Quantity: 1 available
1970's through circa 2006. . Very good. DEVELOPMENT OF A RUDY WURLITZER MASTERPIECE FROM "ZEBULON" TO "THE DROP EDGE OF YONDER" INCLUDING A DETOUR TO "DEAD MAN" - An archive of source material which follows the development of Rudy Wurlitzer's novel "The Drop Edge of Yonder" from its original conception as a Western movie. The film script was initially titled "Dead or Alive" and subsequently "Zebulon" by Wurlitzer. For a few brief weeks when he sought to collaborate with the indie film maker Jim Jarmusch on the project, it was titled "Ghost Dog". As much of the material is undated, it is difficult to place it into any real chronology, except perhaps by making assumptions that those screenplays and manuscripts with different titles than the finished product preceded the screenplays titled "Zebulon" and drafts of the novel titled "The Drop Edge of Yonder". Though the early scripts differ, the story eventually revolves around the character of Zebulon, a mountain man who early on is shot in the heart and lives on borrowed time until, in the final act, he sets off lying in a canoe in a scene reminiscent of Arthur floating off to Avalon. Included in this archive are 11 drafts of the screenplay eventually titled "Zebulon" (aka "Dead or Alive") by Rudy Wurlitzer. Of these, a first typescript, bound in a light green stiff binder stamped "Screenplay by Rudolph Wurlitzer" is titled "An Original Screenplay (Untitled) First Draft by Rudolph Wurlitzer". The 97 page typescript's first page opens with the following setting: "Cut from Black. A white schooner with golden sails anchors off a mountainous coast. On her prow is carved a maiden holding two swords across her chest. Directly in front of the Schooner is a large estuary, where three rivers join to meet the sea. In back of the estuary rise the snow capped mountains of a vast wilderness." Described by Rudy Wurlitzer in a one-page synopsis, this screenplay and a few subsequent ones is quite different than the version which he later titled "Zebulon". This, and three more copies of the screenplay now titled "Beyond the Mountain", is described as "an action adventure story set in the far west in the nineteenth century. It is a mystical journey of a brother and sister - Sara and Satchel Killbuck - who lose their parents in a sudden devastating raid on their remote mountain Trading Post. The killers are a strange mix of Asian and European Pirates who steal a box hidden in the fireplace by Ma Killbuck and her Chinese cook. Sara and Satchel, young and inexperienced, enlist the help of a half breed trapper - Pawnee Sam - to revenge their parent's murder. Pawnee Sam, not caring about revenge, is obsessed with the idea that the box holds a fortune in gold". Zebulon himself makes a late appearance in these early scripts and, though the story is quite different than later versions, several characters reappear throughout the different drafts as later versions take shape. A second copy of this script, this one with 104 pages, is titled "An Original Screenplay 'Behind the Mountain' by Rudolph Wurlitzer". Bound in a torn orange binder, the following credits appear at the bottom of the title page: "Nicole Mathieu Boisvert (Canada) / Gerald Dearing (U.S.A.) / Les Productions Agora Inc...." Profuse notes are penned in ink on the first page. "Who is the central character?" is followed by a list of those who appear in the screenplay. Several questions are then penned in a column under "Schooner" questioning "which year", "period?", etc. and noting that the reference on page 68 should be to "Pawnee Sam" instead of "Zenas". By the third draft here present, this one bound in torn light blue paper wrappers, the screenplay is titled "Beyond the Mountain (Tentative Title) by Rudolph Wurlitzer". The credits at the bottom of the title page read: "Bob Rafelson / c/o B B S Productions...." This 120 page script dives right into the story. Another script, this one titled "Beyond the Mountain (Revised Script) by Rudolph Wurlitzer" bound in light brown paper wrappers is 101 pages long. These scripts are accompanied by a substantial bundle of disbound loose pages, many typed rather than mechanically reproduced, with occasional corrections in ink and blue felt. A 105-page typescript of the screenplay, now titled "The Mountains of the Heart by Rudy Wurlitzer" begins by describing the setting which will remain consistent: "Superimpose - Black Screen. 1898. Northwest Territory. William McKinley is President. War has been declared with Spain. The automobile has been invented and that strange breed known as mountain men are fast disappearing from the Western landscape". Although the setting has changed, many of the characters from the prior drafts are retained with new characters making their first appearance. The script starts with Boone Pike and Logan and ends with a view of the vast solitary ocean the morning after the "gut-shot" Boone sets off lying down in the "stern of the Canoe". The next script, a 116-page draft now titled "Dead or Alive" is bound into a red binder titled in gilt on the front cover. The credits at the bottom of the title page state: "Rudy Wurlitzer c/o Tropique Productions...." The screenplay now begins with "Zebulon Pike, a large, powerful man in his early forties, dressed in greasy buckskins, long hair flowing over his shoulders, rides through the dense shade of a redwood forest. Next to him rides his father, Solomon Pike, an ancient white-bearded figure in a beaver hat...." The screenplay ends as the camera pulls back as "Stebbins and the Captain ride into the woods..." this, after "Jason paddling a canoe out into the estuary, pulling the ceremonial canoe with the body of Zebulon lying inside, arms folded, eyes closed." Having now established his principal character, a 114-page draft is now titled "Zebulon by Rudy Wurlitzer" with "(First Draft)" penned in ink by Rudy Wurlitzer under the title. This draft starts with "A small stream in the high mountains surrounded by Douglas Fir. Zebulon Pike, a large powerful man in his early forties, dressed in greasy buckskins, long hair flowing over his shoulders, sits high up in a tree. His father, Solomon Pike, stands looking up at him...." At the conclusion, as with the prior draft Jason paddles out pulling a canoe within which is laid Zebulon's body and "Stebbins and the Captain ride into the woods as: The camera pulls back". A 95-page draft bound in a printed light blue "William Morris Agency" binder now includes a title page with "Zebulon" reproduced in a shaded large typographic title font above "by Rudy Wurlitzer". The setting of the story is the same but the story here starts with Zebulon sitting with his family at a rough hewn table in their crude log cabin before standing up and heading out. The language now appears more poetic and spare, as his son Jason hands the reigns up to his father: "See that gets cut up, stacked nice and neat. And fix the shakes on the roof. Mind the new foal." he tells his son. His wife Sara requesting "I want somethin' other than an ax this time. Somethin' to wear, something nice." Shortly thereafter, "Zebulon sits high up in a tree...." The end, now, also differs. To Sara's question: "But why are you leaving?" Zebulon replies "Because I want to look straight at the misty beyond when it comes and not have anyone get in my way. Not even my own damn family. I need to be in my own lodge."... "Zebulon gets into the canoe....". Three more drafts, each unbound, are included. Two, at first glance, appear quite similar. One of these, a 112-page draft, is missing it's first two pages. The second of these, however, is only 111-pages long. There are numerous corrections and annotations in blue, black and red ink to the last part of this second draft. Lines of text and dialog are crossed out, sometimes replaced with descriptions of a new setting or action. A whole page is crossed out with the following words penned in red: "Indian guy gives Zeb a rattle made from large gourd..." In another instance, with minor differences the dialog which appeared in type in the "William Morris Agency" draft is here penned in blue ink on the opposite blank page: "Zebulon - I want to look at the misty beyond when it comes & not have anyone get in my way. Especially my own damn family. That's the way I am - I came to say goodbye. And now I say it." A third draft, this one 104 pages long, which starts with Zebulon and his family sitting at the rough hewn table, has occasional corrections penned in ink throughout. The first few pages have the most changes with several lines of dialog crossed out and replaced with often sparser lines. As we trace the development of the various drafts, it appears that the 95-page draft bound in the William Morris Agency binder, a now more poetical version of the screenplay, is likely the closest to a finished script. One of Rudy Wurlitzer's partial notebooks which contains miscellaneous notes on Rudy's activities at the time provides additional insight into his development of the screenplay for "Zebulon". Penned in ink on graph paper at the front of the 12 inch high by 8-3/8 inch wide spiral bound gray board notebook are 22 pages of Wurlitzer's musings and thoughts about "Zebulon". "Zebulon 1) Machines - learn about wife daguerrotype ... Tom in bed with hooker after incident about Will in Bar... 4. killers came in / gunfight-: shoots 2 / hooker dies ...." he writes on the first page of notes specifically about the screenplay. A few pages later, titled "Ghost Dog", he muses: "Tom rides out of town - wounded - slumped over. ... Morning - Cut to Indian operating - kneeling on Tom's chest with Bowie knife - digging - Tom wakes up - Freaked - Indian explains - Bullet in heart - cannot take out! (holding him down)...." These 22 pages are followed by 4 pages of miscellaneous notes including costs, possibly bills he has paid or needs to pay and other accounting details as well as people's names, phone numbers, notes which may possibly be about a ball team's various owners or possibly musings about a screenplay about a baseball team. An additional 6 pages of notes about Denmark and travel are penned at the rear so that they can be read starting from the verso of the notebook. This seems to be a source of inspiration for his work with notes describing such images as "The little red Boat that pushes icebergs out of the harbour", "A trip up the coast - the story of the 'Hanging' in a small village" and "The night on the boat - midnight sun. The water - calm, blue-green under the icebergs - distant shots of seal hunters - their small boats just visible near a low bank of fog - The enormous thunder of an iceberg as half of it breaks up - some of the icebergs are over ten stories high - monuments to impermanence, awesome, even terrifying...." A file of miscellaneous copies of documents provides insight into the contractual agreements and ownership of the screenplay for Zebulon" aka "Dead or Alive". The file includes copies of 8 contracts and letters of agreement dated from June 1979 through September 1979 between Rudy Wurlitzer, Gerald Dearing and others regarding the rights to "Zebulon" (aka "Dead or Alive"). The file contains a photocopy of an article entitled "The Structure Revealed by the Potlatch" about etchnographic accounts of Potlatch as well as the destruction of goods to shame a rival, with a note penned at the top: "G: This was the tribe I was telling you about - the ritual itself is called potlatching". Information which furthered Rudy Wurlitzer's understanding of the native-American characters in his script. The documents also include a 4-page "Script Reader's Sypnopsis" dated August 28, 1985 prepared by Penelope Bright of International Creative Management, Inc. She calls "Zebulon" a "Comedy About Dying" and grades the script as "excellent artistically and commercially". She states "This has got to be one of the more touching commentaries on death and dying that I have seen in some time; it has a zest for life, a funny, backwoods humor that appeals, I think, to most Americans; the characters are bent, goofy, twisted, full of loving hearts that can't always say so yet they are dear and endearing". This synopsis was prepared for Richard Wechsler as "director or producer". From the moment he had what neared a finished script, Rudy Wurlitzer sought to market the movie. In a February 26, 2005 article in the periodical "VICE", Jonathan Dixon relates that "Hal Ashby wanted to tackle it, but it didn't get on. Alex Cox came close, even getting Richard Gere to give verbal commitment, But Gere bowed out and the financing never shook down." In a mid-1980's autograph letter signed from Spain on the verso of a postcard depicting a Western movie set in Almira, the Indie film director of "Sid and Nancy" Alex Cox, who had previously worked with Rudy on "Walker" wrote: "Read Zebulon. It is a great script.... I would like to be the director if you don't want to shoulder that delightful task. But it should be made in CANADA... (there seems to be a scene from Pat Garrett in there & also one from Walker) What next? When do we start? Did you get your comic books?..." "All my love to you and Linn..." Signed "xx Alex". Though several actors and directors had expressed an interest, the project did not proceed further until sometime around 1989 when Indie film director Jim Jarmusch showed an interest. Rudy Wurlitzer and Jarmusch entered into a short ill-fated collaboration on the film, then tentatively titled "Ghost Dog" (a title which Jarmusch later used for a quite different movie). The collaboration soon fell apart and Jarmusch subsequently released his own Western "Dead Man", leading to a falling out with his former friend. A brief correspondence, mainly consisting of Rudy's retained signed copies of his letters which he faxed to Jarmusch, testify to the events. In a 2-page typed letter signed dated June 29th, Rudy Wurlitzer writes to "Dear Jim" (Jim Jarmusch) expressing his concerns about not having heard back from him "I waited as long as I could for you to get in touch with me, as I thought we had agreed upon, but now time seems to have run out and I'm heading North for a while.... it was impossible in two weeks to write a prose piece as we had talked about so I decided to first write out a 'map', no matter how flat and awkward, and then write a more poetic and autonomous piece afterwards." He then continues "... but then I stopped because it seemed clear when there was no communication from you that you had lost interest and for whatever reason didn't want to continue." Rudy expresses that while "there isn't anyone I respect more or would rather work with", he's left feeling depressed about it. In an August 25, 1989 fax of a letter typed on "Mystery Train, Inc." stationery, Jim Jarmusch tells Rudy that "I do want to proceed with GHOST DOG, but I think I need to write the script by myself.... For me to visualize something from the start, I think I have to use my own language...." Jarmusch goes on to explain that "What would be ideal for me would be to write a draft on my own, and to consult with you as I refine it. I don't know what position this would put you in re ZEBULON (though GHOST DOG is quite different)...." In a subsequent signed letter to Gerald Dearing, Rudy Wurlitzer writes: "I finally received a fax from Jarmusch which said, In effect, that he wants to go ahead with Zebulon, or Ghost Dog as he calls it, but that he wants to write it himself, using me to help him with the revisions. This, of course is totally unacceptable...." Rudy goes on to say that, if Jim Jarmusch presses him, he'd refund the "ten grand" advance and "chalk it up to another lesson learned too late...." He goes on to express his concerns: "I think we should proceed with Zebulon as fast as possible as I don't trust Jim not to do something similar...." He then goes on to speak of the other projects he's currently working on with "Alex" and "Greenberg". Signed "Love, Rudy". In a one-and-a-half page signed letter to Ira Schreck, Rudy Wurlitzer explains the situation and that he's now "unsure about what to do with Zebulon. There has been a certain amount of interest in it over the years but when Jim came into the picture I, of course, dropped all of that." Among the documents included is Rudy's application to register his treatment entitled "Ghost Dog" with the Writers Guild of America. Also included is the 23-page treatment itself. Titled "Ghost Dog" on the cover page with "By Rudy Wurlitzer" and his address penned beneath the title, the treament of the screenplay opens with the descriptive text about the Northwest territory setting, though now, Rudy has set the first scene aboard a train making its way to the town of "Machine", this now more closely resembling the opening scene of Jarmusch's "Dead Man" which opens with Johnny Depp riding a train toward the frontier town of Machine. Rudy introduces the American Indian character "Not Here Not There" who will take the protagonist who has been shot in the heart on his journey much in the same manner in which "Nobody" accompanied Johnny Depp's "William Blake" and which includes a scene where they paddled into a native Qwakiutl (i.e. Kwakiutl) village upon the shore of which stands a lone totem pole. The treatment ends with the lines: "Duff is still alive when the Canoe reaches the open sea. NOT HERE NOT THERE stands looking out to sea until the Canoe has disappeared." The effort to get "Zebulon" off the ground is represented by a November 5, 1989 19-page fax (page 15 is missing) detailing the expenses for a production of the film. "Zebulon" was to be filmed by "Together Brothers Productions" with Gerald Dearing as executive producer and Alex Cox as director. Further to this is a May 10, 1990 memorandum from Ira Schreck to Jarmusch's attorney Richard Heller responding to Heller's financial proposal for production of the film. It is apparent that as late as 1991, Wurlitzer is attempting to get some movement going on the film. In a Fax by "Galipoli" producer Ben Gannon of "View Films" dated March 11, 1991, Gannon informs Rudy that he'll read "Zebulon" over the weekend. On October 12th, 1994, Rudy Wurlitzer's attorney Karen Shatzkin of the firm of Shatzkin & Reiss, writes a typed letter signed to Jim Jarmusch's attorney Richard Heller informing him that Rudy Wurlitzer "has a likely production arrangement for Zebulon." She continues: "He has learned that Mr. Jarmusch has also pursued the idea of a Western-genre feature film and is apparently close to commencing production." Rudy appears to be worried that Jarmusch's film will incorporate elements of Zebulon that will make their way into that movie and his attorney politely requests that "Mr. Jarmusch make available a copy of the script of his film project for Mr. Wurlitzer's review". Signed "Karen Shatzkin". Finally, having now seen Jim Jarmusch's "Dead Man", Rudy expresses his disappointment in a draft of a letter: "Dear Jim" he writes "I recently had the experience of seeing Dead Man. Even though people had warned me about the way you lifted it's main theme from Zebulon - a man shot in the heart and living on borrowed time - I was nevertheless unprepared for how this act of piracy would affect me." This leaves him with no hope of seeing his own script produced: "Because of Dead Man's similarity to much of Zebulon, including the final scene where the dying hero floats off to sea in a canoe, the producers who have been committed to Zebulon for several years now feel they cannot go on with the project." Rudy mentions that "There are several lawyers who have volunteered to help me on a contingency basis...." and goes on to express how wounded he feels: "How could you have been so arrogant and cruel? Do you really think that everything you read and is told to you belongs to you?". According to Jonathan Dixon's article, for which he interviewed Alex Cox and others: "'He should have sued,' said Cox. 'I would have. Even studios don't operate that way.' Wurlitzer opted against it. Too toxic, he thought. Mostly, Wurlitzer said, more than any consideration of cash and credit, he was saddened that a friendship had ended." Again, quoting the article: "'I read Zebulon, and I'd read a lot of scripts at that point in my life,' said Lana Griffin, an editor, script consultant, and long time friend of Wurlitzer's. 'It was the best script I'd ever read. I was shocked.'" The screenplay on hold, Rudy Wurlitzer continued working on various projects until he finally decided to take it up again, this time reworking it into a novel. In a typed letter signed by Gerald Dearing dated Feburary 16, 2000 Wurlitzer is given sole ownership of all "print publication rights" to Zebulon. Now intent on reworking the screenplay into a novel, Rudy's first few drafts are still titled "Zebulon" though he will soon retitle the work "The Drop Edge of Yonder". The 11 typed manuscripts for the book include 9 different drafts. As with the screenplays, determining the chronology is difficult but made a little easier as a few of the drafts are dated and one can compare the changes made throughout subsequent drafts with the text which appears in the novel as it was published by "Two Dollar Radio" in 2008. Included are 3 copies of a draft titled "Zebulon", dated "February 2001" on the title page. Typed on three-hole binder paper, the unbound sheets are attached by brass tacks through the holes along the left edges of the pages. The first paragraph of these matching 110-page manuscripts reads: "A year before Zebulon was born, his father, Elijah, broke out of a Missouri jail, stole the warden's horse and rode west across Kansas, robbing two banks along the way just to keep his hand in. Then he made his way south across the scorching plains of Texas and down along the coast of Mexico to Vera Cruz where no one asked or cared who he was of where he came from." A highly altered version of this scene found its way into the final book on page 53. One of these identical copies of the manuscript is annotated and corrected by Rudy in ink and pencil throughout. The character which became "Delilah" was then a musician named "Natalia". The first paragraph of a partial untitled draft of the first 45 pages, dated February 25 - 2002 on the blank cover page, now reads: "Zebulon lay on his back in the middle of a stinking arroyo. He didn't see the stars shooting across the sky like silver bursts of rifle fire, nor the goat feeding on garbage or the two Mexican kids sitting on the lip of the arroyo waiting for him to die so they could steal his boots and the Army Colt 44 tied to his hip." A variation of this text appears on page 30 of the finished novel. A 169-page manuscript, titled "Dec. 10 Rough edit", opens with the identical paragraph. Now titled "The Drop Edge of Yonder", a draft of the manuscript which starts with the identical paragraph bears a quote from Edgar Alan Poe on the title page: "All that we see or seem / Is but a dream within a dream". This variant, with substantial differences from the finished novel, contains profuse editorial notations in red ink throughout. A subsequent draft, which incorporates the changes suggested in the editorial notations in the prior version, now consists of 274 pages. There is a 302 page manuscript draft titled "The Drop Edge of Yonder" without a quotation on the cover page with variations from the final novel. Although the first line is identical, there are subsequent minor differences to the first paragraph and several more throughout. In this draft, Rudy writes: "Before the deep snows of February had set in he had two frost bitten toes and an arrow in his shoulder from an Arapaho war party. Not least, he had been forced to suffer through the unexpected appearance of a French Canadian trapper and his Shoshone squaw who had staggered into his cabin in the middle of a raging blizzard." The ending in this draft reads: "Two years after Delilah sailed away with Captain Dorfheimer, portraits of Zebulon, as well as a dozen of the Photographer's landscapes of the Far West, were shown to wild acclaim in a New York gallery...." "The photograph was sold to the San Francisco museum where it was never shown, the paper having faded to such a degree that Zebulon's face had become blank." A fragment of the manuscript with pages numbered from 83 through 139 is a variant of the text which appears on pages 118 through 174 in the final version of the manuscript we have at hand. A group of loose pages from a draft of the manuscript, here numbered pages 178 through 290, is a variant of the text which appears on pages 186 to the end of the novel in the final version which follows. Nearing completion of his novel Rudy writes in a July 15th, 2006 e-mail to his friend, the editor Lana Griffin: "Thank you for your note about Delilah and the Count and Delilah's journey to Calabasas Springs with Zebulon. It touched on a real problem." Both were anxious to get there as the Count was to be hanged. "If she was so concerned about seeing the Count and unable to think of anything else, why would they stop so playfully along the way, make love, etc."... "So the problem is not slowing it down, but maybe speeding it up...." Typed on three sheets of 3-hole binder paper, are ideas for the "Last Act", "Take it slower. / They watch the Rhine lander several times. Getting closer. From the land. On the peninsula. / In the town, she delays going to the saloon...." "Bandy-legged man. THE DIALOGUE HAS TO BE BETER." ... "Maybe Stebbins gets killed earlier on. Maybe not. But then what to do with him in the saloon...." The only words typed on the third page, likely reflect Rudy's creative process: "EVER TRIED. / EVER FAILED. / NO MATTER. TRY AGAIN. FAIL AGAIN. FAIL BETTER." A last 306-page draft, the closest to the finished novel present in this archive, is bound in 2 parts with brass clips through holes along the left edges of the pages. The first part includes the title and pages 1 through 180 and the second part consists of pages 181 through 306. Replacing the earlier quote from Poe on the title page is a Buddhist quotation from the "Lankavatara Sutra", "Things are not as they appear. / Nor are they otherwise." This is the quote which was subsequently printed at the front of the published novel. Although this draft is well on its way to becoming the finished manuscript, there are still differences. The first 2 paragraphs read: "The winter that Zebulon set his traps along the Gila River had been colder and longer than any he had experienced, leaving him with two frost bitten toes, an arrow wound in his shoulder from a Crow war party and, to top it all off, the unexpected arrival of two frozen figures stumbling into his cabin in the middle of a spring blizzard more dead than alive. / Rather than waking him, the cold blast of wind from the open door became part of a recurrent dream: a long endless fall through an empty cloudless sky towards a storm-tossed sea. Come closer, towering waves howled, closer to a realm of fear and longing." Although the changes are subtle, one can clearly see the evolution of Rudy's text which moved towards a more lyrical succinct style when finally published. A superb archive which offers insight into the artistic process. The American experimental novelist & screenwriter Rudy Wurlitzer (born 1937) first started writing when working on an oil tanker when he was 17 years old. A descendant of Rudolph Wurlitzer who founded the Wurlitzer piano company, Rudy subsequently worked as secretary for the author Robert Graves who he credits with teaching him to "write short sentences". Settling in NYC in the 1960's he was a friend to Claes Oldenburg, Robert Frank and Philip Glass. With his wife, the photographer Lynn Davis, Rudy moved to upstate New York and also refurbished a cabin in Cape Breton. His highly experimental first novel "Nog" is considered a cult classic. He followed this with "Flats", "Quake", "Slow Fade", and "The Drop Edge of Yonder". He also wrote his memoir "Hard Travel To Sacred Places". Among his film projects, Rudy Wurlitzer wrote the screenplay for the cult-classic "Two-Lane Blacktop", Sam Peckinpah's "Pat Garrett & Billy The Kid", "Candy Mountain" which he co-directed with Robert Frank, and Bernardo Bertolucci's "Little Buddha".
Title: RUDY WURLITZER MANUSCRIPTS: ZEBULON / DROP EDGE OF YONDER: ORIGINAL TYPED MANUSCRIPT DRAFTS for RUDY WURLITZER'S cult classic novel THE DROP EDGE OF YONDER together with ORIGINAL TYPESCRIPTS for his original screenplay titled ZEBULON, a movie project which he sought to market. The film project never came to fruition and Wurlitzer reworked his script into the novel "The Drop Edge of Yonder".
Publisher: 1970's through circa 2006.:
Book Condition: Very good
Item: 1.00 Item
Seller ID: 36371
Keywords: LITERATURE; NOVEL; FILM; CINEMA; MOVIE; ORIGINAL TYPED MANUSCRIPTS; DRAFTS; MANUSCRIPT; SCREENPLAYS; TYPE SCRIPTS; RUDY WURLITZER; NOVELIST; SCREENWRITER; ZEBULON; WESTERN; TWENTIETH CENTURY; 20TH CENTURY; INDIE; INDEPENDENT; DEAD OR ALIVE; GHOST DOG; DEA