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California gal
SS senior field agent

USA
8378 Posts

Posted - 03/12/2009 :  10:33:16  Show Profile

December 14, 1964
Production #1310-5123

THE WILD WILD WEST

Written by Gilbert Ralston

A Pilot for CBS Television GARRISON PRODUCTIONS

*****

“... It was a time of trouble
after the war--the States bled
white, the carpetbaggers--the
petty thieves... the robber
barons--Cooke and Gould and
Fisk and Colfax, with their
dirty fingers in the public
till...

“And flour at a thousand dollars
a barrel--with the fields burned
and bare. Man, it was a hard
time...”

And then like a vision of
light, they saw the West.
Freedom and opportunity...
and a chance to start again.

Missouri, with its sun-
drenched land... the trees
reaching to the sky in
Oregon... Nevada, with a
treasure trove in its rocky
fist... California, the jewel
of the Pacific... New Mexico...
Kansas... Wyoming... Colorado...

But these were far places, and
the road hard, and there were
savages and hunger and fear in
the eyes of their women.

And then from somewhere the
tall men came, the fighting
men... and they steered the
emigrants across the plains
and kept them there when they
arrived.

They were indeed men to
remember... Boone... Crockett...
and Cody... Fremont and Hunt...
and a hundred more.

And yet there was one other...
a man nobody knew... fighting
his battles unhonored, reviled,
alone... a man of a hundred
skills, his dedication and
self-sacrifice his only
monument.

It is to this unsung hero that
we dedicate this program...

The man we call

“JIM WEST”

*****

CAST

JAMES T. WEST

LYDIA MONTERAN

ARTEMUS Gordon

LT. COL. WALTER SHEAR

ULYSSES S. GRANT

WING FAST

JUAN MANOLO (GENERAL ANDREAS CASINELLO)

MEI MEI

LIEUTENANT
TRAIN CAPTAIN
ENGINEER
FIREMAN

HAWKINS
MAJORDOMO
BEFORD

Bits & Atmosphere:

Townspeople
Gunmen
Chinese Servants
Servant
Soldiers

INTERIORS:

BAGGAGE AND CREW CAR
VARNISH CAR
Observation Salon
Tack Room

BUILDING IN WASHINGTON, D.C.
Corridors

SHEAR’S OFFICE

EXECUTIVE OFFICE

“CASA ESTRELLA”
Reception Area
Lydia’s Salon
Wine Cellar

UNDERGROUND ROOM
Pit
Niches

Dungeon Cell
Tunnel

EXTERIORS:

RAILROAD STATION AND AREA
Train and Cars

BUILDING IN WASHINGTON, D.C.
Rear of Building

SANGRE DE CRISTO MOUNTAINS

COUNTRYSIDE
Trail
Road
Mountains

TOWN OF QUEMADA
Streets
Bocatillo
Blacksmith Shop
Wing Fat’s
Foster’s Livery Stable
Store and Shop Fronts

“CASA ESTRELLA”
Rear

CEMETERY

TEASER

FADE IN:

1. EXT. RAILROAD STATION AREA – EST. SHOT – NIGHT (WINTER)

A rural area of Virginia -- the 1870’s. In the b.g. is a weatherbeaten railroad station -- beyond it is a small scattering of lights belong to the buildings of a small town. A gentle wind is blowing. The station consists of a platform, a sort of open cuddy shelter empty of passengers at the moment. Across the top of the station is painted the name of the town:

“DIFFICULT RUN, VA.”

2. MED. FULL SHOT

ARTEMUS GORDON -- a consummately clever actor, is doing one of his favorite characterizations, “The Lounger” -- a little sparrow of a man, in the bedraggled residuum of an army uniform and great coats, sits on a box on the station platform, waiting patiently for anything to happen. He has a beady curiosity about the world around him, comforting himself against its exigencies with a jug of whiskey placed conveniently near at hand. He sings his version of “Midnight Train” softly in a cracked voice. He looks up with a bird-like interest as he hears the RATTLE of a wagon in b.g., the SOUND OF HORSES approaching.

3. POV SHOT

A Union Army personnel wagon pulls up near the track, followed by a couple of Union Cavalrymen, led by a young and resplendent LIEUTENANT.

4. ANGLE FAVORING GORDON

As he rises, crosses to Lieutenant, ANGLE WIDENING TO TWO SHOT, with the Troopers in b.g. the lounger indicates the wagon and entourage.

GORDON
Go somebody important coming in, Lieutenant?

Gordon is beneath the notice of the Lieutenant.

LIEUTENANT
(curtly)
I wouldn’t know.

4. CONTINUED
(indicating troopers)
Must be an important fella... to get all this.

LIEUTENANT
(exactly same tone)
I wouldn’t know.

5. MED. CLOSE SHOT – GORDON
(mimicking him)
He wouldn’t know... He wouldn’t know.

6. MED. FULL SHOT — GORDON – WAGON IN B.G.

Gordon crosses over to the driver of the personnel wagon -- a saturnine, mustachioed old-timer, dressed in a sergeant’s uniform.

7. MED. SHOT - FAVORING DRIVER

As Gordon crosses to him, looks up at him.

GORDON
What’s the big secret?

The Driver taps the side of his nose and winks in a little knowing gesture.

GORDON (CONT’D)
You got a dead body coming in mebbe?

DRIVER
You might call it that.

In the distance, the TRAIN WHISTLES for its stop.

GORDON
(eagerly)
Whose is it?

The driver looks around, warily.

DRIVER
Where’s that fancy Dan lieutenant?

Gordon flashes a glance at the men.

GORDON
He can’t see us.

8. ANGLE FAVORING DRIVER

He snaps his fingers impatiently for the jug, three times. Gordon hands it up. The driver takes a healthy swig. It goes down like liquid fire.

DRIVER
Man, that’s got a bite to it.

He leans down conspiratorially.

DRIVER (CONT’D)
Prisoner on the train is Cap’n James T. West. Name mean anything to you?

GORDON
(shakes his head)
Nope.

The driver takes another drink.

DRIVER
Yi!...
(he leans down and hands the jug back)
Been in all the papers.

GORDON
I ain’t much for readin’.

DRIVER
He’s a renegade... deserted the army... killed himself some people.

GORDON
A real mean critter...

DRIVER
Yeah. He done it for money... for robbin’...

Gordon hands the jug up again, encouragingly.

DRIVER (CONT’D)
But he ain’t dead... not yet... but he’s sure gonna be... after the hanging!

He takes another pull at the jug. Then indicates the grimly waiting soldiers in the b.g.

DRIVER (CONT’D)
May not be must left to hang... Them fellows is real put out with deserters.

9. EXT RAILROAD TRACKS – FULL SHOT – NIGHT

As the train comes in, pulls up at the station, stops.

10. ANGLE AT UNION SOLDIERS

The soldiers back the personnel wagon into position in front of the steps of the middle car of the train.

11. ANGLE AT MIDDLE TRAIN CAR

Heavily guarded, CAPTAIN JAMES WEST is led out of the car and down the steps. He is handcuffed, pauses for a moment as he alights from the steps. He is a strong-looking man, somewhere in his 30’s -- lithe and powerful, his face vibrantly masculine. He is dressed in a disheveled, travel-stained Union officer’s uniform from which the buttons and epaulets have been ripped. Passengers can be seen thru windows.

12. CLOSER ANGLE – FAVORING WEST, LIEUTENANT

1ST SOLDIER
(indicating wagon to West)
Get in there... Captain.

The soldier spits contemptuously, gives West a shove which sends him stumbling toward the wagon. The Lieutenant stands by, watching passengers on the train peer out the windows to watch. Gordon moves into position in front of West.

13. MED CLOSE SHOT – GORDON

GORDON
(taunting)
You know what they’re going to do to you, killer?

Gordon puts his hand around his own neck, as if it were a rope, pulls up, drops his head in a horrible caricature of a hanging, makes an ugly strangling NOISE. The nearest soldier pushes him aside.

14. ANGLE FAVORING WEST

West pauses to give Gordon a glance of sheer hatred as a third soldier moves to propel him up the steps of the wagon.

GORDON
(to West)
How about giving me your boots? You won’t be needing them...

3RD SOLDIER
Move...!

West is shoved harshly into the wagon.

15. FULL SHOT – PERSONNEL WAGON

as it pulls away, CAMERA PANNING a little, then HOLDING ON Gordon who again has his hands around his neck in the ugly hanging gesture. He cackles with obscene LAUGHTER as we:

DISSOLVE TO:

16. EXT. BUILDING, WASHINGTON, D.C. – EST. SHOT – EARLY MORNING (WINTER)

It is an official looking building, near it (if possible) buildings which suggest the Capitol buildings of the period. The paddy wagon, with its entourage, races down the street, turns into a driveway leading to the rear of the building.

17. EXT. REAR OF BUILDING – MED. FULL SHOT – TWO BOYS – EARLY MORNING

Two boys with stick horses romp in, whooping with excitement, followed shortly by the wagon and entourage. The wagon comes to a stop and the escorting soldiers dismount. The soldiers open up the back. West alights and is propelled up to the entrance of the building, CAMERA PANNING as the Lieutenant KNOCKS on the door. The door opens. West is propelled through it as:

LIEUTENANT
(contemptuously to West)
Get in,... Scum.

18 & 19. OMITTED

20. INT. SHEAR’S OFFICE - EARLY MORNING

This is a large executive office -- a large desk at one side. Behind the desk is LIEUTENANT COLONEL WALTER SHEAR, a virile, vigorous, iron-hard older man. West, battered and worn, collects himself for a moment as Shear crosses to the other side of the room and points to the other door with an imperious little gesture.

Shear moves out of the way in order to allow West to approach. West walks through the door Shear has opened, Shear following.

21. OMITTED

22. INT. GRANT’S OFFICE – FULL SHOT – EARLY MORNING

It is a plain, large room -- heavy leather furniture, a lamp lit in one corner of the room. Behind the desk sits a dumpy figure, and old shawl across his shoulders, his back to CAMERA and the visitors.

SHEAR
Sir... This is the man we call Jim West.

23. MED. CLOSE SHOT – MAN AT DESK

Slowly he turns TO CAMERA. It is ULYSSES S. GRANT.

24. ANGLE ON WEST – PAST GRANT

WEST
(soberly)
Good afternoon, Mr. President...

The President stands, offers his hand. Clumsily, West shakes hands with the President. Shear crosses over, unlocks the handcuffs, as we:

FADE OUT:

END TEASER

25. INT. GRANT’S OFFICE – MED. SHOT – GRANT, WEST & SHEAR

West stands before President Grant. Shear is standing quietly in the b.g. Grant’s speech is rough, uncultured, direct--an old soldier to a young one.

GRANT
Good to see you, West. Let’s see... you were in charge of that business in New Orleans last year, weren’t you?

WEST
Yes, sir.

GRANT
(indicating West’s clothes)
Sorry we had to rough you up a little...

WEST
It’s all right, sir.
(he smiles)
It was an effective cover.

GRANT
Good. Because we need you again...
(he pauses)
I’ll lay it right on the line... boy... This nation’s in a pot of trouble. Inflation’s eating the South alive... We’re broke... Washington’s crawling with carpetbaggers.
(bitterly)
Jackals... gathering for the kill.

Grant picks up a folder on his desk, shakes it significantly.

GRANT (CONT’D)
And now... new trouble.

Grant tosses the folder down, sighs ponderously before continuing, then:

GRANT (CONT’D)
A young man like you gives me hope.

West gives Shear a perceptive little glance.

GRANT (CONT’D)
If I could hang a medal on you, I would... but the most I can do is say “thank you” ... and toss you into the arena again. Colonel Shear will brief you, son.
(looks at Shear)
Thanks for bringing him to me, Colonel.

WEST
Thank you, Mr. President

GRANT
(rising)
Good luck, Mr. West.

In the b.g. Shear holds the door open again. West turns and EXITS as CAMERA HOLDS ON GRANT who watches them go. Then wearily he turns his attention to a stack of papers on his desk.

25A. ANGLE OVER GRANT’S SHOULDER

He lifts the folder again to the light, opens it. We see that the top page is a drawing of a smoothly sinister face. Under it the words: “JUAN MANOLO.” CAMERA MOVES IN AND HOLDS as we:

DISSOLVE TO:

26. EXT. COUNTRYSIDE – EST. SHOT – DAY

A special train (engine, tender, combination crew and baggage car, and West’s varnish car) is rolling across a desolate stretch of plains -- a picturesque scene in the afternoon sun.

27. INT. VARNISH CAR – MED. FULL SHOT – DAY

The car is in motion. Its shades are drawn. This is a magnificently luxurious private car. (Beginning at the rear it contains an observation salon; a master stateroom, with bath; a tack room for gear, guns, and the like; a laboratory which houses technical equipment and photographic equipment; a pigeon loft; a galley next to which is a room for the storage of food, wines and linens. A corridor runs along one side of the length of the car, giving access to its various apartments.) The furniture of the salon includes a combination dining and billiard table, which at the moment is set up for billiards.

West, at one end of the car, looks at his pocket watch, crosses to the window to look out at the passing landscape. He pulls the shade again, then crosses to the whistle cord, pulls it. The train slows, then stops.

27A. EXT. TRAIN – ESTABLISHING

As it GRINDS to a halt, Gordon’s wagon is tied nearby. Behind it is West’s horse, saddled and ready. A pile of railroad ties is stacked adjacent to the track.

Rev. 12/19/64

28. INT. VARNISH CAR – DAY

A KNOCK is HEARD at the door. West reaches over, works a small lever on the wall. The door to the observation car snaps open. Artemus Gordon ENTERS, carrying a black satchel, now dressed in a tweed business suit and a jaunty bowler. Gordon is an engaging little man -- crafty, not very brave, but intelligent, wily and somewhat dishonest. As he enters, Gordon makes the same hanging gesture that he made at the station in the Teaser.

WEST
Very funny ... very funny.

GORDON
So I got a little carried away.

Gordon looks thirstily at the array of bottles on a sideboard.

WEST
(indicating sideboard)
Help yourself ...

Gordon crosses to the sideboard, as:

GORDON
Did you see Colonel Shear?

WEST
Uh-huh... And the big man.

West sits, starts to hone the action of a gun. At the sideboard, Gordon starts to choose a decanter out of those on the sideboard, looks at West questioningly.

WEST (CONT’D)
(easily)
Third bottle from the left should be all right.

Gordon starts to take it, glances back at West who smiles wickedly.

WEST (CONT’D)
If I remember correctly.

Gordon starts to take one of the bottles, gives up.

GORDON
So I’m not thirsty...

Gordon watches West for a short moment, then:

GORDON (CONT’D)
I put myself, the wagon and your horse on a freight and got here ahead of you as ordered. What is it this time?

28. CONTINUED

WEST
Not it. He. Juan Manolo. Ever heard of him?

GORDON
The name gets bandied about some...
(emphasizes with sudden movement)
... at funerals.

Gordon moves to a drawer, opens it, takes out a box of round balls, which he puts in the satchel as:

WEST
You know a town called Quemada?

GORDON
(flatly)
That’s where they usually have the funerals.

WEST
Manolo gave the settlers in that town a week to leave. They didn’t. So he sent some men in, burned them out. Hit and run. The settlers got the message. They’re leaving.

Gordon looks at him questioningly.

GORDON
What’s his hurry?

WEST
He’s moving guns and supplies out to his men day after tomorrow. He’s been preparing a revolution... Now he’s got enough munitions in Quemada to start a war. A big war. That could lose us most or all of our Western territories.

GORDON
What’s my job?

28. CONTINUED

WEST
You find his supplies. I find him. Before day after tomorrow... And bring him back to Washington.

GORDON
And if you can’t?

WEST
(levelly)
Then I have to kill him.

GORDON
Quemada...
(levelly)
I think I’ll turn this one down.

WEST
You can’t turn this one down. You’re under orders ... just like me.

Gordon nods glumly, then crosses to the billiard table where two cues and three balls are set up on the table. He starts to pick up a ball.

WEST (CONT’D)
I wouldn’t do that if I were you.

Gordon looks at him, startled, then back at the ball; then touches the cue next to the balls gingerly.

GORDON
And this?

28A. ANOTHER ANGLE – FAVORING WEST

as West crosses over, picks up the cue, makes a quick motion with his hand. Suddenly there is a little audible CLICK. Part of the wood of the cue falls off, revealing the blade of a shining and lethal rapier.

29. OMITTED

30. TWO SHOT – GORDON, WEST

GORDON
(looks at him)
Not bad. But a gun barrel would be better.

WEST
(indicating cue)
Gun barrel’s in the other one.

GORDON
(shaking head in despair)
I’ll never learn.

WEST
We’ll go in separately...

GORDON
(drily)
Thanks...
(looks at Jim with real concern & affection)
Quemada... A bad place... Watch yourself, Jim.

WEST
(nods)
You too, Artemus...

Gordon turns and exits. After a moment, West too turns, EXITS SHOT.

31. OMITTED

Rev. 12/14/64

32. INT. TACK ROOM – DAY

as Jim enters, peels off his smoking jacket, then crosses over, moves a little lever on the wall. A section of it slides back showing dozens of costumes of various kinds of hats, etc. He chooses a dark jacket, a silk bandana, adds a dark hat with silver mounted band to the ensemble, closes the closet with another touch of the lever.

33. ANOTHER ANGLE - MED. SHOT

as West crosses over, opens another section, revealing a gun rack with an array of guns of the period -- everything from a minie-ball rifle to a Sharps -- even the long-range, single-shot telescopic rifle used in the Civil War. Below that is a group of pistols. He chooses a couple of derringers, one of which he puts in the front pocket of his shirt, slips a slim stiletto into a scabbard sewn to the back collar of his jacket. Then he tests the spring gun which has been hidden hitherto underneath his shirt sleeve. He snaps it into his hand, lets it snap back. The whole ensemble must give the feeling of a dashing, fairly well-heeled, arrogant Western gunman.

33A. ANOTHER ANGLE – AT PIGEON LOFT

West crosses to the pigeon loft. As he does so:

WEST
Evening, Henry...
(looks at another)
Henrietta...

34. ANOTHER ANGLE – WEST

He puts a gun belt and holster around his waist, chooses a .44, drops it into place. Then he tosses his saddlebags over one shoulder, exits.

35. EXT. OBSERVATION PLATFORM – MED. SHOT – DAY

Jim stands on the platform, reaches up, pulls the signal cord -- once, twice, three times, then jumps down.

36. MED. FULL SHOT

as West unties his horse.

37. EXT. TRAIN – FULL SHOT – DAY

as it starts.

38. ANOTHER ANGLE – WEST

as he stands holding the reins of his horse in one hand; the other snakes the stiletto out of the back of his collar with a lightning motion. Again. This time he throws it at a pile of railroad ties by the tracks. With a flourish he turns his horse, picks the knife out of the tie as he goes.

FADE OUT.


James: Thanks, Artie.
Artemus: "Thanks Artie"! Is that all you can say to me? I've just come back from the grave, risen like Lazarus, and that's what you say? "Thanks, Artie"?
James: Thanks, Artie.
Artemus: It's a pleasure.
- TNOT Pistoleros

California gal
SS senior field agent

USA
8378 Posts

Posted - 03/12/2009 :  10:34:06  Show Profile


ACT TWO

FADE IN.

39 THROUGH 40A OMITTED

41. EXT. TOWN OF QUEMADA – ESTABLISHING SHOT (WINTER) – DAY

The town of Quemada sprawls at the upper end of Quemada Valley. The town proper consists of a stage station at the further end -- next to that a cavernous blacksmith shop; nest the garish front of the Bocatillo (a cantina with a few rooms behind it), patronized chiefly by the Spanish and Mexican residents. Then comes Wing Fat’s -- Quemada’s only mercantile establishment. Opposite these buildings are a post office, a barber shop, Morgan’s firefighting shed, Foster’s livery stable, a few other nondescript buildings. Overlooking the town is an enormous stone house -- walled, crenellated, built like a Spanish architect’s version of a Mittel European castle.

The place is a shambles -- some of the burnable buildings in ashes; others wrecked, some still smoldering. On the main street are a half dozen wrecked wagons, other debris.

41A. GROUP SHOT – ON ROAD LEADING INTO TOWN

as a funeral procession consisting of a buckboard decorated by a couple of wooden boxes covered with bunting driven by an old Mexican, small homemade coffins, slowly passes by, followed by a pathetic group of walking mourners – a priest, a father, mother, a couple of musicians and a couple of others. As the mourners pass, their eyes turn toward West.

41B. POV – WEST

beside the road

41C. ANOTHER ANGLE

as West waits for the funeral to pass.

42. MED. SHOT – WEST

As he rides down the road, turns the corner around a corner, pulls his horse up as he looks in shock at the town of Quemada.

43. OMITTED

44. ANGLE ON WEST

as he rides past a couple of crestfallen WOMEN who are picking through the rubble of a small house. One of them looks up at him as he passes, nudges the other. They watch West warily. CAMERA FOLLWOS as West rides toward the center of town, then pauses.

45. OMITTED

46. ANGLE ON WEST

He continues on down the street, stops to reconnoiter.

47. POV SHOT

Wing Fat’s general store, over which a sign reads: “WING FAT, GENERAL MERCHANDISE,” seems to be one of the few buildings unhurt. WING FAT – a rotund, beatific Chinese – is seated on the porch of his establishment. In his hand is the mouthpiece and stem from a hookah, the stem leading into the store area behind him. He sits, placidly, surveying the street, sipping delicately at the smoke.

48. ANGLE ON WEST

As he looks around the area, interesting in a line of wagons leaving town. Last in line is Artie Gordon’s wagon -- a large road-weary affair on which are signs reading: “GORDON’S TRAVELING EMPORIUM” and, in the corner, another reading: “ARTEMUS GORDON, PROP.” Gordon is on the wagon box. CAMERA THEN PANS WITH WEST as he crossed over to Wing Fat’s establishment, pauses in front of Wing.

49. MED FULL SHOT – AT WING FAT’S STORE FRONT

Wing sits in a chair like an ancient Buddha, his eyes narrowed to slits, the stem of his hidden hookah held loosely in his hand; head full of dreams. West approaches, dismounts, ties his horse, stops in front of him. Slowly Wing turns his head, waves a hand in languid greeting.

49A. TWO SHOT – FAVORING WING

WING
There is a band of color which begins at your shoulders and progressively repeats itself layer after layer. It is infinitely varied... and infinitely beautiful...
(glances sleepily at West)
Take what you will from the shelves. The prices of the merchandise are marked.

West shakes his head. Wing nods contentedly, indicates the stem of the hookah.

WING (CONT’D)
Would you care for a pipe? It is filled with joy...


WEST
(smiles)
No thank you.

WING
(indicates the burning and devastated town)
A comfort in the face of disaster....

WEST
What’s happened here?

WING
Someone seems to have paid us a visit... with his men.

WEST
Juan Manolo, perhaps?

WING
Perhaps.

West indicates Wing Fat’s establishment.

WEST
He didn’t seem to bother you too much.

WING
Philosophy is the comfort of the aged, my young friend. Nothing bothers me.
(sighs contentedly)
I am a lucky man.

49B. ANOTHER ANGLE – WEST, WING

WEST
I’d like to be a... lucky man.

WING
(blandly)
Everyone would.

WEST
Perhaps I would like to buy something.
(pulls a gold piece out of his pocket)
... information ...

WING
Also a form of merchandise.

Rev. 12/19/64

49B. CONTINUED

Wing examines the coin, then looks at West benignly.

WING (CONT’D)
Coins interest me... I find them very beautiful.
(holds up coin)
You have more of these pretty things?

WEST
I know where more of these are.

WING
(easily)
Many more?

WEST
Many more...
(smiles enigmatically)
... if I mean Juan Manolo... and I’m lucky enough to make a deal.

WING
(a little more seriously)
Juan Manolo? You’d better come in. I think perhaps you will need to be lucky.

He rises ponderously. West looks at him, surprised. Wing catches his glance.

WING (CONT’D)
Something?

WEST
I think you’re the biggest Chinese I’ve ever met.

WING
The Chinese are a remarkably versatile race.

He leads West into the store.

50. INT WING FAT’S STORE – DAY
This is the standard western general store, filled with the usual miscellany of food stuff, clothes, bric-a-brac, guns, ammunition, harness, equipment... at the moment, empty of people. As West and Wing enter, Wing drops the stem of his hookah beside the hookah proper which has been placed on a small table behind the door of the shop. He indicates a door at the back.

WING
My office is more comfortable.

He pushes aside a beaded screen, enters as West follows.

51. INT. WING FAT’S OFFICE – DAY
This is a large room, furnished with several Oriental lacquered furniture, paintings and hangings on the wall, a magnificent screen across one corner. Another room is in the back -- also with a beaded screen across the doorway. Along the further wall in the corner, behind Wing Fat’s magnificent desk, is an ornate sofa on which lies Mei Mei (May May) -- a staggeringly beautiful Chinese girl. Her gown is sat, split up the side spectacularly. One ivory gam is braced against the wall, the other moving idly to a softly intoned Chinese SONG. She holds a mirror with a two-foot handle, which she uses like a periscope to examine visitors and her vague world. In the other hand she holds the stem of another hookah -- this one set up behind Wing Fat’s desk.

West stands watching as Wing Fat enters, swings by the girl without comment, picking up the gracefully proffered stem of the hookah from her as he passes. He sits, waves West to a seat. Wing takes a puff of smoke, blows it into the air, looks at West questioningly.

WEST
I’m something of a speculator. I have a proposition which I think would interest Mr. Manolo.

WING
I am told it is difficult to interest him. And dangerous. Mr. Manolo is said to be an impetuous man.

West shrugs, waits.

WING (CONT’D)
What kind of proposition ... Mr... ?

WEST
West ... Jim West...
(pauses, then)
I’m something of an expert in Mr. Manolo’s line of work. I thought he might need some help... and more of these...
(holds up coin)

WING
Possibly... possibly.

He makes a little gesture with his head.

51. CONTINUED

WING (CONT’S)
(he pauses)
But I must question you. Experience has taught those of us who have survived here that Juan Manolo is very impatient with those who waste his time... very impatient indeed. If he doesn’t like your proposition, he may decide to... do something unpleasant... I would not like to have this on my conscience.

WEST
I told you... I’m a speculator.

WING
I will try, Mr. West...

He SNAPS his fingers. Mei Mei reaches a languid hand, takes a stick, bangs a small Chinese gong.

WING (CONT’D)
It is said that the owner of the Casa Estrella our local Palais de Chance, is a friend of Mr. Manolo’s. She might be able to arrange a meeting. If you were very persuasive...

WEST
She?

WING
(nods)
Miss Lydia Monteran...

West raises his eyebrows in surprise.

WING (CONT’D)
You know the lady?

WEST
I’ve had the pleasure.

WING
Fortunately, the Casa Estrella was also undamaged in the recent raid.

WEST
Fortunately.

WING
Should a meeting be arranged, give this to Mr. Manolo.

51. CONTINUED

He hands West a card on which a single Chinese character is printed. West examines it, put it into his pocket.

WEST
Why don’t you introduce me to him?

WING
(sigh)
Unfortunately, Mr. West, I am a coward as well as a philosopher.
(he pauses, then)
A further word of caution. Mr. Manolo will expect you to be a little more communicative about this...
(holds up coin)
... than you have been with me.

In the b.g. Mei Mei starts to SING SOFTLY.

52 THRU 55 OMITTED

56. ANGLE ON WING AND MEI MEI

Wing holds up a paternal hand.

WING
Shhh ... shhh ... sh...

Mei Mie stops singing, starts vaguely painting a toenail, attempting to spear it with a brush.

57. ANGLE FAVORING WING

WING
(to West, he rises)
Perhaps Miss Monteran will aid you. I understand Mr. Manolo finds her extremely beautiful... therefore she can accomplish anything... although I must confess that to Oriental eyes, all Occidental women tend to look alike.

Outside the CLIP CLOP of a team of horses is HEARD.

WING (CONT’D)
I’ll be at the Casa Estrella, Mei Mei...

He waves a regal hand at her, as she vaguely waves the mirror in acknowledgment.

WING (CONT’D)
My housekeeper...

WEST
Of course.

Wing and West exit. Mei Mei continues her song.

Rev. 12/14/64

57A. EXT. WING FAT’S – DAY

A magnificent barouche is waiting with a pawing, prancing pair of matched horses harnessed to it; a wizened CHINESE on the box. Against the wall of a store, a Mexican PEON in sombrero and serape sits. Regally, Wing Fat indicates that West should take the jump seat. He does. The driver steps down to help Wing Fat who is making heavy weather of the steps. The little Chinese ad libs an obsequious greeting to Wing Fat. The little peon approaches, almost apologetically steps to the other side of Wing Fat.

PEON
Senor...

He helps. Wing Fat makes the seat, beams benignly at the peon who is bowing low.

WING FAT
(to West)
Do you by any chance have a coin for this poor man, Mr. West?

West takes a coin out of his pocket, hands it to the peon.

PEON
Gracias... gracias.

West does a little take. It is Artie Gordon. They drive away.

57B. OMITTED

57C. CLOSE SHOT – PEEPHOLE IN DOOR – MAJORDOMO’S EYES

MAJORDOMO’S VOICE
Mr. Wing...

57D. EXT. DOOR CASA ESTRELLA – MED. WING, WEST

The door opens. A great white cockatoo can be seen. The COCKATOO SCREAMS in anguished disapproval as they enter. They pause, startled, then enter.

58. THRU 62. OMITTED

63. INT. RECEPTION AREA, “CASA ESTRELLA” – DAY

We see that the building, originally a residence, has been modified into an opulent gambling establishment. A doorway is at one side, leading into a gaming room -- another on the other side leading toward and elegant staircase. The cockatoo is on a perch near the front door. The décor of the place is, for the most part, early Hearst, beautifully furnished with European furniture. At one side of the reception area a fire burns fitfully against a great backlog in the fireplace, around which a number of heavy leather chairs are placed invitingly. A few well-made tapestries are on the walls, a magnificent rug on the floor, a bookcase set into the curving stairwell. A well-dressed Majordomo bows as they enter -- a small, elegant very French little man.

Rev. 12/19/64

63. CONTINUED

MAJORDOMO
(slight continental accent)
We’re not expecting patrons today, Mr. Wing... but the salon is always open to you.

He indicates the doorway to the gaming room. Wing smiles, really pleased.

WING
Thank you, Paul, thank you... I would first appreciate a word with the lady of the house.

MAJORDOMO
(indicates a couple of chairs by fireplace)
Be seated, gentlemen... I will see what I can do.

WING
(smiles at West)
Gambling is a passion with me... any kind of gambling.

64. ANOTHER ANGLE

They move about the room as Wing indicates the objets d’art. A charming GIRL dressed as a maid passes nearby, flashes her pretty teeth at West.

WEST
Quite an establishment.

In the b.g. a waiter moves up the steps carrying a large silver tray.

WING
I am told that every stone in this building was brought by freight wagon up from Mexico...
(waves his hand around room)
It used to stand in the Plaza in Mexico City.

Rev. 12/14/64

65. They look up as in the b.g. at the top of the stairs the Majordomo appears.

MAJORDOMO
This way, gentlemen.

66. ANOTHER ANGLE

as, CAMERA FOLLOWING, the Majordomo leads them to an ornate staircase at the back of the room, leads the way to the stair landing. He opens a door, holds sit while Wing and West start to enter the room. Wing pauses, turns to the Majordomo at the door.

WING
About that little game...

MAJORDOMO
I will arrange it, Mr. Wing.

The Majordomo smiles, disappears as Wing follows West into the room.

67. INT. LYDIA MONTERAN’S SALON – ANGLE TOWARD DOOR – WEST AND WING

as they enter. West stands in surprise.

68. REVERSE ANGLE

This is an enormous second floor room furnished in real splendor. A mass of thick carpets, divans, tapestries, spectacular paintings, great Spanish chests under the windows -- the whole having the feeling of a salon furnished by someone of breeding, wealth, and the inherent taste of an aristocrat. A magnificent buffet lunch has been placed on a long wheeled serving table at one side of the room. On it is elegant food, organized for easy serving: a champagne bucket filled with ice (without a wine bottle at the moment), a salad bowl, hors d’oeuvres, lobster terrine, civet de Lapin and an attractive casserole of chicken and noodles over a chafing dish, coffee in a silver pot, caviar in ice, roast beef, a bowl of mixed fruit, another filled with English trifle pudding. Near magnificent French windows facing each other, are a pair of matched sofas. A curtained alcove at one side contains a lovely baroque fountain, complete with gargoyle heads, a Neiad rising from the water. An ornate handle to turn the water off is at one side of the fountain. At one end of the room is a rosewood writing desk. Seated at it is a svelte, lithely beautiful woman, exquisitely dressed in a Spanish gown with mantilla -- LYDIA MONTERAN. She rises, crosses to West and Wing coolly. She is a quiet killer, this girl, and knows it. At the moment she is playing the great lady.

LYDIA
Mr. Wing... so pleasant to see you again.

Rev. 12/19/64

69. WIDER ANGLE

as Wing takes her hand, then:

WING
Miss Monteran... I understand you know my friend, Mr. James West. He has a favor to ask of you.

Lydia looks at West, serenely. West bows.

WEST
Your servant, Miss Monteran.

She gives West her hand to kiss, drops it as he attempts to do so, making him look as awkward as possible. In the b.g. of the room, BEDFORD, an utterly imperturbably English butler, enters with a bottle of champagne in a towel, puts it into the ice bucket on the wheeled table, then stands by to serve, impassively faceless, an automaton.

LYDIA
Poor Mr. Wing,
(smiles at Wing)
I’m sorry we’re not open for business today. However, I could ask --

WING
Paul is arranging a little game for me, gracious lady. If you’ll excuse me...

Wing bows to Lydia, leaves the room.

70. OMITTED

71. CAMERA MOVES TO HOLD A THREE SHOT – LYDIA, WEST, BEDFORD

Lydia studies West for a moment. Then...

LYDIA
(politely indicating one of the sofas)
You’re looking well, Jim.

WEST
And you, as magnificent as ever.

(NOTE: At no time in this scene do any of the participants make a hurried movement, or raise their voices.)

West crosses toward the sofa, waits politely for her to sit opposite him, then sits as she gestures gracefully at the sofa again.

WEST
I’ve missed you.

LYDIA
I missed you...
(casually)
Three months ago at the station in New Orleans. I sat on a hard bench for hours. All alone... Before the police came.

WEST
I was hoping that you had forgotten about that...

71A. ANGLE FAVORING LYDIA

CAMERA PANS WITH her as she crosses to the serving table, picks up the bowl of salad, then to West, with it. Carefully she inverts the salad on West’s head, bowl and all. Then sits opposite him, looks at him sweetly.

LYDIA
I’m afraid that I haven’t forgotten .. about ... that.

71B. ANGLE FAVORING WEST – PAN SHOT

He untangles himself from the lettuce and other greenery, rises, crossed to Bedford who takes the bowl, places it on the table, hands a napkin to West. Then with a tiny gesture, Bedford indicates the bowl of trifle at the end of the table, then looks hopefully at West.

71C. MED. CLOSE – WEST

He wipes his face and head; looks around the room, appreciatively.

WEST
Your house?

71D. ANGLE ON LYDIA

She nods, happily.

LYDIA
Uh huh...
(looks at him placidly)
It was embarrassing being arrested in public like that. The police detained me for days before they let me go.

71E. ANGLE ON WEST

West takes a delicate taste of the caviar on the table.

71E. CONTINUED

WEST
Hmmm... Beluga...

He crosses to Lydia, CAMERA PANNING WITH him, carefully upends the bowl of caviar on her head. He then sits opposite her.

WEST (CONT’D)
Some people think it’s Juan Manolo’s house... and it wasn’t I who called the police.

71F. ANGLE FAVORING LYDIA

As she rises; crosses to receive another napkin from Bedford, CAMERA PANNING. She takes off her bedraggled mantilla, wipes her face. Then she picks up the champagne bottle, puts her thumb over the opening, shakes it vigorously as she moved back to West.

71G. TWO SHOT – LYDIA, WEST

She stands in front of him, aims, lets him have it squarely, moving the bottle from head to toe, as:

LYDIA
I’m not concerned with what people think. It is my house. And I think you did call the police.

She puts the empty bottle down, sits again on the sofa. West rises, starts for the table again.

72. ANOTHER ANGLE – FAVORING LYDIA

LYDIA
Twenty two thousand, five hundred and twelve dollars and 64 cents... that’s what the little affair in New Orleans cost me...

72A. ANOTHER ANGLE – FAVORING WEST, BEDFORD

By this time, West has worked his way to the table.

WEST
I want to meet Juan Manolo... and you’re going to introduce me.

Lydia, in b.g., shakes her head. Again Bedford offers West the trifle pudding, with a significant glance. West gives him a sharp look, then turns to the table, picks up the ice bucket, crosses toward Lydia.

72B. ANGLE FAVORING LYDIA

as West lets her have it with the ice bucket, full in the face -- water and all, as:

WEST
You’re lovelier than ever...

72C. CLOSE SHOT – BEDFORD

He gives a tiny smile of approval.

73. OMITTED

73A. ANOTEHR ANGLE – BEDFORD, LYDIA, WEST

LYDIA
I may have to have someone run you out of town...

She rises, moves toward Bedford who is holding out the bowl of fruit salad as she crosses.

WEST
You’re going to introduce me to that someone. And if you don’t, I may have to tell a Federal Marshal where you are... and he may have to come and take you away for good.

Lydia throws the mixed fruit all over West, starts back for the chafing dish, takes aim with it, fires, misses, as West crosses to her, picks her up. As he does so, her hands reach to the table for more ammunition. She picks up the coffee pot with one hand, starts to dump hot coffee on West. He takes it from her smoothly, hands it to Bedford, who places it back on the table.

73B. ANOTHER ANGLE – WEST AND LYDIA

CAMERA WITH them as West walks with her back to the alcove, pushes the curtains aside. As he does so, she shoves a tomato, heretofore hidden in her free hand, into West’s face.

73BB. INT. ALCOVE, FOUNTAIN – WEST, LYDIA

West pauses, calmly, while she grinds it into him. Then, carefully, he drops her into the fountain.

73C & 73D OMITTED

73E. MED.SHOT – LYDIA
Lydia is in the center of the pool made by the fountain, looking up as the streams of water from the gargoyle heads hit her squarely.

73F. INT. SALON – ANGLE ON BEDFORD

Bedford looks smugly pleased.

73G. INT. ALCOVE, FOUNTAIN – MED. SHOT – WEST, LYDIA – DAY

As he looks down at Lydia in the fountain.

WEST
I want to meet Juan Manolo

74. OMITTED

74A. INT. SALON – MED. SHOT – BEDFORD – DAY

as West enters in b.g. Bedford has reassembled the remains of lunch. He pauses with a knife over the roast beef. He beams at West, then indicates the meat as West approaches.

BEDFORD
My name is Bedford, sir.
(intentionally makes the double entendre)
May I say... well done, sir?...

Bedford starts cleaning West’s clothes off with a wet napkin.

74C. ANGLE FAVORING WEST

as he looks at Beford levelly, questioningly.

BEDFORD
(whispers as he works)
I have enjoyed serving this lunch, exceedingly...

WEST
I noticed that.

74D. ANOTHER ANGLE – WEST, BEDFORD

BEDFORD
(indicating trifle, whispers)
I only regret you didn’t have an opportunity to use the trifle pudding on the lady, sir. A perfect finish...

WEST
So it is.

He inverts the bowl of glop on Bedford’s head as we:

FADE OUT

END OF ACT TWO



James: Thanks, Artie.
Artemus: "Thanks Artie"! Is that all you can say to me? I've just come back from the grave, risen like Lazarus, and that's what you say? "Thanks, Artie"?
James: Thanks, Artie.
Artemus: It's a pleasure.
- TNOT Pistoleros
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California gal
SS senior field agent

USA
8378 Posts

Posted - 03/12/2009 :  10:37:09  Show Profile



ACT THREE

FADE IN:

76. EXT. STREEET, QUEMADA – FULL SHOT – LATE AFTERNOON

The area is filled with wagons, a number of the refugee townspeople preparing to bed down for the night prior to leaving town. A fire is built in one area, a kind of communal kitchen set up in the b.g.

77. ANOTHER ANGLE

as we see Artie Gordon’s wagon parked at one side, the sides of it open. One of the townspeople, HAWKINS, a grizzled older man with a child in his arms -- waits near the wagon, looks longingly at the merchandise.

77A. MED. SHOT – WEST

West stands talking to a TOWNSMAN in a nearby area a ittle way from the watering trough where his horse is tied. A dirty shirt is over the saddle.

77B. FULL SHOT – FAVORING GORDON, HAWKINS

Gordon crosses to Hawkins, puts a coat around the child, begins talking with Hawkins.

78. OMITTED

79. ANGLE ON GORDON AND HAWKINS

engaged in conversation. They shake hands. Hawkins walks out of SHOT with child.

80. OMITTED

81. MED. SHOT – WEST, TOWNSMAN — GORDON IN B.G.

West finishes his conversation with the townsman, looks over at another group who pointedly turns away from him. He shakes his head in discouragement. He turns to his horse. In b.g. Gordon takes a pail from his wagon, walks toward West and the watering trough as the townsman joins the group in the b.g.

82. TWO SHOT – GORDON AND WEST

as Gordon pumps water into the pail from a pump near the trough. They do not look at each other as:

GORDON
Any luck?

WEST
They’re too scared to talk?

82. CONTINUED

GORDON
Can’t say I blame them.

WEST
You get anything?

GORDON
I’ve checked over the remains of every barn and warehouse in the area -- nothing... freight wagons go in, and they go out.

WEST
Come in and go out where?

GORDON
Well, they come in by the main road and they go out by the cemetery.

West studies him then:

WEST
(repeating, thoughtfully)
They come in by the main road and go out by the cemetery...
(pauses, then)
See you after dark.

GORDON
Where?

WEST
The cemetery. Bring an extra horse in case we have to run for it.

DISSOLVE:

83. EXT. GRAVEYARD – FULL SHOT – NIGHT

CAMERA SLOWLY FANS ACROSS an ancient row of headstones, a crypt, a few gnarled trees, the moonlight making all mysterious and strange.

84. OMITTED

85. ANGLE ON ENTRANCE TO GRAVEYARD

as Gordon turns his unlit wagon, an extra horse tied behind it, into the graveyard following the piece of road toward a crypt in b.g. He stops the wagon near Jim’s horse which is tied to a tree in a dark spot.

86. MED. SHOT

as Gordon alights, carrying a bullseye lantern. Gordon looks around, nervously.

GORDON
(whispering)
Jim... Jim...

An OWL HOOTS from somewhere again in b.g.

GORDON (CONT’D)
(again, nervously)
Jim... Jim...

He pauses apprehensively as he HEARS a NOISE, looks o.s.

86A. POV SHOT

A dark beckoning arm, with a ghostly white hand can be seen from behind an ornate headstone.

WEST’S VOICE
Over here...

86A1. BACK TO SHOT

as Gordon makes his tentative way toward the voice.

86B. ANGLE AT HEADSTONE

West sticks his head cheerfully out from behind the headstone, as Gordon approaches.

GORDON
What are you doing?

WEST
Trying to find out why freight wagons are lighter after they pass through the cemetery...

GORDON
(dourly)
A lot of wagons are lighter after they pass through the cemetery.

WEST
Freight wagons shouldn’t be.

West emerges from behind headstone.

GORDON
How do you know these are?

WEST
Wheel tracks... They’re deeper coming in than they are going out.

An OWL HOOTS again. Gordon glances up.

86B. CONTINUED

GORDON
You like this kind of work?

West holds the light on the ground.

GORDON (CONT’D)
What are we looking for?

WEST
Those.

86C. POV SHOT

Wheel tracks, large ones, are in the ground leading toward the crypt.

86D. FULL SHOT

as West leads Gordon toward the heavy stone crypt.


87 & 88 OMITTED

89. ANGLE TOWARD CRYPT

as West and Gordon approach, studying it as they go.

90. TWO SHOT – WEST AND GORDON

as West glances at Gordon. CAMERA FOLLOWING, they move to the front of the crypt, check its heavy, thick cast-iron doors. West tries one of them, examines it closely.

WEST
There’s oil on those hinges.

West reaches up to his collar, takes a small lock pick out of the hem of it, inserts it in the lock of the vault. After a moment, there is a sharp CLICK.

91. CLOSER TWO SHOT

as West takes one side of the door, Gordon the other. Together they open it.

92. POV SHOT – SHOOTING OVER THEIR SHOULDERS

as Gordon flashes the lantern light into the area, suddenly leaps back. They stand in shock at what they see. A coiled rattlesnake is in the pit near the door, raises its head to strike, its RATTLING ominous in the still night.

93. ANOTHER ANGLE

as West grabs the light from Gordon, flashing it in another portion of the vault. As ANGLE WIDENS, we see that the floor of the vault has been made into a small pit for snakes, others stirring and RATTLING as the light hits them.

WEST
See anyone you know?

He holds the light as they examine the further edge of the pit.

93A. POV SHOT

Tracks appear there also. A couple of large planks rest on the far side of the pit. On the roof of the tunnel two beams have been placed in such a way that a good man could swing across on them.

93B. ANGLE ON WEST & GORDON

GORDON
You have to go in there?

WEST
If one of them gets you... just bite him back...

93C. ANGLE ON WEST

as West jumps for the beam, makes it, swings to the other, makes the further edge. Puts the plank across for Gordon.

94. ANOTHER ANGLE – GORDON

Gordon shakes his head in despair as he crosses the plank, looks down at the ominous snakes below him. As he enters he stirs up a bat who flies past his head, suddenly, almost causing him to fall into the pit.

94A. ANOTHER ANGLE

as West gives him a hand, pulls him to safety. From the light of Gordon’s lantern, they examine the walls, their attention caught by a niche in the crypt on which a moldering coffin lies.

GORDON
Cozy little place.

WEST
Hold the light here...

95. POV SHOT

Again on the floor we see the wheel marks of freight wagons, this time with no effort of concealment. The o.s. light is lifted showing a tunnel, not unlike an old mine shaft, stretching ahead of them as far as they can see.

96 & 97 OMITTED

98. BACK TO WEST AND GORDON

CAMERA FOLLOWS them as they go along the shaft. They stop, look o.s.

99 & 100 OMITTED

101. POV SHOT

West and Gordon have come to a great underground room, large room-like niches leading off from it. A couple of large oil lamps of the type used as bottle lanterns in sailing vessels are burning at either end of the cavernous room. In one corner of the room is a barred dungeon cell.

102. MED TWO SHOT

as West motions to Gordon and they enter the nearest niche.

103. INT. NICHE – FULL SHOT

Gordon flashes his lantern around the walls. It is lined with wine and whiskey barrels and cases marked:

“MONTERAN, CASA ESTRELLA, QUEMADA”

Gordon turns his light toward the end of the room.

104. POV SHOT – MORE WINE BARRELS

stacked clear to the ceiling.

104A. BACK TO GORDON AND WEST

GORDON
(rubbing his hands in glee)
Whiskey, whiskey everywhere...

West picks up an axe, which is leaning against the wall, smashes in the end of a barrel.

104B. INSERT – BARREL, AXE

as axe smashes barrel and gun powder pours out onto the floor.

104C. ANGLE ON GORDON & WEST – FAVORING WEST

WEST
And not a drop to drink.

Gordon stares in surprise, then reaches into an open barrel standing on end, pulls out a gun, shows it to West. West motions them on.

105. ANGLE ON WEST & GORDON

as West leads the way to the next niche. In it is a long line of light field cannons, containers for ball and canister along a wall, a half-dozen gatlings mounted on trunnions at the back. West takes a fast look at them, proceeds with Gordon to the next niche, CAMERA FOLLOWING.

106. INT. THIRD NICHE – FULL SHOT

as West and Gordon come into it. This room is richly furnished with a long CONFERENCE TABLE, A GREAT DESK, CHAIRS, SWORDS AND SUPPLIES against the unused wall.

107. INT. MAIN ROOM

as West and Gordon ENTER SHOT. West goes to some stairs leading up to a door near the ceiling, runs up them, puts his ear to the door as Gordon follows. CAMERA MOVES IN as West opens the door a crack, listens. He waits until it dies out; then he opens the door a little further. West and Gordon slip through.

108. INT. WINE CELLAR

as West and Gordon enter, they push a portion of a wine rack into the room which has been concealing the hidden door. West examines it, sees that it works easily, then closes the door behind them. CAMERA FOLLOWS as West leads the way across the room, climbs a set of stone stairs.

108A. INT. TOP OF STONE STAIRS – FAVORING WEST

West listens, then pushes what appears to be a door, opens it a crack.

108B. INT. CASA ESTRELLA RECEPTION AREA – POV SHOT

The cockatoo SCREAMS in b.g. as the Majordomo admits a handsome couple.

108C. INT. TOP OF STONE STAIRS – ANGLE ON WEST, GORDON

as West closes the door. West pantomimes that Gordon is to go back down the tunnel. Gordon looks at his questioningly. West pantomimes that he is going in the Casa Estrella. Gordon shrugs, nods.

109. OMITTED

109A. INT RECEPTION AREA – MED. FULL SHOT

as West opens the door cautiously, pauses as a WAITER with a tray of champagne glasses moves by. He waits, as in the b.g. the Majordomo crosses to the door, AD LIBS as he sends someone away.

109B. ANOTHER ANGLE – WEST

West moves quietly up the stairs, his face grim and determined.

DISSOLVE TO:

110. INT. LYDIA’S SALON

as Lydia enters the dark room, takes off her cloak, puts it on a sofa, crosses to the fireplace, stops short. Seated on a chest in front of an open window, silhouetted by moonlight, is West. Lydia looks at him in shock, then anger.

LYDIA
How did you get in here?

WEST
Where is he?

110. CONTINUED

LYDIA
(indicates bell cord)
All I have to do is pull this and --

WEST
(sarcastically)
Manolo appears.

He looks at her speculatively.

WEST (CONT’D)
Or maybe he doesn’t appear... Maybe he’s already here.

LYDIA
If he was, you wouldn’t live long. Now get out of here.

WEST
No.

LYDIA
I warn you...

WEST
You surprise me, Lydia. I knew you’d do a lot of things for money, but I thought you’d draw the line at murder.

LYDIA
What do you mean -- murder?

WEST
The dead children I passed on my way into town for one thing.

110. CONTINUED

LYDIA
I don't know anything about that.

WEST
You’re a liar!

Lydia jerks open the drawer of a nearby table, grabs a gun from it, starts to hold it on West. He knocks it out of her hand, grabs her, shakes her.

WEST (CONT’D)
Is there a Juan Manolo?

LYDIA
Yes!

WEST
Are you his partner?

LYDIA
No.

WEST
Then why is your cellar full of his supplies? With your name on them!

He shakes her again, when she remains silent.

WEST (CONT’D)
Answer me!!

LYDIA
I don't know what you’re talking about. There’s nothing in my cellar but wine.

West lets go of her, grabs her cloak off the sofa, throws it at her.

WEST
Tell me that while you’re looking Juan Manolo’s munitions.

She looks at him uncomprehendingly.

WEST (CONT’D)
Are you going to walk -- or do I have to drag you?

She looks at him, realizes he means it, crosses over, throws the cloak around her shoulders, starts out with West as we:

DISSOLVE TO:

111. INT. WINE CELLAR – FULL SHOT

as West, carrying a lantern, crosses to the moveable bin in the wine cellar starts to move it as Lydia watches, opens it, points down.

112. POV SHOT – ENTRANCE OF STORAGE AREA.

113. ANGLE FAVORING LYDIA

She looks at West questioningly, shocked.

WEST
You mean to tell me you didn’t know that Manolo was planning a revolution?

MANOLO’S VOICE (O.S.)
No, Mr. West, she didn’t.

114. ANOTHER ANGLE – WEST, LYDIA – MANOLO, GUNMEN IN B.G.

West is suddenly blinded by the light from several dark lanterns. Four hard looking GUNMEN are standing in the room. Two of them have rifles leveled at West. The other two, with lanterns, are holding pistols in their hands. Juan Manolo, a dark-suited, theatrical figure, an urbane, powerful-looking man in his 50’s, is standing before West and Lydia. He smiles with wry amusement as we:

114A. OMIT

FADE OUT:

END OF ACT THREE



James: Thanks, Artie.
Artemus: "Thanks Artie"! Is that all you can say to me? I've just come back from the grave, risen like Lazarus, and that's what you say? "Thanks, Artie"?
James: Thanks, Artie.
Artemus: It's a pleasure.
- TNOT Pistoleros
Go to Top of Page

California gal
SS senior field agent

USA
8378 Posts

Posted - 03/12/2009 :  10:38:33  Show Profile







ACT FOUR

FADE IN:

115. INT. THIRD NICHE – FULL SHOT – NIGHT

Juan Manolo is seated on one side of the conference table. Two of the gunmen are at strategic spots watching West, who is handcuffed to a chair in the center of the room, battered and bleeding. CAMERA FEATURES Manolo as:

MANOLO
You were wrong, Mr. West. I’m planning a war... not a revolution. This territory was taken by the United States by force. I propose to take it back the same way.

116. OMIT

117. OMIT

118: GROUP SHOT – ANOTHER ANGLE

as in the b.g. the third gunman enters, crosses to the table, hands Manolo a card. He glances at it, locks it carefully in the drawer of the desk as:

MANOLO
(then to West)
I will take a little time to decide what to do with you.

He rises as the Gunmen move in closer.

1ST GUNMAN
What do we do with the girl?

MANOLO
She can wait until I decide what is to be done with Mr. West. There might be a certain poetic justice in a double execution.

He stares at West grimly, then to 1st Gunman:

MANOLO (CONT’D)
One of you come with me. You two stay with our guests.

119. ANOTHER ANGLE

as the two men roughly jerk West to his feet. Manolo crosses to the door, pauses, exits as the men force West out of the room.

DISSOLVE TO:

120. INT. DUNGEON CELL – ANGLE ON LYDIA – DAY

Lydia Monteran rises from one corner of the cell in alarm as she hears FOOTSTEPS approaching.

121. ANGLE ON FRONT OF CELL

as the 1st and 2nd gunmen force West towards the dungeon door. A 3rd gunman follows, opens the door with a key. They toss West into the cell, send him reeling onto the floor, still handcuffed.

122. INT. CELL – TWO SHOT - DAY

The dungeon cell contains a battered bunk, a table on which is a water pail and dipper -- not much else. Lydia crosses to West, AD LIBS. She helps him to his feet, watches as he gets himself under control. She brings him a dipper of water, dabs at his battered face.

WEST
I’m sorry for thinking...

LYDIA
Forget it... What do we do now?

WEST
Where are the guards?

Lydia peers out through the bars.

LYDIA
One at the end of the room... another near the steps...

West goes to the bucket on the table, takes another dipper of water, splashes it on his face, looks down at his torn and battered clothes, then:

WEST
(to Lydia)
You watch out there. Tell me if any of them come close...

She goes to the edge of the cell, watches, turns back to him, suddenly angry again. He quiets her with a gesture, indicates that’s she should take another look at the guard. She does.

123. ANGLE FAVORING WEST

as he goes to the table, removes from the him of his collar a tiny lock pick.

WEST
(to Lydia, whispering)
Come here...

She crosses to him. He indicates the lock pick.

Rev. 12/14/64

123. CONTINUED

She places it in the handcuff. He works at it as well as he can, gets one hand free, sits on the bunk in the back of the cell, motions to Lydia to continue watching. She motions excitedly with her hand. West pretends to get the loose handcuff back on his wrist as the Guard passes. Then when she indicates that all is well, West takes them both off.

124. ANGLE ON WEST

He turns up his heel so that he can reach it with his hand, twists it twice. It comes off. He turns the heel upside down into his hand. Out drops the skeletonized handle of a derringer. Then he screws the heel back on again. He unscrews the heel of the other boot. Out of it comes one of the little egg-like objects, such as those he gave Gordon, and four cartridges. He then pulls his belt buckle off, snaps it apart. The top half becomes a receiver and sear spring, which he snaps in to the derringer handle. The other half of the belt buckle becomes a hammer and trigger assembly. The side part of the buckle is a tiny barrel. He screws it in place, loads the weapon, now a lethal little belly gun... sticks it in his belt, crosses over, starts to work on the cell door with his lock pick. Lydia places herself so that she covers him from view.

125. INT. TUNNEL – MED. SHOT – GORDON

as he makes his precarious way down the tunnel. He pauses, closes the shutter on his dark lantern, then moves on toward the lighted end into the storage area. He pauses as he hears AD LIB VOICES from the big room in the distance, then makes his way cautiously along.

126. INT. CELL – TWO SHOT – WEST AND LYDIA

West shows Lydia the little round object.

WEST
This is a smoke bomb. You get behind those cases when I tell you.

127. ANGLE TOWARD CELL

as West tosses the bomb. It explodes, fills the area with a dense cloud of smoke.

WEST
(to Lydia)
Now...!

127. CONTINUED

Lydia runs through the smoke, gets behind a dimly-seen packing case. West dives into the smoke, waits--gun in hand.

128. ANGLE ON 1ST GARD

1ST GUARD
Cuidado!

He waits, rifle ready. He fires into the smoke.

129. ANGLE ON WEST

The smoke clears. West fires.

130. ANGLE ON 1ST GUARD

He drops dead.

131. ANGLE ON 2ND GUARD

He shoots at West--again--again.

2ND GUARD
(to 3rd guard)
I’ll keep him pinned down. You get him from the side.

132. GROUP SHOT

as the 2nd and 3rd Guards begin to move to flank West.

133. ANGLE ON GORDON

He has moved to the edge of the tunnel. He runs out. The 3rd Guard snaps a shot at him. Gordon goes down. As he does, he lofts one of the objects West had given him in the train at the 3rd Guard. It explodes, viciously. The 3rd Guard is down.

134. ANGLE ON SECOND GUARD

He shoots at Gordon.

135. ANGLE ON WEST

He shoots him.

136. ANGLE ON 2ND GUARD

He is reloading.

Rev. 12/19/64

137. TWO SHOT

West leaps across the room, jumps the 2nd Guard, manages to kick the gun out of his hand.

138. MED. FULL SHOT

The Guard -- a powerful, lithe man -- leaps out of the way, draws a wicked-looking knife, starts for West.

139. ANGLE ON GORDON

Head bleeding, he is on the floor, still out.

140 MED. SHOT

As the 2nd Guard comes for West, *****ing at him with his knife. West moves like a striking snake, throws him savagely smashing him to the floor, heels his gun hand and his throat.

141. ANOTHER ANGLE

West rushes to Gordon who is beginning to stir restlessly, examines his bleeding head, lifts him against the wall. Lydia runs in.

WEST
(to Lydia)
Bandage him up as well as you can. I think it’s just a crease...

She goes to work on Gordon who is reviving, as West runs o.s.

142. ANGLE ON WEST

as West runs INTO SHOT, lifts the dead Guard to a sitting position on a packing box, places a rifle across his knees, pulls his hat down on his head.

Rev. 12/14/64

143. ANOTHER ANGLE

as West goes to the second Guard, pulls his body out of the way, takes guard’s gun, loads it, looks around to be sure that Gordon and Lydia are hidden from a view from the stairs.

144. ANGLE ON STAIRS

as West goes to the top of the stairs, gun in hand, places himself in such a position that Gordon and Lydia are on the hinge side of the door, as he is, and the propped-up dead Guard on the side of the door that an incoming person would first see. West indicates to Gordon and Lydia that they are to keep quiet. He waits.

145. ANGLE ON LYDIA AND GORDON

as she tears off a second strip of her petticoat, finishes bandaging Gordon’s head. Gordon indicates that he is still able to function. She gives him a hand as he gets to his feet. He holds a hand against the wall, for balance, then after a moment, shakes his head, makes a little motion with his hand for Lydia to hand him a rifle propped nearby.

146. ANGLE ON WEST

He is at the top of the stairs, in front of the door. A little RATTLING SOUND can be heard on the other side of the door. West draws his gun as the door opens, screening West from view.

147. ANGLE ON DOORWAY – MED. CLOSE SHOT – GUARD

as he enters, looks into the storage area, sees the sitting body, walks through, followed by Manolo.

148. TWO SHOT – WEST AND MANOLO

as West jams a revolver into Manolo’s back.

WEST
Don’t move... either one of you!

The guard spins around to shoot West, as ANGLE WIDENS.

149. ANGLE FAVORING GORDON, GUARD IN B.G.

as Gordon shoots the Guard. The Guard tumbles spectacularly off the steps.

Rev. 12/19/64

150. TWO SHOT

WEST
Just walk down the steps, Mr. Manolo... slow and easy.

Manolo walks down the steps, followed by West.

151. INT. MAIN ROOM – GROUP SHOT

as Manolo and West reach the bottom of the steps. Manolo looks around the room, sees the dead Guards, Lydia and Gordon. He stops short.

MANOLO
I underestimated you, Mr. West.

WEST
So you did.

Gordon moves into b.g. of SHOT.

WEST (CONT’D)
Artie, you’ll find a pair of handcuffs in the cell over there. Bring them here.

Gordon goes to the cell.

MANOLO
(suddenly furiously, viciously angry)
I have men upstairs. I will be missed. If you harm me in any way, it will take you a week to die.

He glares at them as Gordon reenters SHOT. West makes a little movement of his head to indicate that Gordon should put the handcuffs on Manolo. He does so.

MANOLO (CONT’D)
... all three of you.

152. OMITTED

Rev. 12/14/64

153. ANOTHER ANGLE – FAVORING GORDON & WEST

WEST
I have a couple of things to do here...
(pauses, indicates Manolo)
Can you handle him?

GORDON
Sure...

WEST
(to Gordon, indicating Manolo)
Then take him outside by the tunnel entrance.

Gordon nods.

GORDON
Maybe I’ll toss him in the pit with his little friends.

WEST
He’d poison them.
(to Lydia)
You want to help me?

LYDIA
Do I have a choice?

WEST
Not if you want to stay alive.

GORDON
(levels a rifle at Manolo)
After you, Mr. Manolo.

Manolo starts walking, prodded by Gordon.

154. TWO SHOT – WEST & LYDIA

West takes the end of Lydia’s torn collar, wipes a little smudge off her nose. She soften a little, then:

LYDIA
By some expensive coincidence, every time I meet you, I lose something. Last time it was money. This time it’s the only house I ever owned.
(looks up at him)
I can’t go back up there, can I?

West shakes his head. She smiles at him wickedly.

LYDIA (CONT’D)
Then I guess you’ll just have to take care of me until I find a new situation and... as you know... I have expensive tastes...

WEST
Get over there in the tunnel. Yell if you hear anything. I’ll join you in a minute.

155. ANGLE ON WEST

as he crosses to the third niche, disappears into it.

156. ANGLE ON LYDIA

as she turns into the tunnel, waits anxiously.

157. INT. THIRD NICHE – ANGLE FAVORING MANOLO’S DESK

as West crosses to it, uses his lock pick to open the drawer of Manolo’s desk. He glances at a few papers in the desk, the takes out the card which Manolo received, studies it. Then with a justified nod, he puts it in his pocket, exits.

158. ANGLE ON WEST

As West emerges from the third niche, disappears into the first one.

159. ANGLE ON LYDIA

as West reappears, unreeling fuse from a small barrel. He crosses to Lydia with it, ANGLE WIDENING to include her. West finishes laying out the fuse, then:

LYDIA
(indicating fuse)
Do you have to do that?

WEST
(grimly)
Yes...

161. ANGLE ON WEST

as he crosses to wall, picks up the bullseye lantern, brings it back, opens it up, sticks the fuse into it. It comes out sputtering and burning.

Rev. 12/19/64

WEST
(drily, to Lydia)
Time to go...

They run down the tunnel.

162. EXT. GRAVEYARD

Gordon is standing beside his wagon, gun in hand, keeping an eye on Manolo, who is glowering at him, leaning against the wheel of the wagon. Gordon looks up as in the b.g. West and Lydia emerge from the tunnel.

163. OMITTED

164. ANOTHER ANGLE

as West leads her to the wagon, puts her on the seat, then hurries around it to Gordon.

WEST
(to Manolo)
Get on that horse...

Manolo, coldly furious, obeys.

WEST (CONT’D)
(to Gordon, indicating Lydia)
You take her. Meet me at the train.
(indicating Manolo)
I want to get him out of here before his friends come looking for him.

MANOLO
(furiously)
They will... and when they do...

West mounts his horse, holds up his hand.

WEST
Hold it a minute, Artie.

He points in the distance.

165. POV SHOT

The outline of the Casa Estrella can be seen in the distance. Suddenly it is lit from beneath by a column of smoke and flame. There is a dull, distant BOOM. The ground heaves and rolls.

Rev. 12/14/64

WEST
(to Manolo)
That might keep your friends amused for a little while...

LYDIA
(to West)
Now you owe me twenty-two thousand, five hundred and twelve dollars and sixty-four cents... plus a house... and a few other odds and ends.

West grins at her, then races off, leading Manolo’s horse.

167. ANGLE ON GORDON

He whips up his horses, starts the clumsy wagon moving as rapidly as possible down the road, behind them the exploding house and the light from the flames.

SLOWLY DISSOLVE TO:

168. EXT. RAILROAD SIDING – EST. SHOT – NIGHT

The train is on a siding.

168A. West rides up, holds a gun on Manolo as he forces him to climb the forward steps of the varnish car.

169. INT. CORRIDOR OUTSIDE FORWARD STATEROOM– ANGLE TOWARD DOOR

As West comes out of it, giving us a glimpse of Manolo, handcuffed to a chair in b.g. West closes the door, walks down the corridor to the salon, enters it.

170. INT. SALON – FULL SHOT

The salon is dark, except for the pilot lights in the gas lamps. West goes to the salon wall turns a lever which turns up the gas lamps.

WING FAT’S (O.S.)
Good evening, Mr. West.

West turns.

171. ANGLE TOWARDS DOOR

Standing in the room is Wing Fat, holding a gun leveled at West. West doesn’t move as Wing Fat pulls the lever on the wall. In the back, the rear door of the observation salon opens. One of the gunmen steps through, also holding a gun, frisks West as he comes closer. Then Manolo walks in -- still handcuffed -- behind Manolo another gunman. The two gunmen stand out of the way as Wing Fat and Manolo move closer to West. Manolo holds out his handcuffed hands:

171. CONTINUED

MANOLO
Take these things off...

WING
(to Manolo)
In good time...

MANOLO
I want them...

Wing turns a gentle glance on him.

WING
In good time...

Manolo subsides.

WEST
(to Wing Fat)
I’ve been expecting you, Mr. Manolo.

WING
Fascinating... How did you?...

WEST
The cards...

He reaches into his pocket, pulls out two cards.

WEST (CONT’D)
The one you gave me...
(holds up the other card)
... the one you sent him...
(indicating handcuffed man)

171A. INSERT – CARDS

with Chinese symbols on them.

WEST’S VOICE
There was only one man important enough to send for him when he was... busy.

171B. ANOTHER ANGLE – FAVORING WING

WING
Perhaps an introduction is in order.

Wing indicates the false Manolo, using Spanish pronunciation.

WING (CONT’D)
General Andreas de la Torres Casinello... an ex-employee of mine.

Casinello turns to him his eyes wide with fear.

CASINELLO (MANOLO)
What do you mean?

171B. CONTINUED

WING
I am afraid you have been very stupid, General... very stupid indeed. And you are no longer useful now that our little masquerade has ended.

He makes a little motion, to the gunman in the observation end of the car, who moves in, jabs a gun in Casinello’s middle, backs him down the aisle.

WING (CONT’D)
(to West)
It is true... I am Juan Manolo... or Wan Man Low... to use the Mandarin pronunciation.

172. ANOTHER ANGLE

As Casinello is backed through the door at the end of the car. It closes behind him.

173. ANGLE FEATURING WING FAT (WAN MAN LOW)

as Wing crosses to the window. There is an O.S. SHOT –

WING (WAN MAN LOW)
I fear the general has fallen from the train.
(turns to West)
Mr. West, I must confess that I am impressed with your ability... For this reason, I am reluctant to remove you before we conclude the conversation which you intended to have with me originally.

174. ANGLE FAVORING WEST

WEST
I came to Quemada to make a deal with you. I still want to do that.

WING (WAN MAN LOW)
What did you intend to get from me?

WEST
A partnership.

WING (WAN MAN LOW)
(raises eyebrows)
Oh...?

Rev. 12/14/64

174. CONTINUED

WEST
Not an equal partnership.. I want 25%.

WING (WAN MAN LOW)
And what did you intend to give for this share?

WEST
(indicating sideboard)
May I?

WING (WAN MAN LOW)
(nods)
Make no sudden movement of any kind.

175. ANOTHER ANGLE

The gunmen raise their weapons ominously -- as does Wing. West goes to the sideboard, opens a panel, takes out a chamois bag, crosses over to the billiard table, opens the bag, spills some gold coins onto the table.

176. GROUP SHOT

Wing crosses over to West.

WEST
This is a sample. I know where there’s two hundred and fifty thousand dollars worth of these. I can deliver them to you.

Wing looks at him with real interest, crosses to the money, refills and lifts the sack.

WEST (CONT’D)
On one condition.

WING
You’re hardly in a position to make conditions.

WEST
I can make conditions about this. You want that money. You’ll get it on my terms... and no other way.
(points to the two gunmen)
And I won’t talk in front of them...

Wing shakes his head.

176. CONTINUED

WEST (CONT’D)
If we’re going to talk, we’re going to talk in private... or you can go ahead and kill me.

WING
(laughs)
I find you most amusing, Mr. West.
(to man at end of car, sapping fingers to indicate he should leave)
Wait on the platform. When Mr. West’s friend, Mr. Gordon, arrives, kill him... and the girl.

The man looks at him doubtfully

WING (CONT’D)
It’s all right, Joseph. I have a gun. And you may watch us through the window of the car.
(to West)
Joseph is also an excellent shot, Mr. West.
(glances around)
This is quite a useful base of operations... I will enjoy it after you are gone.

177. MED. SHOT

West leans against the billiard table, turns to face Wing.

WEST
A week after we sign our partnership, I’ll deliver two hundred and fifty thousand dollars’ worth of little beauties like this.
(holds up 20-dollar gold piece)
That’ll buy a lot of new supplies. If you kill me, you won’t have them.

Wing studies him.

WEST (CONT’D)
You’ve lost Casinello. You’ll need a front man... a second-in-command. That’s the job I want. I’m a trained cavalry officer... with ten years of top experience.

177. CONTINUED

WING
And a murder charge... and a strong desire for revenge against your countrymen.
(laughs)
Mr. West... I admire you very much. You are a true gambler.

West shrugs his shoulders in acquiescence.

WING (CONT’D)
Perhaps I should wait a little and see if you can deliver what you say you can.

WEST
What about Gordon and the girl?

WING
Sorry...
(shrugs again)
They have caused me a great deal of difficulty. They must pay for that...
(looks at West grimly)
And you too... if you fail in your commitment.

West shrugs, nods.

178. ANGLE FAVORING WING

He looks down at the self-leveling legs of the billiard table.

WING
Quite an ingenious arrangement.

WEST
Do you play?

WING
I enjoy it.

WEST
Do you bet when you play?

WING
Always... a terrible... terrible weakness.

179. ANOTHER ANGLE

as West rolls one of the balls into the corner with his hand, makes a three-cushion shot.

Rev. 12/19/64

179. CONTINUED

WING
You are very good indeed... unless that was an accident.

WEST
(offering a cue)
I’ll make a bet with you.

WING
Have you anything left to risk?

WEST
The title to the car. I’ll sign it over to you... if I lose. If I win, you don’t kill the girl... or my friend.

WING
Why do I need the title to this car? I could simply take it.

WEST
You might be able to take it, but you couldn’t use it... not on any railroad in the United States... without the title. They wouldn’t let you use the track.

Wing smiles at West.

WING
I will say this for you, Mr. West... you are a man of considerable style. Shall we say... a short game?

WEST
Thirteen points... the car... against the girl and Gordon.

West moves the counters on the overhead wire on his side to zero.

180. EXT. TRAIN - MED. SHOT AT ENGINE CAB

The Engineer and Train Captain are under the gun of a Chinese gunman at the rear of the cab.

GUNMAN
(to Engineer)
You sit...

TRAIN CAPT.
You’d better do it, Kelly.

180. CONTINUED

The Engineer sits slowly.

181. EXT. HILL – FULL SHOT – NIGHT

as Gordon’s wagon appears, stops. Gordon extinguishes the lantern on his wagon as he gazes off toward the train silhouetted in the distance, Lydia sitting next to him she looks off toward the train, then back at Gordon curiously.

182. POV SHOT – TRAIN

183. BACK TO SCENE – MED. SHOT – GORDON, LYDIA

Gordon frowns.

GORDON
Trouble...

LYDIA
How do you know?

GORDON
The light at the end of the car... It isn’t lit... and it should be. It’s a signal.

He studies the train.

184. INT. VARNISH CAR

As West and Wing (Manolo) play with deadly concentration. West misses. Moves the counters on his side to show the increase in his score.

WEST
Shall we have a little drink to celebrate our partnership?

WING
(wags his finger admonishingly)
Thank you, no.

Wing reaches for his cue again, sets up a difficult masse shot, misses. The ball bounces over the rail. Wing smiles, watching West as he picks up the ball...

Rev. 12/14/64

184. CONTINUED

WING (CONT’D)
(glancing over his head)
We seem to be even, Mr. West. So far --

West makes an attempt to switch billiard balls but can’t with Wing’s eye on him. Consequently puts the dropped ball back on the table...

Rev. 12/19/64

185. OMIT

186. OMIT

187. EXT. TRAIN – FULL SHOT

as Gordon and Lydia position themselves in an area where they can see the center of the train. Gordon has taken out the little box of round objects. He has a rifle. CAMERA MOVES TO TWO SHOT.

GORDON
(to Lydia)
Can you shoot?

LYDIA
Not very straight.

GORDON
(indicating little round objects)
Throw these then... when I tell you.

188. INT. VARNISH CAR – ANOTHER ANGLE – FAVORING WING – NIGHT

He leans across the table as West studies his shot.

WING
Don’t bother, Mr. West. You’ve gambled... and lost.

West looks up.

WING (CONT’D)
Did you think for a moment that I would be taken in by your histrionics?

MORE

188. CONTINUED

Rev. 12/14/64

WING (CONT’D)
No, Mr. West.

WEST
(indicates the table)
I may beat you with this shot.

WING
Make it.

His hand comes up. In it is a deadly little derringer.

WING (CONT’D)
And after you do, I am going to kill you.

West nods. Reaches up with his cue to move another counter. He suddenly hits the wire. It breaks, counters spill all over the table EXPLODING as they do. Simultaneously West grabs the new billiard ball. It EXPLODES in a cloud of smoke.

188A. ANGLE ON WING

He can’t see where to shoot.

188B. ANGLE ON WEST

As he presses a spring on his cue. The blade appears. With his last strength he throws it into the cloud of smoke.

188C. ANGLE ON WING

as the cue, now a deadly spear, hits him full in the chest. He SCREAMS, falls.

189. EXT. VARNISH CAR – MED. SHOT – GORDON, LYDIA

GORDON
Now...

Gordon FIRES at one of the gunmen on the platform. The gunman FIRES back.

190. INT. ENGINE CAB

as the gunman’s attention is taken off the two men he is guarding for a moment. He SHOOTS at the flash of Gordon’s rifle, as in the b.g. the Train Captain manages to hit him with a log of wood. The Train Captain and the Engineer swarm all over him, the Engineer knocking him out. The Train Captain leans over him.

190. CONTINUED

ENGINEER
Get his gun!

TRAIN CAPTAIN
(as he does)
We’ll duck into the bushes. Maybe we can pick off the ones on the platform.

ENGINEER
C’mon...

They drop off the cab into the bushes.

191. EXT TRAIN

as the remaining gunmen run off the rain towards Artie Gordon.

192. ANGLE ON GORDON & LYDIA

as Gordon pulls the trigger of his rifle. It misses fire. Lydia picks up one of the little objects, throws it in the direction of the oncoming gunman, then another.

193. ANGLE ON GUNMAN

There is an EXPLOSION. Another gunman goes down, disappears. Lydia and Artie in the b.g. throw the others. More EXPLOSIONS. The second gunman goes down. For a moment, there is silence.

194. BACK TO GORDON & LYDIA

Gordon spots the Train Captain and Engineer moving toward them.

GORDON
This way!

195. ANOTHER ANGLE

as Gordon and Lydia run toward the varnish car, followed by the Train Captain and Engineer.

SLOW DISSOLVE TO:

196. INT. VARNISH CAR – FULL SHOT

Lydia is seated in a chair, looking beautiful but rather subdued due to a prim and ordinary calico dress. West is elegantly dressed again. They are seated comfortably at the side of a small table, on which has been placed a tray of hors d’oevres. In the b.g. the billiard table has been changed to a dining table, on which has been placed dishes of food. They look up as in the b.g. the door opens.

197. ANGLE TOWARD DOOR

as Gordon comes from one of the staterooms. He too has changed his clothes, this time has decided to be another of his characters, “The Waiter.” He wears an apron, sleeve garters, his hair plastered down, etc. He has a set up for champagne, with three glasses, places it before them.

198. ANGLE FAVORING LYDIA

as she rises, models her dress.

LYDIA
(indicating her dress reprovingly)
This the best you could do for me?

GORDON
Best one-ninety-eight gown made in Chicago, Miss Monteran.

With a few easy movements, she pushes the sleeves up, as in the b.g. Artie does an unseen quick change, rearranges the front to expose more girl, snatches a lace antimacassar off a chair to use on her head; whirls around, CAMERA PANNING WITH her, taking West’s scarf off his neck as she does so, using it for a sash. Presto. She is a dish again.

198A. ANOTHER ANGLE – FAVORING GORDON, WEST.

GORDON
(to West)
It’s a talent. Some people have it, some people don’t.

199. TWO SHOT – WEST & LYDIA

Lydia stands, makes a little pirouette, holding out her hands as if she’d like to touch everything in the room.

LYDIA
(indicating room)
Why didn’t you tell me you had one of these?

WEST
It isn’t mine... it belongs to a friend.

LYDIA
(craftily)
What’s his name?

WEST
(looks at her, then)
Sam...

199. CONTINUED

LYDIA
I’d like to meet him. Sam must be a very rich man.

WEST
He is... but he has a lot of expenses.

200. OMITTED

200A. ANGLE ON LYDIA

as she picks up the caviar, looks at West, a wicked gleam in her eye.

LYDIA
(sweetly)
Caviar?

West holds up his hand.

WEST
Truce?

LYDIA
Truce...

He reaches up, pulls the whistle cord three times. Suddenly she leans up, kisses him sweetly...

201. EXT. TRAIN ENGINE – TWO SHOT – TRAIN CAPTAIN AND ENGINEER

They stand beside the cab, look up as they hear THREE WHISTLES. The Captain looks at the engineer.

201. CONTINUED

TRAIN CAPTAIN
I guess we’re ready to move on.

The Engineer nods, climbs aboard, looks down at the Train Captain.

ENGINEER
(indicating the varnish car)
Tell you one thing about that fella...

TRAIN CAPTAIN
What’s that?

ENGINEER
In 36 years of railroading, he’s the liveliest dude I ever met.

202. ANGLE ON TRAIN

as it pulls out. CAMERA HOLDS as first the engine goes by, then the tender, then the baggage and crew car, then the varnish car. As the varnish car passes CAMERA, Artie Gordon can be seen at his concertina, playing gaily. West is in the center of the salon. He bows politely to Lydia as they begin the steps of a Maxixe.

203. CAMERA HOLDS ON VARNISH CAR

as it disappears over the horizon. The last thing we see is the flickering oil lamp and the name, “THE WANDERER” across the rear.

FADE OUT:

THE END








James: Thanks, Artie.
Artemus: "Thanks Artie"! Is that all you can say to me? I've just come back from the grave, risen like Lazarus, and that's what you say? "Thanks, Artie"?
James: Thanks, Artie.
Artemus: It's a pleasure.
- TNOT Pistoleros
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