Weather Worn by David Lambertson | Script Revolution

Weather Worn



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Relentless heat forces a poor horse rancher to make a life or death decision.

This Script Has Been Reviewed By Shootin' The Shorts

Relentless heat forces a poor horse rancher to make a life or death decision.

When it comes to animal and anthropoid relationships depicted on the silver screen, there’s something distinctly mythical about the connection between horse and human. A spiritual symbiosis that elicits feelings of transcendent freedom and a harmonization with nature. We’ve all been moved by films such as WAR HORSE, HIDALGO and the BLACK STALLION, for each of these movies elegantly encapsulates the ageless and unique bond between mount and man.

David Lambertson’s WEATHER WORN is a graceful homage to this rapport. The story transports us to a near bleak future, where water has become more valuable than just about anything.


Desolate. Not a car in sight. Wind-whipped sand pelts the pavement.

The air has an eerie orange hue, the effects of the hot sun filtered by clouds of dust. Dry vegetation on both sides of the highway. Brown, dead pine trees dot the hillside.

One spark away from a forest fire.


A POLICE CRUISER speeds by spreading the dust in its wake. We can now see a digital highway sign that reads: “NEXT STOP FOR DRINKING WATER 50 MILES - $112 A GALLON.”

Nowhere is this felt more acutely than on Roy Callhan’s dusty, dehydrated horse ranch. Roy’s a weather-worn cowboy tormented by an impossible decision; how to prolong the lives of his beloved horses in the face of energy-sapping heat and a deadly drought.

This is a wretched world, akin to the perilous wild west of yesteryear. A time when abhorrent decisions were regularly taken to overcome impossible impediments. In Roy’s case, he knows what he must do, yet logic and reason rarely usurp affection and devotion – especially when it comes to those we hold dearest.


The Stallion’s eyes crusted with dirt, but peaceful - calm. As if he somehow he knew this was inevitable.

The other horses behind the Stallion stirring, sensing something wrong.


Roy’s arms tremble. His chest heaves up and down. Moments pass. He lowers the shotgun.

Roy paces around - angry, shouting at no one. He wipes the sweat from his eyes and takes dead aim again. Moments pass.

Dirt and dust swirl in the arid air. The tension in Roy’s arm evaporates.

He lowers the shotgun again. Roy approaches the Stallion, puts his arm gently around the horse’s neck, nuzzles his head up against the Stallion’s.

Leo Tolstoy once said: “'Thou shalt not kill' does not apply to murder of one's own kind only, but to all living beings and this commandment was inscribed in the human breast long before it was proclaimed from Sinai.” 

Roy embodies the raw veracity of this belief. He cannot take the life of a living being, especially one so closely hitched to his soul. He knows in his heart it’s wrong. So instead, he reverts to desperate, deadly measures to solve his precarious plight.

What follows is both brave and heartbreaking, as Roy risks everything – including his life -- to save his beloved team of stallions and steeds.

Lambertson’s poignant elegy to this timeless relationship starts at a canter and ends in a gasp-worthy gallop, that’ll leave the audience teary-eyed. So, if you’re director biting-at-the-bit for a film that can showcase your visual storytelling skills and also charm the film festival crowd, then check out this exceedingly satisfying script immediately – it’s worth the ride.

Review by Jeremy Storey
Submitted: September 9, 2018
Last Updated: October 2, 2020

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The Writer: David Lambertson

Hmmm - how does one craft a writing biography for one that has not spent a life writing? I'll give it a shot. I knew I wanted to be a writer when I was eighteen. I started writing when I was 56. In the years between I got married, had children, got divorced, got married again, had grandchildren and spent more than thirty years as a Government bureaucrat. Exciting - I know. There is good news and bad news in that. The bad news of course is that I spent my life working at a career other than the one I wanted to have. The good news is that I garnered enough life experiences to make my writing more meaningful than it would have been as an eighteen year old. Despite starting late, I have enjoyed... Go to bio

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