Last of the Breed (Louis L'Amour's Lost Treasures)

by Louis L'Amour

  He believed its whiteness to be a stick, imbedded as it was in the sandy floor. He tugged to get it loose, becoming more curious as its enormous size became obvious. It was the skull of a gigantic bear, without doubt from prehistoric times. From the size of the skull, the creature must have weighed well over a ton.

  Crouching by the firelight he examined it. Wedged in an eye socket was a bit of flint. He broke it free, needing all his strength. It was a finely chipped arrowhead.

  The arrow could not have killed the bear. Blinded him, yes, enraged him, but not killed him. Yet the bear had been killed. Probably by a blow from a stone ax, for there was a crack in the skull, and at another place, a spot near the ear where the bone was crushed.

  Using a bit of stick he dug around, finding more bones. One was a shattered foreleg of the monster, the bone fractured by a blow. And then he found the head of a stone ax. But nowhere did he find the bones of the man.

  Despite the throbbing in his skull and the raw pain in his side, he was excited. Within the cave, thousands of years ago, a lone man fought a battle to the death against impossible odds…and won.

  Fought for what? Surely there was easier game? And with the bear half blinded the man could have escaped, for the cave mouth was wide. In the whirling fury of the fight there must have been opportunities. Yet he had not fled. He had fought on against the overwhelming strength of the wounded beast, pitting against it only his lesser strength, his primitive weapons, and his man-cunning.

  Venturing outside the cave for more fuel, he dragged a log within, although the effort made him gasp with agony. He drew the log along the back edge of his fire so that it was at once fuel and reflector of heat.

  Burrowing a little in the now warm sand of the cave floor, he was soon asleep.

  For three weeks he lived in the cave, finding berries and nuts, snaring small game, always conscious of the presence of the pine-clad ridge, yet also aware of the skull and the arrowhead. In all that time he saw no man, either near or far…there was, then, no search for him.

  Finally it was time to move. Now he could go over the ridge to safety. Much of his natural strength had returned; he felt better. It was a relief to know that his fight was over.

  At noon of the following day he stood in the middle of a heat-baked street and faced his enemies again. Behind him were silent ranks of simple men.

  “We’ve come back,” he said quietly. “We’re going to stay. You had me beaten a few weeks ago. You may beat us today, but some of you will die. And we’ll be back. We’ll always be back.”

  There was silence in the dusty street, and then the line before them wavered, and from behind it a man was walking away, and then another, and their leader looked at him and said, “You’re insane. Completely insane!” And then he, too, turned away and the street before them was empty.

  And the quiet men stood in the street with the light of victory in their eyes, and the man with the battered face tossed something and caught it again, something that gleamed for a moment in the sun.

  “What was that?” someone asked.

  “An arrowhead,” the man said. “Only an arrowhead.”

  The following is an outline that shows how Louis planned to incorporate “The Skull and the Arrow” into the plot of Last of the Breed. In these early notes, Joe Mack is referred to as “Warfeather”:

  The foregoing is the beginning of the story and merely serves to establish the characters and the opening of the story. Warfeather does escape, and is pursued into the taiga, that vast forest 2,200 miles long and 600 miles wide that is largely virgin timber. Here it becomes a chase with Warfeather, the man who is still at heart a Sioux Indian, using all his skill, training and ingenuity to escape, and the Yakut using all his to score a capture. Yet the latter has behind him the strength and power of the Soviet government and the MVD. Zamatev directs much of the chase, and time and again as they seem about to capture Warfeather, he eludes them.

  In the taiga he comes upon a small settlement of escapees from the prison camps. One of these is a Czech girl, young, blonde, and lovely. Actually, he is taken to the settlement when badly wounded, and there he is nursed back to health, and stays with them until strong again.

  When he is again able to start out, the girl goes with him part of the way to set him upon his path, and then they part with the plan, naturally a plan with many ifs, to meet on the coast of Siberia near Plastun Bay, opposite northern Japan. There he will pick her up with a plane. This is if he can escape, and if she can make it.

  He starts on, and soon they are once more on his trail. He is trapped, captured, tortured and horribly beaten, but when half dead, and they are sure he cannot move let alone escape, he does escape. Bloody and beaten, he staggered on, gets into the forest, and fights his way toward the high, lonely peaks. There, at last, in a driving rain storm that is turning to sleet, still only half conscious and weak from loss of blood, he gets into a cave.

  Shivering with chill, he starts a fire, and looking for wood, pulls from the sandy floor of the cave, the skull of a huge cave bear. Wedged in the corner of the eye-socket is the head of an arrow.

  Until this point he has been ready to quit. No man can be expected to do more than he has done. His body had been terribly beaten, his strength drained away, and he is starving, weaponless, and seemingly without any resource. Even his driving will, his determination to be free, even these are gone.

  Yet huddled beside his fire, he stares at the arrowhead and thinks of what it must mean. Here, within this cave, some feeble man had fought for his life against that bear! Suddenly he is obsessed with the need to know if the man survived. He digs and digs, searching for human bones, but he finds none…A feeble human being, with his pitifully small weapons, fought for survival with a cave bear that might have weighed 3,000 lbs! (The Kodiak grizzlies weighed better than 1,600 lbs, and in the older days it is claimed many were killed that weigh over 2,000. The cave bear was larger.)

  This realization gives him courage to try again, and so, with the arrowhead for a pocket piece, he does. He is at this point on the edge of the timber country, and before him is the tundra, and beyond that, somewhere, the Arctic Ocean.

  He goes on, following the ancient migration route of his people, and here and there he finds the remains of old campfires and he goes on until there is, at last, a showdown with Alekhin.

  The two meet when Alekhin is alone, and there is a fight near a crevasse in the ice. They roll far down a snowy mountainside fighting like two primeval savages. The end of the fight is not shown.

  The story reverts to the opening scene. Colonel Zamatev sits alone in his office, and from the package he takes a human scalp, marked with a distinctive blaze of white that shows it to be Alekhin’s scalp. Enclosed with it is a bit of birch bark on which is written:

  “This was once a custom of my people, in my life time I shall take two. This is the first.”

  The only notes I can find on the creation of “The Skull and the Arrow” read like this:

  He is beaten—left for dead—He gets up and away—he decides to leave—over the border there is escape—then he finds the skull and he returns—

  The discovery of the skull and the reconstruction of the fight in the cave is a wonderful mechanism to motivate Joe Mack/Warfeather to go on. That this inspiration comes by way of what was possibly one of Joe’s ancient ancestors is equally terrific. The bear, being a symbol of Russia, is just the icing on the cake.

  Because this section is so rich in thematic and character development potential, I have assumed that Louis simply got so caught up in the process of writing Last of the Breed that he forgot to include it. Perhaps neglecting it was a conscious choice, but I have my doubts.

  His journal shows us the speed with which he could write a story when he was primed and ready to go:

  October 1, 1
985—Two months in which to do the Siberia story. Not enough, but it has been in my thoughts for 30 yrs.

  October 15, 1985—Working on Siberia story. No title as yet.

  December 14, 1985—I am drawing to the close of the Siberian book, no title as yet, and not at all sure if I have done it well enough. In fact I’m sure I haven’t. Next I shall do two books, the long delayed HAUNTED MESA and…THE EDUCATION OF A WANDERING MAN.

  Earlier on the same page he wrote:

  “Every bit of blank paper is a challenge, and the worst of it is, at 77, almost 78 I am just learning to write, and only beginning to learn. There is so much more I want to know, so many books to read.”

  And then:

  December 26, 1985—Tomorrow we leave for Colo. For 10 days or so. Bantam wants a pic of me in the snow for the Siberia book, just finished. My tentative title is SWIFTLY, INTO THE NIGHT. I imagine it will be published as something else….

  As you can see, he is still playing around with titles, even at this late date.

  December 28, 1985—May get some static from the Siberian book but one must accept new challenges or at least, the challenge of new trails.

  Jan. 9—Nancy Ellison here to take pics for the LAST OF THE BREED, my Siberian book. Not happy with that title but did not come up with anything better. This their suggestion. However, it does fit.

  Within a month or two of Last of the Breed’s release, a number of movie companies were competing to purchase the rights. Fairly quickly (film contracts are always very complicated), a sale was arranged with Columbia Tri Star.

  It is strangely common in Hollywood for odd and often counterproductive myths to become associated with a project. These stories stick like glue and seem to be accepted throughout the motion picture industry even though it’s often impossible to tell how they are even being relayed from one person to another.

  The myth related to Last of the Breed was that it had to be a big-budget production and had to be made as a fairly superficial summer action film. From the little I was able to gather, it was always seen as a melding of Top Gun and Rambo, and Joe Mack was required to become the sort of character commonly played by many of the overly slick action stars of the era.

  However, the project never really gelled, and over the years more and more expensive screenwriters were thrown at it, to the point where I imagine the production finally racked up so much in expenses that it was no longer seen as potentially profitable.

  Around 2000, Last of the Breed was picked up in what is called “turnaround” by Miramax, but it didn’t have any luck at that studio either. It remained stuck in development, with all of those silly myths from fifteen years earlier still attached. When Disney sold off Miramax in 2010, the rights seem to have been lost in the shuffle. While I have spoken to many of the original players, none give the impression that the project has any chance of being recovered.

  During the two years it took to produce the art for the graphic novel Law of the Desert Born, I worked, off and on, writing a comic book adaptation of Last of the Breed. It was a great learning experience, and I recognized many of the reasons why adapting the screenplay for Last of the Breed had been so difficult…at least if you wanted to do it well.

  In the novel, establishing how Joe Mack got to Siberia takes only a few sentences. But the nature of movies, which rely much less on the audience’s imagination, would require that subject to be a larger part of any film. The book begins and ends with Zamatev. This is an indication that he and Joe are equally important characters. Thus the story is both an adventure-escape thriller, about an American trying to flee Siberia, and a tale about the downfall of Colonel Arkady Zamatev. To do the novel justice and to make a good film, the two story lines must be interwoven. I’m not sure that idea was ever considered by the studios. Big stars don’t like sharing too much screen time, and the idea was always that the picture was going to be a star vehicle.

  In a novel, Joe’s backstory could be wonderfully vague, left to the reader’s imagination after just a few suggestive passages. In a film or graphic novel, the audience would need to see, rather than simply be told, how Joe became the sort of man who could walk out of Siberia. Letting audiences know more about who Joe was before he came to Siberia or even entered the air force is probably essential, but the necessary details would also have been quite time-consuming to establish.

  The wonderful thing about flashing back to reveal Joe’s past is that it would give us some relief from the wilderness and allow for some interactions with other characters. The equally wonderful thing about being able to use the material from the short story “The Skull and the Arrow” is that the scenes in the cave would perfectly set up the moment when Joe makes the transformation from jet pilot to ancient Indian. When he emerges, he can be a different man. Whether that material is necessary to the novel is an open question. For a film, however, it would have been vital.

  As we finished the Law of the Desert Born graphic novel, I discovered we would not be able to go on to a larger and more ambitious project, so Last of the Breed was shelved. Since Louis L’Amour’s Lost Treasures is a forum for unfinished work, however, you can find a good deal of the first draft of the Last of the Breed comic book script and some further commentary at louislamourslosttreasures.com.

  Beau L’Amour

  July 2019

  TO JOHN AND

  CAROL LEE VEITCH

  Old Friends, Good Friends,

  The Best Friends

  Bantam Books by Louis L’Amour

  NOVELS

  Bendigo Shafter

  Borden Chantry

  Brionne

  The Broken Gun

  The Burning Hills

  The Californios

  Callaghen

  Catlow

  Chancy

  The Cherokee Trail

  Comstock Lode

  Conagher

  Crossfire Trail

  Dark Canyon

  Down the Long Hills

  The Empty Land

  Fair Blows the Wind

  Fallon

  The Ferguson Rifle

  The First Fast Draw

  Flint

  Guns of the Timberlands

  Hanging Woman Creek

  The Haunted Mesa

  Heller with a Gun

  The High Graders

  High Lonesome

  Hondo

  How the West Was Won

  The Iron Marshal

  The Key-Lock Man

  Kid Rodelo

  Kilkenny

  Killoe

  Kilrone

  Kiowa Trail

  Last of the Breed

  Last Stand at Papago Wells

  The Lonesome Gods

  The Man Called Noon

  The Man from Skibbereen

  The Man from the Broken Hills

  Matagorda

  Milo Talon

  The Mountain Valley War

  North to the Rails

  Over on the Dry Side

  Passin’ Through

  The Proving Trail

  The Quick and the Dead

  Radigan

  Reilly’s Luck

  The Rider of Lost Creek

  Rivers West

  The Shadow Riders

  Shalako

  Showdown at Yellow Butte

  Silver Canyon

  Sitka

  Son of a Wanted Man

  Taggart

  The Tall Stranger

  To Tame a Land

  Tucker

  Under the Sweetwater Rim

  Utah Blaine

  The Walking Drum

  Westward the Tide

  Where the Long Grass Blows

  SHORT STORY COLLECTIONS

  Beyond
the Great Snow Mountains

  Bowdrie

  Bowdrie’s Law

  Buckskin Run

  The Collected Short Stories of Louis L’Amour (vols. 1–7)

  Dutchman’s Flat

  End of the Drive

  From the Listening Hills

  The Hills of Homicide

  Law of the Desert Born

  Long Ride Home

  Lonigan

  May There Be a Road

  Monument Rock

  Night Over the Solomons

  Off the Mangrove Coast

  The Outlaws of Mesquite

  The Rider of the Ruby Hills

  Riding for the Brand

  The Strong Shall Live

  The Trail to Crazy Man

  Valley of the Sun

  War Party

  West from Singapore

  West of Dodge

  With These Hands

  Yondering

  SACKETT TITLES

  Sackett’s Land

  To the Far Blue Mountains

  The Warrior’s Path

  Jubal Sackett

  Ride the River

  The Daybreakers

  Sackett

  Lando

  Mojave Crossing

  Mustang Man

  The Lonely Men

  Galloway

  Treasure Mountain

  Lonely on the Mountain

  Ride the Dark Trail

  The Sackett Brand

  The Sky-Liners

  THE HOPALONG CASSIDY NOVELS

  The Riders of High Rock

  The Rustlers of West Fork

  The Trail to Seven Pines

  Trouble Shooter

  NONFICTION

  Education of a Wandering Man

  Frontier