Carnegie and Claudia sit at a DINING TABLE, eating breakfast in silence. A third place is set, but no-one is seated there.

  Solara enters and sits down without a word.

  CARNEGIE

  Good morning, Solara.

  Solara doesn’t say anything.

  CARNEGIE

  I said good morning, Solara.

  SOLARA

  Morning, dad.

  CARNEGIE

  How was your night? Did you sleep well?

  Claudia appears perturbed by Carnegie’s subtle probing.

  Solara flashes him a frosty look.

  SOLARA

  I did like you asked. Isn’t that what you really want to know? Just come out and say it.

  Carnegie glares at her sternly.

  CARNEGIE

  You don’t speak to your father like that. When I ask you a civil question, I expect a civil answer.

  Solara lowers her head, scorned. Carnegie continues eating.

  CARNEGIE

  Did he say anything?

  SOLARA

  No. We didn’t talk much.

  CARNEGIE

  Well, do you think you managed to change his mind about staying?

  SOLARA

  I don’t know. He said he had to go.

  57.

  Carnegie puts down his food, looks angrily at her.

  CARNEGIE

  So he did talk? What else did he say? Come on, I want all of it!

  SOLARA

  That’s all he said. That he was going to be leaving this morning.

  CARNEGIE

  We’ll see. This is my town, nobody leaves until I say they leave.

  He glances knowingly at Claudia.

  CLAUDIA

  Solara, honey, eat something.

  She looks at the food on the plate before her. Then closes her eyes and clasps her hands in prayer.

  SOLARA

  Our father, thank you for this meal which you have been so gracious to place before us.

  Claudia and Carnegie freeze. Carnegie stares at her, agape.

  SOLARA

  Thank you for my mother. Please watch over her and keep her safe.

  CARNEGIE

  Solara...

  SOLARA

  Thank you for all the-

  CARNEGIE

  Solara!

  She snaps suddenly out of it, looks at her father.

  CARNEGIE

  What the hell are you doing?

  She doesn’t respond. Looks embarrassed.

  CARNEGIE

  God didn’t put this food on the table. Do you hear me?

  (beat)

  Who put this food on the table?

  58.

  Solara says nothing, just looks down at the table.

  CARNEGIE

  I said who put this food on the table?

  SOLARA

  (softly)

  You did.

  CARNEGIE

  Who taught you that?

  SOLARA

  Eli taught me.

  CARNEGIE

  (puzzled)

  Who the hell is Eli?

  SOLARA

  The walker. That’s his name.

  CARNEGIE

  And he taught you how to say those words? How did he know them?

  SOLARA

  He had them written down in a book.

  This piques Carnegie’s interest greatly.

  CARNEGIE

  What kind of a book?

  He barks the question at her. Solara is rattled.

  SOLARA

  I don’t remember! It was an old leather book. It had kind of a...

  thing on the front of it.

  CARNEGIE

  Show me.

  Solara makes the SIGN OF A CRUCIFIX with her index fingers.

  Carnegie’s eyes widen; he can barely believe it.

  CARNEGIE

  He had a bible?

  SOLARA

  That’s what it was. A holy bible.

  Daddy, what’s wrong? Did I...

  59.

  Carnegie BOLTS SUDDENLY FROM THE TABLE, overturning his chair and sending his plate of food crashing to the floor.

  INT. PALLADIUM - LOBBY BALCONY - CONTINUOUS

  Carnegie races across the landing, toward the ARMED GUARD

  posted outside Eli’s bedroom. The guard steps aside as Carnegie flings the door open and barges inside.

  INT. PALLADIUM - GUEST BEDROOM - CONTINUOUS

  Empty. No sign of Eli or his gear anywhere. The window is WIDE OPEN, the curtains fluttering gently in the breeze.

  INT. ENGINEER WORKSHOP - CONTINUOUS

  His hands shaking, the engineer disconnects Eli’s battery from the generator and places it on the counter.

  Eli stands on the other side of the counter with his SHOTGUN

  TRAINED RIGHT AT THE MAN’S HEAD. He takes the battery from him and stuffs it into his backpack.

  EXT. PALLADIUM - CONTINUOUS

  Carnegie races from the lobby entrance and looks up at the open window to Eli’s room. He could have easily jumped.

  Redridge emerges onto the street behind him.

  REDRIDGE

  Something wrong, boss?

  CARNEGIE

  Something wrong? Something wrong?

  The walker’s gone!

  REDRIDGE

  That can’t be. I had a man outside his room the whole time.

  CARNEGIE

  He jumped out the window, you idiot! You didn’t think to put a man outside the fucking window?

  (beat; fuming)

  Find him. Now!

  REDRIDGE

  Boss, he could be anywhere. He...

  (realization)

  A battery. Didn’t he say something about a battery?

  60.

  They turn to face the engineer’s storefront - just as ELI EMERGES ONTO THE STREET, shotgun still in his hand.

  EVERYBODY FREEZES. Like a wild west stand-off. Redridge’s fingers play over the butt of the pistol on his hip.

  BEAT as time hangs perfectly still for a second... and then ALL HELL BREAKS LOOSE.

  Redridge draws and FIRES, SHATTERING A PARKING METER just inches from Eli and showering quarters all over the sidewalk.

  Eli rushes along the sidewalk, RETURNING FIRE. The shot wings Redridge in the shoulder. He goes down, wounded.

  Carnegie dives for cover as FOUR MORE GUNMEN rush from the theater. Carnegie waves frantically in Eli’s direction.

  CARNEGIE

  Go! Go!

  They spot Eli sprinting away and rush off in pursuit.

  Carnegie gets to his feet and storms back inside the theater.

  INT. PALLADIUM - DINING ROOM - CONTINUOUS

  Solara and Claudia watch through the window. Turn suddenly when they hear the door slam open behind them.

  Carnegie stands in the doorway, glaring at them.

  EXT. DESERT TOWN - MAIN STREET - CONTINUOUS

  LOCAL RESIDENTS scream and rush to and fro in panic as Eli darts along the boardwalk.

  CARNEGIE’S GUNMEN pursue, firing their rifles wildly on the run. The bullets splinter wood, pierce barrels and crates, narrowly missing Eli as he dashes, keeping his head down.

  Eli aims the shotgun and FIRES without even looking. The shot HITS A GUNMAN SQUARE IN THE CHEST, dropping him to the dirt.

  Eli hits the deck, diving for cover behind a JUNKPILE as more gunfire ricochets all around him. He takes a moment to collect himself, reloads the shotgun.

  The three remaining gunmen close in on the junkpile warily.

  Eli signs a cross over himself with the shotgun, looks to the sky and offers up a silent prayer. Then emerges from around the junkpile back into the street. All three gunmen OPEN

  FIRE, their bullets whipping past on either side of him.

  61.

  In one swift motion Eli raises the shotgun and FIRES. Three shots in quick succession. And then there is silence. Smoke wisps from the shotgun’s sawn-off barrel.

  The three gunmen LIE DEAD IN THE STREET. One hit square in the chest. The other two each have maybe one half of their heads remaining.

  Eli looks around. He’s right at the end of the main road, the perimeter where the town meets the open desert. He’s free.

  And then, A GIRL’S SCREAM. Distant but unmistakable.

  Eli whips around. In the upstairs window of the theater, Carnegie shoves Solara roughly against the wall. Barking angrily at her, shaking her.

  Eli looks at the road. Then up at the theater. Then back to the road again.

  ELI

  (quietly; to himself)

  It ain’t your concern. Stay on the path.

  But he sounds less resolute now than before. Until today this was always a simple decision for him to make. But now...

  ELI

  Dammit...

  He marches back toward the theater, stepping over the fallen bodies of the gunmen, re-loading his shotgun as he goes.

  EXT. PALLADIUM - CONTINUOUS

  Redridge finally manages to clamber back up to his feet, wincing as he clutches his painful shoulder wound.

  He looks up just in time to see Eli coming right at him.

  Without breaking stride, he COLD-COCKS Redridge in the jaw with the shotgun, sending him back to the deck, out cold.

  INT. PALLADIUM - DINING ROOM - CONTINUOUS

  Eli kicks the door wide open, finds Carnegie holding Solara against the wall. She sobs, terrified. Eli levels the shotgun at Carnegie’s head.

  ELI

  Let her go.

  62.

  CARNEGIE

  That cannon of yours casts a pretty wide net. I don’t reckon you can hit me without hitting her.

  ELI

  I reckon you’re right.

  He holsters the shotgun. Then in the same fluid motion draws a PISTOL from his belt that we never even knew he had.

  ELI

  This, though? With this I’ll shave the hairs clean off your balls at a hundred paces. You believe me?

  Carnegie releases his grip on Solara, steps away, hands up.

  CARNEGIE

  I believe you. I have to say I’m surprised to hear that language coming from you, though. I mean, you being a holy man and all.

  BEAT. Eli glances at Solara.

  CARNEGIE

  She told me all about it. Told me all about the bible, too.

  (beat)

  Can I see it?

  ELI

  No.

  Carnegie takes a small step forward. Suddenly, his whole demeanor changes, and he now looks at Eli imploringly.

  CARNEGIE

  You know, I’ve been searching for a book like that one for years. All I’ve ever wanted was to bring the word of God to these poor

  unfortunates here. To shine its light upon them and give them something in this wretched world that they could believe in.

  Something to live for! It’s why I built this town, did you know that?

  All we’ve been missing is the word to show us the way. And now, praise the Lord, you’ve brought it to us.

  63.

  Carnegie takes a step closer. He appears entirely sincere -

  but then he is very good at doing so.

  CARNEGIE

  It’s not right to keep that book hidden away, all to yourself. The word is meant to be shared with others. It’s meant to be spread!

  Isn’t that what you want? I could help you do that. You and me, we could do it together.

  BEAT. Eli seems to be considering what he’s heard carefully.

  ELI

  The Lord himself told me that if I carried this book west, one day I would find the place where it was needed. Where it would be safe.

  Where it belonged.

  Carnegie smiles broadly... and then with a sudden blur of movement Eli PISTOL-WHIPS him to the floor.

  ELI

  But this ain’t it.

  He turns to Solara and offers her his hand.

  ELI

  Come on.

  EXT. PALLADIUM - CONTINUOUS

  Eli emerges from the theater, leading Solara onto the street.

  RESIDENTS part before them, staring at Eli with astonishment.

  Eli passes the statue of Carnegie - and STOPS. Something about that thing is bothering him.

  SOLARA

  What? What is it?

  ELI

  You shall not make for yourself any graven image...

  He turns, drawing his samurai sword and in the same fluid motion SLICING across the base of the statue.

  BEAT. And then the STATUE TOPPLES from the neat cut just below the knees, CRASHING DOWN to the ground and SHATTERING.

  The assembled residents GASP at this defiant display.

  64.

  Eli sheathes his sword and takes Solara by the hand again.

  ELI

  Now we can go.

  CRANE UP over the main street as they both head out of town.

  EXT. ROAD - DAY

  The town barely visible on the distant horizon behind Eli and Solara. Eli walks as he always has, his pace steady and slow.

  Still, Solara lags along behind. She’s already tired.

  SOLARA

  Where are we going?

  ELI

  I told you where I’m going. You’re free to go wherever you want.

  She stops in the road.

  SOLARA

  Wait... I’m not coming with you?

  ELI

  You’re only going to slow me down.

  Eli doesn’t stop walking. Solara is forced to catch up.

  SOLARA

  So what the hell was all that about back there?

  ELI

  The man was hurting you. I don’t like that, so I put a stop to it.

  Now you’re free. He can’t hurt you any more.

  (off her stare)

  No need to thank me.

  SOLARA

  Thank you? For what? What am I supposed to do now?

  ELI

  Whatever you want. That’s what being free is.

  SOLARA

  Whatever I want. Except go with you.

  65.

  ELI

  I have to get where I’m going. I can’t be worrying about someone else along the way.

  Solara is incredibly hurt by this. Blinks back a tear.

  SOLARA

  I thought you were my friend.

  BEAT. Eli stops and turns back to face her.

  ELI

  It’s dangerous in the outland. I wouldn’t want you to get hurt.

  SOLARA

  I’ll be safe so long as I’m with you. I know it.

  Eli sighs. He’s not getting through to her. So now comes the harsh truth of it:

  ELI

  You don’t want this life. I gotta do what I gotta do. Don’t have no choice in it. But you do. And I can’t let you choose this. You don’t want to be like me. You don’t want to spend your life alone.

  Solara steps closer, her eyes pleading.

  SOLARA

  If I came with you, I wouldn’t be alone. And neither would you.

  A long BEAT as Eli considers this. For a moment it appears as though Solara might have won him over. But then: ELI

  I’m sorry. Look, maybe it’s best you just go on back to town.

  He turns and walks off, leaving her in the road. She stands there, furious, screaming at his back as he walks away.

  SOLARA

  Fine! I’ll do just that! I had a life there! A family! I didn’t ask you to save me! I didn’t ask you for anything!

  66.

  He doesn’t turn or acknowledge her at all. Just keeps walking off into the horizon. Getting smaller all the time.

  Solara stands there in the road, weeping. All alone.

  SOLARA

  (softly)

  Fine.

  She turns and walks back in the direction she came.

  EXT. DESERT TOWN - BARNYARD - DAY

  A small, penned-in area to the rear of the Palladium containing an eclectic bunch of farmyard animals. Goats, sheep, geese, pigs. Mostly mangy, sad-looking specimens.

  Carnegie stands in the yard, tossing handfuls of animal feed from a nearby sack onto the ground. He watches with satisfaction as the animals gather at his feet to feed.

  Claudia emerges from the theater with an ice-pack.

  CARNEGIE

  Thank you, darling.

  Carnegie applies it to his jaw, red and swollen from Eli’s pistol-whip. Redridge appears nearby, his arm in a sling.

  REDRIDGE

  He killed four of my men and walked out of town without a scratch. They shot off a hundred rounds at him and he didn’t get hit once. I never even heard of anything like that.

  Carnegie doesn’t appear to be listening. He is lost in a world of his own as he tends to the farm animals.

  CARNEGIE

  You know, I always thought of myself as a shepherd. Bringing together the wayward and the lost.

  Tending to my flock. But all the things I want to do, I can’t do them on my own. The one thing I’ve needed is the one thing that’s always been missing. Then one day it walks right into town - so close I can almost touch it - and then walks right on out again.

  Carnegie finally looks up from his animals, at Redridge.

  67.

  CARNEGIE

  I want you to put a crew together and go out after him.

  REDRIDGE

  He’s not going to work for you. I think he’s made that plain.

  CARNEGIE

  I’m not interested in him any more.

  I only want the book he’s carrying.

  REDRIDGE

  If I’m gonna risk my ass hunting down this maniac in the outland, I need to know it’s gonna be worth it. I need to know what’s so special about this goddamn book.

  BEAT as Carnegie considers this.

  CARNEGIE

  You have no idea. You’re too young, you don’t remember the world before. But I do. I remember.

  He turns back to his animals, summoning up old memories.

  CARNEGIE

  When I was a kid my parents used to read that book every goddamn day.

  My mother, she’d read it along with this smooth-talking preacher on the TV screen. They used to be able to beam these guys right into your house, into every house in the world, through the air. Like magic.

  (beat)

  She worked two jobs and she sent every spare penny she had to that fucking guy on the TV. My old man, he’d read that book, then he’d get liquored up and kick my ass, tell me all about the power and the glory and how I was going to burn forever in hell for the sins I was born with. He made sure he beat it into me good.

  He snaps out of his reverie and looks at Redridge.