DEADWOOD CITY LIMITS - DAY SUPER: 7 Years Later On a hill half a mile from the city, a one-eared horse carries a seventeen-year-old bandit. The General is an old horse now, but ready. Cody’s grown up a bit. He’s young, but a man in these times. He has his father’s jaw now and bags under his eyes. He wears a brown glove on his right hand. The color on the trigger finger is a bit different from the rest. Cody lights a hand-rolled cigarette. The General takes that as a signal to trot towards the city. EXT. MONUMENT SALOON - DAY The General leads Cody down the main street, the only street, of Deadwood. The unpaved road and makeshift buildings are a mess, and the citizens don’t look much better. Cody passes a general store, livery, and a small church with a skinny drunk PREACHER on its steps. Cody rides on. The young man looks to the Barbershop on his left, the saloon to his right. The General trots up to The Monument Saloon. Four rowdy Mexicans loiter outside the saloon. Cody gets off The General and ties him to the post. Cody rubs The General’s face softly. The thugs snicker and mock Cody. steps up. FERNANDO, their leader,
FERNANDO You in love with your horse? Cody just turns and stares the guy down. Fernando scoffs and spits at Cody’s feet. He misses by a couple inches. CODY Two inches just saved your life. The gang loves Cody’s spunk and laugh it up as Cody walks inside. INT. MONUMENT SALOON - DAY The inside of the Monument is massive. It’s a three-story building doubling as a hotel, although most customers only use it for an hour or less.
The place is half full, of drunks, prostitutes, and criminals. Cody walks up to the bar. glasses, greets Cody. WALSH, A lanky bartender with
WALSH What can I get ya? Cody reaches into his jacket. He hears the hammer cocking of a pistol behind him. Walsh smiles and looks over Cody’s shoulder at TUCK, Walsh’s number two. TUCK Not smart to walk into a bar and start reaching, kid. The young man slowly pulls out a piece of paper. He unfolds it to show Walsh the hand-drawn picture of Malcolm Blaylock. It’s not the best drawing, but gets Malcolm’s features down pretty well. CODY Have you seen this man? Walsh gives it a once-over. WALSH Can’t say I have. Cody shows Tuck, who just shrugs. TUCK Can’t say I have either. Don’t really see too many badly-drawn men walk in here. CODY This isn’t a game. TUCK That’s no way to talk with a gun aimed at your belly. WALSH Boys, boys. Walsh waves Tuck away. Tuck moves to the end of the bar.
WALSH (CONT’D) I haven’t seen your daddy, boy. CODY He ain’t my daddy.
3. WALSH Fugitive of the law? kid?
You a lawman,
CODY You know why I’m looking for this man. Tell me if you’ve seen him in this town. WALSH It’s not good for the development of our little Deadwood if strangers come in and start shooting people. That’s bad for business. CODY I don’t give a damn about your business. WALSH But you should. My lips are much looser when business is booming. CODY Just tell me who he is and I can get out of this hellhole. WALSH You are new to business. That much is apparent. I’ll make it easy for you. I may have information on the whereabouts of that crudely-drawn outlaw. You will get it after you do something for me. CODY And what do you want from me? WALSH Tuck, what do I want from this young man? TUCK Everything. WALSH But what do I NEED from him? TUCK Nothing. WALSH You have nothing to offer me, kid. You are useless to me.
4. CODY I have skills. WALSH We have a mop boy. And while your lips are mighty fine, we got ladies for that as well. CODY Can your ladies do this? Cody pulls his gun - his father’s gun - the 7 on the handle for the world to see. He aims the pistol up to the third floor with his LEFT hand. He takes a few seconds, calms himself, and fires. He knocks the round post off the end of the third row balcony. Walsh and Tuck share an impressed look. WALSH No, they can not. Tuck walks over and whispers to Walsh. Walsh and Tuck talk under their breathes. They stop, look at Cody, and comically return to their hushed conversation. They break from their huddle. WALSH (CONT’D) What’s your name, kid? CODY Cody Miller. Walsh shakes his hand. WALSH You’re going to get that information, kid. You just have to do one little thing with Tuck and his boys. Nothing short of what you just did to that post. TUCK You don’t got any reservations about killin’ a man, do ya? CODY Does he deserve it? WALSH Don’t we all?
5. TUCK It’s an old man. old man.
You can handle an
CODY So can you. Why do you need a posse? WALSH He’s a wild old bastard. No match for your skills though, Cody, no match at all. TUCK We can leave in ten. CODY We’ll leave in an hour. TUCK We leave when I say -WALSH Boys, boys. Tuck, an hour is perfect. Gives you enough time to visit sweet Diana. DIANA, a big-breasted prostitute, waves to Tuck from the stairs. TUCK But I don’t need an hour for that. CODY Use the other fifty-eight minutes to comb the rat shit out of your hair. Tuck takes a fighting stance, but Diana appears and grabs him by the arm. He lets the whore usher him away. TUCK (O.S.) An hour. WALSH What are you going to do with your sixty minutes? Cody answers with a scowl. He turns and leaves the saloon.
Tuck is on the second level, fondling Diana, when Walsh calls up to him.
6. WALSH (CONT’D) Tuck. When Jebediah is dead, make sure that cocksucker follows suit. TUCK Not a problem. Diana pulls Tuck into an empty room.