TELL
Sit down.
MIGUEL
We need help!
HILARIO
We must hire Elves! But we know
nothing about them. Will you hire
Elves for us?
LIVEN TELL
Bows are very expensive, and hard
to get. Why don't you hire men?
HILARIO
Men? We need Elves, such as yourself.
LIVEN TELL
Now-a-days Bowmen are cheaper than
Elves.
TOMAS
Will you come?
HILARIO
It would be a blessing if you helped
us.
LIVEN TELL
I'm sorry - I'm not in the blessing
business.
HILARIO
No, no! We offer more than that.
We could feed you every day.
TOMAS
And we have this.......
Close up on TOMAS's hands.
Out of a bandanna, Tomas lays on the bed, we see, as he
spreads It open——everything of value from the village;
inexpensive Jewelry, medallions, the Old Man's watch etc.
It's everything we own, everything of value in the village.
LIVEN TELL
I've been offered a lot for my work,
but never everything.
TOMAS
Would it be enough?
HILARIO
You see, if we could drive the
Trolls away - life could be very
good in our village. But as it is.
We could stand it a little longer.
But the children. They cry because
they're hungry.
MIGUEL
We will fight too. Every one of us.
TOMAS
When Malvera comes, the church bell
will ring the alarm.
HIIARIO
We'll fight with Bows if we have
them. If we don't, with machetes,
axes, clubs, anything.
There is a pause.
LIVEN TELL looks at the determined faces.
LIVEN TELL
Do you understand what it means to
start something like this? Once you
begin, you have to be prepared for
killing and more killing and still
more killing until the reason for it
is gone.
HILARIO
We've considered that.
LIVEN TELL
Now, does every man in the village
feel the same?
TOMAS
Every Gnome!
LIVEN TELL CONSIDERS
LIVEN TELL
I'll see what I can do for you.
HILARIO
Thank you, thank you.
LIVEN TELL raises a hand to stave off their gratitude.
LIVEN TELL
Now - wait. I didn't say I would
go. I'll Just pass the word you're
looking for Elves.
HIIARIO
It won't be hard to find men here.
Everyone carries a Bow.
LIVEN TELL
Sure - as they do their pants.
Because it's expected. But good,
that's something else again.
MIGUEL
How can you tell if they're good.
LIVEN TELL
There Are Ways.
DISSOLVE TO!
SCENE 10. INT. CANTINA - NIGHT
The Cantina is a small bar., a quiet place in the quarter
for the not very well-to-do. A hooded lamp casts a glow
over the center of the bar and soft shadows elsewhere. Half-
a-dozen Gnomes, men and haflings are seated and standing
here and there, quietly talking. The occasional a Dray
wanders in, drinks and leaves. Speaking to no one.
A formidable man named PAPPY enters. He is tall and wide
and very old. A veteran of the second Elvin Wars. He carries
an unusual weapon. Along tube of steel with a wooden handle.
He looks around and then goes to the BARTENDER.
PAPPY
Who's looking for men here?
The BARTENDER indicates over to the far corner.
BARTENDER
Back room - down the hall.
WIDER AS CAMERA FOLLOWS AS:
PAPPY strides slowly, deliberately, down the hall toward a
back room.
CUT TO:
SCENE INT: BACK ROOM - NIGHT
The three gnomes sit at a table facing the door. LIVEN TELL
leans against the wall nearby. There is a KNOCK on the
door. Nodding to Hilario, LIVEN TELL moves so that he will
be standing behind the door as it opens.
PAPPY enters and as he crosses the threshold, LIVEN TELL
reaches forward and, snatching PAPPY's tubular weapon and
holds it on him.
In one smooth, blinding-fast series of linked movements,
like a well-rehearsed pas de deux in a ballet, PAPPY whirls,
knocking the tube aside, "shoots his cuff" with his other
arm and a long thin knife pops into his hand as he turns on
LIVEN TELL.
LIVEN TELL slaps the knife aside, aside and out of his hand.
PAPPY whips a knife from his boot with his other hand as he
leaps back into a knife-fighter's crouch, ready to defend
himself.
LIVEN TELL
(to the Gnomes)
Good, isn't he?
PAPPY
What's going on here?
LIVEN TELL
Just trying to find out what kind of
a Elf you are.
CLOSER ON AN ANGRY PAPPY.
PAPPY (STEAMED)
Get a knife and let's see what kind
of a elf you are.
Another angle on Liven Tell.
LIVEN TELL
Now, take it easy. I'm offering,
(picking up and
returning the tube)
Food and lodging for four to six-
weeks. Twenty bath in gold. Against
forty Bows, mainly Trolls.
PAPPY
(cutting in)
Me and you against forty?
LIVEN TELL returns PAPPY's tube.
LIVEN TELL
No, we'll have more.
(Indicates Hilario and the others )
These people and all the men in their village.
PAPPY slings his tube over his shoulder as he looks the
three Gnomes over, then turns to LIVEN TELL.
PAPPY
I like your style. And if I knew
your name, I'd vote for you next
election. But your deal stinks.
HE STARTS OUT THE DOOR.
LIVEN TELL
No hard feelings?
PAPPY
No hard feelings.
He opens the door and exits.
Another knock on door.
LIVEN TELL
Come in —
HAMLIN
(ENTERS)
The word's out you're looking for
good men.
LIVEN TELL
That's right I
(Indicating HAMLIN's
Bow)
Men who are good with that.
HAMLIN
I'm good with it.
LIVEN TELL
Fast?
HAMLIN
Try me.
LIVEN TELL
I aim to.
HAMLIN watches LIVEN TELL warily, as he holds his hands
about twenty Inches apart at shoulder height and quickly
claps them, together.
LIVEN TELL
(continues)
Stand up closer - hold your hands
like that. Clap them!
(Puzzled, Hamlin obeys)
LIVEN TELL
Faster.
HAMLIN claps again.
LIVEN TELL
Now as fast as you can.
Hamlin tenses, preparing himself, then claps his hands
with all the speed at his command. And finds between his
palms the business end of the very large knife LIVEN TELL
has drawn and inserted. LIVEN TELL holsters his knife and
spreads his hands.
LIVEN TELL
Now you do it!
Hamlin looks at the three gnomes out of the corner of his
eye and licks his lips, terribly afraid of failing. His
hand tenses above the haft of his Bow, relaxes, tenses
once more. He seems about to draw. And then, abruptly,
he spins around and rushes out of the room. The three Gnomes
are ashamed. Miguel pulls the brim of his hat down over his
eyes. Hilario finds LIVEN TELL studying them, sensing their
dejection.
HILARIO
(apologetically)
He IS very young and very proud.
LIVEN TELL
Yeah - graveyards are full of boys
who were very young and very proud.
There is a KNOCK at the door. Without a sound, LIVEN TELL
steps to the wall so that he will be behind the door when
it opens and motions to Hilario to let the visitor in.
The door opens, but nobody comes in. Hilario looks to
LIVEN TELL and shrugs. LIVEN TELL looks out into the
hall and finds no one there. Puzzled, he leans forward
for a glance to the right down toward the bar. The hall is
empty. Turning, be sees TALON LUCK beside him, stocky,
past forty, deceptively bland.
TALON
(warning finger high)
No tricks now, LIVEN TELL.
LIVEN TELL crosses out into hall.
LIVEN TELL
Talon luck Good to see you again.
TALON
LIVEN TELL.
(shaking hands)
What are you doing in this dump?....
LIVEN TELL
It wouldn't interest a high-stepper
like you. It's just eating-money,
Talon. One gold eagle, room and
board, six weeks CLEAN UP for some
gnomes.
TALON
Ah, you old Cajun - you don't talk
so good but you always know what's
go on!
(TO GNOMES)
) CON PERMISO —
(closes door)
All right, that's on top. What's
underneath?
LIVEN TELL
Only what I told you.
TALON
Gold? Cattle? Payroll?
LIVEN TELL
Only what I told you!
TALON
Oh sure, sure. Never mind. Just
tell me when you can.
LIVEN TELL
Talon, please don't understand me so
fast.
TALON
I said never mind. I'm in.
(pokes his ribs)
You dirty dog.
SCENE 12. EXT. STREET AND SALOON - NIGHT
CAMERA IS PLACED INSIDE THE SALOON, IN DARKNESS AND SEES,
FRAMED IN THE DOORWAY:
MONVEN strides across the street at b.g. - strides to
front of the Saloon and enters.
The waiter comes up to LIVEN TELL.
WAITER
Yes?
LIVEN TELL
(looking over to
MONVEN at gaming
table)
The Elf who Just came in! I'd
like to buy him a drink.
WAITER
Yes, sir.
The waiter crosses over to MONVEN at gaming table.
MIGUEL
There's one. Just look at his face.
MIGUEL refers to a PLUG-UGLY Dwarf who Just entered the
saloon -his nose has been flattened and his face is scarred.
HILARIO
The man for us is the one who gave
him that face.
LIVEN TELL
You learn fast.
MONVEN puts down the two dollars. Rolls dice , MONVEN blinks
a couple of times, puzzled by the suddenness with which he
has been rendered cold, stone broke. The waiter taps him
on the shoulder, points off.
WAITER
Gent over there wants to buy you a
drink. MONVEN walks over to the booth
occupied by LIVEN TELL and the Gnomes.
MONVEN
Howdy.
LIVEN TELL
Like to buy you a drink.
(To the waiter)
Purin. Got something lined up?
MONVEN
Yup. I'm gonna take a Job. In a
grocery store. Fellow who runs it
thinks I'd make a crackerjack clerk
Crackerjack.
LIVEN TELL
Well, if that's your taste...
MONVEN
I did hear of a job. Shooing flies
away from some village. Can't find
out what it pays.
LIVEN TELL
Twenty dollars!
MONVEN
A week?
LIVEN TELL
Six weeks. The whole Job.
MONVEN
That's ridiculous. You heard of
anything?
LIVEN TELL
Below the border. Shooing flies
away from some village.
(Indicating the gnomes) Their village,
MONVEN
Pays twenty whole dollars?
LIVEN TELL
I'm looking for men right now.
MONVEN turns to Hilario, Miguel and Tomas.
MONVEN(APOLOGETIC)
That wouldn't even pay for arrows.
CLOSER ON GRUNT FROM MONVEN.
MIGUEL
We understand. You would get much
more in a grocery store. And it's
good, steady work. I'm sorry. Ours
is not a rich, village.
MONVEN (TO LIVEN TELL)
How many you got signed up?
LIVEN TELL holds up one finger. MONVEN shakes his head, holds
up two fingers. He tosses off a drink.
CUT TO:
SCENE 13. EXT: HOUSE ON A PLAIN - DAY
LIVEN TELL and MONVEN ride toward the gnome's hut. They
ride into the front yard. The plain is vast and empty except
for the: sod hut with a rickety corral alongside and a well
in front. LIVEN TELL and MONVEN dismount, hitch their
horses to a rail and approach the front door. The door
opens - a gnome sticks his head out.
LIVEN TELL.
I'm looking for a man named Alaric.
GNOME
Don't know his name. But there's a
feller in back chopping WOOD for his
breakfast.
LIVEN TELL nods his thanks and, with MONVEN, walks around
the but to the rear.
ALARIC, a very hard-looking Elf, half -human, half Elf,
this side of thirty with an habitual mad-at-the world scowl.
He is splitting wood with an axe. His jacket and hat are
on a stack.
His bolt-belt and six bolt crossbow are on the ground at his
feet between him and the hut. He straightens and stands
motionless when he sees LIVEN TELL and MONVEN, eyeing them
impassively as they come to a halt half-a-dozen feet away.
LIVEN TELL
Morning.
ALARIC thinks of a for a moment, then toes his Bow and
holster across the ground to a spot on his other side,
away from them.
That done, he goes back to chopping wood noticeably with
more force; splitting twelve inch diameter logs with a single
blow.
LIVEN TELL
I'm a friend of Talon Luck's. Tells
me you're broke,
ALARIC
Nah. I'm doing this 'cause I'm an
eccentric millionaire.
LIVEN TELL
There's a job for six men to watch
over a village south of the river.
ALARIC
(CHOPPING AWAY)
How big's the odds?
LIVEN TELL
Thirty, maybe more.
At this, Alaric misses the log completely and almost
falls down. Recovering, he stares at LIVEN TELL.
ALARIC
I've got to admire your notion of.
odds.
LIVEN TELL
Talon Luck tells me you faced odds
in the Middle Terran war.
ALARIC
(Nods) They paid six hundred for
that one!
MONVEN
He also said you wrapped up Modrin
single-handed in less than a month.
ALARIC (NODS)
They paid me eight hundred for that
one.
MONVEN
You cost a lot.
ALARIC
Yeah, that's right - I cost a lot.
LIVEN TELL
The offer is twenty dollars.
Alaric looks at the logs he has split and at the pile
left to go.
ALARIC
Twenty dollars — Right now that's a
lot.
LIVEN TELL
Where can I reach you?
ALARIC
Right here.
He splits another log, with a force that sends splinters in
all directions. Some into the camera lens.
DISSOLVE TO:
SCENE 14. EXT: LINE CAMP - DAY
The camp has been set up across the tracks from a loading
dock. Lounging about a remuda and a food-wagon are the SCORE
OF MEN, GNOMES, Drays AND ASSORTED Others.
A human, BALANCE, is having a difference of opinion with
two other men.
LIVEN TELL and MONVEN have ridden up during this and stand
near their horses, watching.
BALANCE
I still say she can't.
PINOCET
I tell you she can.
BALANCE If she claims that, she's a liar!
PINOCET
(Looks around quickly) Come on - not
so loud, she might hear you.
BALANCE
I don't give a damn if she hears me
or not. I got two months wages coming
and I'll bet it an it ain't so.
STRANGER
Well, you ain't betting with me.
PINOCET
Me either. I'm Just telling you
what she said. And I believe her.
BALANCE
Well, one of us is a fathead.
STRANGER
You can get odds on which.
Balance turns on him in anger.
SOMEONE (O.S.)
(laughs) Haw haw haw!
Another angle.
As Pinocet turns away in dismissal, Balance looks at the
men around. None seems the least impressed with what he
is saying and this makes him even angrier.
He goes over to an Elf sitting hear the food-wagon, a
tall, tall Elf stretched out on the ground dozing with her
back against a fence post and her huge floppy, hat pulled
down over her face.
LIVEN TELL and MONVEN walk in.
BALANCE STARES DOWN AT THE ELF.
BALANCE
El Tan. El Tan. Wake up. El Tan -
look at me. I'm talking to you.
For a moment, EL TAN seems not to have heard him. Then a
thumb slowly pushes the hat up and she is gazing calmly at
Balance. EL TAN is a female Elf, tall, elegant and apparently
lithe. Her red hair glistens in the sunlight.
BALANCE
(continues; pointing
to Pinocet)
Pinocet told me what you said. I
Say you're wrong. What do you say?
No one moves while waiting to hear what El Tan says. Then
she pinches her hat-brim between a thumb and forefinger and
slowly pulls the hat back down over her face.
SOMEONE
(laughs again) Haw haw haw.
And stops suddenly as Balance glares at him.
BALANCE
What's the matter?
Another angle.
Looking down at El Tan
BALANCE
Afraid to say I'm wrong?
Again the thumb slowly moves the hat up off her face and
El Tan's calm, piercing green eyes hold Balance's. Then,
in one smooth, flowing motion, El Tan is on her feet and
moving toward a fence-post twenty feet away.
She puts her coffee can on top of the post about 3" from
his shoulder then turns to face BALANCE.
She motions with her hand and Balance, glancing behind
him, finds a similar post nearby. One step and he is standing
next to it. But this isn't close enough to suit El Tan who
motions again.
BALANCE sidesteps until the post is at his shoulder. El
Tan nods, satisfied, and then looks to Pinocet.
Nervously, Pinocet steps forward, about half-way between
the two and out of the line-of-fire. He winks at
Balance who crouches, ready to draw his bow, his eyes on
EL TAN. He looks at El Tan, who stands easily, casually
tugging at a long ear-lobe.
BALANCE
(to Pinocet))
Call it!
Pinocet fires an arrow into the air. El Tan's hand streaks
down from her ear, as though throwing a ball, and a
knife quivers in the post at Balance's side. At the same
moment, Balance has fired HIS hand crossbow and the coffee
can is knocked down. El Tan crosses over to Balance -
gets knife out of the post.
BALANCE
(triumphant to Pinocet)
Well, you see? I won. Well, how
about It? Pinocet, how about it?
El Tan crosses away over to the food-wagon.
PINOCET
I don't know. Mighty close, wasn't
it, boys?
BALANCE
Close? Close? What do you mean
close?
He hurries over to Pinocet and a knot of others gathers around
them.
BALANCE
You all-got eyes, ain't you?
You saw the whole thing, didn't
you? I won.
With a growl, Balance hurries over to El Tan who is just
taking a drink of coffee.
BALANCE
You tell them. I won, didn't I?
EL TAN (BARELY
Perceptible head shake)
You lost.
El Tan crosses over to the fence, lies down. And the hat
is down over her face. Balance is beside himself with rage.
Crosses to El Tan.
BALANCE
You're a liar.
No response.
BALANCE
I said you're a liar.
No response.
BALANCE
You 're a coward and a liar.
No response.
BALANCE
Get up and let's do it for real.
(fires 2 bolts at El
Tan's feet)
Get up, I said - get up — or I
swear I'll bolt you right where you
— are.
A long moment passes and then EL TAN'S thumb slowly pushes
the hat up. EL TAN'S calmness has gone and her eyes are
now like ice. She gets to her feet and moves deliberately
back toward the fence-post. Balance crosses over to his
post. EL tan turns and finds Balance ready
BALANCE
(Eyes on El Tan -to Pinocet) Call
it.
PINOCET
(Crosses to Balance on line) I don't
want nothing to do with it.
BALANCE
Call it!
Pinocet moves to stop him.
PINOCET
Come on, Balance — forget it!
BALANCE
Get away from me!
CUT TO:
The buzz of the onlookers' excited conversation stops abruptly
as they realize the game has ended and that they are watching
a contest that could end in death.
CUT TO:
Medium shot on Liven Tell.
LIVEN TELL (TO MONVEN)
It' s ridiculous — and so obvious.
Balance is immediately aware of the meaning of this sudden
silence. Almost wishes he could withdraw, but a glance around
at the men who ridiculed him rekindles his rage.
Tensing, he glances at the post beside him, takes his stand
directly in front of it, his eyes on El Tan.
EL TAN
(To Pinocet) Call it.
Pinocet, hating to do it, pulls a hand Bow out and fires up
into air.
CLOSE UP.
Balance crumples, slowly, to the earth with-El Tan's knife
in his throat.
SILENCE
DISSOLVE TO:
SCENE 15. INT: SALOON - NIGHT
It's late. The cantina is nearly empty. The bartender
is reading a newspaper. At a table are Hilario, Miguel
and Tomas, waiting with stoic patience. Nearby ere Alaric
and Talon Luck. Talon is playing solitaire, handling the
cards with loving dexterity. Alaric watches him without
expression. Each of the two is nursing a beer. All
heads turn to the door as LIVEN TELL and MONVEN enter.
MONVEN stops at the bar. LIVEN TELL sits with the Gnomes.
MONVEN
(To bartender) Wine.
The three Gnomes exchange anxious looks. TALON and Alaric
wait. Miguel clears his throat. Hesitantly.....
MIGUEL
Did you have luck?
LIVEN TELL
I found an Elf who would have been
perfect. Bow or knife, they don't
come any better.
(A pause) Wasn't interested.
The gnomes deflate. They sense that Liven Tell is dis-
couraged, too.
HILARIO
The money? It was not enough?
LIVEN TELL
Doesn't give a damn! About money.
HILARIO
(As delicately as possible) An elf
in this line of work who doesn't
care about money?
LIVEN TELL(POLITELY)
Elves in this line of work are not
all alike. Some care about nothing
but money. Others, for their own
reasons, enjoy the danger.
MONVEN
And the competition.
HILARO
If he's the best with the Bow or
the knife, with whom does he compete?
LIVEN TELL
Himself.
(A beat)
Herself!
WHAM! Their heads swivel and they see Hamlin. He has
come banging through the double doors. He needs a shave.
His eyes are inflamed. He peers around, focuses on LIVEN
TELL.
Lurches toward Liven tell.
HAMLIN
(WAVING A FINGER)
You. I've been looking for you.
Now we know. He -is carrying quite a load of bottled courage,
He staggers slightly, grips hold of a chair to support
himself and his self-esteem.
Hilario, Miguel and Tomas immediately recognize the menace.
MONVEN, however, has never seen Hamlin before. Therefore,
he's amused by the little Hafling's noisy appearance and
erratic progress across the floor.
MONVEN
Oh, oh. What have we here?
HAMLIN
Never mind. Never mind. He knows.
Clap hands, he says. Clap your
hands. Let's see how fast you are.
(With drunken dignity))
Man comes to him 'cause he respects
him, 'cause he'd be proud to work
with him.
(sudden rage)
And he tries to make him look like
two cents with some damned kid's
game!
He stops, just a few feet away from LIVEN TELL, his hand
threateningly near his Bow.
MONVEN doesn't think it's funny now. He has grown tense.
So have Alaric and Talon.
BARTENDER
Hey, you. Kid. That's enough of
that.
From below the bar he hoists the familiar bartender's
peacemaker, a short heavy skull-cracker. He starts around
the bar.
HAMLIN
(To bartender) You stay away from
me. yille yon?
(to LIVEN TELL)
Now, yon. Come on. Let's see how
fast yon are. No games. No
clarrisini? Hands. None of that.
Come on. Come on!
MIGUEL
(PLEADING)
No No!
HAMLIN
What did you say Compesino? Get
out of the way, you dirt fucker!
Another angle on:
Hamlin's head is momentarily turned. Alaric and Talon,
seated to one side, start to rise. HAMLIN's cross bow
is Instantly in his hand. They freeze. LIVEN TELL and
MONVEN haven't moved.
HAMLIN
You don't think I mean it? Think
I'm just talking?
He SHOOTS, deliberately missing LIVEN TELL by an inch.
SHOOTS AGAIN and AGAIN, smashing both "beer glasses on
LIVEN TELL's table.
HAMLIN
Get up! Get up and face me! Do you
hear me? Get up - do you hear!
He loses his equilibrium, and falls back to the bar.
Drops Bow on bar - tries to reach it.
HAMLIN
(to Bartender)
You - give me my zur. Beck!
His head slides off the bar and he falls to the floor passes
out. LIVEN TELL crosses to the Bartender.
LIVEN TELL
Sorry this happened, friend. Let
him sleep it off. And when he wakes
up -
(Slides Bow along the
bar))
let him have his Bow back.
Puts down a coin.
LIVEN TELL
And give him a drink.
Liven Tell turns back, stops short at the sight of El Tan
looming in the doorway.
Tall, gorgeous and dangerous.
EL TAN
I've changed my mind.
FADE OUT:
FADE IN:
ACT II.
SCENE 16.INT: OFFICE OF LIVEN TELL'S ROOMING HOUSE -
NIGHT
The clerk is behind the lobby desk as LIVEN TELL and MONVEN
enter at door. LIVEN TELL holds out his hand for his key.
CLERK
There's a man waiting in your room.
He said he was a friend of yours.
LIVEN TELL and MONVEN walk out of the office.
PAN OVER:
Sidewalk to door of LIVEN TELL's room. MONVEN stays behind
as LIVEN TELL opens the door and steps back.
The door opens, revealing a youthful face in which there is
no trace of expression. Not the kind of face you'd care
to meet in the dark. Nor in the daylight for that matter.
The face of a Elf utterly devoid of feeling. His name is
KOMBEI. He is sitting on the bed.
LIVEN TELL and MONVEN enter room.
KOMBEI dresses well, with here and there a touch of elegance -
his fine boots and hat, a pair of gloves looped in his belt.
His manner has more than a touch of arrogance. His voice
strangely soft, is further slurred. He looks like Robin
hood.
KOMBEI
You need men for a job in the Low-
lands.
LIVEN TELL
That's right!
KOMBEI
How long?
LIVEN TELL
Six weeks.
KOMBEI
That ought to do it. HOW much does
the Job pay?
LIVEN TELL
I thought you were looking for the
Mondrin.
KOMBEI
I FOUND THEM. (A significant pause)
How much does the job pay?
LIVEN TELL
Twenty. We leave tomorrow.
KOMBEI
I'll have the money before I leave -
It will Just take care of my last
two days rent.
MONVEN Has been studying KOMBEI, not especially liking his
acid condescension.
MONVEN
Twenty dollars - you must be living
in style.
KOMBEI
Yes, I have the most stylish corner
of the filthy storeroom out back,
that and one plate of beans, ten
dollars a day.
Monven catches on.
MONVEN
Yeah, things do get kind of high
when they find out you're on the
run.
PAN OVER:
KOMBEI stares at him coldly. Then turns to LIVEN TELL
KOMBEI
Here's a spring south of town.
(Rises from the bed)
KOMBEI
Pick me up there.
KOMBEI goes out. MONVEN reacts as to a chill wind passing
through. He whistles softly.
LIVEN TELL
Uh huh. But he's handy with a Bow.
And we're not heading for a church
social.
DISSOLVE TO:
SCENE 17. EXT: OPEN COUNTRY - DAY
The sun flames just above the horizon. In single file,
the Gnomes and the Motley crew ride slowly across the plain.
LIVEN TELL leads, Hilario behind him, or perhaps beside
him? Followed by the others.
The way they ride tells us quite a bit about the them:
LIVEN TELL, erect and calm, a man born to authority,
therefore, with no need to assert it.
MONVEN with that slouch of his, taking things as they come.
EL TAN, hat pulled down, red hair shining beneath, silent,
anonymous, complete in herself.
Talon, with his simple, happy-go-lucky expectation of good
things to come. Hard enough to make it so.
Alaric, the sour, hard elf with a Bow, disenchanted with
everything, himself in particular.
KOMBEI, reins held delicately in his gloved hand, an air
of being along merely for the ride, disdainful of this whole
ridiculous enterprise.
PAPPY old enough to know better, continually slots racks of
quarrels into the tube and unloads them. Adding grease as
he prepares.
PAN OVER:
Low angle camera follows.
As they make a sharp turn to the left and start up a rise,
MONVEN notices something far off on the back-TRAIL.
Silhouetted in the sunrise.
MONVEN
Liven!
LIVEN TELL glances off a half mile away; a mounted figure is
following them.
LIVEN TELL
(nods) Yeah. He picked us up at
dawn.
CUT TO:
SCENE 18. INT: SALOON - NIGHT
MONVEN enters, the saloon - looks around - he crosses over
to a dice table. He watches the play for a moment,
lips pursed in concentration.
The SHOOTER is having a winning streak. A lot of whooping
from those backing his play. MONVEN'S hand drifts to his hat -
extracts two coins. This is no casual fling, but a studied,
calculated Investment.
LIVEN TELL is in one of the booths lining the wall opposite
the bar with Hilario, Miguel and Tomas. They have been there
awhile scrutinizing and evaluating likely prospects. MIGUEL
Indicates the BOWMEN who has Just entered.
TOMAS
That's Hamlin from our village!
LIVEN TELL
No!
TOMAS
Why not? He has notches on his Bow.
LIVEN TELL
Yes, I noticed.
TOMAS
Well?
LIVEN TELL
Would you care to work with a man
who keeps score?
TALON
Any idea who it is?
LIVEN TELL
That kid in the saloon. Won't
take no for an answer.
MONVEN
(Looking off) Doesn't show much sense,
does he?
DISSOLVE TO:
SCENE 19. EXT: FOOTHILLS - DAY
The group is profiled against a tall butte, picking its way
over rocky ground. Still far behind, Hamlin follows at
their pace.
TALON
(Rubbing his neck)
I'm getting a stiff neck keeping
track of him.
ALARIC
If you can't forget him why don't
you ride side-saddle?
TALON
(Ignoring this) Ah, well, he won't
last much longer.
ALARIC
Think so?
CUT T0:
ANOTHER ANGLE ON MONVEN.
Monven is also watching Hamlin.
MONVEN
Riding out there in all that dust
and heat — what a chuckle-head.
LIVEN TELL
Yeah, not smart like us?
Another angle on.
MONVEN (NOT GETTING IT)
DISSOLVE TO:
SCENE 20. EXT: ENCAMPMENT DAY
A fire is burning low, a coffee-pot heating. The Gnomes
and the Elvin fighters, some of them dry-washing tin-
plates and knives, are grouped around Hilario who has
made a mock-up of the village and its terrain with pebbles
and twigs. MONVEN and Talon are listening with half an ear,
their eyes on a small fire far away and Hamlin's figure near
it.
MONVEN
Suppose our friend over there has
anything to eat for himself?
TALON
(Disturbed;))
to LIVEN TELL) How about I go over
there and bring him some.
LIVEN TELL
It's not food he's hungry for.
MONVEN
Then let me tie a can to his tail.
Right now he's like an itch I can't
scratch.
LIVEN TELL
Let him alone. It's a free country.
ALARIC
And it's his.
CUT TO:
SCENE 21. EXT: MOUNTAIN PASS - DAY
The file is climbing, following a narrow, winding trail
which makes it impossible to see if Hamlin is still
following.
MOUNTAIN STREAM
HAMLIN LAYS IN THE STREAM, CROUCHED MOTIONLESS, HIS HAND IN
THE WATER.
A swift motion and he has a fish in his hand. He admires
it, then tosses it out on the bank. Hamlin crouches again,
his hand snaking slowly into the water -catches a second
fish -throws fish to bank -
DISSOLVE TO:
SCENE 22. EXT: HIGH RIDGE DAY
The file moves slowly toward us, still climbing. Reaching
the top, everyone looks back. Behind them, the empty
trail, the open country stretching to the horizon. No
sign of Hamlin.
TALON
(rubbing his neck)
Funny. Now that he's gone - I kind'a
miss him.
The trail leads sharply down to...
LAP DISSOLVE:
SCENE 23. EXT: THE MOUNTAIN STREAM -DAY
Attached to a tree,, in plain sight, is a fine string
of fish, an eloquent invitation to dinner. LIVEN TELL and
the others react as to a mirage. They look off. Upstream,
not far away, is Hamlin, seated on the ground, cooking
fish, all innocence. LIVEN TELL looks at the fish, then
off at Hamlin. LIVEN TELL can hardly keep from laughing.
With a broad scoop of his arm he waves to Hamlin to
come join them.
SCENE 24. EXT: THE MOUNTAIN STREAM -DAY
Hamlin's not looking at LIVEN TELL, but he sees the gesture,
all right, out of the corner of his eye. He gets up, not
hurrying, his face wearing a faintly disdainful expression,
as if to say, "Maybe I will, and maybe T won't."
DISSOLVE TO:
SCENE 25.EXT MOUNTAIN COUNTRY - DAY
The riders coming around the bend in single file. PAPPY
AND LIVEN TELL in front. Then MONVEN, El Tan, Talon,
Alaric and KOMBEI. With them now, near the end of the file,
is HAMLIN.
CUT T0:
SCENE 26. EXT. TRAIL - DAY
JAIME, an eight-year old boy, hides at foreground. In a
ditch.
The Bow fighters and Gnomes ride in on trail at background
They ride past the boy.
As they go by - the boy rises and crosses out on the trail -
he takes off his hat and waves to another village boy far
up on a mountain, b.g. The boy on the mountain waves his
hat towards o.s. boy RICO at river.
CUT TO:
SCENE 27. EXT: VILLAGE DAY
High angle long shot.
The village boy Rico sits against a tree by the river.
He is throwing rocks to b.g. river with a slingshot.
Suddenly he looks towards O.S. mountain and reacts to
O.S. boy waving hat. He rises and runs to b.g. Across
the river.
He crosses the river and runs up on a rock wall - takes his
hat off and waves it to O.S. boy on rock mountain above the
village.
CUT TO:
SCENE 28. EXT: VILLAGE - DAY
A little boy sits above mountain at village. Looks 0.S.,
reacts to O.S. boy at river - rises - turns to village and
hollers, waving his hat.
BOY
They're coming - they're coming!
SCENE 29. EXT. RIVER - DAY
Low angle.
The three Gnomes and Bow fighters ride thru.
The three Gnomes and the Bow fighters ride past the burial-
ground and through the fields toward the village. Hilario,
Miguel and Tomas are puzzled when the .Gnomes working in
the fields completely ignore there arrival. LIVEN TELL and
the others glance at each other.
They enter the village.
SCENE 30. EXT: VILLAGE - DAY
Coming between the two houses flanking the entrance to the
plaza. Hilario slows his pace, visibly upset by what he
sees. Or, rather, what he does not see. For the village
is empty, with not a soul in sight.
HILARIO (CALLS)
Where is everybody? Where are they,
Tomas!
TOMAS
(shouts))
Attention! Demetrius!
MIGUEL
Eusebio!- Sandro!- what kind of a
reception is this?
HILARIO
Come out. Come out and make them
welcome before we die of shame*
OLD MAN
(calls)
HILARIO
THE OLD MAN STANDS IN THE DOORWAY OF SANDRO'S.
OLD MAN
Stop your shouting.
Hilario turns toward LIVEN TELL, who nods and dismounts.
The other Bow fighters follow him to SANDRO's.
HILARIO
(To the Old Man) Do they call this
a welcome? What are they thinking
of?
OLD MAN
(Ignores Hilario; to the Bow fighters)
Come in. You must be thirsty.
MIGUEL
Sandro.
CUT TO:
SCENE INT: SANDRO'S THE TOWN MEETING PLACE
SANDRO, apprehensive behind the counter, starts pouring
drinks. The Old Man scans the faces of the Bowmen, one by
one, measuring them. Inevitably, his eyes return to LIVEN
TELL, recognizing him as the leader. Abruptly, waspishly...
OLD MAN
You must excuse them. They're gnomes
here. They're afraid of everyone
and everything. They're afraid of
rain and no rain. The summer may be
too hot, the winter too cold. The
sow has no pigs, the gnome's afraid
he may starve. She has too many
pigs, he's afraid she may starve.
LIVEN TELL
There's no need to apologize.
(For Hilario's benefit.
LIVEN TELL
We didn't expect flowers and
speeches.
OLD MAN
Good. Tomorrow It's the anniversary
of the founding of the village -
they will be celebrating - then
you will see them in a better light.
Till then — Eat drink and sleep over
there at Lara's house.
SLOW DISSOLVE:
Suddenly, the church bell starts to CLANG deafeningly,
and - a voice screams.
(screams)
Malvera is coming, Malvera is
coming!
Sandro hurries out. The others follow.
CUT TO:
SCENE EXT: PLAZA
The plaza is now full of confused, noisy panicked,
chattering gnomes.
ARTURO
Where is he, where is he?
FLACO
Which way is he coming?
SANDRO
Who sound the alarm?
(At the top of his voice) Who sound the alarm?
HAMLIN (V.O.)
(Just as loud)
I did.
PAN ROUND AND UP:
On Hamlin he stands at the top of the church tower sneering
at the gnomes. He is sore - doubly so because he is a
Gnomish, half Gnome, half human and so are they. He winds
down to the village square. Comes out
HAMLIN
(Withering contempt)
Thank you, araigos, for coming
out to greet us. Thank you for
letting us see your beautiful faces.
Thank you, thank you.
(utter disgust)
You chickens! You come running out
like chickens!
He marches down the steps and across the plaza, shouldering
people aside.
HAMLIN
We ride for days to get to this -
this nothing in the middle of nowhere.
We 're ready to risk our lives to
help you. And you - you hide from
us — - hide from us Hamlin climbs up
on rim of fountain.
CUT TO:
On the old man.
The Old Man cackles.
OLD MAN
He's enjoying this.
The Bowmen exchange looks.
HAMLIN
Ah, but it's a different story when
you're in danger, hah? And you
might lose your precious crops? Oh,
yes. And you flock to us. Well,
we're here, my compares and I, are
here and here we we stay - and you -
you prove to us that you're worth
fighting for — alright now, get back
to your houses! Back to work! We'll
let you know when to fight and how
to fight. Go back; Go back,
all of you - go back!
The Gnomes, awed and humbled, drift away.
LIVEN TELL is tickled by Hamlin's impudent assumption of
authority. Impressed also by his scathing oratory. He grins!
DISSOLVE TO:
SCENE EXT: PLAZA -DAY.
THE GNOMES CONGREGATE TO ACT OUT AN ANNUAL RITUAL, CELEBRATING
THE FOUNDING OF MEDI TERRAN.
The 1st stuffed deer is ignited. Crowd fights it.
FLUTES squeal, DRUMS rattle and crash; crude figures of
Elves and Gnomes, monstrous in size and fierce of face,
wildly bob and weave against the sky, depicting in mimic
battle the legendary origin of Terra Meridian.
They are part of a dancing, chanting procession working
itself up to a frenzy as it circles the plaza, now pro-
fusely decorated with flowers, new corn and paper lanterns.—
About a-third of the gnomes actively participate in this
ritual.
The remaining inhabitants, in holiday dress, are watching
it and sharing the emotion, many in front of their houses,
some grouped at the fountain and others at Sandro's.
CUT TO:
SCENE INT: SANDRO'S - DAY
Hilario and LIVEN TELL are among those drinking there.
MONVEN and Talon are sitting at a table. They watch the
procession.
MONVEN
You know, I've been in towns where
the girls weren't very pretty, in
fact I've been in some towns
where they were downright ugly. But
this is the first town where there's
no girls at all. Except small ones.
I can see we're going to have a
very active social life.
ANOTHER ANGLE ON TALON
TALON
Oh, it's not so bad. I fell in
with a fast crowd yesterday that
hangs out near the fountain. We got
to predict the weather for today and
didn't break up till twilight.
SCENE EXT: PLAZA - DAY
The procession is now passing and the clamor is deafening.
The man leading the procession stops it and orders that the
second Florito be ignited.( A florito is a pinata on one
eel. It chases the crowd.
Flaming Pamplona bulls chasing the crowd.
MAN
(In Elf, to crowd) Paren la musica -
slga el otro Florito
The crowd screams and hollers as it fights the second
florito.
The scowling ALARIC has been leaning against a post watching
the proceedings. With his knife he has been making a
whistle out of a stick of bamboo. As the procession breaks
up, a family with three small girls stands at front
of him as they watch the crowd fight the florito.
Alaric's attention goes to the small girls. He shows
the whistle to the children. He blows it. The girls
turn to look at him. He blows it again. This time he offers
it to the child nearest him. She takes it.
The boy Rico comes hurrying into the plaza from the fields.
He stops by a tree in the plaza. HAMLIN is sitting up in
the tree.
The boy, RICO, searching for someone, sees Hilario with
LIVEN TELL at their table and hurries over to him.
RICO reaches Hilario's table and tugs at HILARIO's shirt
for attention.
He whispers something to Hilario that makes him stiffen with
alarm.
While the others are engrossed in the procession, he turns
to LIVEN TELL and drops a bombshell.
HILARIO
Three of Malvera's men Just rode
into the woods.
Another angle on.
LIVENTELL.
LIVEN TELL
(To Rico) What are they doing?
RICO
I don't know They left their horses
in the woods.
HILARIO
Should I sound the alarm?
LIVEN TELL
No. They'd know we spotted them.
Come on.
LIVEN TELL, Hilario and Rico cross through the crowd, fighting
the second florito and make their way towards Lara's house.
HAMLIN up in the tree reacts to this. He gets down from
tree and follows through crowd.
LIVEN TELL, Hilario and Rico go past Alaric and Lara's
house. Hamlin exits into the house next to it.
CLOSER TRUCK SHOT ENDING IN A CLOSE UP.
El Tan is stretched out on the ground, hat over her
face. KOMBEI sits back on a porch chair. As LIVEN TELL,
Hilario and Rico enter, the hat is raised with the familiar
thumb-and-finger motion. Those piercing eyes are instantly
alert.
LIVEN TELL
El Tan, the boy saw three of
Malvera's men. Horses are in the
woods.
In a smooth, flowing motion, El Tan la on her feet. El
Tan looks off towards KOMBEI. She knows she needs another
Bow to back her up.
EL TAN
(Calls to KOMBEI)
KOMBEI.
LIVEN TELL
Get one alive.
RICO
I'll show you where.
El Tan picks up her saddle & gear from ground and crosses
over to the back yard gate. Rico is instantly there, opens
gate for El Tan. El Tan steps out. Hilario crosses over
to Rico and stops him from going with along.
HILARIO
(to Rico) RICO, he knows where the
woods are.
With this he leads Rico back towards LIVEN TELL and the three
of them exit towards front door of Lara's as KOMBEI comes
off the porch and follows towards O.S.
Hamlin has been overhearing the above in the yard next to
Lara's. He shoulders his bow, ready for action and follows
in the direction of El Tan & KOMBEI.
CUT TO:
SCENE EXT. PLAZA - DAY
Alaric is standing by a pole watching the proceedings as
LIVEN TELL, Hilario and Rico come out of b.g. Lara's house.
LIVEN TELL comes over to Alaric, whispers to him. Alaric
nods and walks toward the church.
LIVEN TELL glances across the plaza. A kind of telepathy
has alerted MONVEN and Talon. MONVEN lifts a questioning
eyebrow. LIVEN TELL shakes his head and gestures to them to
stay where they are.
Now LIVEN TELL turns to the festivity with an appearance of
interest. But after a moment, his glance goes to the
surrounding mountains and then about the plaza, estimating
possible defense positions.
DISSOLVE TO:
SCENE EDGE OF FOREST - DAY
El Tan and KOMBEI walk up trail at mountain side.
CUT TO:
SCENE EXT: OF FOREST - DAY
Three horses are tethered among the trees. One of them stamps
and softly snickers. At the sound, El Tan and KOMBEI,
entering through the trees, stop short. Veering to the
right, they go to their hands and knees at the bottom of
a mound and crawl to the top. El Tan comes up at top and,
finding a tree to rest against, seats herself on the ground,
stretching her legs and makes herself comfortable. KOMBEI
fades behind a tree to cover her.
Prone behind a bush a few yards away, Hamlin cautiously
lifts his head to see what they're doing. He marvels at
the sight of El Tan casually plucking a wild flower and
dreamily sniffing it as she twirls it between her fingers.
CLOCK DISSOLVE TO:
SCENE EXT: PLAZA - DAY
In the village, the Deer Dance is going on.
CUT TO:
BACK TO HAMLIN At a sound behind him. Hamlin whirls, leaping
to his feet and going for his Bow.
Malvera's THREE MEN are as startled as he is. As they reach
for swords and crossbows, Hamlin fires. One of them lurches
back and falls heavily. Another, his blade about to split
Hamlin's head, drops as El Tan shoots. The third man
immediately darts for one of the plunging horses, mounts
and is off through the trees. Impossible to hit him.
El Tan rises, quickly estimates the terrain, starts
walking, deliberately, Bow in hand, to a position
several yards away.
HAMLIN (O.S.)
I'm sorry, El Tan - I didn't mean
to spoil it.
EL TAN
Shut up.
Arriving at her chosen vantage-point, El Tan waits, her
eyes on the man escaping through the dense, screening
growth. The only gap lies between two trees at the top of
a rise. El Tan fires in the split-second the rider fills it
and tumbles him from the saddle.
HAMLIN
That was the greatest shot I've
ever seen.
EL TAN
The worst. I meant to get the horse.
(Cutting Hamlin
short)
I wanted to get one alive.
CUT TO:
SCENE EXT. PLAZA - DAY
The Deer Dance has frozen in its tracks and the plaza is
silent. LIVEN TELL - looks up to O.S. belfry -crosses
towards fountain - Hilario follows. The men wearing the huge
masks of fierce trolls raise them to reveal their own
contrastingly apprehensive faces — among them MIGUEL and
Tomas.
WIDEN TO INCLUDE.
LIVEN TELL's eyes are on the belfry. Alaric Is there, sur-
veying the woods across the open fields. He glances down at
LIVEN TELL and shakes his head; he sees nothing yet.
LIVEN TELL
(Turning to the gnomes) Three men
were sent by Malvera to spy. It's
almost certain they saw us.
His attention is drawn by movement in the belfry.
Alaric is looking out in the distance.
CUT TO:
SCENE EXT: BELFRY- DAY
Alaric looks down at the plaza, nods reassuringly.
CUT TO:
SCENE EXT: PLAZA - DAY
LIVEN TELL turns back to the Gnomes.
LIVEN TELL
Whatever they learned, it will be
buried with them.
CONSTANCE
Vftlgame DioDs, if he comes now.
Hastily, he TAPS himself at the thought.
LIVEN TELL
But he'd never send men ahead if
he's close enough to see for himself.
So we have time. And we have
something Else. Surprise. And I
promise you, if he rides in with no
idea of the reception we can prepare
for him, I promise you we'll" all
teach him something about the price
of the corn.
DISSOLVE TO:
SCENE EXT. RIVER - DAY
MONVEN and El Tan are instructing Eusebio, Constance and
Demetrio in aiming and firing Bows. El Tan is monotonously
repeating the routine.
EL TAN
Aim RELEASE, Nock.
The Gnomes are slow in catching on.
MONVEN takes the Bow from EUSEBIO.
MONVEN (TO EUSEBIO)
Thumb - with the thumb.
The routine continues, with El Tan again repeating the
practice count several times.
EL TAN
Aim, RELEASE, NOCK.
CUT TO:
SCENE EXT. RIVER -DAY
LIVEN TELL, ALARIC AND TALON ARE INSTRUCTING HILARIO, TOMAS,
AND MIGUEL IN TARGET PRACTICE.
ALARIC
((to Miguel)
Settle. Down, if you miss the
first time, you may not get a second
time.
LIVEN TELL
(to Hilario)
Keep the flight tight in your
shoulder. If you don't, two things
happen. First, you waste an arrow,
second you break your arm.
TALON
(To Tomas) Now close one eye.
(Indicating the end of the arrow)
Aim from here to the target.
TOMAS
That melon?
LIVEN TELL
That man you're going to kill.
MIGUEL
If only we had more Bows, what we
could do!
ALARIC
You'll get more Bows.
TOMAS
If Malvera doesn't come after all
this, what a waste.
TALON
Pretty foxy fellow, this Malvera,
eh?
MIGUEL
Senor, not fox. A dog-
TALON lights a cigarillo. In a nice, chatty way...
TALON
How did he ever find out about the
gold mine?
TOMAS
Gold mine?
Everybody stops work. This is an interesting question.
TALON
You know. The one in the mountains.
PLACO
In our mountains?
TOMAS
We never had a gold mine around here.
TALON
Come to think of it, maybe it was
a silver mine. Whatever happened
to it?
PLACO
We have no silver mine either.
TALON
I mean in the old days.
MIGUEL
Not at any time.
PLACO
Where did you hear of this gold and
silver?
Another angle on TALON.
Talon, about to reply, sees LIVEN TELL a short distance
off Isn't sure whether LIVEN TELL has heard him or not.
TALON
(briskly)
All right, come on, boys and less
talk, huh?
THEY ALL GO BACK TO WORK. LIVEN TELL SMILES TO HIMSELF
AND WALKS OFF.
CUT TO:
SCENE EXT: HILLSIDE -DAY
Hamlin and his squad of three boys have finished cutting
saplings. The mules ere loaded. The party is making its
way down to the village in single file, Hamlin at the rear,
leading his horse.
HIGH CAMERA ANGLE.
The laden mules come down out of the woods to a level,
grassy area.
HIGHER ANGLE.
HAMLIN leans down from his horse at the side of the brook
to take a drink. He twists around, hearing the soft pad of
an animal approaching. A lone, long-horned cow is staring
at him.
HAMLIN dismounts swiftly, whips off his jacket, adopts
the proud, haughty air of the torero. Brandishing the
Jacket, he moves in on the beast.
HAMLIN
Sntrsle Forrito! I Otro! Haj!
Closer and closer, recklessly exposing himself to the cruel
horns. Finally he's on one knee, staring directly into
the animal's sad, liquid eyes, Hamlin sighs, reaches
out, pats the cow on the head and scratches her ears.
HAMLIN
Good cow!
Abruptly the play-acting is over. Hamlin hears something.
He whirls around. Bow in hand. A slight movement in the
bushes, He rises, mounts horse - rides away. He rides in-
to trees by river - dismounts and hides by the trees.
PETRA runs from b.g. as she passes CAMERA - Hamlin steps
out from behind the tree. Stops her.
PETRA
You do anything to me and I'll
kill you. I'll kill you. While
you're doing it.
ANGLE ON PETRA AS SHE STRIKES OUT AT HAMLIN.
HAMLIN
You little chicken bruiiri, you
almost took my eye out.
PETRA
Let me go! Let me go .
HAMLIN
(as she tries it)
You bite me - I'll bite you so help
me. I got a good mind to throw you
in the water.
PETRA
Smash you with a rock. Cut your
head off.
HAMLIN
Stop it. Shut up - shut up - shut
up! Where are the others?
PETRA
I'll never tell you.
HAMLIN
Oh! for God's sake.
Bending and pulling, he manages to get her over his
shoulders. Holding her tight, as she kicks and screams,
he starts toward his horse.
DISSOLVE TO:
SCENE EXT: NEAR VILLAGE - DAY
LIVEN TELL is helping with the ditch being dug by Hilario
and his crew. It has now assumed considerable proportions.
All work stops at the SOUND of an approaching horse. HAMLIN
jogs in, Petra slung over his lap like a sack of meal. The
bandanna is off. Very clearly it's a girl, a matter of
keen interest to MONVEN.
HAMLIN
Look what!
LIVEN TELL
Who is she?
LIVEN TELL looks at Hilario. An embarrassed moment.
The other Bowmen drift into the scene.
HILARIO
From our village.
LIVEN TELL
So there's where they were. You
hid them.
LIVEN TELL comes out of ditch and over to Hamlin - MONVEN
b.g. follows. Monven leans down to get a better look at
Petra. Hamlin pushes her off, onto her feet.
HAMLIN
Sure- they hid them and she won't
tell where. They're afraid. She's
afraid of me. And you.
(pointing to LIVEN
TELL)
And him. All -of us. Gnomes. Their
families told them we'd rape them.
THERE IS A LONG SILENCE.
LIVEN TELL
Well, we might.
(at their surprise)
In my opinion, though, you might
have given us the benefit of the
doubt. But - just as you please.
MONVEN
As long as you were out .there -
whyn'.T..,..you bring 'em all in?
HAMLIN
What for? Leave 'em out there.
Let Malvera find them. He'll take
good care of them.
LIVEN TELL
Bring them in Hamlin.
Show him where to hide.
MONVEN
(Helps Petra up on horse) Ua'amJ
HAMLIN
Come along, little angel.
He snatches Petra up onto his lap In front of him. Monven.
Winces. Hamlin turns the horse - rides away to B.g.
MONVEN
Almost in audibly) Gently boy,
gently.
There's an awkward moment. LIVEN TELL appears to have
forgotten the whole thing. He's inspecting the ditch.
LIVEN TELL
Vtell, we are getting there. Ifou
had a good idea, Hilario,
It's going to work.
HILARIO
If I'd known it was going to be so
much trouble, I'd have kept my
mouth shut.
TALON
(Swinging a pick)
Amen.
They all go back to work.
DISSOLVE TO:
SCENE INT: LARA'S HOUSE - NIGHT
Most of the Bowmen are here, sitting at the table.
Lupe, the widow.Of Hafael, is doing the cooking over the
brazier.The Bowmen are being served by PETRA.
Petra now wears a dress. MONVEN very much admires the
change. Hamlin seeks to give the impression he is totally
unaware of her existence.
She approaches, glaring at him. He turns his head to one
side, holding out his plate. She ladles out a big spoonful,
moves around so that he can see how much she hates him.
Another spoonful.
HAMLIN turns his head disdainfully in the other direction.
She ladles out a third spoonful* Hamlin lowers his head
and starts eating. Burning with frustration, Petra walks on
to MONVEN. He gives her a big, beaming smile.
MONVEN
I can't tell you how nice it was of
you senoritas to fix this very nice
dinner for us.
Petra slaps one spoonful on his plate and walks on. MONVEN
gazes at his meager helping, then at Hamlin's overflowing
plate.
MONVEN gives him a look which says, "How do you like that?"
LIVEN TELL responds with one of those shrugs, to wit, "That's
life."
Alaric walks in, looks around.
ALARIC
How's the food?
PAPPY
Great!
ALARIC
Came osada, chicken salada and
rice?
PAPPY
Yeah, these people sure know how to
cook. There's plenty of it. Dig
in.
ALARIC
You know what - these people have
been eating since we got here?
Tortillas and a few beans. We got
the rest!
DISSOLVE TO:
Everybody stops eating.
CUT TO:
SCENE EXT: OUTSIDE LARA'S -NIGHT
Most of the small boys of the village are lined up. Each
one has a clay bowl. Talon holds the pot. MONVEN
distributes the food. Gracias, senor. For nada! Gracias,
senor. For nada. Gracias, senor.
He's a handsome boy with a flashing smile. MONVEN studies
his.
MONVEN
You don't happen to have a grateful
older sister?
3RD BOY
No, sentor, gralas, Sentor.
DISSOLVE TO:
SCENE EXT: RIVER DAY.
BOW PRACTICE IS GOING ON AGAIN. THE GNOMES ARE PRONE ON THE
GROUND, FIRING AT A TARGET. ALARIC IS STANDING OVER MIGUEL,
WHO GRITS HIS TEETH, CLOSES HIS EVES, PULLS THE STRING. POVUU!
ALARIC
Miguel, how many times do I have to
tell you? You're not milking a goat.
ALARIC GRABS THE BOW, NOCKS IN ANOTHER ARROW, MIGUEL
IS DISGUSTED WITH HIMSELF.
MIGUEL
It's Just I get excited.
ALARIC
Well, don't get excited - slowly.
Try it again. Slow now. Slow.
Pull it. Squeeze it. Slow.
Whooof! Alaric takes the Bow! In a split second he releases
a dozen arrows all into a marker on the tree no larger than
a shoe.
ALARIC
Tell you what. Don't shoot the Bow.
Take the Bow like this and use it
like a club.
LIVEN TELL
(Calls to O.S.
PLACO enters to take Miguel's place.
CUT TO:
SCENE EXT. CORNFIELD AT CORN SHED - DAY
Hilario, Tomas and Miguel, with the assistance of MONVEN
are working on a net. Across road at b.g. They stop.
HILARIO
Water, Tomas.
TOMAS
Sicomte.
They cross over to their water gourds under a corn shed.
MONVEN follows. as the three Gnomes drink, MONVEN practices
a few fast draws with his Bow. Tomas is impressed by the
speed with which MONVEN draws. As MONVEN shoulders Bow, he
catches Tomas watching him.
PAPPY
And! Doh!
PAPPY unslings the tube from his shoulder and without
ceremony, points and shoots. Wish! Wish! Wish! Wish! Wish!
Five bolts whistle into the distance. All nailing a gourd
upon a tree.
PAPPY bristles.
MONVEN
Oh ——playing around.
TOMAS
MONVEN, would you show me something?
MONVEN( TURNS TO HIM)
Another angle on Monven.
MONVEN
What?
TOMAS
SHOW ME HOW YOU DRAW?
MONVEN' s answer is a fast draw of his boomerangs and a couple
of hurls at some other water gourds hanging inside corn shed.
MONVEN catches them as they return. Turns to Tomas.
MONVEN
I wonder if I could have some of
that water?
Tomas offers him water. MONVEN takes it.
MONVEN
Thank you!
DISSOLVE TO:
SCENE EXT RIVER - DAY
MONVEN and El Tan are holding Bow practice again -with
Constance and Demetrio. The Gnomes 'progress is better
than in previous practice scene. El Tan iS off routine
much faster than before.
EL TAN
Aim, squeeze, nock.
(repeats line several
times)
MONVEN is not watching the practice, and is looking off
away from the men.
P.O.V. FROM MONVEN
Petra and the Village girls are washing clothes on river
rocks. Their scrubbing seems to be in tempo with El Tan's
counting.
BACK TO Monven EL TAN AND GNOMES
MONVEN
ONE, TWO, THREE FOUR —
(repeats count MONVEN
joins in)
One, two, three, four, - one, two,
three, four.
CUT TO:
SCENE EXT. RIVER - DAM - DAY
A dam is being finished by some of the gnomes. Hamlin walks
along the river, measuring the depth of water held back by
dam. H« walks past Gnomes.
HAMLIN Bien — bien — muy bien.
CUT TO:
SCENE EXT. ROAD PASS INTO VILLAGE - DAY
El Tan, with the help of Alaric is showing gnomes how to
raise and drop a net across the road at pass.
(TO MEN)
Pull it up — tighter — pull it up — tighter — all right,
drop it.
THE MEN DROP THE NET.
DISSOLVE TO:
SCENE EXT: OLD MAN'S HOUSE - DAY
The Old Man is seated on porch. LIVEN TELL and MONVEN
ride up trail into yard - dismount.
OLD MAN
Buenas tardes.
MONVEN
Howdy!
LIVEN TELL
Well, we came to move you into the
village.
OLD MAN
Move into the Village? Me?
LIVEN TELL
Not. Just you. Everybody who lives
outside.
OLD MAN
Oh no, not me!
LIVEN TELL
We can't protect you if you stay
here. A fellow narawd Rojas is
making room for you in his home.
OLD MAN.
'Rojas"-. His conversation would
bore me to death*
MONVEN
Yeah, well -
(Sits) Maybe somebody else.
OLD MAN
They're all gnomes. Gnomes talk
of nothing but fertilizer and women.
I have never shared their enthusiasm
for fertilizer. As for women I became
indifferent when I was eighty-three.
I'm staying here.
MONVEN
What are you gonna DO When Malvera
comes!
OLD MAN
At my age a little excitement is
welcome.
(and then)
Don't worry. Why would he kill me?
Bullets cost money.
LIVEN TELL
All right. Have it your way.
OLD MAN
You worry about yourself. Are you
ready for him? What if he comes
now? Hah?" Hah?
The Old Man cackles.
And it echoes on and on!
DISSOLVE TO:
FADE UP:
SCENE EXT: HILLS - DAY
JAIME, a village boy, sits by rocks - looking off camera.
Racketing birds take to the air abandoning some carrion
on which they have been feeding at the bottom of the hill.
They have been disturbed by
Widen.
LONG LOW SHOT BACK LIT.
Cue music.
Malvera jogging down toward the village followed by some
forty men in ragged column formation, much as when we first
saw them.
Jaime rises and steps up closer to trail. Seeing Jaime,
Malvera looks at him, and Jaime, taking off his hat,
waves a bit more broadly and at greater length than might be
thought necessary. Jaime, In fact, waves his hat to everyone
in the column. Several respond. Another boy up on B.g.
Mountain rises and waves his hat.
CUT TO:
SCENE EXT. RIVER - DAY
Rico, resting against a tree, sees boy on mountain waving in
the distance and, turning toward the village, jumps up on
the rock wall and waves his own hat.
CUT TO:
SCENE EXT. VILLAGE - DAY
Another boy sits up on a rock on hill above the village.
He stands, watches' for a moment, then calls, waving his
hat down to village.
BOY (POINTING.)
Hilario.
CUT TO:
SCENE EXT: PLAZA - DAY
Predetermined All around the plaza, people stop in their
tracks to look at the boy. Then they Rather at a vantage
point in a group around LIVEN TELL. From here they can see
the tiny figure of Rico signaling in the distance-No one
says a word as they steel themselves for what is to come.
Then each man, elf and GNOME starts for his -determined
position.
CUT TO:
SCENE EXT: FOREST - RIVER - DAY
Malvera and his men pour down a slope and jog into the
forest.
CUT TO:
SCENE EXT: FIELD - DAY
Three gnomes stand in the field looking toward the forest.
CUT TO:
SCENE EXT: EDGE OF FOREST - DAY.
Malvera and his men emerge, ride past the burial-ground and
then through the field toward the village.
Approaching the three gnomes in the field, Malvera waves.
One of them creases himself. And then, when the last of the
column has gone by, the three move quickly along the trench
to its end near the river.
Here, a reinforced embankment is all that keeps the water
flowing in its normal channel. Picking up mattocks and a
spade concealed in the undergrowth, the gnomes start hacking
at the embankment. The water spurts into the ditch.
CUT TO:
SCENE EXT: FIELD - DAY
Malvera and his men ride at a jog through the harvested fields
into the village.
CUT TO:
SCENE EXT: PLAZA - DAY
Malvera leads his men into the plaza and halfway across before
he realizes something is amiss. He reins in sharply and
SALATICUS and the riders behind him bunch as they come to a
halt.
MALVERA'S POV.
LIVEN TELL, armed and poised, stands facing him. In front
of Sandro's. El Tan and MONVEN are on his flanks.
Malvera's eyes dart about the otherwise empty plaza and then
return to LIVEN TELL. In silence, they study each other.
Malvera nods.
MALVERA
I should have guessed When they
didn't come back, I should have
guessed.
He looks around at the roofs, the doorways and the side-
yards behind their walls.
MALVERA
How many of you did they hire?
LIVEN TELL
Enough.
Malvera stands in his stirrups and points.
MALVERA New wall.
He spurs forward a few feet for a more comprehensive survey.
LIVEN TELL
Lots of new walls. All around.
Malvera returns to his column and faces LIVEN TELL again.
MALVERA They won't keep me out*
LIVEN TELL
They were built to keep you in.
Some of Malvera's men ride to the front of Sandro's.
MALVERA
(turns to his men)
Hear that? We're trapped. All forty
of us. By these three.
(to LIVEN TELL)
Or is it four? They couldn't afford
to hire much more than that.
TALON
We come cheaper by the bunch.
During this Talon and Hamlin appear across from each other
on the perimeter of the plaza. Malvera spots them. His men
shift restlessly.
MALVERA
FIVE
EVEN FIVE WON'T GIVE US TOO- Much
trouble.
LIVEN TELL
There won't be any trouble. If you
ride on.
MALVERA
And what kind of trouble are you?
LIVEN TELL
Just trouble!
Another angle on MONVEN.
MONVEN
Maybe even work for it.
MALVERA
Seven! Somehow, I don't think
you've solved my problem.
LIVEN TELL
Solving your problems isn't in our
line.
MONVEN
(Flipping a bolt) We deal in lead,
friend.
MALVERA
So do I We're in the same
business, eh?
MONVEN
Only as competitors.
MALVERA
(TO LIVEN TELL)
Why not as partners? Suppose I offer
you equal shares?
LIVEN TELL
In what?
MALVERA
(embracing the village) Everything.
To the last grain.
HAMLIN
And the people in the village —
what about them?"
MALVERA
I leave it to you. Come men of our
profession worry about that? If God
didn't want them to be sheared, he
wouldn't have made them sheep. What
do you say?
LIVEN TELL
Ride on.
Malvera stands in his stirrups, raising his voice, addresses
the unseen gnomes.
MALVERA
Did you hear that, Sandro? Did you
hear what he said? Ride on. To me.
Tell him to ride on before I get
angry. Him and the others. Because
if I leave here with empty hands,
everybody in the village will answer
to me when I come back. Do. You
hear me, all of you?
LIVEN TELL
You won't come back.
MALVERA
Why not?
LIVEN TELL
You won't have any Bows. Take
them off right now and drop them.
Malvera turns in his saddle to address Ctrillo for the
benefit of the others.
MALVERA
Generosity. That was my mistake. I
left them a little extra and they
used it to hire these men to make
trouble. It shows you - sooner
or later we have to pay for every
good deed.
He sits motionless in his saddle for a moment, then
abruptly explodes into action.
With a yell that galvanizes his men, he draws his crossbow
and, spurring his mount, gallops at LIVEN TELL, shooting.
Around the plaza, MONVEN, El Tan, KOMBEI, Talon, Alaric
and Hamlin duck for cover and open a rapid cross-fire of
bolts and arrows.
Malvera's men, racing after their leader, spray bolts in
all directions. Bow blazing, LIVEN TELL leaps back, takes
cover behind wall, as Malvera, Ctrillo and two others
try to ride him down.
From the church tower PAPPY raises his tube and lets loose
bolts, from the blue.
One, two, three, four, MALVERA's men die.
Malvera and his men ride around plaza fountain and towards
b.G. down the street towards entrance into village.
AS they near village, Gnomes raise net across road. The
Trolls stumble into the Net. EUSEBIO and a few other Gnomes
fire at Trolls. Two Trolls fall from horses. Malvera and
his men turn their horses. Some of the Trolls ride away
down the main street. Malvera and Sentos ride Into a
side street. LIVEN TELL, behind a rock wall, fires at Trolls
riding through towards the cornfields.
CUT TO:
SCENE EXT: VILLAGE - DAY.
CLOSE UP ON.
A TROLL HURLS AN AXE.
SLO-MO INTO THE CAMERA.
NAILS PAPPY IN GRAPHIC DETAIL.
PAPPY
Roars!
CUT TO:
Alaric up on roof fires same. Talon, taking cover at side
of Lara's house, fires same. KOMBEI, petrified with fear,
crouches by doorway of house next to Lara's as Trolls ride
through. El Tan, taking cover behind table under Sandro's
porch fires at O.S. Trolls riding through towards
cornfields.
Monven inside Sandro's, fires same* Malvera and Santes ride
through back yards of houses, jumping horses over yard walls.
As they ride past the back of Sandro's, SALATICUS and group
of Trolls join them.
They ride away through cornfield and escape to b.g. MONVEN
runs out of Sandro's and mounts his horse at the back of the
building. He gives chase into the cornfields, firing at the
escaping Trolls. HAMLIN comes out from behind the church and
fires towards the cornfields at the escaping Trolls.
Some of the Trolls are trapped in the mud of the flooded
area of cornfield.
Tomas yanks a bandit off his horse and kills him with his
machete.
Hilario, Miguel, Placo, Arturo and other Gnomes under
the corn shed in cornfield, fire at the escaping Trolls.
Arrows and bolts are flying in all directions and we see
this confusion.
Malvera and the rest- of his men gallop off in disarray toward
the hills, encouraged with a few parting shots.
Silence, except for the dwindling sound of galloping hooves.
Buseblo and Gnomes at net road block come out from behind
rocks. React to escaping Trolls. Buseblo reacts to
bandit he killed. ALARIC and El Tan react to fight being
over. KOMBEI, covered with sweat, breathing hard, is
utterly spent. He rises, walks into the street. Reacts
to the end of battle and the Trolls defeat.
ALARIC swings down from the roof, looks towards the corn-
fields at escaping Trolls. LIVEN TELL, rises from behind
the rock wall, crosses out into the street, looks after
the escaping Trolls, reacts to the end of battle.
MONVEN, riding in the cornfield, stops his horse,
dismounts, reacts to the escaping Trolls. Looks back towards
O.S. village.
Hilario, Miguel and others under corn shed in field, react
to the escaping Trolls. Look at each other, almost
disbelief, as it comes to then that they have actually
defeated the Trolls.
Tomas, in a trance and shoulder wounded, walks in the
corn field. He stops - looking off at the escaping Trolls.
Hamlin, in the church graveyard, reacts to the triumph, of
the Gnomes and Malvera's defeat.
DISSOLVE TO:
SCENE EXT. ROCK WALL BY BLACKSMITH SHOP - SUNSET
Talon, Pedro and Arturo are on watch at wall. In the b.g.
LIVEN TELL and MONVEN, returning from a reconnaissance,
cross through on their way to the plaza.
TALON
(Calls to b.g. LIVEN TELL) Any sign
of them?
MIGUEL
No!
LIVEN TELL
(Points to three Bows) The same
way we got those. From Malvera's
men* The ones
HILARIO
Came to spy on us.
TOMAS
Like Three Kings bearing gifts.
ALARIC
All right, Miguel - squeeze slowly -
slowly!
He puts it tight against his shoulder, squinting coldly
along the arrow. Practicing like a pro.
EXT. PLAZA - EVENING
LIVEN TELL, Monven and Hilario rebuilding a rock wall.
Constance, Chapo, Pedro and Arturo carry rocks from b.g,
dump them at f.g. and exit out b.g.
HILARIO
How long do you think it will take
to be ready? - I mean, really ready?
LIVEN TELL
If we work straight through, maybe
two days — three days.
HILARIO
And our next ten years of good luck,
hah?
MONVEN
Make it twenty!
DISSOLVE TO:
SCENE PLAZA - LATER THAT NIGHT
Around the perimeter of the village, most of the gaps between
the houses have been filled with waist-high walls. The
workmen, Talon included, are pretty well tuckered. Tomas
stops to massage his back.
PLACO
Where did you hear of this gold and
silver?
LIVEN TELL
(Moving on) None.
PEDRO THAT IS BAD LUCK-
Talon regards the Gnome curiously.
ARTURO
Imagine. I knew him when he was a
mouse.
INT: SANDRO'S - . SUNSET
Sandro's is crowded. The gnomes are still in high
spirits. Everyone is talking at once. Most are armed
for their turn on guard-stint.
The largest group is at the counter drinking, bulling
qr.D speculating. El Tan is seated inside.
TOMAS
You were safe by your house. I was
out in the field, face to face
with them. They came at me, ten
of them, screaming like devils...
MIGUEL
Last time you told it. It was only
HTIARIO
He has them multiplying like rabbits.
TOMAS
Ten! Ten!
HILARIO
Make it eight, hah? Leave two for
the rest of us to fight!
BUSEBIO
Eight, ten, a hundred, what's the
difference? They got a good kick in
the behind.
MIGUEL
If they try it again, they'll get
another! This gets a general roar
of approval.
CONSTANCE We'll tear them to pieces.
THIS GETS A LOUDER ROAR.
PLACO
We'll bury them all. Malvera too.
In the rear counter, Sandro, Constance and Demetrio
are in a huddle. SANDRO I was never so frightened. My knees
were like jelly.
CONSTANCE
I would never have guessed it.
SANDRO
(brightening)
Well, he'll leave us alone from now
on.
DEMETRIO
You think so?
SANDRO
Of course, he'll go away. There
are other villages. Villages that
don't sting the way we do. "
He looks off as LIVEN TELL, and MONVEN enter from the
fields.
They cross over to the porch.
SANDRO
Sandro crosses out to the porch to
LIVEN TELL. The other Gnomes follow.
Tomas pours a drink for the new
arrivals.
(to the Gnomes)
Neighbors, I drink to our friends.
They armed us, fought at our sides
and will forever live in our hearts.
He touches his mug to LIVEN TELL's and MONVEN's With a
yell the gnomes lift their drinks in a toast.
A blazing cross-bow bolt crashes through the window and
smashes into the mug.
Sandro looks incredulously at the shattered mug. For a
second there is a silence. Then another shot rings out,
and ricochets off with a whine. They take cover. LIVEN
TELL dashes out through the back door of SANDRO's followed
by MONVEN, El Tan and Hilario.
A dozen or more flaming bolts slam into the building setting
it a blaze. SANDRO's is afire.
SANDRO
(Taking cover at door) They haven't
gone, then!
CUT TO:
SCENE EXT: PLAZA AND PERIMETER - SUNSET
LIVEN TELL, El Tan, MONVEN and Hilario have moved like
lightning to a rock wall from which they can observe the
first Live shots.
Silence. From their various positions, the Bowmen study
the terrain from which the unseen snipers are shooting.
CUT TO:
SCENE EXT: ROCK WALL - SUNSET
MONVEN
See the Bow?
LIVEN TELL
Hell No. But I make it two of
them.
EL TAN
Three.
CUT TO:
SCENE EXT: PLAZA - SUNSET
ALARIC and Hamlin run from plaza and take cover at cemetery
wails.
A alienee! HAMLIN appears with his bow in hand and crosses
from one building to another, deliberately offering himself
as a target! He passes Petra's house. She is horrified.
Hamlin runs across road opening towards next wall, exposing
himself.
Weesh weesh weesh!
HAMLIN's hat flies off. Cross bow bolts pock the wall at
his side, as he throws himself behind it. "Raising his
bow, he attempts to find a target.
CUT TO:
SCENE EXT: ROCK WALL SUNSET
LIVEN TELL sees this and simultaneously studies the
source ruined. Of fire. After a moment, Hamlin retrieves
his hat and cuts a finger in the hole, grinning. The
hat is pretty well ok!
MONVEN
Crazy kid's going to get his
head blown off!
LIVENTELL
Hamlin — stay put!
EL TAN
(studying the woods)
Three?
LIVEN TELL
(Nods agreement) Three.
CUT TO:
SCENE EXT PLAZA - SUNSET
LIVEN TELL
See anything?
Negative headshakes.
MONVEN
Naw, they're too far back in the
trees.
HAMLIN PUTS HIS HAT ON, READY TO DRAW FIRE AGAIN.
LIVEN TELL
Fin going to try to make it to
those rocks -- Yeah — I'll cover
you.
THEY RUN OVER TO HAMLIN AND ALARIC. MONVEN AND HILARIO RUN
OUT B.G. PAST CHURCH. LIVEN TELL STOPS BY HAMLIN.
LIVEN TELL
(to Hamlin) Cover the back door.
Hamlin exits. LIVEN TELL notions to El Tan. They snake
around the corner of the wall, in the direction of the
cemetery.
ALARIC covers LIVEN TELL and El Tan as the latter two
exit through cemetery and disappear uphill behind rocks.
Alaric following, stands by tree in cemetery.
DISSOLVE TO:
SCENE EXT: OUTCROP - TWILIGHT
Alaric watches the dark woods. Hearing a scuffling, he
whirls, his bow at the ready.
Rico, JAIME and Julio are sneaking towards him from the
village.
He motions for them to get out of sight.
ALARIC
Get back. Get back.
The kids ignore this. Eyes wide with excitement, they crouch
for a moment, then scuttle to join him, flopping down
breathless at his side.
ALARIC
Didn't you hear so good?- get down -
now stay down! You might have
been hurt.
RICO
So might you.
ALARIC
It's not the same thing. This is my
work!
JAIME
It's our work! too.
He and the others settle down beside ALARIC and fix their
eyes on the woods.
RICO
Everyone tells us hide, get back,
stay out of sight. But we're not
afraid.
JAIME
He's very brave. It's the truth.
RICO
So is he. We all are. Every boy in
the village. We had a meeting and
drew straws and we got you*
ALARIC
You got me? What do you mean me?
JAIME
If you get killed, we take the bow
and avenge you!
RICO
And we see to it that there are
always fresh flowers on your grave.
ALARIC
That's a mighty big comfort.
RICO
(TO JAIME)
I told you he'd appreciate that.
ALARIC
Please don't be too disappointed if
it doesn't work out as you planned
JAIME
We won't. If you stay alive we'll
be Just as happy.
RICO
Maybe even happier.
JAIME
(Judiciously)
Maybe!
CUT TO:
SCENE EXT: -YARD - TWILIGHT
Bow at the ready, Hamlin is kneeling behind a wall, eyes
on the forest. At a rustling behind him, he turns his
head and finds Petra approaching.
HAMLIN
What are you doing here?
Grabbing her wrist, he pulls her down beside him to the
protection of the wall.
PETRA
You shouldn't do things like you
did.
HAMLIN Go back!
PETRA
You mustn't take foolish chances I
HAMLIN
All right, I won't. Now, go back.
PETRA
(TOUCHES HIS CHEEK)
DOES IT HURT?
HAMLIN
What? No.
PETRA
It-? N sorry I did it, but I
thought...
(A shrug)
You know That I thought.
HAMLIN
Yes, I know. I know.
PETRA
T wasn't afraid of you. It's my
father. He says stay away from
those BOWMEN they're cruel - they're
brutes.
HAMLIN
He's right. ! Fow, so back
home.
PETRA
HE'S WRONG!
HAMLIN
Well, go home anyway. Before he
finds out you're here.
PBTRA
He already knows. He said he'd punish
me for being so shameless! But I
don't care!
Hamlin has been listening with half an ear but, at the
urgency in her voice, he looks at her and finds her level
gaze upon him.
There is the whistle of a distant shot. Then, after a moment,
two more rapid successions. Silence!
DISSOLVE TO:
SCENE INT. SANDRO'S - NIGHT
As Monven and Hilario enter, all eves are on them, some with
fear. Before Monven can answer their unspoken Question,
LIVEN TELL and El Tan appear. LIVEN TELL is carrying three
bows which he drops on the table.
They did it - they did it!
LIVEN TELL
(To Hilario) Pass these out. El
Tan has two quivers, a knife belt
and a six-Bow over hER arm. IN hER
hand She carries an ornamented
sombrero. There are exclamations of
relief and amazement.
CUT TO:
SCENE INT: SANDRO'S WINDOW - NIGHT.
RICO, JAIME and Juan peek Into the room through the
window.
JULIO
Maybe we should have drawn them.
The others glare at him for this disloyalty.
SANDRO
Think they'll try that again?
LIVEN TELL
I doubt it. For all they know, we're
still up there ready to Jump them.
SANDRO
(Almost accusingly) He didn't go?
Malvera didn't go?
HILARIO
(testily)
Do you think it would be that easy?
(To LIVEN TELL))
What do we do now?
What would you say?
LIVEN TELL
We work for you, you know.
Hilario has never thought of It this way. He visibly grows.
HIIARIO
What else Is there to do but wait?
It's Malvera's move.
LIVEN TELL
Right. You better relieve them -
they must be tired.
CONCEPCTON
If you were Malvera?
LIVEN TELL
Yes?
CONSTANCE
You'd go away, wouldn't you? If
you pay the price we make him pay,
you'd go?
LIVEN TELL
Yes, I would! Only....
CONSTANCE
Only what?
LIVEN TELL
I'M NOT MALVERA
HILARIO (TO GNOMES)
Take the bows and the quivers and
pass them out! Now, let's get out
there on duty.
Hilario follows LIVEN TELL and the Bow fighters out. Sandro
looks after them.
SANDRO
(To his wife) Food, woman, they'll
be hungry.
CUT TO:
SCENE INT: LARA'S HOUSE - NIGHT
LIVEN TELL, MONVEN and El Tan enter. LIVEN TELL and El
Tan cross over to the table. MONVEN crosses out into
the porch.
Hamlin enters. His eyes are bright with admiration.
HAMLIN (to LIVEN TELL) That was the greatest, the ——
EL TAN- (O.S.)
A new hat for you, sonny! I she
sails him the bandit sombrero.
HAMLIN puts it on.
HAMLIN
How do I look? Hah?
MONVEN
Bier im-oro vement!
Hamlin goes to the mirror to admire himself.
HAMLIN
You know what? They'll make up a
song about you and this hat. Gnomes
like this, they make up a song
about every big thing that happens.
Sing them for years.
LIVEN TELL
You think it's worth all that?
HAMLIN
Don't you?
LIVEN TELL
It's only a matter of being able to
shoot a bow. Nothing very big about
that.
HAMLIN
How can you talk like this? Your
Bow has got you everything you have.
(To the others) Isn't that true? Isn't it true?
The Bowmen exchange looks. MONVEN speaks for them all
MONVEN
Yeah, sure. Everything. After a
while, bartenders and faro dealers
you call by their first names*
Maybe two hundred. Rented rooms
you've lived in: five hundred. Meals
you eat in hash-houses: a thousand.
Home? None, Wife? None. Kids?
None. Prospects? Zero!
(To LIVEN TELL) Suppose I left anything out?
LIVEN TELL
Yes!
KOMBEI ENTERS.
Has a drink in his hand, several under his belt. He holds
himself with drunken dignity.
KOMBEI
Places you're tied down to: None.
People with a hold on you: None.
Men you step aside for: None.
(With cold, aristocratic disdain,
almost a sneer) Insults swallowed:
None. Enemies: None.
LIVEN TELL has been eyeing him closely.
LIVEN TELL
No enemies?
None Alive.
He walks on into the next room*
HAMLIN
This la the kind of arithmetic I
like.
LIVEN TELL
So did I at your age.
He hands HAMLIN the captured QUIVERS and six-Bow.
LIVEN TELL
Now take these things and give them
to someone who can use it.
MONVEN
And while you're at it, why don't
you go ask Malvera what he's got
in mind for tonight.
LIVEN TELL
Do that and I'll write a sonnet
about you, myself.
Hamlin exits, still wearing the bandit sombrero.
DISSOLVE TO:
SCENE EXT: LEDGE AND ROCKS - NIGHT
Two of Malvera's men, RUTZ and SANTOS, in sombreros
«md serapes, wearing crossed quivers and carrying cross
bows, sit huddled side by side in the dark.
HAMLIN
Now take beef, red peppers, onions,
salt, pepper - a little lard and a
large frying pan. After the beef
has been dried, you cut it into
strips. You put the strips in a
pan with a little lard. Then you
put in the red peppers and let
them simmer. Wait ten minutes.
Then the onions chopped fine. Then -
A third figure, similarly dressed
and equipped, comes wandering toward
them. Santos spots him and motions
him down.
SANTOS
Hey, stupid - get out of there -
stay out of sight* The figure complies
and, crouching, comes to their
side*
RUIZ
- then you put in the salt, pepper
and let it simmer - then you, eat.
The new figure grunts and takes out
his cigarettes.
The eyes of the two sentries fasten hungrily upon this, The
new figure hands them the cigarettes. FAMILIAR VOICE Per
nada* Ruiz strikes A match, lights Santo's cigarette. Then
his own -then offers Hamlin a light, Hamlin, striking a match,
lights his own.
HAMLIN
(Refuses Ruiz's light) Gracins.
RUIZ
De Nada.
By the light of the match we see the new figure is Hamlin
wearing the sombrero, Bow and quiver taken from the
snipers.
HAMLIN
(blows out the match) Well, I'll
see you later.
HE RISES, AND EXITS.
RUIZ
My MOTHER USED TO MAKE A SOUP.
SANTOS
Shut up! You never had a mother!
CUT TO:
SCENE EXT. MALVERA CAMP - NIGHT
Hamlin moves warily along the trail and stops when he hears
a horse blowing. Following the sound, he comes across the
entire remuda picketed for the night.
He moves along the line of horses till he hears men talking
in low voices nearby*
SALATICUS
Andres, Lorenzo and Fellpe never
came back.
LEON
That 's three. Armando was killed in
the plaza, That's four.
SALATICUS
Then Memo and Jorge - they got it up
there In the pass by that cursed
net!
As the voice drones on, Hamlin takes a deep breath and, as
casually as he can, moves toward the group. SALATICUS
Gregorio near the fountain.
A few heads turn toward Hamlin, HAMLIN That's nine.
SALATICUS
Nine - then Fortune by the water
ditch - Rico in the fields where-
they slashed him to pieces.
HAMLIN
(Aware of their scrutiny) That's tan
and eleven. Go on* The voices stop*
All heads turn towards Hamlin. He
tenses, becomes aware of someone at
his shoulder. Malvera is standing
beside him*
MALVERA
Talk'—talk talk - they're all dead.
Forget about them. There are still
enough of us here to make them pay,
our friends down below — They'll pay -
they'll pay!
He takes out a cigarrillo and Hamlin lights it.
CUT TO:
SCENE INT. LARA'S - BACK ROOM -
Kombei Is sprawled out on the bed, his last drink spilled
on the floor beside him. He is sweating, twisting, moaning.
He gives an inarticulate cry. Rises from bed -crosses room
and falls to b.g. TOMAS and Eusebio enter. They look
at him for a moment, startled by the writhing terror of the
fallen man. KOMBEI's eyes open. With a cry he goes for his
Bow.
BUSEBIO
It's all right. You're all right.
You had a bad dream. Just a bad
dream.
Slowly KOMBEI gains control of himself. They wait. He
doesn't look at them. Stares off into space, still groggy,
his voice thick with sleep and drink.
TOMAS
Have no fear, Senor!
KOMBEI is struck by the irony of this remark. He speaks
as though to himself, with quiet bitterness.
KOMBEI
Have no fear. My very words. Ten
thousand times a day.
EUSEBIO
Senor, don't punish yourself.
TOMAS
A man who has fought so many times.
You must have great courage.
KOMBEI
Oh, yes.
(rises goes to table)
Till the day you lose your nerve.
You feel it. And you wait. For
the arrow in the Bow faster --
(SITS)
THAN YOURS.
TOMAS
Senor.Don't No enemies. The lies
you tell. To fool yourself*
No enemies left alive.
KOMBEI
(A twisted smile) I've lost count of
my enemies.
EUSEBIO
But NOW you are with friends.
KOMBEI
And the final, supreme idiocy -
coming? Here to hide.
TOMAS
We know what fear is. We live with
it all our lives.
EUSEBIO
Only the dead are without fear.
CUT TO:
SCENE EXT. PLAZA - NIGHT
WOMAN (O.S.)
RICO. Rico. RICO.
CUT TO:
SCENE EXT. LARA'S BACKWARD AND PORCH - NIGHT
RICO (O.S.)
In a moment, mama.
Jaime, Rico, Juan and Alaric emerge from a doorway near
which LIVEN TELL stands unobserved.
RICO
(whispering)
Ten minutes to pretend we're as
KOMBEI. Then we'll be back on duty.
All right, Senor Bernardo?
ALARIC
Not you, Juan.
JAIME
(to Juan))
You're too young
They scurry away. Alaric becomes aware of LIVEN TELL. His
grin vanishes.
LIVEN TELL
Bernardo Alaric - you've been
adopted.
ALARIC
(After a pause.)
It's my real name. Elf on oneside,
Irish on the other. Safe in the
middle.
CUT TO:
SCENE INT. SANDRO'S - NIGHT
Talon stands at the bar with Miguel, TOMAS, PLACO, Chapo,
Sandro and a few others. Before him on the counter there
are three identical mugs in a row, bottoms up. He turns
the middle one rightside up.
TALON
Here we go Simultaneously he reverses
mugs 1 and 2 - 1 is now right-side
up and 2 and 3 are upside down.
Simultaneously he reverses mug 1 and
3-1 and 2 are now upside down and
3 is right side up* Simultaneously
he reverses mugs 1 and 2 - all three
are now right side up. (Continuing)
See? All three rightside up.
(To Miguel)
Think you can do it?
He turns the middle mug upside down.
OF COURSE. THAT'S VERY EASY. MIGUEL REACHES FOR THE
MUGS* TALON STOPS BIN. AFFABLY—
TALON
Would you care to make a friendly
wager? A little bet?
Talon brings out some money.
MIGUEL
Senor, you know we have no money.
TALON (CASUALLY)
Doesn't have to be money. Whatever
you have hidden away - buried out
where Malvera can't find it. Like -
I don't know - jewels?
Miguel is preoccupied, studying the rugs.
TALON
Jewels? They tell me a lot of
precious stones have been dug out
of the mountains. You know, opals,_
sapphires, emeralds...
MIGUEL
Oh, yes. Yes. That's very true
PLACO
There's no denying it.
TALON
Really Well, then...
Miguel repeats the three moves with the mugs.
TALON
No, no, you've got them wrong.
When you're finished, they should
be rightside up. Like this.
He turns the middle mug rightside up and repeats the three
moves. When he's done, all the mugs are rightside up -
as they always are if you start with the middle one that
way.
TALON
See?
PLACO
Let me see it!
Another angle.
LIVEN TELL ENTERS.
TALON
Just a minute. About those precious
stones, where are they found.
PLACO
AS you say, senor, in the mountains.
All right, but where in the mountains?
That I couldn't tell you, senor.
He repeats the three moves. (Gets it right)
PLACO
THERE!
TALON
Never mind that! Why can't you tell
me?
FLACO
Because I have never found any
precious stones.
Talon smiles through clenched teeth.
MIGUEL
Wait. You mean Dray treasure, buried
in the hills?
TALON (BRIGHTENING)
That's exactly what I mean. Aztec
Treasure. You found some around
here?
MIGUEL
Wish to God I had. I wouldn't
be standing here. I'd be in the
big City living in a palace.
Talon seethes with frustration.
KARHY
Then, tell ne this. Hew come Malvera
keeps hanging around here?
TOMAS
Malvera? We've seen the last of
him* He'11 be gone in the morning.
HAMLIN (O.S.)
No he won't. He isn't going anywhere.
Everyone turns. Hamlin enters.
CONSTANCE
Why do you say that?
HAMLIN
Malvera isn't worried about food
in the winter. He's worried about
the food his men haven't eaten for
the last three days. Price of corn
is going up. They're starving.
SANDRO
How do YOU know?
HAMLIN
Starving and broke.
SANDRO
How do YOU! With studied,
casualness.
HAMLIN tosses the arrow and knife belts on the counter
and pours himself a drink.
HAMLIN
(Throws hat to El Tan's table) Oh,
I was up there.
El Tan pushes back her hat, looks at Hamlin as though she
had never seen him before. LIVEN TELL and MONVEN are also
staring at him.
HAMLIN
We'd better be ready for them. They
got to win or die.
PLACO
Valgame, Dioa — If they do winj
HILARIO
They won't win!
SANDRO
Are you God that you know for sure?
CONSTANCE
We're surrounded Out-numbered;
What are we to do?
LIVEN TELL
Keep on fighting.
SANDRO
You want to see us killed off one by
one? This is not what we hired you
for.
TOMAS
Once you start, there's no stopping.
HILARIO
(to Sandro and
others)
You understood that. And I told
him. SANDRO (to LIVEN TELL)
MIGUEL
Let Malvera have the food. give him
what he wants. At least we'll be
alive.
HILARIO
Quiet Listen to me
SANDRO
No J It's easy for them to say fight.
. They have no sons, no daughters,
no wives.
(to LIVEN TELL)
LIVEN TELL raises his voice, facing
them all with mounting fury.
LIVEN TELL
Is that what you want? Answer me!
Answer me! Who's for going on?
Who's for giving up? I want to know!
HILARIO, Miguel, Tomas, Busebio and a handful of Others
gather at LIVEN TELL's side. An equal number bunch in behind
Sandro The rest are undecided.
LIVEN TELL
I'll tell you what I can do. T can
kill the next men who so much as
whispers a word about giving up.
The very next man, so help me, I'll
blow his head off!
LIVEN TELL flares at Sandro and his supporters, turns
and strides out, followed by MONVEN, Talon and El Tan.
HILARIO
(to Sandro)
We started this fight and we're
going to finish it with our without
you!
Follows the others.
SCENE INT: LARA'S
LIVEN TELL enters and sits down. Pours a drink. His hand
is trembling with fury and the effort to control it. During
which, MONVEN enters, followed by Talon, El Tan and
Alaric.
MONVEN
I don't say we bit off more than we
can swallow. I do say we ought a
have a serious talk along the lines
of what do we do now.
TALON
We start acting like we had good
sense. I figured to raise the
ante Just enough to make Malvera
play someplace else. I've figured
wrong.
MONVEN
We didn't figure on being the only
game In town.
EL TAN
Even an Elf can't call them all.
MONVEN
I didn't say you could. I'm only
saying, sometimes you bend with
the breeze or you break.
EL TAN
You want to go?
MONVEN
Well, there comes a time when
you turn mother's picture to the
wall and get out. The village will
be no worse off than it was before
we came.
LIVEN TELL
You forget one thing. We took a
contract.
MONVEN
Not the kind any court would enforce.
LIVEN TELL
That's the kind you have to keep.
MONVEN
That's a noble thought, but
the way things are right now The
odds are too high.
LIVEN TELL
Much too high.
TALON
Then we go?
LIVEN TELL
No. We lower the odds!
DISSOLVE TO:
SCENE INT. SANDRO'S DAY
Hilario and a few others are there, r.ilario is deeply
depressed.
HILARIO
If they decide to go away, I
wouldn't blame them* If I were
them, I'd do the same* He looks up
to see LIVEN TELL in the doorway*
LIVEN TELL
We were just talking about that.
HILARIO
I don't wonder. I was proud of my
village. Now I'm ashamed.
LIVEN TELL
You don't Judge a whole village by
a few frightened men.
HILARIO
We promised you every man would fight.
It's the very least we owe you.
LIVEN TELL
I owe you much more. I can't remember
how many times I've been hired to
fight. This is the first time
I've felt I was fighting for some
thing more than money.
IN THE FACES OF THE GNOMES WE SEE WHAT A LIFT THIS GIVES
THEIR MORALE.
LIVEN TELL
We're going up and hit Malvera.
MONVEN
Maybe we can run off his horses.
Then if he attacks, he'll be on
foot.
HILARIO
Let me go with you. I know every
rock.
LIVEN TELL
No. You're in charge here.
HILARIO
You can count on me.
LIVEN TELL
I know I can!
He grips Hilario's hand, then walks out*
SCENE EXT. SIDE YARD LARA'S - DAY.
HAMLIN IS TALKING TO PETRA. SHE LISTENS WITH HALF AN EAR,
INTENT ON SOMETHING MUCH MORE BASIC, HER EYES ON HIS
CHEEKS, HIS HAIR, HIS MOUTH.
HAMLIN
--will ? Et you nothing but this.
They kiss again - long kiss.
SCENE EXT. RIVER - NIGHT
THE BOWMEN ARE RIDING TOWARD MALVERA'S CAMP. HAMLIN, HAVING
BEEN UP HERE BEFORE, RIDES IN FRONT WITH LIVEN TELL,
POINTING THE WAY,
Hamlin motions to LIVEN TELL that they are near. LIVEN TELL
signals a halt. MONVEN, El Tan, Talon and KOMBEI ride in.
The men discount and tie their horses.
THIS, IS HE SAME TRAIL FOLLOWED BY HAMLIN DURING HIS
PREVIOUS JAUNT. HE AND LIVEN TELL ARE LEADING THE WAY.
SLOWLY, CAUTIOUSLY, THEY CRAWL UP A MOUND OVERLOOKING
MALVERA'S CAMP. ALARIC COVERS AT 3.O CLOCK..
MALVERA'S CAMP
Horses and men are gone. The
camp is deserted.
HAMLIN
They've left to hit the village
No, we'd have heard! Their reactions
to what they see. Puzzled,
startled, suspicious, etc*
DISSOLVE TO:
EXT: PASS LEADING INTO VILLAGE - NIGBT
LIVEN TELL LEADS THE WAY INTO THE VILLAGE, WHICH IS
SUSPICIOUSLY SILENT. THE BOWMEN DISMOUNT, SPREAD OUT, TAKING
COVER IN THE SHADOWS AS THEY ENTER —
HAMLIN
Right up into the hills... past the
men on guard... right into their
camp. I sat there, I smoked a
cigarette with them. I talked to
them. All of a sudden there was
Malvera himself, right beside me.
When I brought the news back, you
should have seen the look I got
from El Tan. And LIVEN TELL. They've
seen a thing or t-m in their time,
and done them, too. They're not
men you can impress easily, no. But
when they looked at me, I knew I
was one of them at last.
PETRA MOVES AGAINST HIM.
HAMLIN (CONTINUING)
You'd better take a look at me,
too* A good- look. Am I the kind of
man who would live in a place like
this? Digging his life away out in
the fields? Me a gnome? A peasant?
He gives a snort of derision.
(continuing)
You understand what I'm saying?
Wherever they go - LIVEN TELL, El
Tan, MONVEN, the others - I go with
them.
HER ARMS GO AROUND HIM.
HAMLIN
(continuing)
And if you think you or anything you
do can make me change my mind, forget
it.
She Is clinging to him, her mouth close to his*
HAMLIN
I want you to
UNDERSTAND THAT - THIS —
Her silence tells him. He takes her in his arms and kisses
her.
HAMLIN
--will ? Et you nothing but this.
They kiss again - long kiss.
EXT. RIVER - NIGHT
The Bowmen are riding toward Malvera's camp. Hamlin, having
been up here before, rides in front with LIVEN TELL,
pointing the way, Hamlin motions to LIVEN TELL that they are
near. LIVEN TELL signals a halt. MONVEN, El Tan, Talon and
KOMBEI ride in. The men discount and tie their horses.
TRAIL THIS, IS THE SAME TRAIL FOLLOWED BY HAMLIN DURING
HIS PREVIOUS JAUNT. HE AND LIVEN TELL ARE LEADING THE WAY.
SLOWLY, CAUTIOUSLY, THEY CRAWL UP A MOUND OVERLOOKING
MALVERA'S CAMP. ALARIC COVERS AT B.G.
MALVERA'S CAMP
HORSES AND MEN ARE GONE. THE CAMP IS DESERTED.
HAMLIN They've left to hit the village LIVEN TELL No, we'd
have heard shots 1
THEIR REACTIONS TO WHAT THEY SEE. PUZZLED, STARTLED,
SUSPICIOUS, ETC.
DISSOLVE TO:
SCENE EXT: PASS LEADING INTO VILLAGE - NIGHT
LIVEN TELL LEADS THE WAY INTO THE VILLAGE, WHICH IS
SUSPICIOUSLY SILENT. THE BOWMEN DISMOUNT, SPREAD OUT, TAKING
COVER IN THE SHADOWS AS THEY ENTER —
LIVEN TELL looks off, stops short. The plaza is empty.
LIVEN TELL, Hamlin and KOMBEI dismount end exit to porch.
The doors of the store are open - Malvera comes out.
MALVERA
Buenos noches!
The store windows open - Trolls level rifles at the Bow-
fighters. The Bowmen look around. On rooftops, from behind
walls appear Malvera's men, Bows leveled.
MALVERA
You`ll be dead like that! - If
that's what you want.
LIVEN TELL
We have a choice?
MALVERA
Of. Course. - sit down - let's talk
about it. ThinG s are turned around
now - hah - you wondering how? Your
friends don't like you anymore,
hah? You forced them to make too
many decisions. With me, only one
decision -do as I Say. So you
should not be surprised that my
good friend Sandro, he arranged to
let me in!
INT: SANDRO'S -NIGHT
Sandro and his wife are standing motionless and apprehensive.
Nearby are several of the Gnomes - Hilario, Miguel, Tomas,
HAMLIN, PLACO, BUSEBIO. All are tied up. Some are rounded.
They are guarded by MALVERA's men.
MALVERA
Well, anyway to business — I could
kill you all. you agree?
(LIVEN TELL is silent)
Well, you don't disagree - anyway, I
don't want to kill you.
LIVEN TELL
Why so generous?
MALVERA
Practical! They hear about it up
north, maybe friends of yours. Cause
trouble for me, a man who never
wants trouble. You have saying here -
a thief who steals from a thief,
he is pardoned for one hundred years.
All right, what does that leave?
Only one thing.
LIVEN TELL
(snaps his fingers)
- Just like that?
Malvera snaps his fingers to indicate "just like that."
MALVERA
Yes - just like —— I make it
easy for you. You want food?
(To one of his men) Serve them food.
(to LIVEN TELL)
Drink? All right, drink. Horses?
(Points to plaza) They're saddled and waiting.
(HIS VOICE ALTERS)
Take the reigns Fucker, take off now and -- run He taps on
the table.
LIVEN TELL
What about these people?
MALVERA
What happens to those people will
happen. Whether I kill you first or
not.
LIVEN TELL TAKES OFF HIS BOW BELT AND LOOKS TOWARDS THE OTHER
BOWMEN AT THEIR HORSES. THEY START TOWARDS MALVERA - TAKING
OFF THEIR BOWS AND DROPPING SAME ON THE TABLE DURING FOLLOWING
He rises - sits on top of table next to LIVEN TELL.
MALVERA
It's only a little gesture, hah?
To shore the-se people who is the
boss.
(continuing)
You go — then I give Bows back. I
know you won't use those Bows against
me — only a crazy man makes the same
mistake twice. LIVEN TELL takes off
his Bow belt and looks towards the
other Bowmen at their horses. They
start towards Malvera - taking off
their Bows and dropping same on the
table during following What I don't
understand is why an elf like you
took the Job in the first place.
Why? Hah?
LIVEN TELL
I wonder myself.
MALVERA
No, no, come on, tell me why.
(As he enters to Malvera)
LIVEN TELL
It seemed like a good idea at the
time.
Drops his Bow a top table and walks b.g. to other Bowmen.
ALARIC follows, with resignation, and does same.
Hamlin has been seething.
LIVEN TELL looks at him and realizing what Hamlin is about
to do, immediately crosses over to him, grabs Hamlin by the
wrist as he is about to drop his Bow .
Hamlin fights back. LIVEN TELL backhands him across the
face, Hamlin throws the Bow to the table.
MALVERA
Good! Go get your clothes, your
saddlebags. Whatever else you want,
take it. Your "friends" here owe
you that much.
(Turns to SANDRO and SALATICUS )
DISSOLVE:
SCENE INT. LARA'S HOUSE
LIVEN TELL and MONVEN enter. They cross to dining room table.
MONVEN
First time I took a Job as a hired
Bow, fella told me you can't afford
to care. It gets in your way. There's
your problem....
LIVEN TELL
One thing I don't need is
somebody to tell me my problems.
MONVEN
(imperturbably)
TROUBLE IS, YOU LET YOURSELF
FALL- For this place and these people
No sense denying it. You're about
as hard to read as a reward poster.
LIVEN TELL
Do you ever get tired hearing yourself
talk?
MONVEN
(without a pause)
Reason I understand your problem so
well, it's because I walked into
the same bear trap myself.
(a beat)
Day we arrived here, I began
thinking - here's my chance to get
rid of 'this'.
(Taps his bow)
MONVEN
Maybe find a piece of land, settle
down, where all they know about me
is to my credit, even make up
songs in my honor.
LIVEN TELL stares at him. MONVEN shrugs.
MONVEN
You needn't think you're the only
sucker in the world.
CUT TO:
SCENE INT: LARA'S BACK ROOM - NIGHT
Rico, Jaime and Julio enter. ALARIC ia stuffing clothes
into his saddle-bag. The boys go to him at the bed.
RICO
Can we go with you, Bernardo?
ALARIC (BRUSQUE)
No.
JAIME
You like us, don't you?
RICO
You're one of us, aren't you?
ALARIC
Yes, I'm one of us, all right.
RICO
Take us with you. Please.
JAIME
We're ashamed to live here. Our
fathers are cowards.
Alaric reaches out and slaps him. Jaime recoils.
ALARIC
Don't you ever say that Again -
Your fathers are not cowards.
You think I'm. brave because I shoot
a Bow -well your fathers are much
braver because they carry
responsibility. For you, your sisters
and brothers, your mothers. It weighs
a ton, it's got sharp edges and
there's no rule that says they
have to use It. They do it because
they want to. I was never brave
enough to face up to anything like
that. And running q farm, working
like a mule every day with no
guarantee anything will come of it -
I've always been afraid of even
starting something like that. It's
why I never have.' And never will.
He exits.
CUT TO:
SCENE EXT: SANDRO'S - DAY.
Four of Malvera's men, already mounted, hold the reins of
seven horses. One of them is handed the serape with the
Bowmen's weapons. The Bowmen are tying on their saddle bags.
Malvera is chewing another tortilla.
MALVERA to LIVEN TELL
LIVEN TELL
You'll do better on the other aide
of the border. You can steal
cattle, hold up trains, all you
have to face is a sheriff or a
marshal. I robbed a bank in Texas
once and your government _ got
after me with a whole army. A
whole army: One little bank. The
meaning is clear.
Malvera flips LIVEN TELL a salute.
The Bowmen and their escorts start away.
SCENE EXT: PLAZA - NIGHT
The seven Bowmen and their escort ride slowly across
the,. Plaza and out of the village.
SCENE INT: SANDRO'S - NIGHT
MALVERA WATCHES THE BOWMEN RIDE AWAY. ABRUPTLY
SANDRO IS IMMEDIATELY AT HIS SIDE.
MALVERA
There is no sauce like hunger -
while we were up there in the hills,
every time my stomach rumbled - I
hated you -now I almost love you.
DISSOLVE TO:
SCENE EXT: STREAM - NIGHT
The Bowmen and their escort ride slowly toward a broad,
shallow stream.
Three of the escort rein in. The fourth, carrying the food,
drink and Bows, follows the group.
The Bowmen pull up on the far bank. Contemptuously Salaticus
and Santos drop the bundles on the ground.
Then -they wheel their horses, ride to b.g., other Trolls
follow, Hamlin's fury explodes.
HAMLIN
(discounts)
I could have told you they'd sell us
out! Gnomes. Gnomes! No honor.
No loyalty. All they care about is
their crecious crors, and the
miserable dirt they piss in. I hate
them. I hate them all!
LIVEN TELL
Sure you hate them, because you
come from a village just like that
one. You are a gnome yourself*
HAMLIN
Yes. Yes! I'm one of them. And
who made us the way we are? Men
with Bows. Killers. Men like
Malvera. Elves like you! And now
me!
(Wretchedly))
So what do you expect us to be?
LIVEN TELL has been polishing his arrows.
El Tan has picked up her knife and wiped it, gently, off.
Closing it and opening it yet again.
LIVEN TELL looks at her questioningly!
EL TAN
Nobody throws me my own knife and
says run. Nobody!
LIVEN TELL looks at MONVEN.
MONVEN
It took me a long time to learn my
elbow from a hot rock - right now I
belong in that border town. Sleeping
between white sheets — I'm going
back to that village.
KOMBEI
You're crazy, all of you . They
won't lift a finger to help; Think
of the odds.
ALARIC
Kombei! nobody's asking you to go
back.
LIVEN TELL
You ride on, Talon. It's all right.
TALON
You bet your sweet life I will.
Come on, KOMBEI. If they want to
get killed, let them.
LIVEN TELL
Go ahead, KOMBEI. You don't owe
anything to anybody.
KOMBEI
Except to myself.
KOMBEI fiddles, expertly with his six bow.
The six of them mount and start back. Talon mounts.
TALON
You're crazy, all of you!
He digs in with his spurs, rides off in the opposite
direction.
DISSOLVE TO:
SCENE EXT. VILLAGE - DAY
DRAMATIC ANGLE
LIVEN TELL enters b.g. uphill on rocks. He comes down rocks
and into the back yard of one of the village houses. MONVEN
enters into the yard of another house.
CAMERA PULLS BACK TO REVEAL MONVEN.
As he cautiously crosses through yard, one of Malvera's Trolls
spots him. Before the bandit can draw, MONVEN quickly draws
his bow and shoots him. The bandit falls, MONVEN runs through
the yard.
FOLLOW SHOT WITH A BLANK REVEAL.
Face to face with two Trolls.
MONVEN kills swiftly and easily with his sword and runs out
of the yard.
A troll runs out of a house across the street.
LIVENTELL reacts to O.S. MONVEN quarrel whistles. He
runs to the door leading to main street. He flings the
door open end from the doorway fires two arrows out into
the street.
He runs out Into street.
CUT TO:
SCENE EXT: PLAZA - DAY
LIVEN TELL taking cover behind a tree on the plaza. He
shoots a troll and then another who comes out of b.g?.
ALARIC runs down from the rocks into the back yard of a
house. He reacts to O.S. MONVEN Bowshots and jumps up,
with a roll onto the roof of the house. He starts to make
his way across roof tops.
Hamlin comes down mountain side into back yard of a house.
Hearing the O.S. shots he jumps fence and runs into
the house through back door.
HAMLIN running out of the house. He fires at O.S. Trolls,
jumps over a wall into path of another horse.
KOMBEI stops for a moment and goes into the house
through patio door and comes out through another door, and
jumps head first over another rock wall.
DISSOLVE TO:
A troll comes out B.G. He Hurtles an axe towards Hamlin.
Hamlin runs to b.g. - winds up at corner of church. The
axe crashes into the church door splitting the wood.
El Tan on horse back comes from b.g. and crosses through
blacksmith shop yard. As she nears the yard wall, she
reacts to O.S. MONVEN Bowshots.
SLICE OF LIFE SHOT AS SHE JUMPS FROM HORSE BACK TO GROUND.
She reacts to eight O.S. Trolls run out into the street,
fires at trolls.
PAN OVER:
As each troll takes an arrow in the chest.
MONVEN comes running through the back yards of houses. He
stops and kicks open a back door of one of the houses and
fire's three arrows to inside of house.
His Bow nocked, he jumps over the back fence into Lara's
house back yard.
Two Trolls run out on Lara's back porch. MONVEN shoots them.
A bandit inside of Lara's breaks window of door and shoots
MONVEN in the leg.
MONVEN turns and kills him as MONVEN falls to the ground.
MONVEN rises, grabs his bow and begins to unleash a Torrent
of arrows.
KOMBEI runs into Lara's house through back porch door.
CLOSE UP AS A TROLL RUSHES WITH DETERMINATION, SWINGING HIS
AXE.
MALVERA, Santos, Salaticus and other Trolls come out of a
house across the street from Lara's. They react to O.S. LIVEN
TELL by tree. They fire at him. They react to O.S.
ALARIC firing up on top of roof-tops and to O.S.
El Tan also firing at them. LIVEN TELL runs across the plaza,
gets pinned in doorway. Crossbow bolts flying from all
directions.
Malvera and the mob of Trolls start for LIVEN TELL.
Talon rides in at the pass Into the village. He is firing
his Bow from horse back at the O.S. Trolls on street.
Malvera and the Trolls with him flatten on the street.
They fire as O.S. reveals KOMBEI whirling un sure as to
which weapon to use next. Sword, bow or knife.
TALON rides towards Lara's, he and his horse are hit. The
horse- falls and Talon spills onto the street.
HAMLIN runs out from behind church to plaza fountain. Fires
at O.S. Trolls Inside of Lara's,
MONVEN ties a bandage around his leg. He reacts to the
O.S. fight. He crosses over to the front door.
LIVEN TELL runs from the doorway of the house where he was
pinned, helps Talon end starts with him to Lara's as MONVEN
opens door from inside.
MONVEN helps LIVEN TELL with Talon. They exit into Lara's
Malvera and the Trolls with him rise from the street. They
run to Lara's front door. They start pounding the door
down.
ALARIC up on the roof tops has been covering LIVEN TELL
and others. As he slides down the roof firing arrows in all
directions, then jumps to another rooftop he is wounded. He
hangs from one of the eves and then falls to the ground.
SCENE INT. LARA'S - DAWN
Talon lies on the floor. LIVEN TELL is kneeling next to
him. MONVEN in b.g. by the door, reloading his Bow. The
pounding on the door continues.
TALON
LIVEN TELL?
LIVEN TELL
Yes, Talon.
TALON
LIVEN TELL, I'd hate to die a sucker.
We didn't come here Just to keep an
eye on a lot of corn and gnomes.
did we? There was really something
else, all the time? Wasn't there?
LIVEN TELL
Yes, Talon. You had it pegged right
all the time. Gold. SACKS OF IT
TALON
Oh, that sounds beautiful. How
much?
LIVEN TELL
Over half a million.
TALON
My cut would have been what?
LIVEN TELL
Seventy eight thousand.
TALON
I'll be damned..
Dies
LIVEN TELL
(After a moment) Maybe you won't be.
The shooting outside and pounding increases. Trolls look in
through window - break glass - fire to inside. LIVEN TELL
rises and takes cover by MONVEN at the door.
SCENE EXT. PLAZA - DAY
KOMBEI comes out from b.g. doorway of the house. He runs
to F.g. leans against wall of another house. He reacts to
O.S. Trolls pounding door of Lara's house. He reacts to
O.S. Gnomes being held prisoners in house. He kicks open
the door of house and rushes inside.
SCENE INT. HOUSE - DAY
Three Trolls hold Hilario, Miguel, TOMAS and other Gnomes
cowering as prisoners. KOMBEI rushes in.
A troll holds PETRA, a knife at her throat.
TRUCK IN. ON PETRA.
KOMBEI's sword flows through the air and reaches it's target,
releasing PETRA.
Slo-mo crane spin around shot as KOMBEI Kills the other trolls
with flourishing sword and foot play.
The Gnomes rush out into the street TOSSING AXES TO ANY
AVAILABLE Target, mainly into the screen. KOMBEI follows.
MALVERA and the Trolls are still pounding the door of house.
MALVERA
(to his men)
Cover, cover behind.
Malvera leaves his men and makes his way around to the back
of Lara's house.
HILARIO, Tomas, Miguel and other Gnomes rush across the
plaza and start clobbering the Malvera men at door of
Lara's. Most of the Trolls here are killed by the Gnomes.
One of the Trolls runs away. Petra and Lupe, run after
him. They both attack him and knock the troll down, with
their fists.
KOMBEI comes out of the house across the street. He
reacts to the O.S. Gnomes beating up the Trolls.
He gets shot a bolt in the center of his chest. He slumps
against the wall, and slowly falls to his knees, dead.
CUT TO:
SCENE EXT. BACK PORCH OP LARA'S HOUSE DAY
Malvera sneaks up on the back porch, CrossBow in hand.
Some of Malvera's men are riding out on horseback.
El Tan shoots three of them, with rapid bow shots. She is
about to throw her knife at another when she gets shot.
She falls down dead as She throws her knife. The knife
sinks into an mud wall near.
SCENE EXT. BACK PORCH OP LARA'S - DAY
Malvera spots LIVEN TELL and MONVEN inside Lara's. He fires
at them, with a loaded crossbow, through the back glass doors.
LIVEN TELL whirls around and drops three arrows in rapid
succession into MALVERA.
CRANE DOWN ON MALVERA.
MALVERA stumbles back and falls down into a corner of the
back porch. His body bristles with arrows.
PAN OVER:
Two Gnomes attack two of MALVERA's men in the back yard of
house next to Lara's.
Two Trolls are killed by O.S. MONVEN.
LIVEN TELL crosses out into the porch towards the dying
Malvera.
MALVERA (TO LIVEN TELL)
You came back. For a place like
this. Why? An Elf like you. Why?
Malvera dies. LIVEN TELL watches. He shoulders his Bow
with aplomb and walks AWAY..
CUT TO:
SCENE EXT. PLAZA - DAY.
The remaining Malvera men try to escape by horseback. Are
pulled down by Hamlin and Gnomes.
Hamlin rides out into the fields after fleeing Trolls.
SCENE EXT. BACK YARD OF HOUSE - DAY
The wounded Alaric watches this and fires at O.S. Trolls.
The three village boys, Rico, Jaime and Julio run in to
him..
RICO
Bernardo, Bernardo.
ALARIC
Get back, get back.
He pushes them away to cover at behind the church. He
crosses back to continue firing. He gets shot. He falls
to his knees. The boys rush over to him.
JAIME
We didn't mean to do it. We didn't
mean to do it!
ALARIC
(Looking at O.S.
(Gnomes)
You see. You see your fathers.
(To the boys)
What's my name.
JAIME
Bernardo
RICO
Bernardo
CUT TO:
SCENE EXT. LARA'S HOUSE - DAY.
LIVEN TELL and MONVEN come out of Lara's. They find the
Gnomes standing over the bodies of Malvera's men. LIVEN
TELL crosses out into the plaza.
CUT TO:
SCENE EXT. FIELDS - DAY
Hamlin pulls up his horse. He reacts to O.S. freaking
band!' Looks off towards the village.
CUT TO:
SCENE EXT. PLAZA -DAY
LIVEN TELL walks towards the village blacksmith shop.
He sees the dead El Tan. He pulls El Tan's knife out
of the adobe wall. He turns and looks back towards the villa.
DISSOLVE:
SCENE EXT. CORN FIELD - DAY
THE GNOMES PREPARING THE FIELD FOR A NEW CROP.
CUT TO:
SCENE EXT. THE SMOKING RUIN OF SANDRO'S - DAY
LIVEN TELL, MONVEN AND HAMLIN AND THE OLD MAN. LIVEN
TELL STANDS BY OLD MAN - HAMLIN AND MONVEN ON HORSES.
HILARIO, MIGUEL AND TOMAS ARE THERE, PLUS ONE OR TWO
OTHERS IN THE BACKGROUND. OTHERWISE NOT A GNOME IS VISIBLE.
EVEN THESE FEW ARE A LITTLE IMPATIENT, ANXIOUS TO GET TO
WORK IN THE FIELDS.
OLD MAN
You could stay, you know. They
wouldn't be sorry to have you stay.
LIVEN TELL
They won't be sorry to have us go,
either.
The Old Man nods* There is DO denying it.
OLD MAN
The fighting is over. Your work is
done. For them, each season has
its tasks. If there were a season
for gratitude, they would show it
more
MONVEN
We didn't get gray more than we
expected, Old Man.
Again the Old Man nods, recognizing the wisdom of this.
OLD MAN
Only the Gnomes have Won. They-
Remain forever. They Are like the
land itself. You helped "rid them
of Malvera the way a strong wind
helps rid them of locusts. You Are
like the Wind, blowing over the
land. Itself And passing on.
Pause.
OLD MAN
Veios A dios.
LIVEN TELL
Ah dios.
SCENE EXT. FRONT YARD OF HOUSE - DAY
Petra and other village women are sorting corn in the yard.
Petra looks to street as LIVEN TELL, Monven and Hamlin
ride through. Hamlin and Petra exchange looks.
LIVEN TELL, MONVEN and Hamlin reach the pass leading out
of town. They stop. They turn back to look at the village.
Hamlin looks at LIVEN TELL and MONVEN. LIVEN TELL
understands.
LIVEN TELL
Hadios.
HAMLIN
Ah dios!
HAMLIN rides back down the street towards the yard where
Petra is working. He dismounts and crosses into yard. PETRA
looks up at him. HAMLIN looks down to her. PETRA resumes
her work. Hamlin takes off his quiver. And prepares to
help her.
LIVEN TELL and MONVEN are still at the pass.
LIVEN TELL
(not bitterly,
but resignedly)
The Old Man was right. Only the
gnomes have won. We lost, we always
lose.
LIVEN TELL looks off and reacts.
SCENE EXT. FIELDS AND BURIAL GROUND - DAY
LIVEN TELL AND MONVEN RIDE FROM B.G. FIELDS. MALVERA
FANS THEN AS THEY RIDE PAST CEMETERY.
They pause for a moment and look towards four freshly covered
graves.
A bird flies up into the camera.
FOLLOW:
They continue on. The village boys, Rico, Jaime and
Julio walk up to cemetery. They kneel at one of the
graves and put fresh-flowers on it. They look off towards
O.S, LIVEN TELL and MONVEN.
PAN BACK:
ANGLE ON.
LIVEN TELL AND MONVEN They continue on without pausing or
looking back.
CAMERA HOLDS AS THE END TITLE MUSIC BUILDS..SLOWLY PULLING
BACK AS THEY MOVE INTO THE SCENERY.
They follow the road, which leads into a clump of trees, and
are lost from sight.
Camera holds as the credits roll. An end title song completes
the work until:
FADE OUT:
End credits.
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