Lauren McLaughlin
In the mid-nineties I joined Mike Paseornek in launching Lionsgate Films. While there I produced American Psycho, Buffalo '66, and several others. I've had three screenplays produced: Hypercube (the sequel to the cult hit, Cube), Prisoner of Love (starring Naomi Campbell and Eric Thal), and Specimen (starring Mark Paul Gosselaar). I also wrote the animated Halloween special, Goblin Jack for Cinegroup Animation studios and the award-winning web series, Maatkara and Chi-Chian for scifi.com. During a hiatus from the film industry to raise my daughter, I published five novels and three children's books. Since returning to the industry in 2020, I have written and directed three award-winning short films: The Long Game (winner of Best First Time Director and Best Drama at Indie X Film Festival in LA), Gotcha! (short-listed for a NextUp Comedy Shorts Award), and Free (winner of Best UK Short at London Independent Film Festival, as well as Best Director and Outstanding Achievement at Indie Shorts Fest in LA).
London (Greater London)
Jill Grinberg
Jill Grinberg Literary Management
Jill@JillGrinbergLiterary.com
+1 212-620-5883
Jill Grinberg Literary Management
Jill@JillGrinbergLiterary.com
+1 212-620-5883
Hypercube (feature film) directed by Andrzej Sekula for GhostLogic|Lionsgate
Prisoner of Love (feature film) directed by Steve DiMarco for Lionsgate
Specimen (feature film) directed by John Bradshaw for Now Entertainment
Goblin Jack (animated Halloween special) for Cinegroup Animation Studios
Maatkara (web series) directed by Dawit Lessanu for scifi.com
Chi-Chian (web series) directed by Voltaire for scifi.com
Cycler (young adult novel) published by Random House
(Re)Cycler (young adult novel) published by Random House
Scored (young adult novel) published by Random House
The Free (young adult novel) published by Soho Press
Send Pics (young adult novel) published by Dottir Press
Mitzi Tulane Pre-school Detective in What's That Smell!? (children's book) published by Random House
Mitzi Tulane Pre-school Detective in The Secret Ingredient (children's book) published by Random House
Wonderful You (children's book) published by Random House
"Sheila" (short story) published in Interzone and Year's Best SF
"The Perfect Man" (short story) published on Salon.com
"New York City Versus The World" published in Sybil's Garage
Prisoner of Love (feature film) directed by Steve DiMarco for Lionsgate
Specimen (feature film) directed by John Bradshaw for Now Entertainment
Goblin Jack (animated Halloween special) for Cinegroup Animation Studios
Maatkara (web series) directed by Dawit Lessanu for scifi.com
Chi-Chian (web series) directed by Voltaire for scifi.com
Cycler (young adult novel) published by Random House
(Re)Cycler (young adult novel) published by Random House
Scored (young adult novel) published by Random House
The Free (young adult novel) published by Soho Press
Send Pics (young adult novel) published by Dottir Press
Mitzi Tulane Pre-school Detective in What's That Smell!? (children's book) published by Random House
Mitzi Tulane Pre-school Detective in The Secret Ingredient (children's book) published by Random House
Wonderful You (children's book) published by Random House
"Sheila" (short story) published in Interzone and Year's Best SF
"The Perfect Man" (short story) published on Salon.com
"New York City Versus The World" published in Sybil's Garage
Animation, Childrens writing, Comedy, Film, Short story, Television, Videogames
1
Fade in.
ANIMATED SEQUENCE
An antique map of the United States cerca 1861.
JACK DOONE (V.O.)
Civil War.
As we PUSH IN, the map animates into detailed images of famous Civil War battles.
Bull Run. Shiloh. Antietam.
JACK DOONE (V.O.)
Barbarous.
Cannons roar. Soldiers exchange musket volleys. Cavalries surge. Hand-to-hand combat.
Finally we arrive at Gettysburg. The aftermath of a devastating battle.
JACK DOONE (V.O.)
Merciless.
MOVING over to Cemetery Hill. Thousands of crosses.
JACK DOONE (V.O.)
Heartbreaking.
ABRAHAM LINCOLN delivers the Gettysburg Address.
MOVING TO A Confederate Battlefield Hospital.
A Confederate Soldier, his head bandaged, limps out of a tent leaning heavily on a single crutch. This is AMORY ADAMS, twenties. He surveys the carnage all around him.
JACK DOONE (V.O.)
But where some see only tragedy...
PUSHING IN TO ADAMS’ EYES, haunted.
THEN PULLING OUT FROM HIS EYES. Seven years later.
The bandage is gone from his head. The eyes are no longer haunted. They’re determined.
JACK DOONE (V.O.)
...others see opportunity.
Adams, dressed now in a Texas-style business suit, shakes the hand of a NORTHERN BUSINESSMAN seen only in silhouette.
And now Amory Adams is aboard a ship crossing the Atlantic.
A MAP traces his journey East to Japan where...
Another Civil War rages.
As we PUSH IN, the map animates into detailed images of famous battles.
Toba-Fushimi. Awa. Aizu.
JACK DOONE (V.O.)
There is no changing human nature.
Cannons roar. Cavalries exchange musket volleys. Samurai engage in hand-to-hand combat with Meiji forces.
JACK DOONE (V.O.)
We will fight.
Finally we arrive at Hakodate Bay as the last of the Samurai succumb to the superior firepower of the Meiji forces.
JACK DOONE (V.O.)
Blood will spill.
A line of captured, bloodied Samurai walk through a street as citizens loyal to the Meiji Emperor throw stones at them.
Beyond them, out on Hakodate Bay, Japanese warships are on fire.
JACK DOONE (V.O.)
And out of the ashes of a dying world...
ON LORD MATSUYAMA’S GRAND PAGODA-STYLE CASTLE by the bay.
JACK DOONE (V.O.)
... springs a new world.
AND NOW WE SHIFT TO LIVE ACTION
INT. LORD MATSUYAMA’S CASTLE - STATE ROOM - DAY
A bright, airy room, six floors up.
JACK DOONE (V.O)
Rich with promise.
Gleaming, polished cypress floors.
Walls covered in Japanese art--scenes of pastoral beauty, inset with gold leaf.
JACK DOONE (V.O.)
And ripe for the picking.
LORD MATSUYAMA stands at a window watching the Japanese warships burn in Hakkodate Bay. A haughty, dignified man of 70 years, he wears the formal ceremonial robe of his Daimyo status in bright green satin.
His hand rests on a ceremonial katana (long sword) in a red lacquer and gold sheath, tucked into his belt. Next to it is a sheathed wakizashi (shorter sword).
Matsuyama is silent, stoic, the inevitability of defeat etched on his face.
SAMURAI ITO KOJIRO enters, fresh from battle, a bleeding--but not fatal--head wound hastily bandaged. Ito wears lightweight Samurai armour, made of flexible leather and iron plates. He too wears the sheathed katana and wakizashi swords in his belt.
NOTE: Ito and Matsuyama’s dialog will be in Japanese with English subtitles.
ITO
We’re outnumbered, my Lord. There’s little time before the walls are breached. We must leave now while the French can still give us safe passage.
Matsuyama remains staring out the window.
ITO
My Lord?
MATSUYAMA
(still staring out the window)
I am expecting a visitor. Prepare the horses and wait for me.
ITO
As you wish, my Lord.
Ito bows deeply and leaves.
Matsuyama never even looks at him.
INT. LORD MATSUYAMA’S CASTLE - HALLWAY - DAY
As Ito makes a hasty exit to get the horses, he turns to see...
Amory Adams walking with an elegant cane toward Matsuyama’s stateroom.
Curious, Ito ducks into...
INT. LORD MATSUYAMA'S CASTLE - ADJOINING ROOM - DAY
Ito enters and listens through a rice paper screen.
INT. LORD MATSUYAMA'S CASTLE - STATE ROOM - DAY
Matsuyama is still looking through the window stoically as Adams enters.
AMORY ADAMS
(Adams speaks with a thick Texan accent)
Lord Matsuyama.
After a beat, Matsuyama turns to him.
Adams bows deeply.
AMORY ADAMS
I bring greetings from the Great West Corporation.
Silently, Matsuyama leaves his station at the window and sits on a cushion in front of a low table. Impassive, remote.
Adams remains standing.
AMORY ADAMS
As a leader of great foresight, you are to be congratulated on joining us in this new era of prosperity.
INT. LORD MATSUYAMA'S CASTLE - ADJOINING ROOM - DAY
Ito watches the silhouette of the two men through a Shoji screen.
INT. LORD MATSUYAMA'S CASTLE - STATE ROOM - DAY
Despite Adams’ obsequiousness, Matsuyama remains stoic, disdainful.
MATSUYAMA
Do you have the money, Mr. Adams?
AMORY ADAMS
If you will, Sir, I have something better.
Adams removes a snow globe from behind his back and extends it toward Matsuyama.
MATSUYAMA
What is this?
AMORY ADAMS
Opportunity.
Adams shakes the globe, which causes tiny snowflakes to fall over a miniature factory building.
AMORY ADAMS
That there is a garment factory in New York City.
Adams places the snow globe on the table in front of Matsuyama.
MATSUYAMA
You bring me toys?
AMORY ADAMS
No sir. In exchange for your lands, we’re prepared to make you co-owner of this factory.
Matsuyama narrows his eyes in barely-controlled anger.
MATSUYAMA
You must think I’m a fool.
AMORY ADAMS
I think you’re a wise man who saw the end coming and agreed to sell your lands to American business interests before the Meiji seized them.
MATSUYAMA
Do you have the money or not?
AMORY ADAMS
What I’m offering is the chance to triple your money.
MATSUYAMA
You insult me.
AMORY ADAMS
On the contrary, Lord Matsuyama. I’ve sailed to these shores on the good Commodore Perry’s Black Ships three times. I am a keen student and observer of your culture. That’s why the Great West Corporation sent me.
MATSUYAMA
You know nothing of our ways.
AMORY ADAMS
I know your country for what it is, Lord Matsuyama.
(after a pause)
A pompous, privileged elite living higher than the lords of medieval Europe off the backs of the poor.
INT. LORD MATSUYAMA'S CASTLE - ADJOINING ROOM - DAY
Ito listens, shocked and offended on his lord’s behalf, his hand instinctively going to his katana.
MATSUYAMA (O.S.)
Everyone has their place, Mr. Adams. And most are born to serve. It is an eternal truth.
INT. LORD MATSUYAMA'S CASTLE - STATE ROOM - DAY
Adams leans forward, politesse giving way to boldness.
AMORY ADAMS
That’s what the Southern states thought too. Until the North proved us wrong. We live in a time of great change, Lord Matsuyama. The old world is dying. The new world awaits.
MATSUYAMA
The deal is off.
AMORY ADAMS
The hell it is.
Adams pulls his six-shooter from its holster and points it at Lord Matsuyama.
INT. LORD MATSUYAMA'S CASTLE - ADJOINING ROOM - DAY
Quietly, Ito unsheaths his katana and watches their silhouettes through the Shoji screen.
INT. LORD MATSUYAMA'S CASTLE - STATE ROOM - DAY
Matsuyama rises from his cushion.
MATSUYAMA
If our country is to fall and our heritage is to burn, I will not see barbarians profit from it.
He pulls his katana (long sword) from its red lacquer and gold sheath.
INT. LORD MATSUYAMA'S CASTLE - ADJOINING ROOM
Ito flinches. Unsure whether or not to act.
The silhouette of Lord Matsuyama lunges toward the silhouette of Admas.
A gunshot RINGS OUT.
The silhouette of Lord Matsuyama freezes.
INT. LORD MATSUYAMA'S CASTLE - STATE ROOM - DAY
Hit in the chest, Matsuyama falls backwards, knocking the snow globe off the desk. It smashes on the floor.
Amory waits a moment, smoke rising from his gun.
Then he walks over to the fallen Matsuyama.
AMORY ADAMS
Damn fool. You could have lived out your days as a rich man.
He leans over and tugs the katana from Matsuyama’s fist.
He hears MOVEMENT behind the Shoji screen and turns, quick as lightning, his pistol ready.
INT. LORD MATSUYAMA'S CASTLE - ADJOINING ROOM - DAY
Ito stands with his sword at his side, frozen.
AMORY ADAMS (O.S.)
I’d advise you to stay in that hiding place. Unless you want to meet the same fate as Matsuyama here.
Ito’s hand grips the sword more tightly, but he stays put.
INT. LORD MATSUYAMA'S CASTLE - STATE ROOM - DAY
Adams bends down and roughly pulls the red lacquer and gold leaf scabbard from Matsuyama’s belt.
He then sheathes the katana and leaves with it.
When he’s gone, Ito enters from behind the screen. He rushes to Matsuyama and drops to his knees.
ITO
My lord.
MATSUYAMA
The horses. Get... the...
Matsuyama dies.
ITO
My lord!
But it’s no use. He’s gone.
Ito drops his head in sadness and deference.
Next to him are the remains of the broken snow globe.
PUSH IN to the miniature of the factory building. On it is inscribed: “The Great West Corporation.”
EXT. MASON COUNTY, TEXAS - DAY
ON A BROWN LEATHER-GLOVED HAND holding the miniature factory building from the snow globe, the words “Great West Corporation” etched into its side.
P
ULL BACK TO REVEAL ITO, dressed now in Western attire--a beige shirt, brown trousers, and a wide-brimmed hat. His katana and wakizashi swords sheathed and tucked into his belt.
He sits on a white quarter horse in a vast Texas grassland.
The late afternoon sun bakes the hard packed dirt.
SUPERTITLE: 1876. MASON COUNTY, TEXAS, SEVEN YEARS LATER
Ito stares at the miniature factory building in his hand, focusing his rage, his sense of purpose.
Then he stows it in his brown leather saddle bag, grabs the reins and rides on.
EXT. MASON COUNTY FOOTHILLS - LATE AFTERNOON
The sun is lower as Ito rides at a steady canter toward a low range of hills.
About a quarter mile away, two men on horseback approach, backlit by the afternoon sun.
Ito stops and waits for them, maintaining a non-threatening posture.
The two men, FREDDIE and JED KLEESBACK, approach, one hand on the reins, one hand on their pistols. Their faces are dirty, their eyes hard.
ITO
Good afternoon, Gentlemen.
Freddie stops six feet in front of Ito, while Jed circles Ito slowly, eyeballing his horse, his saddle bag, his swords.
FREDDIE
You ain’t from round here, are ya, fella?
ITO
No sir. I’m looking for a man named Amory Adams.
FREDDIE
Amory Adams, huh? You hear that, Jed? Man says he’s looking for Amory Adams.
Jed completes his circle and brings his horse next to Freddie’s.
JED
I ain’t deaf.
ITO
Are either of you acquainted with him?
FREDDIE
Could be we are. Could be we ain’t. What’s he to you?
ITO
I have business with Mr. Adams.
Ito’s hand instinctively goes to his katana.
Freddie and Jed both notice this.
FREDDIE
Business, huh?
Freddie looks at Jed, who nods knowingly.
FREDDIE
Well as it turns out, we have business to conduct as well. With you.
In practiced synchronicity, Freddie and Jed pull out their pistols and point them at Ito.
FREDDIE
Hands in the air, Chinaman.
ITO
I am not Chinese.
FREDDIE
You ain’t gonna be livin’ no more you don’t do what I tell ya.
Freddie cocks his gun.
Ito reluctantly puts his hands in the air.
Freddie nods to Jed.
Jed dismounts, removes Ito’s saddlebag and dumps out its contents. Some clothes, a water flask, a blanket, and the miniature factory building fall to the dusty ground.
FREDDIE
Where do you keep your cash, Chinaman?
Ito stares back, unmoving.
Jed sees a small bag tied to Ito’s waist. He pulls at it.
Just then a SHOT RINGS OUT.
A bullet hits the dirt right at Jed’s feet.
Up in the foothills, A VOICE.
CAPTAIN HARDING (O.S.)
Drop your weapons!
Freddie aims his pistol in the direction of the voice and FIRES.
The unseen Captain Harding returns fire. This time hitting Freddie in his shooting arm.
Freddie’s horse rears and knocks him to the ground.
Jed scrambles to hide behind Ito’s horse.
FREDDIE
I’m hit, Jed. Goddamn it. I’m hit.
JED
How many are there?
CAPTAIN HARDING (O.S.)
By the order of the Texas Rangers, drop your weapons.
With his uninjured left hand Freddie reaches for his gun, which has fallen behind him.
Another SHOT RINGS OUT and hits the ground right by his gun.
Freddie rolls away from it.
Ito, hands still raised, looks up into the foothills where CAPTAIN REID HARDING stands up from behind a rock, pointing his rifle down at them. Cowboy boots, jeans, a white open-collar shirt, red braces and a Stetson hat. His Texas Ranger badge is pinned to his left breast. On his belt is a holstered Colt Walker pistol, though Harding prefers the rifle for this particular assignment.
CAPTAIN HARDING
That was your last warning!
Jed throws his gun away.
LIEUTENANT JIMMY REEVES appears now on a black quarter horse rounding the bend of the foothills.
Reeves dismounts and picks up the two guns.
Captain Harding arrives now on a dark brown quarter horse. He gives Ito a long scrutinizing look.
CAPTAIN HARDING
You hurt?
ITO
No sir.
CAPTAIN HARDING
You can pick up your belongings.
Ito dismounts and stuffs his belongings back into the saddle bag while Lieutenant Reese and Captain Harding handcuff Freddie and Jed.
Captain Harding has a quiet word with Lieutenant Reeves, then approaches Ito.
CAPTAIN HARDING
You have a name?
ITO
I am Ito Kojiro.
CAPTAIN HARDING
Captain Reid Harding. A pleasure to make your acquaintance. Where you from, Mr. Kojiro?
ITO
Hokkaido Prefecture, Japan.
CAPTAIN HARDING
And those swords in your belt? Are they decorative?
ITO
No sir.
CAPTAIN HARDING
Are they for defensive purposes?
ITO
My katana and my wakizashi are instruments of justice.
CAPTAIN HARDING
Justice? You some kind of lawman?
ITO
I am a Samurai and loyal retainer to Lord Matsuyama, esteemed Daimyo of Hokkaido.
Captain Harding doesn’t fully understand what this means.
Not far away, Lieutenant Reeves ties the bandits’ two horses to his own.
CAPTAIN HARDING
What brings you to Texas, Mr. Kojiro? If you don’t mind my asking.
ITO
I do not mind at all, Captain. I seek justice for my lord Matsuyama, who was murdered by the coward Amory Adams.
CAPTAIN HARDING
Was he murdered in Texas?
ITO
No.
CAPTAIN HARDING
Then we might have a problem, my friend. Because you see, in the Great State of Texas, we’re the law.
Harding points to his badge.
ITO
The Texas Rangers. I know of your works. Your reputation is great indeed.
CAPTAIN HARDING
Well that’s awful nice to hear, Mr. Kojiro. Now correct me if I’m wrong but what you’re describing sounds an awful lot like a blood feud. And we don’t allow that sort of thing any more. Perhaps you haven’t heard, Texas is civilized now.
Just then, Lieutenant Reeves approaches with the two bandits tied to each other and their horses.
LIEUTENANT REEVES
I can either run these two vermin into town or leave them to the vultures. What’s it to be, Captain?
He’s joking. Sort of.
Captain Harding looks West to the horizon where a trail of smoke appears.
CAPTAIN HARDING
You take them into town. I’ll head on to the Tait ranch.
LIEUTENANT REEVES
I reckon you shouldn’t head there on your own, Captain. Looks like trouble’s well underway.
Captain Harding regards the smoke in the distance, then looks at Ito.
CAPTAIN HARDING
Lawman from Japan, you say?
ANIMATED SEQUENCE
An antique map of the United States cerca 1861.
JACK DOONE (V.O.)
Civil War.
As we PUSH IN, the map animates into detailed images of famous Civil War battles.
Bull Run. Shiloh. Antietam.
JACK DOONE (V.O.)
Barbarous.
Cannons roar. Soldiers exchange musket volleys. Cavalries surge. Hand-to-hand combat.
Finally we arrive at Gettysburg. The aftermath of a devastating battle.
JACK DOONE (V.O.)
Merciless.
MOVING over to Cemetery Hill. Thousands of crosses.
JACK DOONE (V.O.)
Heartbreaking.
ABRAHAM LINCOLN delivers the Gettysburg Address.
MOVING TO A Confederate Battlefield Hospital.
A Confederate Soldier, his head bandaged, limps out of a tent leaning heavily on a single crutch. This is AMORY ADAMS, twenties. He surveys the carnage all around him.
JACK DOONE (V.O.)
But where some see only tragedy...
PUSHING IN TO ADAMS’ EYES, haunted.
THEN PULLING OUT FROM HIS EYES. Seven years later.
The bandage is gone from his head. The eyes are no longer haunted. They’re determined.
JACK DOONE (V.O.)
...others see opportunity.
Adams, dressed now in a Texas-style business suit, shakes the hand of a NORTHERN BUSINESSMAN seen only in silhouette.
And now Amory Adams is aboard a ship crossing the Atlantic.
A MAP traces his journey East to Japan where...
Another Civil War rages.
As we PUSH IN, the map animates into detailed images of famous battles.
Toba-Fushimi. Awa. Aizu.
JACK DOONE (V.O.)
There is no changing human nature.
Cannons roar. Cavalries exchange musket volleys. Samurai engage in hand-to-hand combat with Meiji forces.
JACK DOONE (V.O.)
We will fight.
Finally we arrive at Hakodate Bay as the last of the Samurai succumb to the superior firepower of the Meiji forces.
JACK DOONE (V.O.)
Blood will spill.
A line of captured, bloodied Samurai walk through a street as citizens loyal to the Meiji Emperor throw stones at them.
Beyond them, out on Hakodate Bay, Japanese warships are on fire.
JACK DOONE (V.O.)
And out of the ashes of a dying world...
ON LORD MATSUYAMA’S GRAND PAGODA-STYLE CASTLE by the bay.
JACK DOONE (V.O.)
... springs a new world.
AND NOW WE SHIFT TO LIVE ACTION
INT. LORD MATSUYAMA’S CASTLE - STATE ROOM - DAY
A bright, airy room, six floors up.
JACK DOONE (V.O)
Rich with promise.
Gleaming, polished cypress floors.
Walls covered in Japanese art--scenes of pastoral beauty, inset with gold leaf.
JACK DOONE (V.O.)
And ripe for the picking.
LORD MATSUYAMA stands at a window watching the Japanese warships burn in Hakkodate Bay. A haughty, dignified man of 70 years, he wears the formal ceremonial robe of his Daimyo status in bright green satin.
His hand rests on a ceremonial katana (long sword) in a red lacquer and gold sheath, tucked into his belt. Next to it is a sheathed wakizashi (shorter sword).
Matsuyama is silent, stoic, the inevitability of defeat etched on his face.
SAMURAI ITO KOJIRO enters, fresh from battle, a bleeding--but not fatal--head wound hastily bandaged. Ito wears lightweight Samurai armour, made of flexible leather and iron plates. He too wears the sheathed katana and wakizashi swords in his belt.
NOTE: Ito and Matsuyama’s dialog will be in Japanese with English subtitles.
ITO
We’re outnumbered, my Lord. There’s little time before the walls are breached. We must leave now while the French can still give us safe passage.
Matsuyama remains staring out the window.
ITO
My Lord?
MATSUYAMA
(still staring out the window)
I am expecting a visitor. Prepare the horses and wait for me.
ITO
As you wish, my Lord.
Ito bows deeply and leaves.
Matsuyama never even looks at him.
INT. LORD MATSUYAMA’S CASTLE - HALLWAY - DAY
As Ito makes a hasty exit to get the horses, he turns to see...
Amory Adams walking with an elegant cane toward Matsuyama’s stateroom.
Curious, Ito ducks into...
INT. LORD MATSUYAMA'S CASTLE - ADJOINING ROOM - DAY
Ito enters and listens through a rice paper screen.
INT. LORD MATSUYAMA'S CASTLE - STATE ROOM - DAY
Matsuyama is still looking through the window stoically as Adams enters.
AMORY ADAMS
(Adams speaks with a thick Texan accent)
Lord Matsuyama.
After a beat, Matsuyama turns to him.
Adams bows deeply.
AMORY ADAMS
I bring greetings from the Great West Corporation.
Silently, Matsuyama leaves his station at the window and sits on a cushion in front of a low table. Impassive, remote.
Adams remains standing.
AMORY ADAMS
As a leader of great foresight, you are to be congratulated on joining us in this new era of prosperity.
INT. LORD MATSUYAMA'S CASTLE - ADJOINING ROOM - DAY
Ito watches the silhouette of the two men through a Shoji screen.
INT. LORD MATSUYAMA'S CASTLE - STATE ROOM - DAY
Despite Adams’ obsequiousness, Matsuyama remains stoic, disdainful.
MATSUYAMA
Do you have the money, Mr. Adams?
AMORY ADAMS
If you will, Sir, I have something better.
Adams removes a snow globe from behind his back and extends it toward Matsuyama.
MATSUYAMA
What is this?
AMORY ADAMS
Opportunity.
Adams shakes the globe, which causes tiny snowflakes to fall over a miniature factory building.
AMORY ADAMS
That there is a garment factory in New York City.
Adams places the snow globe on the table in front of Matsuyama.
MATSUYAMA
You bring me toys?
AMORY ADAMS
No sir. In exchange for your lands, we’re prepared to make you co-owner of this factory.
Matsuyama narrows his eyes in barely-controlled anger.
MATSUYAMA
You must think I’m a fool.
AMORY ADAMS
I think you’re a wise man who saw the end coming and agreed to sell your lands to American business interests before the Meiji seized them.
MATSUYAMA
Do you have the money or not?
AMORY ADAMS
What I’m offering is the chance to triple your money.
MATSUYAMA
You insult me.
AMORY ADAMS
On the contrary, Lord Matsuyama. I’ve sailed to these shores on the good Commodore Perry’s Black Ships three times. I am a keen student and observer of your culture. That’s why the Great West Corporation sent me.
MATSUYAMA
You know nothing of our ways.
AMORY ADAMS
I know your country for what it is, Lord Matsuyama.
(after a pause)
A pompous, privileged elite living higher than the lords of medieval Europe off the backs of the poor.
INT. LORD MATSUYAMA'S CASTLE - ADJOINING ROOM - DAY
Ito listens, shocked and offended on his lord’s behalf, his hand instinctively going to his katana.
MATSUYAMA (O.S.)
Everyone has their place, Mr. Adams. And most are born to serve. It is an eternal truth.
INT. LORD MATSUYAMA'S CASTLE - STATE ROOM - DAY
Adams leans forward, politesse giving way to boldness.
AMORY ADAMS
That’s what the Southern states thought too. Until the North proved us wrong. We live in a time of great change, Lord Matsuyama. The old world is dying. The new world awaits.
MATSUYAMA
The deal is off.
AMORY ADAMS
The hell it is.
Adams pulls his six-shooter from its holster and points it at Lord Matsuyama.
INT. LORD MATSUYAMA'S CASTLE - ADJOINING ROOM - DAY
Quietly, Ito unsheaths his katana and watches their silhouettes through the Shoji screen.
INT. LORD MATSUYAMA'S CASTLE - STATE ROOM - DAY
Matsuyama rises from his cushion.
MATSUYAMA
If our country is to fall and our heritage is to burn, I will not see barbarians profit from it.
He pulls his katana (long sword) from its red lacquer and gold sheath.
INT. LORD MATSUYAMA'S CASTLE - ADJOINING ROOM
Ito flinches. Unsure whether or not to act.
The silhouette of Lord Matsuyama lunges toward the silhouette of Admas.
A gunshot RINGS OUT.
The silhouette of Lord Matsuyama freezes.
INT. LORD MATSUYAMA'S CASTLE - STATE ROOM - DAY
Hit in the chest, Matsuyama falls backwards, knocking the snow globe off the desk. It smashes on the floor.
Amory waits a moment, smoke rising from his gun.
Then he walks over to the fallen Matsuyama.
AMORY ADAMS
Damn fool. You could have lived out your days as a rich man.
He leans over and tugs the katana from Matsuyama’s fist.
He hears MOVEMENT behind the Shoji screen and turns, quick as lightning, his pistol ready.
INT. LORD MATSUYAMA'S CASTLE - ADJOINING ROOM - DAY
Ito stands with his sword at his side, frozen.
AMORY ADAMS (O.S.)
I’d advise you to stay in that hiding place. Unless you want to meet the same fate as Matsuyama here.
Ito’s hand grips the sword more tightly, but he stays put.
INT. LORD MATSUYAMA'S CASTLE - STATE ROOM - DAY
Adams bends down and roughly pulls the red lacquer and gold leaf scabbard from Matsuyama’s belt.
He then sheathes the katana and leaves with it.
When he’s gone, Ito enters from behind the screen. He rushes to Matsuyama and drops to his knees.
ITO
My lord.
MATSUYAMA
The horses. Get... the...
Matsuyama dies.
ITO
My lord!
But it’s no use. He’s gone.
Ito drops his head in sadness and deference.
Next to him are the remains of the broken snow globe.
PUSH IN to the miniature of the factory building. On it is inscribed: “The Great West Corporation.”
EXT. MASON COUNTY, TEXAS - DAY
ON A BROWN LEATHER-GLOVED HAND holding the miniature factory building from the snow globe, the words “Great West Corporation” etched into its side.
P
ULL BACK TO REVEAL ITO, dressed now in Western attire--a beige shirt, brown trousers, and a wide-brimmed hat. His katana and wakizashi swords sheathed and tucked into his belt.
He sits on a white quarter horse in a vast Texas grassland.
The late afternoon sun bakes the hard packed dirt.
SUPERTITLE: 1876. MASON COUNTY, TEXAS, SEVEN YEARS LATER
Ito stares at the miniature factory building in his hand, focusing his rage, his sense of purpose.
Then he stows it in his brown leather saddle bag, grabs the reins and rides on.
EXT. MASON COUNTY FOOTHILLS - LATE AFTERNOON
The sun is lower as Ito rides at a steady canter toward a low range of hills.
About a quarter mile away, two men on horseback approach, backlit by the afternoon sun.
Ito stops and waits for them, maintaining a non-threatening posture.
The two men, FREDDIE and JED KLEESBACK, approach, one hand on the reins, one hand on their pistols. Their faces are dirty, their eyes hard.
ITO
Good afternoon, Gentlemen.
Freddie stops six feet in front of Ito, while Jed circles Ito slowly, eyeballing his horse, his saddle bag, his swords.
FREDDIE
You ain’t from round here, are ya, fella?
ITO
No sir. I’m looking for a man named Amory Adams.
FREDDIE
Amory Adams, huh? You hear that, Jed? Man says he’s looking for Amory Adams.
Jed completes his circle and brings his horse next to Freddie’s.
JED
I ain’t deaf.
ITO
Are either of you acquainted with him?
FREDDIE
Could be we are. Could be we ain’t. What’s he to you?
ITO
I have business with Mr. Adams.
Ito’s hand instinctively goes to his katana.
Freddie and Jed both notice this.
FREDDIE
Business, huh?
Freddie looks at Jed, who nods knowingly.
FREDDIE
Well as it turns out, we have business to conduct as well. With you.
In practiced synchronicity, Freddie and Jed pull out their pistols and point them at Ito.
FREDDIE
Hands in the air, Chinaman.
ITO
I am not Chinese.
FREDDIE
You ain’t gonna be livin’ no more you don’t do what I tell ya.
Freddie cocks his gun.
Ito reluctantly puts his hands in the air.
Freddie nods to Jed.
Jed dismounts, removes Ito’s saddlebag and dumps out its contents. Some clothes, a water flask, a blanket, and the miniature factory building fall to the dusty ground.
FREDDIE
Where do you keep your cash, Chinaman?
Ito stares back, unmoving.
Jed sees a small bag tied to Ito’s waist. He pulls at it.
Just then a SHOT RINGS OUT.
A bullet hits the dirt right at Jed’s feet.
Up in the foothills, A VOICE.
CAPTAIN HARDING (O.S.)
Drop your weapons!
Freddie aims his pistol in the direction of the voice and FIRES.
The unseen Captain Harding returns fire. This time hitting Freddie in his shooting arm.
Freddie’s horse rears and knocks him to the ground.
Jed scrambles to hide behind Ito’s horse.
FREDDIE
I’m hit, Jed. Goddamn it. I’m hit.
JED
How many are there?
CAPTAIN HARDING (O.S.)
By the order of the Texas Rangers, drop your weapons.
With his uninjured left hand Freddie reaches for his gun, which has fallen behind him.
Another SHOT RINGS OUT and hits the ground right by his gun.
Freddie rolls away from it.
Ito, hands still raised, looks up into the foothills where CAPTAIN REID HARDING stands up from behind a rock, pointing his rifle down at them. Cowboy boots, jeans, a white open-collar shirt, red braces and a Stetson hat. His Texas Ranger badge is pinned to his left breast. On his belt is a holstered Colt Walker pistol, though Harding prefers the rifle for this particular assignment.
CAPTAIN HARDING
That was your last warning!
Jed throws his gun away.
LIEUTENANT JIMMY REEVES appears now on a black quarter horse rounding the bend of the foothills.
Reeves dismounts and picks up the two guns.
Captain Harding arrives now on a dark brown quarter horse. He gives Ito a long scrutinizing look.
CAPTAIN HARDING
You hurt?
ITO
No sir.
CAPTAIN HARDING
You can pick up your belongings.
Ito dismounts and stuffs his belongings back into the saddle bag while Lieutenant Reese and Captain Harding handcuff Freddie and Jed.
Captain Harding has a quiet word with Lieutenant Reeves, then approaches Ito.
CAPTAIN HARDING
You have a name?
ITO
I am Ito Kojiro.
CAPTAIN HARDING
Captain Reid Harding. A pleasure to make your acquaintance. Where you from, Mr. Kojiro?
ITO
Hokkaido Prefecture, Japan.
CAPTAIN HARDING
And those swords in your belt? Are they decorative?
ITO
No sir.
CAPTAIN HARDING
Are they for defensive purposes?
ITO
My katana and my wakizashi are instruments of justice.
CAPTAIN HARDING
Justice? You some kind of lawman?
ITO
I am a Samurai and loyal retainer to Lord Matsuyama, esteemed Daimyo of Hokkaido.
Captain Harding doesn’t fully understand what this means.
Not far away, Lieutenant Reeves ties the bandits’ two horses to his own.
CAPTAIN HARDING
What brings you to Texas, Mr. Kojiro? If you don’t mind my asking.
ITO
I do not mind at all, Captain. I seek justice for my lord Matsuyama, who was murdered by the coward Amory Adams.
CAPTAIN HARDING
Was he murdered in Texas?
ITO
No.
CAPTAIN HARDING
Then we might have a problem, my friend. Because you see, in the Great State of Texas, we’re the law.
Harding points to his badge.
ITO
The Texas Rangers. I know of your works. Your reputation is great indeed.
CAPTAIN HARDING
Well that’s awful nice to hear, Mr. Kojiro. Now correct me if I’m wrong but what you’re describing sounds an awful lot like a blood feud. And we don’t allow that sort of thing any more. Perhaps you haven’t heard, Texas is civilized now.
Just then, Lieutenant Reeves approaches with the two bandits tied to each other and their horses.
LIEUTENANT REEVES
I can either run these two vermin into town or leave them to the vultures. What’s it to be, Captain?
He’s joking. Sort of.
Captain Harding looks West to the horizon where a trail of smoke appears.
CAPTAIN HARDING
You take them into town. I’ll head on to the Tait ranch.
LIEUTENANT REEVES
I reckon you shouldn’t head there on your own, Captain. Looks like trouble’s well underway.
Captain Harding regards the smoke in the distance, then looks at Ito.
CAPTAIN HARDING
Lawman from Japan, you say?