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California gal
SS senior field agent

USA
8383 Posts

Posted - 03/12/2009 :  10:49:41  Show Profile

Production #0359

THE WILD WILD WEST

“The Night of the Waxen Terror”

#0359
FIRST DRAFT
May 11, 1967

PRODUCER
BRUCE LANSBURY

ASSOCIATE PRODUCER
LEONARD KATZMAN

STORY CONSULTANT
HENRY SHARP

WRITTEN BY
ROBERT E. KENT

SETS:
EXT. PHOENIX STREET
INT. HOTEL ROOM
EXT. HOTEL
INT. RAILROAD CAR
INT. TOWN HALL
EXT. MUSEUM
INT. MUSEUM
EXT. ALLEY
INT. STOREHOUSE
EXT. RR CAR REAR PLATFORM
EXT. COPELAND RANCH
EXT. COPELAND MANSION
INT. COPELAND BASEMENT

CAST
JAMES WEST – Robert Conrad
ARTEMUS GORDON – Ross Martin
JUSTICE WARRANT DANE
JUSTICE MARK OLIVER
GOV. DOUGLAS COPELAND
BARNABY STARK
SANDRA DEVON
STADER (1st waiter)
KINNEY
DRUNK

SILENT:

1 WAITER
2 GUNMEN
GIBNEY

TEASER

FADE IN:

1. EXT. PHOENIX STREET – NIGHT

FAVORED in the ESTABLISHING SHOT of Phoenix’s main street, with its pedestrians and riders, is the sign of the “PHOENIX HOTEL.” As CAMERA MOVES TOWARD a lighted window, its shades drawn, on the second floor of the inn –

DISSOLVE THROUGH TO:

2. INT. HOTEL ROOM – NIGHT

A rather heated discussion, chiefly between Supreme Court Justice WARREN DANE and elderly, retired Justice MARK OLIVER, is taking place. Drawn intermittently into the debate – against their wills – are the other two men in the room WEST and ARTEMUS.

DANE
(vehemently)
I tell you, Oliver, this is the time for Arizona’s admittance to the union.

As the men talk, Dane paces irritably, occasionally moving near the window.

OLIVER
(seething)
Is that what you want Dane, a state built on violence?
(voice building)
Grant sent you hear for my advice. All right. This is it: tell him Arizona is at least ten years away from being civilized enough for Statehood!

DANE
Do you also expect me to tell the President that you’re afraid of Douglas Copeland?

OLIVER
When Copeland became Governor, he took over this territory from top to bottom. And he’s not going to let you, or anybody else, take it away from him.

2. CONTINUED

DANE
(furious)
Perhaps, the army can change his mind.

OLIVER
(to West and Artie)
What do you two say? Doesn’t the fact that Grant thought Dane needed you for bodyguards out here tell you something?

West and Artie exchange an uncomfortable glance.

WEST
A lot of prominent people have disappeared lately under strange circumstances. I couldn’t say whether our assignment had anything to do with the Arizona question.

DANE
(snapping; to Oliver)
Times have changed since you sat on the Supreme Court bench with us. I still contend that Statehood would make a civilized community out of a --

He is interrupted by a KNOCK at the door.

WEST
(calling)
What is it?

VOICE
(o.s.; from hall)
Your dinners, sir.

Oliver and Dane relax. West and Gordon don’t. They draw their guns alertly.

DANE
(dourly)
Let’s hope Arizona food sits better on my stomach than its Governor.

West opens the door, and two uniformed WAITERS enter, pushing a food cart, on which is an elaborate display of silver and covered serving trays. West and Artie put away their guns now.

2. CONTINUED

1st WAITER
Will there be anything else?

WEST
(shakes head)
This is fine.

The waiters nod, and make their exit, with West locking the door again behind them. Artie lifts the cover from a tray, disclosing a good-sized roasted duck.

ARTEMUS
(hungrily)
I don't know about anything else, but this sure looks civilized enough to –

He stops short, reacting, as he sees:

3. INSERT: ROASTED DUCK

There is a POPPING EXPLOSION, the duck splits in half – and inside it, we see a small, square, metal container. Instantly, the top on the container opens, and a red gas literally pours into the room.

4. FULL SHOT

as the gas fills the room, enveloping the four men, who begin to cough and choke. West makes a desperate lunge for the door. But, just as he reaches it –

5. SHOT – AT DOOR

A metal panel CLANGS down from above, covering the door, shutting off any exit to the hall.

6. FULL SHOT

West tears across the room toward the window. But, as he reaches it –

7. SHOT – AT WINDOW

Two metal shutters, coming out from the sides, slide together with a CLANG, sealing the room.

8. FULL SHOT

Elderly Oliver topples from his chair, unconscious; Dane, gagging, sinks to his knees; Artie sags against a wall in a paroxysm of coughing – and, as the weakened West tries to claw at the metal shutters –

FADE OUT

FADE IN:

9. INT. HOTEL ROOM – NIGHT

The scene is the same as before, with CAMERA MOVING PAST Dane and Oliver discernible in the red, gaseous smoke, until IT COMES TO West, who is struggling to get something out of his pocket. Artie is nearby, moving unsteadily.

10. CLOSER ANGLE – WEST AND Artie

West pulls a wad of clay from his pocket, slams it against the seam where the shutters meet. Artie has automatically contributed a short fuse to this wad, which West lights. They both stagger away.

11. SHOT – AT STEEL SHUTTERS

The clay EXPLODES, and white smoke mingles with the red gas.

12. REACTION SHOT – WEST AND Artie

13. SHOT – AT STEEL SHUTTERS

The explosion has ripped them apart, exposing the glass window.

14. PAN SHOT – WEST

He reaches the window and, after wrapping a handkerchief around his hand, SMASHES his fist through the glass. He fills his lungs with air, then rushes back to the stricken Dane, lifts him to his feet and drags him over to the window.

WEST
(yelling)
Artie, get Judge Oliver over here!

15. PAN SHOT – Artie

He nods blearily and goes over to where Oliver is lying on the floor.

16. MED. SHOT – WEST AND DANE

While Dane fights to get his breath, West is yanking the twisted shutters further away from the window, and SMASHING out more of the glass.

ARTEMUS VOICE (O.S.)
It won’t do any good, Jim –

West and Dane look off.

17. MED. SHOT – ARTEMUS AND OLIVER

Artie is bent over the old man.

18. MED. FULL SHOT – WEST AND DANE

Both react.

WEST
Work on him! Try –

He stops short, as something catches his eye out the window.

19. LONG SHOT DOWN - WEST’S POV

The 1st waiter can be seen running toward a tethered horse.

20. FULL SHOT

West doesn’t wait; he leaps through the battered window, out to the roof of the porch outside.

21. SHOT – ANGLING IN BOTH DANE AND ARTEMUS

They react. Artie comes up and runs to the window.

22. EXT. HOTEL – NIGHT

West runs across the porch roof.

23. EX. PHOENIX STREET – NIGHT

The waiter is mounted now and is just starting to get away.

24. ANOTHER ANGLE

West leaps from the roof and hits the mounted waiter squarely. Both go plunging to the ground.

25. FULL SHOT – UP STREET

A wagon, pulled by a team, is heading swiftly toward where West and the waiter landed.

26. FULL SHOT – WEST AND THE 1ST WAITER

The waiter gets to his feet first and aims a vicious kick at Jim’s head. Jim grabs the leg and twists. The man CRIES OUT as he is catapulted backwards.

27. FULL SHOT

The waiter regains his balance, tries to run – and heads directly into the oncoming team of horses.

28. FULL SHOT – THE WAGON

as it goes RUMBLING past.

29. CLOSE SHOT – WEST

reacting to the accident.

30. ARTEMUS AND DANE IN HOTEL WINDOW

reacting.

31. FULL SHOT – 1ST WAITER

lying in the dusty road.

32. PAN SHOT – WEST

He goes to the man in the road and ascertains quickly that he is dead.

33. CLOSE SHOT – WEST

He gets to his feet, his face grim.

DISSOLVE TO:

34. INT. HOTEL ROOM – NIGHT

Present are West, Artie, Dane and KINNEY, the hotel manager, who is examining the smashed metal shutters. Oliver’s body has been removed. Artie is snooping about, looking for clues.

KINNEY

-- All I can tell you is, this has been the Governor’s suite for many years.
(looks at West)
But it wasn’t until Mr. Copeland became Governor that the metal door panel and the shutters were installed… for security purposes, of course.

DANE
(dumbfounded)
Oliver was right about Copeland!

WEST
We have no proof of anything, sir.
(to Kinney)
Who hired those two waiters who brought the food in here?

35. MED. SHOT – ARTEMUS

He sees something on the floor, and bends to it.

KINNEY’S VOICE (O.S.)
I’ve no idea, Mr. West.

36. INSERT – CARPET

a red stain, in the shape of a heelmark, stands out rather vividly.

KINNEYS’S VOICE (O.S.)
The man who was killed in the street was a stranger/

37. SHOT – ANGLING PAST Artie – TOWARD WEST AND KINNEY IN B.G.

KINNEY
He didn’t work for the hotel.

WEST
(grimly)
And the other one’s well on his way by now.
(shakes head)
Doesn’t leave us much.

Now Artie gives a little signal to West to get rid of Kinney. West nods his acknowledgment.

WEST
All right, Mr. Kinney – that will be all. Just don’t be too far away in case we need you.

KINNEY
Yes, sir.

He exits. West waits until the door closes, then comes to Artie in the f.g., where Artie indicates the stain.

ARTEMUS
One of those waiters left a calling card.

WEST
(puzzled)
It’s not mud…

ARTEMUS
(shakes head)
Red clay wouldn’t powder like that. I’ll see if I can get enough for an analysis.

Artie takes out a small piece of paper and a penknife. With the knife, he begins to scrape the powder on to the paper. Now Dane enters to the two.

DANE
(morosely)
If I hadn’t come here, old Oliver would still be alive.

WEST
He didn’t underestimate the dangers.

Dane looks at West for a moment, then turns away.

DANE
They got the wrong man, West – I’m the one they wanted.

WEST
He tried to warn us.
(softly)
It won’t be forgotten

DISSOLVE TO:

38. INT. RAILROAD CAR – CLOSE SHOT – ARTEMUS – NIGHT

Using his lab instruments, Artie is trying to analyze the red powder. His disgusted explanation tells us he isn’t having much success. CAMERA PULLS BACK to disclose West and Dane bringing in Dane’s luggage from the rear platform.

WEST
So long as you’re in the territory, sir, this will be the best protection we can give you.

DANE
(looking around)
It will be fine. Thank you.

WEST
(to Artie)
Any luck?

ARTEMUS
Nothing. I haven’t even been able to learn one of the components.
(sourly)
If Copeland concocted this stuff, he knows more about science that I do.

WEST
Better send a sample to the laboratory in Los Angeles right away. Maybe they can do something with it.

Through the following, Artie gets their carrier pigeon out of its cage, puts some of the powder into capsule, and attaches it to the bird:

DANE
But, I tell you, gentlemen, it has to be Copeland.

Artie mulls this for a moment, then:

ARTEMUS
(drily)
From what we’ve heard about the Governor, he hardly seems the type who’d show favoritism to the Supreme Court by trying to kill one if its members with gas, instead of a gun.

WEST
Unless that’s what he wants us to think.

Artie goes to the window with the pigeon.

ARTEMUS
Maybe Arabella here will get some answers.

The pigeon is released out the window.

WEST
Tell the lab we need a reply in a hurry.

Artie nods, goes to telegraph key and begins to tap out the message.

39. MED. SHOT – WEST AND DANE

WEST
Tomorrow, Judge Oliver will be lying in state at Town Hall.
(a beat)
Be interesting to see who shows up to say good-bye.

As Dane looks at West curiously –

DISSOLVE TO:

40. EXT. PHOENIX STREET – DAY

A rather fancy, open carriage rolls down the street. In the carriage, dressed for the occasion, is GOVERNOR DOUGLAS COPELAND, a granite-chinned individual in his fifties. Two obvious GUNMEN ride escort, on their horses.

41. CLOSER ANGLE

as the carriage pulls to a stop outside the Town Hall, where a small crowd is gathered.

42. INT. TOWN HALL – DAY

Oliver’s open coffin lies in the center of the room, with an American flag draped over it. Two uniformed UNION SOLDIERS stand guard rigidly, as a line of mourners moves past the casket.

43. MED. SHOT – WEST, ARTEMUS AND DANE

standing off to one side, watching the faces of the mourners.

DANE
(low tone)
If any one of those has been disappointed that I’m still alive, I haven’t noticed it.

West stiffens abruptly, as he looks toward the door.

WEST
(softly)
Copeland…

44. PAN SHOT – COPELAND AND TWO GUNMEN

They enter, pause in the doorway, then move with the mourners toward the casket. One of the gunmen carries a big wreath.

45. MED. SHOT – WEST, ARTEMUS AND DANE

Anger is beginning to show in Dane’s eyes.

DANE
(tautly)
The arrogance of him – showing up here with his gunmen!

ARTEMUS
Easy, sir…

46. MED. SHOT – COPELAND AND TWO GUNMEN – FAVORING COPELAND

as he looks down in to the casket.

47. SHOT – DOWN – COPELAND’S POV

on Oliver’s face in the coffin.

48. MED. SHOT - COPELAND AND TWO GUNMEN

Without turning, Copeland snaps his fingers peremptorily and the gunman quickly puts the wreath in his hand, which Copeland then places with the other flowers around the casket.

COPELAND
(to gunmen)
He always liked flowers.
(a beat)
Guess he never learned a man’s got to like something stronger than flowers in this kind of country.

49. MED. SHOT – WEST, ARTEMUS AND DANE

Dane reacts to Copeland’s remark, his face filling with rage. He starts out of SHOT, before West and Artie can stop him.

50. PAN SHOT – COPELAND AND HIS MEN

They are walking toward the exit, with the coffin OUT OF SHOT now, as Dane barges into the scene angrily, with West and Artie in his wake.

DANE
Copeland!

Copeland whirls around, surprised.

COPELAND
What do y‘know!
(thin smile)
I have a message for the President, Dane. Tell him I don’t want Arizona admitted into the union. But I’ll let the union be admitted into Arizona.
(winks)
How does that get you?

DANE
(raging)
Oliver told me you’d stop at nothing to get your own way. Too bad I didn’t die, too, isn’t it?

Copeland stiffens. One of his gunmen starts to muscle Dane away, but the moment he does, West makes a liquid, barely perceptible move which drops the man to his knees, WHIMPERING. Artie helps the man to his feet, confiscating the gun. West’s “understatement” has been out of respect for the dead, and his tone now compliments this.

COPELAND
(to West, with wry hint of admiration)
That was pretty good. You want to give my boys some lessons?

50. CONTINUED

WEST
We already work for a bigger government than yours, Governor.

Copeland LAUGHS softly, then turns a jaundiced eye on Dane, as he takes out a big cigar and cigar clipper.

COPELAND
So you think I wanted you dead, huh, Dane?

He clips off the end of his cigar and holds it up.

COPELAND (CONT’D)
(flicks cigar bit away)
That could have been you. I’d never have gotten the wrong man.

He exits. The downed gunman glowers at West then joins his companion and follows Copeland out.

51. CLOSE ANGLE – WEST, ARTEMUS AND DANE

ARTEMUS
(wryly; to Dane)
That might have been a mistake, sir. You don’t insult a big man--in front of his constituents.

DANE
(furious)
The complete gall of the man. He –

He stops short suddenly, his eyes glued on the entrance. The surprised West and Artie look in that direction.

52. SHOT – ACROSS ROOM

Just entering, as other mourners file out, is a tall, gaunt man. We shall come to know him as BARNABY STARK. He wears a cape over his shoulders. His manner, as he crosses toward the casket, is deeply preoccupied, and he seems unaware of the presences of West, Artie, and Dane, who stand some distance from the coffin now.

53. CLOSER ANGLE – STARK

He stands over the open casket, and when he talks, his voice is little more than a whisper:

STARK
Ah, my old friends… the years have made a difference…


54. MED. SHOT – WEST, ARTEMUS AND DANE

STARK’S VOICE (O.S.)
… but, in my small way, perhaps I can give you a share of immortality…

DANE
(dumbfounded)
It is Barnaby Stark!

He starts forward quickly, with West and Artie at his heels. CAMERA PANS over them to Stark, who now looks up, reacting with surprise as he sees Dane. There is something strange and intense about Stark’s eyes, a contradiction to his seemingly gentle sophistication.

STARK
Warren… Warren Dane…
(smiles)
You haven’t changed at all.

DANE
Nor have you.

Stark holds out his hand.

STARK
(without malice)
I can offer you my hand now, since time mellows all things.

Dane hesitates, then shakes Stark’s hand briefly.

DANE
(introducing)
Friends of mine – James West and Artemus Gordon.

STARK
Indeed! I’ve heard of the gentlemen. My pleasure.

WEST
Did you know Judge Oliver well?

STARK
Yes. But that was a long time ago. Our respective careers led us up different roads since then.
(to Dane)
But you couldn’t possibly know what my work is now, could you, Warren? Come – I’ll show you.
(takes Dane’s arm in a friendly gesture)
I assure you, you won’t be bored.

He starts to usher Dane away. West and Artie look at each other, then follow.

55. EXT. MUSEUM – DAY

A large sign, placed strategically, is outside the building, which was once a saloon. The sign reads:

STARK’S MUSEUM OF WAX

The Great People and Events of History

ADMISSION 50 cents

CAMERA PANS OFF the sign to PICK UP Stark approaching, with West, Artie and Dane in tow.

STARK
And there it is – the only traveling wax museum in the world! Madame Tussaud’s may be greater – but only Barnaby Stark brings his directly to the people.

DANE
(dumbfounded)
This is what you’ve been doing? An attorney of your caliber running a – a freak show?

Stark’s face darkens, but he covers quickly, resuming his affable front.

STARK
Freak show? My sculptures are art. Besides, my friends in there will always remain loyal to me – something I shouldn’t have expected in Washington – eh, Warren?

Dane shoots a look at Stark, but Stark ignores it.

STARK (CONT’D)
Please, please - come in – I don’t often have such distinguished visitors.

He shows almost childish delight, as he leads the group inside.

56. INT. MUSEUM - DAY

The interior is dark and gloomy, after the bright sunlight on the street, and West, Artie and Dane squint into the murk as they enter.

STARK
Forgive the darkness, gentlemen – we don’t open for a few hours yet.
(calling)
Sandra! Sandra, a lamp, please!

57. PAN SHOT – SANDRA DEVON

Sandra, a pretty young woman, somewhere in her latter and knowing twenties, approaches, lighting a lamp as she reaches the group. The light, however, is still dim and somewhat ominous.

STARK
Gentlemen, this is Sandra Devon. A most worthwhile assistant, who does the lecture tour for the paying customers.

AD LIB greetings all around.

STARK (CONT’D)
(gesturing grandly)
And now – the world of Barnaby Stark!

He leads the group on, with Sandra holding the lamp.

58. TRUCKING SHOT

Stark comes abreast of a display depicting Admiral Nelson dying on the deck of his ship, in his last great battle.

STARK
One of my favorites – Admiral Nelson, as he breathed his last.

DANE
Amazing. It looks almost lifelike.

Stark doesn’t seem to hear Artemus, as he goes to the display and caresses it lovingly. This is how it reads in the script--don't know if Artie was supposed to have made the lifelike comment or this paragraph should have referred to Dane!

STARK
(reciting softly)
My Admiral … all that breathe
Will share thy destiny…

59. MED. SHOT – WEST AND ARTEMUS

Their eyes narrow as they listen.

STARK’S VOICE (O.S.)
“The gay will laugh
When though art gone, the solemn brood of care
Plod on, and each one as before will chase
His favorite phantom;…”

60. MED. FULL SHOT – GROUP

STARK
“… Yet all these shall leave
Their mirth and their employments,
And shall come, and make their bed with them…”

60. CONTINUED

ARTEMUS
(to Sandra; sotto voce)
Everybody get the Thanatopsis treatment on the fifty cent tour?

WEST
(a beat, also to Sandra)
Or is Mr. Stark making some kind of a point?

Sandra frowns, as she looks at Stark, then she forces a little smile.

SANDRA
Poetry doesn’t go with my lecture, Mr. West.

STARK
So, then -- enough of the Admiral.

They move on, CAMERA PANNING, until they are abreast of another display – this time with Marie Antoinette on her knees before the guillotine, though her waxen head is not yet in the knife slot. A small placard on the display reads: “THE LAST MOMENTS OF MARIE ANTOINETTE.”

STARK
Poor Marie Antoinette… a woman who towered in beauty above other women…

ARTEMUS
(drily; indicating guillotine)
Until this thing cut her down to size.

West shoots Artie an acid look, and Artie grins. Stark, however, doesn’t even seem to hear.

STARK
(musingly)
Just another example of man’s inhumanity to man…

They start to move on – but Dane, intrigued by the guillotine, goes over to examine it.

61. MED. SHOT – DANE AT GUILLOTINE

Suddenly, there is a CLICK! and the guillotine blade comes down resoundingly. Dane cries out and jumps back, the blade narrowly missing him. As he falls away, he hits the figure of Marie Antoinette, knocking her over and shattering one of her wax arms.

62. FULL SHOT – GROUP

Dane is staring in horror at the guillotine, as West and the others rush up to him.

WEST
You all right, sir?

DANE
(shaken)
That – thing – could have killed me.

STARK
Warren, I’m terribly sorry.
(to Sandra, harshly)
I told you to have the guillotine repaired.

SANDRA
(nervously)
It was Barnaby. I saw to it, myself.

Artemus picks up the detached arm of Marie.

ARTEMUS
You’d better see to it again. It will be easier putting one of these wax things together again than it would a human being.

WEST
(concerned; to Dane)
I think it’s time we left, sir.

STARK
(hurt)
You’re angry. But, please – accept my apologies. There’s something specific I wanted Warren to see.

DANE
I’m not sure I –

STARK
It will only take a moment. I promise you – there are no more guillotines.

Dane hesitates, then follows Stark. The rest follow… until Stark stops short and gestures ahead of him.

STARK (CONT’D)
There, Warren – my Diana of the Hunt –

Dane squints, unable to see ahead into the shadows.

STARK (CONT’D)
Raise the lamp, Sandra.

63. SHOT – DANE’S POV – DIANA OF THE HUNT

The wax figure shows a beautiful woman in the famous pose.

64. MED. SHOT – GROUP

DANE
(aghast)
Laura Hope!

STARK
(throatily)
You remembered. I wondered if you would. I caught her perfectly, didn’t I, Warren – the beauty – the expression around the eyes –

DANE
(repressed fury)
How could you do that, Stark? I should think you would have had the decency to let her rest in peace!

STARK
She does… a greater peace than you could possibly know.

DANE
(to West)
I’ve seen enough!

He storms away. West pauses for one look at Stark, then he and Artie hurry after Dane.

65. MED. SHOT – STARK AND SANDRA

An intense, almost maniacal, look replaces the affability in Stark’s eyes as they follow the O.S. West, Artie and Dane.

STARK
(softly)
They haven’t really seen enough, have they, Sandra?...

Sandra, jealousy showing in her face, bolsters her courage and faces Stark squarely. The words seem to burst from her in frustrated outrage.

SANDRA
What did that Laura Hope mean to you? You owe me an answer… Barnaby… Why did that man become so angry when he saw her?

Stark reacts with sudden fury, whirling around to grab Sandra’s wrist roughly.

65. CONTINUED

STARK
I know what life means to you, Sandra.
(a beat)
Don’t mention the name of Laura Hope again.

66. EXT. PHOENIX STREET – DAY

West, Artie and Dane are moving along the street, some distance from the museum.

WEST
(to Dane)
If I may suggest, sir, it might be a lot safer if you stay away from town. It…

He stops short, reacting, as he sees:

67. MED. LONG SHOT – WEST’S POV

Moving among other pedestrians is the Second Waiter (Stader).

68. MED. FULL SHOT – WEST, Artie AND DANE

WEST
Artie, stick with Mr. Dane!

West tears out.

69. REVERSE SHOT – PAST WAITER – AT WEST IN B.G.

The waiter reacts, as he sees West coming.

70. PAN SHOT – WAITER

He pushes pedestrians aside roughly and darts away.

71. DISCRETIONARY ANGLES – THE CHASE

as West runs after the waiter.

72. MED. SHOT - WEST

He sees:

73. SHOT – WEST’S POV – THE SECOND WAITER

as he runs into an alley alongside the museum.

74. PAN SHOT – WEST

He runs up the street toward the alley entrance.

75. FULL SHOT – SHOOTING PAST WEST – THE ALLEY

West comes up to the alley entrance and stops dead in his tracks.

76. SHOT – INTO ALLEY - WEST’S POV

Though the alley reaches a dead end – it is empty. No sign of the waiter.

77. FULL SHOT – WEST – IN ALLEY

as he runs in, looking about him. There are no doors – no windows – nowhere for the waiter to go. As he comes to a halt, amazement on his face –

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
8383 Posts

Posted - 03/12/2009 :  10:52:46  Show Profile


ACT TWO

FADE IN:

78. INT. RAILROAD CAR – DAY

West, Artemus and Dane are entering.

WEST
There was no way out of that alley. He just disappeared. You haven’t said much, Artie, any ideas?

Artie is too preoccupied to answer West immediately.

WEST (CONT’D)
Artie…?

ARTEMUS
(thoughtfully)
I’m still thinking about the routine Stark gave us about Diana of the Hunt… --Laura Hope… Laura Hope…
(to Dane)
Mr. Dane, wasn’t she at one time the wife of a senator?

DANE
(nods, not easily)
That’s the one, Mr. Gordon. She married a cousin of mine, Senator Hope… got involved with Stark in a love affair… filthy business…

WEST
I remember now. They found her murdered.

DANE
(sighs)
A very tragic situation. Stark was a prominent attorney in Washington. Everyone thought he would be appointed to the Supreme Court –

WEST
Until the scandal ruined his career.

DANE
Quite naturally, everyone turned against Stark, even though neither he nor Senator Hope were linked to her death.
(a beat)
After that, Stark left Washington – and I never heard of him again. ‘Til today.

ARTEMUS
Strange that he should turn up here, Jim, right at this time.

WEST
Yeah, and I just realized something, Artie…
(Artie looks up expectantly)
That alley the waiter disappeared into... it’s right next to Stark’s museum...

DANE
You can’t possibly believe Stark’s connected in any way with Copeland... or Oliver’s death...

WEST
I don't know what to believe yet, Judge Dane...

DISSOLVE TO:

79. INT. MUSEUM – NIGHT

We are deep in a CLOSE ANGLE on Sandra Devon; she stands in deep shadow, barely visible. But we can see the fear in her eyes, as she watching something intently o.s. OVER SHOT, we HEAR:

STARK’S VOICE
(reciting softly)
“You are not wrong who deem
That my days have been a dream...”

80. MED. FULL SHOT – STARK

He is some distance from the o.s. Sandra, unaware of her presence, as he gently caresses the arms and body of the wax figure of Diana – his Laura Hope. His expression, as he recites, bespeaks the man’s tortured, demented brain.

STARK
... “Yet if hope has flown away
In a night, or in a day,
In a vision or in none...”

81. CLOSE SHOT – SANDRA

STARK’S VOICE
(o.s.)
“Is it therefore the less gone?”

82. MED. SHOT – STARK

STARK
All that we see or seem
Is but a dream within a dream...”

There is a moment of silence, then:

STARK (CONT’D)
Laura... dear Laura... soon we’ll have them all. And they will all have paid...

The door opens o.s., and its SOUND brings Stark out of his reverie.

83. PAN SHOT – STADER (FIRST WAITER)

He has just entered and is crossing toward Stark

84. CLOSE SHOT – SANDRA

Her eyes follow Stader. Then, as some sort of despair grips her, she turns away.

85. MED. SHOT – STARK

Stader enters to him.

STADER
The men are ready.

Stark nods, then looks at Diana again.

STARK
Soon, Laura... soon.

He stars away with Stader.

DISSOLVE TO:

86. INT. TOWN HALL – NIGHT

Except for Oliver’s casket in the f.g., the dark interior seems empty. But now there is an indication of movement as, deep in the shadows at the rear, a door begins to open slowly.

87. CLOSER ANGLE – AT DOOR

First, Stark enters, look about warily. He gestures – and now Stader and a third man, GIBNEY, follow in, carrying what seems to be a body wrapped in a blanket.

88. SHOT – PAST THE COFFIN – TOWARD THE TRIO

as they approach with their burden in the b.g.

89. ANOTHER ANGLE

Stader and Gibney lay the blanket-wrapped figure on the floor, as Stark watches. And then Stark unwraps the blanket.

90. DOWN SHOT

As the blanket is taken off – we are looking at the wax image of Mark Oliver!

91. MED. SHOT – GROUP – FAVORING STARK

as he turns now to look into the coffin.

STARK
(sardonically)
So now, Mark, you join the others.
(a beat)
“By an unfaltering trust, approach thy grave,
Like one who wraps the drapery of his couch
About him, and lies down to pleasant dreams...”

He laughs softly.

CUT TO:

92. INT. RAILROAD CAR – NIGHT

Dane is asleep, a book on his lap. Artemus is drinking coffee, while West stares out the window, lost in his thoughts. Suddenly, he turns to face the surprised Artie.

WEST
He couldn’t go to the left, he couldn’t go to the right, he couldn’t go straight ahead, and he couldn’t go back.

ARTEMUS
(gapes)
Man, whoever he is, he’s in trouble.

WEST
The waiter! The only way he could possibly go – was up.

ARTEMUS
What’d he do – sprout instant wings?

92. CONTINUED

WEST
If he did, then I’m going to sprout some, myself.
(starts for the door)
Don’t leave Dane alone. We can’t afford any surprises.

He ruses out.

CUT TO:

93. INT. MUSEUM – NIGHT

The darkness is barely penetrated by the single lantern that hangs overhead; eerie shadows of the wax figures criss-cross the room. Stark, Stader and Gibney enter, again carrying a blanket-covered figure, and to go a display featuring a knight in armor. A small placard says he is “Lancelot.” In the grip of his mail-covered fists, is a halberd.

94. CLOSER ANGLE

Next to the wax knight, is a big chest holding other weapons of the period. Stark enters and presses a hidden spring. The chest moves aside, revealing a trapdoor hidden beneath it. Stader and Gibney come in with their burden, as Stark lifts the trapdoor, and starts down through it.

95. INT. BASEMENT – AT STAIRS – NIGHT

As Stark comes down the stairs, followed by the others, we see, in the cellar, some dusty, cobwebbed empty crates and kegs, labeled “Whisky” and “Beer.” CAMERA PANS the group across the dank basement – and, disclosed now, is a rather large vat, filled with bubbling wax, kept at melting point by a small fire in a pan beneath the vat. Near it is a table big enough to hold a man; a case containing small bottles of varied-colored pigments and other make-up tools; there might also be a couple of sculpting armatures.

96. CLOSER ANGLE – AT TABLE

Stark watches, as Stader and Gibney lift their burden to the table.

STARK
Carefully my friends... a bruise on the skin might show through the wax later.

The men take off the blanket – and we see the corpse of Oliver.

97. EXT. PHOENIX STREET

West, on horseback, canters up to the museum. He dismounts, intending to follow the course laid out earlier by the fleeing waiter.

98. MED. SHOT – A DRUNK

He leans against a building near the museum. Now he looks off blearily in West’s direction, squints, detaches himself from the building and staggers toward the approaching West.

99. PAN SHOT – WEST

The drunk reels into the scene, trips and falls against West, managing, at the same time, to get a good look at West’s face.

DRUNK
(thickly)
Shorry, partner – I know where I’m goin’, but m’feet don’t.

As he moved past West, he begins to SING in a LOUD, RAUCOUS voice. West stares after him for a moment, then moves on.

100. INT. MUSEUM – NIGHT

Stark, Stader and Gibney are just coming through the trapdoor, carrying Oliver’s body, now looking exactly like the wax figure seen earlier. They react, as they HEAR the singing of the drunk from the street.

STADER
That’s Frank’s signal. Someone’s coming.

STARK
Hurry.

101. EXT. ALLEY – NIGHT

West enters the alley alongside the museum.

102. CLOSER ANGLE

as West begins to feel the wall at the end of the alley, looking for some sort of hidden device. He reacts abruptly as:

103. INSERT: BRICK

as West’s hand comes in contact with one of the bricks, the brick swings around on a pivot.

104. SHOT-UP TOWARD ROOF

A jutting six-by-six, common to hay lofts, is revealed, and a thin wire snakes downward.

105. FULL SHOT – WEST

There is a proper stirrup at the end of the wire and West, not a little dumbfounded, puts his foot therein. Immediately he is jerked upward, the thin WHINE of GEARS & COUNTERWEIGHTS busy somewhere off scene.

106. CLOSE SHOT – WEST

as he comes abreast of a second floor window, and squints into the darkened interior.

107. SHOT – WEST’S POV THROUGH WINDOW

We see what seems to be some sort of storage room, with wax dummies hanging from ropes attached to the ceiling.

108. SHOT – WEST DANGLING ON ROPE

He tries the window, finds it locked, then takes out a small diamond-headed glass cutter. As he starts to cut a square in the pane of glass--

CUT TO:

109. INT. RAILROAD CAR – MED. SHOT – ARTEMUS – NIGHT

He is at the telegraph taking down the message as the key clicks away. CAMERA PANS OVER to pick up Dane, still in the chair, as we saw him last. The telegraph noise awakens him now, and he rises and crosses to Artie. The more Artie writes of the message, the more surprise shows on his face. Finally, the key stops clicking.

ARTEMUS
The report from the laboratory in Los Angeles. Something Jim ought to know...

DANE
Isn’t he here?

ARTEMUS
He’s gone to have another look at Stark’s nuthouse.

Artie holds up the written message.

109. CONTINUED

ARTEMUS (CONT’D)
No wonder I couldn’t analyze that red powder!
(reading message)
“The formula for rouge has long been lost to modern science. It is a form of coloring once used by the ancient Egyptians --
(looks up at Dane)
-- to give lifelike flesh tones to the wax figures they made of their deities.”

DANE
(startled)
Do you think that Stark actually--

ARTEMUS
The sooner I talk to Jim, the better. Sir, whatever you do--stay here. Don’t open the door for anyone.

DANE
I understand...
(nervously)
of course...

Artemus is checking his gun, as he exits quickly.

CUT TO:

110. INT. STOREROOM – CLOSE SHOT AT WINDOW – NIGHT

We are looking out at West on the wire, as his hand comes in through the cut-out pane of glass, releases the lock, then shoves the window up.

111. ANOTHER ANGLE

as West comes in through the window, looks around the room, and finds no other doors in it. The hanging dummies create an eerie atmosphere. Now, West sees:

112. A METAL TRAPDOOR

in the floor.

113. FULL SHOT – WEST

A heavy lock holds the trapdoor closed. CAMERA MOVES IN as West takes a thin metal strip of metal from his pocket, inserts it into the lock, then sets a lighted match to the protruding end.

114. INSERT – METAL STRIP

It flares and burns itself into the lock. In a moment, there is a little puffing explosion, and smoke emanates from within.

115. MED. SHOT – WEST

With the lock broken, he opens the trapdoor cautiously, and peers down.

116. SHOT – WEST’S POV – THROUGH TRAPDOOR

we are looking into the museum proper.

117. FULL SHOT

West takes out his own wire-and-pulley device, attaches it to the heavy hinge on the trapdoor, then begins to lower himself down.

118. INT. MUSEUM – NIGHT

West drops down off the wire, draws his gun and begins to move about warily in the darkness.

119. PAN SHOT – WEST

He passes by a display showing George Washington, Lincoln, or some other recognizable image--and, as he continues on, CAMERA MOVES QUICKLY toward the wax figure--right up to the face. And we see the EYES OF THE FIGURE MOVE, FOLLOWING THE O.S. WEST.

120. PAN SHOT – WEST

He is heading toward the rear of the place and passes by another display. This time, it is a grouping of figures looking like something out of Marat-Sade. A placard on the display reads:

INMATES OF BEDLAM, THE INFAMOUS INSANE ASYLUM OF OLD LONDON

West continues on out of the scene.

121. CLOSE SHOT – ONE OF THE BEDLAM FIGURES

Its eyes, too, FOLLOW West.

122. PAN SHOT – WEST

He nears the rear of the place, then stops, as he sees:

123. SHOT – WEST’S POV – A DOOR

leading to what?

124. PAN SHOT – WEST

He crosses to the door, holding his gun ready.

125. SHOT – WASHINGTON’S EYES

watching West

126. SHOT – BEDLAM FIGURE’S EYES

also watching intently.

127. MED. SHOT – WEST

He opens the door carefully – then reacts, dumbfounded, as he sees:

128. SHOT – WEST’S POV – INTO BACK ROOM

A new display is in the process of construction. Seated around a table that is covered with law books, are the figures of Oliver and two other robed Justices, gesturing as though they are discussing some point of law. There is also one empty chair. In front of each figure and the empty chair are nameplates.

129. CLOSE SHOT – WEST

His eyes go to the nameplates – and his face becomes grim.

130. PAN SHOT - WEST’S POV – ACROSS NAMEPLATES

One is for Judge Mark Oliver, the second is for Judge Emory Dilling, the third is for Judge Theodore Paine – the fourth, in front of the empty seat – is for Judge Warren Dane!

131. MED. SHOT – WEST

There is a METALLIC SOUND to his rear, and he whirls around, gun ready.

132. FULL SHOT – WEST’S POV

The Knight in Armor has stepped down from his platform, with his mace raised as a weapon CAMERA WHIP PANS to Washington (or whatever the figure is), who is starting quickly toward West.

133. MED. SHOT – WEST

He goes to shoot – but suddenly his arm is knocked up, and the gun goes flying. He turns to this new menace, and sees a hideous, almost crab-like figure from the Bedlam display.

134. FULL SHOT

West tangles with the Bedlam man, who proves stronger than he looks. Now, hulking Washington slams into the scene to complicate matters.

135. DISCRETIONARY ANGLES

on the weird battle, during which West takes good care of Old George and Crab Man, laying them out neatly – but now Lancelot and his halberd are coming at West. Since an armored Knight is no patsy for a slug to the chops, a karate slice, or even a bullet, West seeks desperately for some way to make the battle more even. He finds it in the weapons chest in the Knight display – a spiked club.

136. FULL SHOT – FIGHT BETWEEN WEST AND KNIGHT

The Knight uses his halberd, and West swings his spiked club, doing little damage to the Knight except give him a couple of dented fenders.

137. ANOTHER ANGLE

as Crab Man comes to blearily, sees what is going on, scuttles across the floor – and grabs the legs of the unsuspecting West.

138. CLOSE ANGLE – WEST

As he starts to fall, he sees:

139. CLOSE ANGLE – KNIGHT

with his halberd upraised for a finishing blow...

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
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California gal
SS senior field agent

USA
8383 Posts

Posted - 03/12/2009 :  10:53:52  Show Profile


ACT THREE

FADE IN:

140. INT. MUSEUM – HEAD CLOSEUP – WEST – NIGHT

He is flat on his back, as he blinks and begins to come out of his unconscious state. Now, when his eyes focus, he does a little take, as he sees:

141. SHOT – UP – WEST’S POV

Hovering over West most solicitously, is Florence Nightingale, in full Crimean War medic’s regalia. She even has a piece of bandage in her hand.

142. CLOSE SHOT – WEST

WEST
(still a little dazed)
Thanks for the help, Miss – what did you say your name was?

No answer, of course. Florence is definitely wax. West looks around, then sees:

143. INSERT – PLACARD ON THE DISPLAY

NURSE FLORENCE NIGHTINGALE

Angel of Mercy
In the Crimean War
1854-1856

144. MED. SHOT – WEST

As he sits up slowly, CAMERA PULLS BACK to disclose that West has been lying on a surgical table of the period, right in the middle of Flo’s display.

WEST
(staring at Flo)
Now don’t tell me you put me up here.

SANDRA’S VOICE
(o.s.)
No, Mr. West – I did.

West turns sharply, and CAMERA CONTINUES BACK, as Sandra enters to him.

SANDRA
Feeling better?

WEST
I’m alive – which is more than I expected to be.
(looks around)
Those wax dummies of yours play rough.

144. CONTINUED

Sandra’s eyes widen innocently.

SANDRA
I don't think I understand.

WEST
That makes two of us.

SANDRA
I came back for a check-up on the day’s receipts, and I found you on the floor --
(indicates off)
-- over there.

West looks.

145. FULL SHOT – WEST’S POV

Lying on the floor, slightly dismembered, is the wax figure in the suit of armor.

SANDRA’S VOICE
(o.s.)
You must have been hit, when Sir Lancelot fell off the platform.

146. FULL SHOT – WEST AND SANDRA

West gets off the table, crosses to the Knight and examines it. His hand goes to:

147. CLOSE SHOT – ARMOR

as West’s hand feels one of the dents caused by the spiked club.

148. MED. SHOT – WEST

He grimaces as he realizes he wasn’t dreaming. CAMERA PANS him to the Bedlam display -- where the Crab Man now is really wax. He looks off at:

149. SHOT – WEST’S POV – AT WASHINGTON

George is stiff and obviously wax this time.

150. SHOT

West crosses back to Sandra.

WEST
(wryly)
You should do something about those characters. Some of them have a mind of their own.

150. CONTINUED

SANDRA
(still innocent)
Oh, dear, perhaps you do need a doctor, Mr. West.

WEST
(staring)
No, no--Miss Nightingale did fine.

Now, as she talks, Sandra gives West a little signal, then goes to one of the props, on which dust has accumulated.

SANDRA
(talking to cover up)
Would you mind telling me what you were doing here?

As she talks, we see her print, with her finger, in the dust:

151. CLOSE SHOT

as Sandra’s finger prints out: “I NEED HELP.”

SANDRA’S VOICE
(o.s)
I’m sure there’s nothing here you’d want to steal.

152. MED. SHOT – WEST AND SANDRA

West shoots a curious look at the girl, as he reads the message--but she gestures for him not to give her away. Then, when he nods, she erases the dusty lettering.

WEST
(loud)
Frankly, I was so impressed with Mr. Stark’s work, that I just wanted to study the wax figures up close.
(dryly)
Someday, I hope to do some sculpting, myself.

SANDRA
(loud)
I’m sure Mr. Stark will be most flattered when I tell him.
(there is a plea in her eyes now)
Good-night, Mr. West.
(meaningfully)
I hope we meet again soon.

West nods--then starts quickly for the door.

153. CLOSE SHOT – SANDRA

She frowns, as she watches him go.

154. EXT. MUSEUM – NIGHT

West emerges, looks back at the place thoughtfully, then mounts his horse and canters away.

155. INT. MUSEUM – NIGHT

Stark and Stader come up through the trapdoor, where Sandra is waiting.

STARK
(to Sandra)
Well done, my dear. I’m sure the suspicious Mr. West will be confused long enough for me to complete my intentions here.

SANDRA
(near tears of hysteria)
What are they...? What are your intentions?

Stark’s eyes glint for a moment, then he smiles.

STARK
Your chief attraction to me, Sandra, is that you’ve never been the usual, inquisitive woman. I’d hate to see you change.
(a beat)
Now, if you don’t mind--run along to your little room while I attend to business...

Sandra stares at Stark for a moment, then turns and heads for the door.

156. MED. SHOT – SANDRA

She exits.

157. MED. SHOT – STARK AND STADER

STADER
You’re giving that dame too much rope. She’s going to find out something.

STARK
That would be her misfortune.

157. CONTINUED

STADER
(nervously)
What about West? Why didn’t we take care of him, while we had him?

Stark’s face clouds angrily now.

STARK
When I was an attorney, and save the guilty necks of you and the others, you didn’t dare question me. You’re a fool, Stader. West and Gordon must die together. If one were to remain alive, he wouldn’t stop until he found out what happened to the other.
(harsh)
And nothing must get in my way until I have Warren Dane –
(pointing toward rear door)
– in that room. Do I make myself clear?

STADER
(mumbling)
I still say take ‘em as they come. You may have saved my neck once, Stark – but you’ll get it in a noose yet.

He walks away. CAMERA MOVES IN TO Stark’s face, with its furious, fanatic expression.

FLIP TO:

158. INT. RAILROAD CAR – NIGHT

Dane is in his chair, reading again. The silence is broken suddenly, by a heavy KNOCK at the door. Dane rises tensely from the chair, takes a few steps toward the door, then hesitates.

DANE
Who is it?

COPELAND’S VOICE
(o.s.)
Copeland. I want to talk to you.

DANE
(reacts)
I’m sorry. I can’t –

158. CONTINUED

COPELAND’S VOICE
We have to come to an understanding, Dane. If you want to talk about the territory’s admittance to the Union, I’m ready.

Dane looks startled at this.

DANE
Can’t it wait until morning?

COPELAND’S VOICE
If I thought it could, I wouldn’t be here now.

Dane takes a deep breath, resigns himself, goes to the door and opens it.

159. CLOSER ANGLE

as Dane opens the door, disclosing Copeland and two of his gunmen. The latter have drawn guns. Copeland is smiling smugly, and is just in the process of clipping off the end of a fresh cigar. He tosses away the tip.

DANE
(alarmed; indicating gunmen)
Why are they here?

COPELAND
Because I prefer doing business my way. I suggest you don’t try to argue the point

As the two gunmen move forward to take Dane’s arms –

DISSOLVE TO:

160. EXT. OPEN COUNTRY – NIGHT

West is riding his horse hard, as he heads back for the railroad car.

DISSOLVE TO:

161. EXT. REAR PLATFORM – RAILROAD CAR – NIGHT

West comes up the steps quickly, then stops short – for the door is swinging slightly ajar. Pushing the door open carefully, he goes in.

162. INT. RAILROAD CAR – NIGHT

as West comes in and reacts to the empty car. He looks about desperately for something that will tell him what has happened.

163. CLOSE ANGLE – WEST

He reacts, as he sees:

164. INSERT: CIGAR TIP

lying on the threshold of the rear platform.

165. FULL SHOT – WEST

He picks up the cigar band, smells it, realizes what it is – and goes tearing out of the car.

DISSOLVE TO:

166. EXT. COPELAND RANCH – NIGHT

West’s horse is moving through trees and brush – and now West reins in sharply.

167. FULL SHOT – WEST’S POV

Dead ahead, are the large spread of buildings, surrounded by a high stone fence, belonging to Copeland. At the entrance, bordered by trees, is a wrought-iron gate.

168. FULL PAN SHOT – WEST

He starts riding slowly toward the entrance. Suddenly, from overhead, a noose drops out of a tree, settles over West and yanks him out of the saddle. CAMERA PANS UP to show one of Copeland’s men in the tree.

169. FULL SHOT – TWO OTHER GUNMEN

running out of the night shadows, from different directions.

170. FULL SHOT – PAST WEST

who is dangling in mid-air, at the first of the oncoming gunmen.

171. CLOSE ANGLE – WEST

Using his own weight on the rope for leverage, he does a back-flip up.

172. FULL SHOT – INTO TREE

West’s feet come up to catch the gunman on the branch squarely in the chest. The man lets out a yell and plummets off the tree to the ground. West, on the branch now, quickly yanks off the noose – and does a flying leap off at:

173. FULL SHOT – FIRST OF THE TWO GUNMEN

West’s body, sailing out of the tree, hits him hard, and he goes down with a vicious impact. West, too, is momentarily stunned – and just barely recoups in time to take on the third of the gunmen, who runs up.

174. DISCRETIONARY ANGLES – ON FIGHT

as West battles the third man.

175. EXT. COPELAND MANSION – NIGHT

We are looking at a lighted window on the second floor – where Copeland, a somewhat amused expression on his face, is watching the brawl. Now he turns away quickly, disappearing from the window.

176. EXT. COPELAND RANCH – NIGHT

West puts the icing on the third man – then gun in hand starts for the wrought-iron gate.

177. CLOSER ANGLE

West goes through the gate, moving toward the entrance of the house. He stops short, tensing, as:

178. FULL SHOT

The door opens, and Copeland is standing there.

COPELAND
I don't know how you found out so soon, West – but welcome to the Governor’s mansion.

WEST
If what just happened is a welcome, I wouldn’t want to come here uninvited.

West brings up his gun, leveling it at Copeland.

WEST (CONT’D)
Now, do I take Mr. Dane and Mr. Gordon out of here peacefully – or are we going to have a formal declaration of war?

COPELAND
That, Mr. West, will have to be your decision.

As he talks, two other gunmen move up in back of west and shove guns into his back. As West reacts, drops his gun and raises his hands –

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
Go to Top of Page

California gal
SS senior field agent

USA
8383 Posts

Posted - 03/12/2009 :  10:54:31  Show Profile





ACT FOUR

FADE IN:

175. INT. COPELAND LIVING ROOM – NIGHT

The room is large and lushly furnished. The door opens, and West is ushered in by Copeland and the two gunmen. West stops, surprised, as he sees Dane.

DANE
I’m sorry I caused you so much trouble, Mr. West – but I didn’t have much choice.

West looks tensely toward Copeland and the implied question is obvious in his manner. Copeland smiles, gestures to the two gunmen, dismissing them, then shuts the door behind them as they leave. As they talk now, they cross the room toward Dane.

COPELAND
I’m a political animal, West, living in a political jungle. Since Dane threatened my career, I had to do something about it.

West is confused and Dane heatedly jumps in:

DANE
What this megalomaniac means is in his own high-handed way he intends to keep me prisoner until Judge Oliver’s murdered.

WEST
(startled, to Copeland)
You brought him here to make sure he doesn’t get killed?

COPELAND
Right. After those accusations in Town Hall, if he were killed – I’d be the first one to be blamed. So long as he stays alive, my career is in no danger. This is the safest place in the territory – unless you have something better to offer.

WEST
(a beat)
No. I don’t. Now, if you’ll let me talk to Mr. Gordon –

COPELAND
He isn’t here.

DANE
Didn’t Gordon reach you in Phoenix?

179. CONTINUED

WEST
(reacting)
No.

DANE
But he had the information from the laboratory! The red powder is a coloring used in wax sculptures --

West stiffens.

WEST
Wax – ! Then Artie has headed for Stark!

DANE
He wanted to warn you...

WEST
Where’s my gun, Governor?
(grimly as Governor returns his sidearm and Jim straps it on)
There’s an empty spot in the museum, Dane... and it has your name on it.

DANE
(gapes)
What are you talking about?

WEST
If Stark is doing what I think he is--then he’s a madman. And Artie could be in more trouble than he knows.

As he reaches the door:

COPELAND
Take my men with you.

WEST
You might need them here. Just make sure they don’t let anyone get near Mr. Dane.

He rushes out.

180. MED. SHOT – DANE AND COPELAND

As they exchange a worried glance –

FLIP TO:

181. INT. MUSEUM – PAN SHOT – ARTEMUS – NIGHT

He is moving around warily, gun in hand.

ARTEMUS
(calling softly)
Jim... Jim...
(a beat)
If you want to play games – okay. Come out, come out, wherever you are...

He looks around, frowning now, when he gets no answer.

ARTEMUS
(increasing concern)
Look – you have to be here. You can’t be anyplace else.

VOICE (STADER)
(muffled)
Well, I’d rather be any place else.

It isn’t Jim’s voice – and Artie knows it. He whips around, the hair on his head almost standing up.

182. SHOT – ARTEMUS POV – AT BEDLAM DISPLAY

In the heavy darkness, the wax figures could be talking – it would be hard to tell.

VOICE
(muffled)
I say we get out of this town while we still can.

183. MED. SHOT – ARTEMUS

He wets his lips and wipes the sweat from his forehead.

VOICE
(muffled)
We’re taking too many chances.

ARTEMUS
(hoarsely)
Amen.

He girds his loins and moves toward the Bedlam display, CAMERA PANNING with him until he comes up to the Hogarthian figures.

183. CONTINUED

VOICE
(muffled; this is a different voice this time – Stark’s)
Once we have Dane, you’re free to do whatever you want – not until then.

Artie turns sharply – for he realizes now that the muffled voices are coming from someplace else. During the above speech, he moves off, CAMERA PANNING AGAIN, as he tries to follow the sound. Now he is approaching the display where the Knight had been – but now isn’t.

VOICE (STARK)
Now give me a hand with this thing.

Artie reacts – for the voices are coming from the floor. He starts to feel around, looking for the trapdoor.

184. INT. BASEMENT – NIGHT

Stark, Stader and Gibney are lifting the repaired figure of the Knight from the table.

STARK
We don’t want it to fall apart again –

185. INT. MUSEUM – CLOSE ANGLE – ARTEMUS – NIGHT

as he hears, from below:

STARK’S VOICE
– so take it easy on the stairs.

Artemus reacts, as he realizes the men are coming up. CAMERA PULLS BACK QUICKLY as Artie yanks some disguise pieces out of his pockets, then starts grabbing stuff from other displays.

186 INT. BASEMENT – NIGHT

Stark leads the way up the stairs, as Stader and Gibney, carrying the Knight, follow.

187. INT. MUSEUM – NIGHT

The trapdoor opens, and out come Stark and his men with the Knight. Now CAMERA PANS ACROSS to the Bedlam display – and, as IT MOVES IN, we suddenly become conscious that Artie, looking not unlike the Hunchback of Notre Dame now, is part of this display. His eyes move as they follow the o.s. Stark, Stader and Gibney.

188. FULL SHOT – AT LANCELOT DISPLAY

The men are just finishing propping up the Knight in his spot.

STARK

Good enough.

The three start quickly for the door.

189. CLOSE SHOT - ARTEMUS

His eyes follow the o.s. group.

190. FULL SHOT – STARK, STADER AND GIBNEY

They exit.

191. PAN SHOT – ARTEMUS

The moment the door o.s. closes, he rushes toward the trapdoor in the Lancelot display, yanking off his disguise as he goes, pocketing his own pieces, and dropping the purloined stuff along the way.

192. CLOSE SHOT – ARTEMUS

He reaches the trapdoor, opens it and goes down the stairs.

193. INT. BASEMENT – NIGHT

Artie comes down warily, his eyes trying to penetrate the darkness. Now, he finds a lantern, lights it and reacts to the vat of wax and other paraphernalia.

194. CLOSER ANGLE – ARTEMUS

He finds the case filled with Stark’s pigment bottles and shows his excitement as he realizes the red pigment bottle matches the rouge he sent to the lab. He pockets the little bottle, then looks around again – his eyes lighting on:

195. SHOT – ANOTHER CASE

lying off to one side.

196. MED. FULL SHOT – ARTEMUS

He opens the second case – and finds it filled with chemical bottles, retorts, etc. He begins to sniff some of the bottles for the small of the gas used in Oliver’s murder.

197. INT. MUSEUM – NIGHT

The door opens – and Stark, Stader and Gibney enter again.

STARK
(angrily; to Stader)
Can’t you remember anything? I told you I wanted the chemical case kept at the hotel. What if that gas should start a fire here?

STADER
(scowling)
Maybe it’ll be good riddance.

He starts alone toward the trapdoor – but now he sees something and stops short.

STADER (CONT’D)
Stark!

Stark and Gibney hurry up to him, where they see:

198. SHOT – THEIR POV

On the floor, leading a trail to the trapdoor, are the disguise props discarded by Artie.

199. FULL SHOT

The men tense. Stader and Gibney draw guns, as Gibney begins to open the trapdoor.

200. INT. BASEMENT – NIGHT

Artie is smelling one of the bottles, as he HEARS the trapdoor opening. He whirls, looks desperately for a place to hide – sees the stack of whisky crates and beer kegs and runs behind them, dousing his lantern as he goes.

201. PAN SHOT – ON STAIRS

The three men come down cautiously, with Stader and Gibney holding their guns ready.

202. CLOSE SHOT – ARTEMUS

behind the crates; his gun, too, is out.

203. FULL SHOT

Stark lights another lantern, and the three men peer about. Stark reacts as he sees the open chemical and make-up cases.

STARK
He’s in here somewhere...

The men start to look around.

204. CLOSE SHOT – ARTEMUS

He brings up his gun – and, in so doing, accidentally hits a beer keg with his elbow. The keg falls.

205. REVERSE – PAST MEN – TOWARD STACK OF CRATES

The keg CRASHES and beings to roll across the floor. Instantly, Stader and Gibney start for the stack.

206. REVERSE – PAST ARTEMUS

Knowing he is trapped, he gives the stack a whopping kick with his foot.

FULL SHOT

The stack CRASHES down, momentarily engulfing Stader and Gibney. In that moment, Artie runs toward the stairs, tries to go up – but Stader, from the floor, FIRES toward him.

208. CLOSE SHOT – ARTEMUS

The bullet nicks the stairs near his head.

STARK’S VOICE (O.S.)
Mr. Gordon, I’m sure you’re a rational man –

209. FULL SHOT – GROUP

STARK
– so I won’t expect any more irrational acts. Such as trying to use that gun.

ARTEMUS
(drily)
Stark, you’re such a gentleman, it would almost be a pleasure being killed by you.

He sighs and drops the gun. Stader and Gibney move in on him quickly.

209. CONTINUED

STADER
(to Stark)
He can identify us. We can’t wait for both of them now.

STARK
(mulls this, then:)
My apologies, Mr. Gordon. Stader does have his moments of common sense.
(smiles thinly)
But, then – where else could you die, and be guaranteed –
(points to wax vat)
– immortality?

Artie reacts. He starts to struggle as Stader and Gibney drag him toward the table.

210. EXT. PHOENIX STREET - PAN SHOT – WEST – NIGHT

He rides up at a furious pace and hurls himself off his horse. He is moving quickly toward the museum in the b.g. – but now, suddenly, a hand reaches out of the shadows and grabs his arm. He whirls, on the alert – but, as CAMERA PULLS BACK QUICKLY, we see that the hand belongs to Sandra.

SANDRA
You came back –

WEST
(harshly)
Just don’t start singing to tip them off in the museum that I’m here.

He starts to go, but Sandra clutches his arm desperately.

SANDRA
I asked for you help because if I tried to leave Barnaby, he’d kill me.

WEST
(staring)
Where’s Artie?

SANDRA
(distraught)
He went into the museum a long time ago. He hasn’t come out –

West rushes away, and the girl tears after him, CAMERA PANNING.

210. CONTINUED

SANDRA (CONT’D)
Wait – there’s a hidden door to the basement – I can show you –
(as they go)
They’ve never let me down there – but I’ve seen the trapdoor... Mr. West, you must believe I haven’t done anything wrong –

WEST
You’d better start praying my partner’s all right.

211. INT. BASEMENT – NIGHT

Artie is strapped to the table, and his eyes are following Stark, who is at the chemical case, loading a hypo needle. Stader and Gibney are nearby.

STARK
I assure you, Mr. Gordon, it is really quite painless. You simply go to sleep –

ARTEMUS
AND wake up as part of the floor show upstairs.

STARK
(smiles)
Too bad you had to interfere. All I wanted were the ones who ruined my career in Washington with their rumors and gossip.

ARTEMUS
You mean all those prominent people who’ve been disappearing... You’ve been getting revenge?

STARK
(little laugh)
Only half right, Mr. Gordon. They haven’t disappeared. They’re up in the museum – in plain sight – for everyone to see.

ARTEMUS
(grimly)
For fifty cents.

STADER
(nervously)
Come on, Stark – get it over with.

211. CONTINUED

STARK
(to Artemus)
Stader never seems to like these moments.

ARTEMUS
You won’t get any recommendation from me, either.

212. INT. MUSEUM – CLOSE ANGLE – WEST AND SANDRA – NIGHT

West and Sandra are at the Lancelot display – and Sandra is showing West the trapdoor. West nods, draws his gun, and gestures for Sandra to stand back.

He grabs the ring in the trapdoor carefully – then gives it a sudden yank up, opening the entrance. Simultaneously, he leaps back and kicks the Knight in armor, so that the metal suit falls into the trapdoor opening. The halberd, knocked loose, remains at the scene.

213. INT. BASEMENT – NIGHT

The NOISE IS DEAFENING, as the armor comes crashing down the stairs. The startled Stader and Gibney whirl and start FIRING at the armor, before they realize what is happening.

214. SHOT – UPSTAIRS

We see West FIRES his gun at:

215. CLOSE SHOT – LANTERN

It is hit by West’s slug and the room is plunged into darkness.

216. FULL SHOT

West comes tearing down the stairs, FIRING his gun. Gibney is hit, and falls. Before Stader can find West in the darkness, West is on him.

217. SHOT – WEST AND STADER

battling

218. FULL SHOT – STARK

Frantic with fear, Stark runs for the stairs.

219. MED. SHOT – ARTEMUS

He manages to get a sharp sculpting knife out of the nearby case, and starts sawing awkwardly at his wrist bonds.

220. SHOT – STARK

going up through trapdoor.

221. FULL SHOT – WEST AND STADER

West batters Stader into unconsciousness.

222. INT. MUSEUM – NIGHT

Stark, his face filled with insane fury now, grabs the halberd.

223. INT. BASEMENT – ON STAIRS – NIGHT

West goes running up the stairs – then stop dead – for Stark is seen through the open trapdoor, swinging the halberd at him.

West runs down the stairs again, gets a small, though solid, wooden crate, goes halfway up the stairs again and heaves the crate at Stark.

224. SHOT – UP THROUGH TRAPDOOR

as the crate hits Stark.

225. INT. MUSEUM – NIGHT

Stark, knocked backwards by the crate, SMASHES into the figure of Diana, which CRASHES to the ground with him.

226. INT. BASEMENT – NIGHT

Artemus, freed now, leaps off the table to join West. The two start up the stairs warily.

227. INT. MUSEUM – NIGHT

Just as West and Artie poke their heads up through the trapdoor, they pause, as they hear:

STARK’S VOICE (O.S.)
(hoarsely)
“Of her bright face one glance will trace
A picture on the brain; – “

They look off, SEEING:

228. MED. SHOT – STARK – THEIR POV

Stark, tears in his eyes, is beside the broken figure of Diana... and we see a skeleton’s hand protruding from the broken wax.

STARK
“And of her voice in echoing hearts
A sound must long remain; –“

229. CLOSE SHOT – SANDRA

Hiding off to one side, watching the o.s. Stark.

STARK’S VOICE
“But memory, such as mine of her,
So very much endears –“

230. ANGLE SHOT – PAST STARK – TOWARD WEST & GORDON IN B.G.

West and Gordon come up out of the trapdoor now, but for the moment, Stark isn’t aware of them.

STARK
“When death is nigh, my latest sign
Will not be life’s, but hers” –

He reaches out to touch the skeleton hand – then recoils in shock.

STARK
No... no... that isn’t Laura... she’s not there... she’s gone... like everything else –

He leaps to his feet, his mind completely gone now.

STARK (CONT’D)
(screaming it)
You hear me? She’s gone! There’s nothing here – nothing left for me!

He grabs a nearby lantern off a hook.

231. REVERSE SHOT – PAST WEST & GORDON – AT STARK IN B.G.

Stark is about to throw the lantern.

WEST
(yelling)
Stark – don’t – !

But nothing stop Stark now. He flings the lantern at the Bedlam display – and immediately, the old, dusty rags on the figures catch fire, and, ignited further by the wax, become an instantaneous blaze. Sandra screams and runs for the exit.

232. ANOTHER ANGLE

as other props began to flare up.

233. FULL SHOT

WEST
(to Artemus)
Get him out of here!

233. CONTINUED

The two plunge through the flames and grab the struggling Stark. As they start to drag him to the door, we go to:

234. SHOT – WAX FIGURE

It is a weird sight, as the waxen face begins to melt, distorting the features into something that no longer resembles anything human...

FADE OUT.

TAG

FADE IN:

235. INT. RAILROAD CAR – DAY

The bright, morning sun is streaming into the car. Artie, in a robe, is seated luxuriously; West, stripped to the waist, is shaving, his face covered with soap.

ARTEMUS
Doesn’t it make you feel sort of inadequate to think that if a Justice of the Supreme Court hadn’t wanted Arizona to become a state – and is a Governor didn’t want it to be a state – and if the President hadn’t given us a job as bodyguards –
(a beat)
– we might never have found out what happened to all those people who disappeared?

WEST
You got me. I always feel inadequate before I shave.

Artie picks up a hand mirror and looks at his face.

ARTEMUS
Now, with Stark in an asylum – I’ll never know whether I’d have looked better as a wax dummy, or not.

WEST
You might never have noticed the difference.

There is a soft laugh o.s., and both men turn, startled.

236. FULL SHOT

Sandra, smiling, stands in the open doorway.

SANDRA
Perhaps I could help you find out, Mr. Gordon.

She crosses to the men, CAMERA PANNING.

SANDRA
With what I learned about the business from Mr. Stark, I’m going to open my own museum in Cleveland.

West and Artie react.

SANDRA (CONT’D)
I want to thank you both for what you did for me.
(a beat)
And if you’re ever in Cleveland, look me up. Good-bye.

She starts out again.

237. MED. SHOT – WEST AND Artie

They look at each other.

ARTEMUS
Just what is it you suppose she learned from Stark?

As a big question fills their eyes –

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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