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California gal
SS senior field agent

USA
8373 Posts

Posted - 09/06/2009 :  12:53:20  Show Profile

CBS-TV
GARRISON PRODUCTIONS


THE WILD WILD WEST

“The Night of Jack o’ Diamonds?


#0351
FINAL DRAFT
MAY 10, 1967



THE WILD WILD WEST

“The Night of Jack o’ Diamonds”

PRODUCER
BRUCE LANSBURY

ASSOCIATE PRODUCER
LEONARD KATZMAN

STORY CONSULTANT
HENRY SHARP

WRITTEN BY
DENNE BART PETTICLERC

SETS:

EXT. MEXICAN TOWN
EXT. MEXICAN STREET
EXT. HOTEL
INT. HOTEL
INT. HOTEL ROOM
INT. HOTEL STAIRWAY
EXT. OPEN COUNTRY
EXT. DESERT TERRAIN – HIGH ROCKS
EXT. SALT FLATS
EXT. STEEP WALLED CANYON
EXT. BANDIT ENCAMPMENT
EXT. CORRAL
EXT. CANTINA
EXT. SMALL HILL
EXT. WATER HOLE
EXT. WEST’S DESERT CAMP
EXT. CAMPSITE IN ROCKS

CAST

JAMES WEST – ROBERT CONRAD
ARTEMUS GORDON – ROSS MARTIN
SORDO
ENRIQUE
GREGORIO
ANTONIO
FORTUNA
ISABEL
CHICO
JUAN

TEASER

1. EXT. A TOWN ON THE MEXICAN BORDER – DAY

West and Gordon, saddle weary, covered with dust and grime from a long ride, appear at the edge of the village leading full-blooded Arabian stallion – an extremely beautiful horse to see. Several villagers emerge from the adobe shacks to admire the animal as it passes.

2. ANGLE THROUGH HOTEL WINDOW

SHOOTING DOWNWARD, we SEE West and Artie making their progress down the street. Now a bandoliered MEXICAN intrudes upon our view. He rests an ugly-looking, short-barreled shotgun on the windowsill, and aims it directly at West and Artie. We HEAR him COCK it, just as a large van-like wagon pulls directly in front of his line-of-sight. We HEAR the Mexican CURSE softly.

3.STREET – AS BEFORE – WEST AND Artie

Artie reacts to a very beautiful young girl who is among the bystanders.

ARTEMUS
You know, this assignment might not turn out so bad after all.

WEST
She wasn’t look at you.

ARTEMUS
She wasn’t?

She was looking at Jack o’ Diamonds.

Gordon reacts and looks back at the horse.

ARTEMUS
What’s he got that I haven’t?

WEST
Maybe his pedigree is better than yours, Artie.

4. ANOTHER ANGLE

West and Gordon ride past CAMERA – we STAY with two other riders going in the other direction – SORDO and ENRIQUE. They are bandits. Sordo is almost middle-aged, fierce-looking an authoritative in manner. Enrique is his lieutenant. As West, Artie and the Arabian horse pass, Sordo does an obvious double take. He appraises the stallion knowingly and is at once in love with it.

5. SORDO’S EYELINE – WEST AND ARTEMUS

Riding away from CAMERA down the street, leading the stallion.

6. TWO-SHOT – SORDO AND ENRIQUE

Sordo looks at Enrique, then wheels his own horse to follow the action. Enrique follows.

7. LONG SHOT – THE STREET – DAY

West and Gordon are seen riding toward us, leading the stallion. CAMERA BACKS SUDDENLY to bring into closer view the face of GREGORIO, a handsome young Mexican with an aloof, aristocratic face. He is watching their approach with intensity.

8. ANOTHER ANGLE – FAVORING GREGORIO

He sits on a fine looking Cavalry horse, splendid in his uniform, looking off. Behind him are two Mexican cavalrymen. All three are spit and polish, military as bayonets.

9. FULL SHOT – THE STREET – DAY

as West and Gordon rein up in front of the young Mexican officer and his two men:

GREGORIO
Hola, senors! It’s a pleasure to see you. I am Captain Raul Fortuna, Fifth Regiment—I am to escort you to the capital!

WEST
I’m James West, Captain. This is Artemus Gordon…

ARTEMUS
(smiling)
Right now, Captain, I for one would rather be escorted to the hotel.

GREGORIO
Of course, it’s just up the street.

WEST
When do you plan to leave for Mexico City?

GREGORIO
At first light tomorrow, senor. When you have rested. President Juarez is looking forward to this gift from your President Grant. He pans to ride him at the Cinco de Mayo parade.
(appraises the horse)
Que macho! It is a pleasure to see such a horse.

He throws a glance at his two companions, who also react with admiration.

WEST
How long will the trip take?

Gregorio looks at West, quickly:

GREGORIO
Three weeks. We must move with extreme caution. We have many enemies who might try to steal this horse – to embarrass relations between our two countries.
(beat, tensely)
If we did not reach Mexico City with this horse, it would be most unfortunate, eh?

10. TELEPHOTO SHOT – SORDO

Seen from across the street as he stands in the entrance of a Cantina. The two Mexican cavalrymen, leading the stallion, pass between CAMERA and SORDO.

11. CLOSE SHOT – SORDO

He reacts with a smile of satisfaction. Moves to:

12. ANOTHER ANGLE

as Sordo turns the corner, CAMERA WITH HIM, and we see the two cavalrymen and the stallion, BACKS TO CAMERA, moving away from us; we notice now that several Mexicans in big hats are moving out from doorways along the narrow streets:

13. EXT. BORDER TOWN HOTEL – DAY

West, Gordon and Gregorio rein up, West and Gordon dismounting:

GREGORIO
(oily)
My men will guard the horse with their lives.
(smiles)
I am sure you will enjoy the hospitality of the hotel, senors!

West looks up at him quickly:

WEST
Aren’t you coming in?

GREGORIO
Late. I must send a wire to my superiors in Mexico City—they will be pleased to hear of your safe arrival.
(salutes)
Until I see you, eh?

He turns his horse and spurs; West and Gordon turn to enter the hotel.

ARTEMUS
Nice young fellow that Captain Fortuna. That’s the type that will build Mexico into a great country—dedicated, young, full of vigor!

He starts to move and reacts to his sore backside.

WEST
What’s the matter with you?

ARTEMUS
Nothing an assignment in New Orleans wouldn’t cure.

They move to hotel entrance.

14. INT. HOTEL – DAY

as West and Gordon enter. They hear a very audible CLICK as of a gun being cocked, and simultaneously dive for cover, pulling their own sidearms.

FLASH PAN TO:

15. ANOTHER ANGLE – THE STAIRWAY

the assassin crouched behind the banister rises quickly to fire his shotgun at West and Gordon—but simultaneously there is an explosion of a gun behind him! Smoke billow. The shotgun FIRES harmlessly and he crashes through the banister.

16. TWO SHOT – WEST AND ARTEMUS

They react to:

17. THEIR EYELINE – THE STAIRWAY

A pair of shiny leather military boots appear, coming down the stairs. We HOLD UNTIL we unveil the full and magnificent gamecock figure of CAPTAIN RAUL FORTUNA, a man in his mature years, who is carrying in his hand an enormous Smith-Wesson-type revolver that is smoldering. He gives the dead assassin a casual glance and then smiles off—West and Gordon move into FRAME:

FORTUNA
(beat – glancing at dead assassin)
These pigs! They are everywhere these days. Bandits. Assassins. Traitors. Scum who would destroy our Republic! One must be careful – just to stay alive.
(beat, smiles)
But enough – welcome to sunny Mexico, Señor West… Señor Gordon…

West and Gordon exchange a glance.

WEST
Who are you?

FORTUNA
I am Captain Raul Fortuna, Fifth Regiment, sent to escort you to Mexico City.
(glances around)
Where have you quartered the horse?

West and Gordon look at each other suddenly:

18. EXT. OPEN COUNTRY OUTSIDE THE BORDER TOWN – DAY

For an instance OUR SCREEN HAS GONE TO BLACK – but one of the pseudo-cavalrymen moves away from the LENS, staggering. A SHOT RINGS OUT, and he drops. Beyond, we discover the mounted figure of SORDO, gun in hand. He is mounted upon the stallion, which he wheels. He shouts joyously, and spurs – the horse bolts for the open desert. On this image growing smaller and smaller into the horizon –

FREEZE FRAME

ACT ONE

FADE IN:

19. EXT. OPEN DESERT COUNTRY – EST. SHOT – TELEPHOTO – DAY

In the panorama of country below we make out two riders, West and Fortuna – and we discover we are seeing them through binoculars when:

20. TWO SHOT – GREGORIO AND ANTONIO

They are on a high bluff – Antonio is a tough-looking man with a pockmarked face and a heavy mustache.

ANTONIO
Juarez’s men don’t have the horse, the United States Secret Service does not have it, and we do not—ay, compadre!

GREGORIO
We had better find an answer. Our orders from the Imperial high command were explicit—the horse was not to reach Mexico City.

Antonio is much bewildered.

ANTONIO
The idea is to embarrass the regime of Juarez… Now it looks like a lot of us are going to be embarrassed, eh?

GREGORIO
More embarrassing if you are buried in an anthill—up to your chin!

Antonio gulps unhappily at this: they both turn to watch the two riders.

ANTONIO
I detest ants!

GREGORIO
Then we’d better find that horse!

DISSOLVE TO:

21. EXT. BORDER TOWN HOTEL – DAY

West and Fortuna ride up to the hotel—Artemus Gordon emerges from the doorway, anxiously:

WEST
(depressed)
No luck, Art. They got away. No tracks. Nothing. An army could hide out there in that desert.

ARTEMUS
I haven’t had much luck here either. A lot of people saw that phony cavalry officer, but no one knows anything about him—he just vanished!

FORTUNA
(wearily)
We found one of his imposter companions—dead!

Gordon falls in with them as they move to the hotel entrance?

ARTEMUS
What now?

Fortuna turns in the doorway to look at West and Gordon—his face reflects his extreme gloom:

FORTUNA
What now, senor? I hate to think! What will our respective presidents say when we tell them we have lost this gift of state? Ay, mamacita! I should have become a bullfighter!

He turns and enters the hotel, leaving West and Gordon to react to this thought. They do, silently, and follow Fortuna into the hotel—CAMERA PANS DOWN TO:

22. CLOSE SHOT – ENRIQUE

Crouched in siesta against the adobe wall of the hotel, near the doorway; he lifts his sombrero and looks after West and Gordon—a thoughtful expression on is face:

DISSOLVE TO:

Our view is on a window as a shadowy figure crosses between it and CAMERA.

24. CLOSE SHOT – WEST

He sleeps, bare-chested.

25. ANOTHER ANGLE

As the shadow-figure moves silently to West’s bed.

26. CLOSE SHOT – WEST

He awakens instantly, pulled from his sleep by a foreign presence. He listens. Nothing. Then he bolts up in bed, CAMERA PANNING HIM CLOSE – until he discovers a gun pressing against his head. He stops motion, freezing.

ENRIQUE’S VOICE (off)

Don’t make a sound, senor.
(off—but closer)
You want to find the stallion, true?

West is suddenly very interested.

WEST
True.

ENRIQUE (off)
I can lead you to him. For a price.

WEST
How much?

ENRIQUE
One hundred American dollars.

WEST
Friend, you’ve got a deal.

ENRIQUE
Bueno, in the morning, after sunrise, you will bring the map to me. I will give you a map.

WEST
How do I know the map is any good?

ENRIQUE
It’s a chance you must take, eh?

WEST
All right. Where do we meet?

ENRIQUE
To the southeast—a high pinnacle of rocks that are called Castilla la Vieja. Come alone.

27. NEW ANGLE

The shadow moves toward the window and begins to exit therefrom.

ENRIQUE
Do not turn, senor. Do not follow me, or the horse will die.

He exits and CAMERA MOVES IN on West as we

DISSOLVE.

28. INT. HOTEL ROOM – NIGHT

West is in the process of dressing. Not his usual, slick duds—but rougher trail wear, worn leather trousers and jacket. Artemus is in his shirtsleeves looking worried. He is counting out a hundred dollars. He gives the money to West.

ARTEMUS
… ninety-nine… one hundred of Uncle Sam’s best… Jim, do you think your elusive friend is going to give you a hundred bucks’ worth of information?

WEST
We don’t have much choice. It’s the only lead we’ve got.

ARTEMUS
I haven’t given up here. I still think we might be able to trace that phony cavalry officer.

WEST
That’ll take time, Artie.

ARTEMUS
(sighs)
Yeah… May fifth isn’t that far off.

West finishes dressing. He picks up his saddlebags and a poncho.

WEST
I guess that’ll do it.

ARTEMUS
Take care of yourself, Jim.

WEST
Don’t worry.

Artie holds out a small leather cigar case:

ARTEMUS
You better have this.

West reacts, pushes a lever to open the case, revealing:

29. INSERT – CIGAR CASE

Seven thick-looking Havanas.

30. BACK TO SHOT

Artemus smiles. West nods.

WEST
See you, Artie.

He exits.

31. EXT. OPEN COUNTRY – DAWN (STOCK)

The blazing sunrise across a vista of desert hills and mountains.

DISSOLVE TO:

32. EXT. DESERT TERRAIN – THE HIGH ROCKS – DAY

We VIEW the high, odd-shaped rock formation and then COME AROUND to find West riding up to them. He reins, looks off. SOUND OF AN EERIE WIND BLOWING. Nothing stirs in his view. He reacts with suspicion and caution, touches up his horse and rides towards the rocks.

33. REVERSE ANGLE – WEST

He rides around a ledge of rock and saws back on the reins suddenly – CAMERA ZOOMING IN ON his reaction to:

34. FULL SHOT – FAVORING ENRIQUE IN THE F.G.

The little bandit is dangling upside down on a rope slung over a tree limb, turning in the wind. Beneath him a fire smolders. In the b.g. we see West, who spurs his horse forward and dismounts quickly.

35. CLOSER ANGLE

As West reaches Enrique, cuts the rope and eases the little man to the ground. Enrique, showing the effects of torture, opens his eyes, reacts to West:

ENRIQUE
Leave me. For a favor, senor.

He shuts his eyes with pain, his lips twitching.

WEST
Who did this to you?

ENRIQUE
(with great hatred)
Scum… dogs… traitors.
(gets his breath)
I am a bandit, senor… but at least, I am… Mexican… these are worse…

His voice trails off in his intense pain.

WEST
Who has the horse?

ENRIQUE
(weakly)
Sordo…

WEST
Who?

Enrique smiles to himself.

ENRIQUE
In… my boot… the right one… you will find… a map, senor.
(beat – reacts to pain)
It will… lead you to him… Did you bring the money?

WEST
Yes, here.

He reaches into his shirt and brings out a money pouch.

ENRIQUE
Let me see it, for a favor?

West takes the money out of the pouch and spreads the bills out in front of Enrique’s eyes. The Mexican smiles broadly, although continually in pain:

ENRIQUE (CONT’D)
Never in my life have I seen so much money – Ay, I am dying a rich man. It makes me content.

He takes the money and holds it, closing his eyes in pain.

ENRIQUE (CONT’D)
Leave me now please. For a favor. You are in danger, senor. I will find myself very well here.

He dies. West reacts. Throughout the ensuring action, West is careful to keep his eyes and ears alert for hostile sounds. He strips off the man’s boot, and discovers:

36. INSERT – THE MAP

Crudely drawn, but clear – a trail laid out to the mountains to the southeast, leading to an area designated as “the spot,” which nestles beside a prominent cluster of rocks.

37. CLOSE SHOT – WEST

He reacts, looks at the dead man. Then he suddenly wheels, draws and SHOOTS!

37A. WEST’S POV – ROCK

An Imperialista gunman folds and falls away.

38. WEST’S EYELINE – A RIDGE

Four or five more Imperialista gunmen appear over a ridge, carrying rifles. They start their horses down the slope, toward West – a reasonable distance away.

39. BACK TO SHOT – WEST

He reacts quickly, stuffing the map inside his shirt, and sprinting up to a ledge of rock. He FIRES at the onrushing bandits.

40. ANOTHER ANGLE – THE ATTACKERS

as one bandit topples from his horse.

41. ANOTHER ANGLE – WEST

as he leaps from the high ledge onto the back of his horse, and spurs away.

(NOTE ON THE ACTION: The staging will be dictated by terrain and the director’s discretion, of course, so generally this is what should happen: Perhaps two groups of heavies are converging on West. He turns his horse and rides down into a narrow canyon (if available) and escapes into the open plain.)

42. TRACKING SHOT – WEST

As he rides at a full, race-horse gallop out into the open plain, CAMERA TRACKING WITH HIM at high speed.

43. EXT. VANTAGE POINT – GREGORIO AND ANTONIO – DAY

reacts, angry:

ANTONIO
(to others)
After him!

GREGORIO
No!

ANTONIO
But he’ll escape!

GREGORIO
Not entirely, my dear Antonio!
(lifts his glasses)
He will lead us to the horse.

ANTONIO
Ah! And when he finds it?

Gregorio is looking through the glasses, he lowers them and gives his companion a glance:

GREGORIO
We kill them both!

Antonio reacts with a smile of satisfaction, turns to move away:

44. EXT. OPEN PLAIN – WEST – DAY

He rides hard, moves over a small hill and vanishes:

45. EXT. SALT FLATS – TELEPHOTO SHOT – LOW ANGLE – DAY

The straight line of the plain, heat shimmering to distant the image of a long rider – West, and above him an immense blue sky. He rides toward us slowly, the image in motion, but flattened so as it appears on screen as a moving tapestry.

46. CLOSER ANGLE – WEST

SHOOTING UP at him as he rides, the sun blazing above. He reacts to it, reins the horse. The acetelyn brilliant sun BLINDS OUR CAMERA:

47. ANOTHER CLOSE ANGLE – WEST

He is sweating heavily from the heat. He wipes his face, consults the map. He reaches down, pats the neck of his horse and smiles, for he is close to his destination.

WEST
It’ll be dark soon, boy. He’ll rest then.

He spurs his horse.

DISSOLVE TO:

47A. OMIT

48. INT. HOTEL ROOM – FULL SHOT – NIGHT

Artemus has just finished packing his saddlebags. He is dressed in trail clothes. There is a KNOCK O.S.

FORTUNA (O.S.)
Señor Gordon.

ARTEMUS
Come in.

Fortuna enters, sees Artie’s activity.

FORTUNA
I saw your light was on. I thought perhaps Señor West had returned.

ARTEMUS
He hasn’t, and it’s almost dawn, Captain. It’s time I went looking for him.

FORTUNA
Where are you going to look for him?

ARTEMUS
A rock called Castilla la Vieja.

Artie walks out.

FORTUNA
(exasperated)
Señor… Wait… I’ll come with you.

48A. DESERT CAMP – WEST – NIGHT (DAWN)

West is tightening the stallion’s cinch. He takes his almost dry canteen, moistens a rag and wets the horse’s mouth. Then he mounts up.

* after scene numbers indicates these are NEW SCENES entirely. They differ completely from previous script scene numbers.

49. * DESERT SHOT – SUNRISE (STOCK)

50.* LONG – WEST – DAY

He is cantering easily across the desert on the stallion.

51. * EXT. HIGH ROCK AREA – ON FORTUNA – DAY

He is leaning over the dead Enrique, whose lower torso only, appears in FRAME. Fortuna reacts, straightens and turns as Artemus Gordon walks up in the B.G. Gordon holds something in his hand.

FORTUNA
Who could have tortured him like this?

ARTEMUS
You recognize him?

FORTUNA
(nodding)
A bandit… Enrique Garcia… lieutenant for a still bigger bandit… A man called Sordo… Ugh! On top of everything we have that crafty old fox to contend with…

Artemus hands the spur to Fortuna.

ARTEMUS
Bandits don’t wear spurs like that.

Fortuna looks at it and reactions.

FORTUNA
Where did you find this?

ARTEMUS
(referring to dead Imperialista)
Came off him… Apparently Jim ran into some competition for that map Enrique promised him!
(referring to spur)
Recognize it? It’s the type worn by the French lancers.

A light of understanding comes into Fortuna’s eyes, and he hisses between his teeth.

FORTUNA
Imperialista!

ARTEMUS
(nodding)
They must have been torturing him when Jim showed up.

FORTUNA
Then who has the map, Señor?

ARTEMUS
What’s the difference? Sordo has to have the horse.

He turns and walks back toward his horse. Fortuna follows, Artie mounts up.

ARTEMUS (CONT’D)
This Sordo character—where could I find him?

FORTUNA
(shrugs)
Look around you. Five hundred square miles of desert to hide in….

ARTEMUS
Someone must know.

FORTUNA
Ah… the villagers may. But they will never betray men like Sordo. The fools look upon these bandits as heroes!

ARTEMUS
(as though a thought occurs to him)
They do, do they?...

Artie turns and spurs his mount. Fortuna watches a beat and follows as we

DISSOLVE

52. * EXT. A STEEP WALLED CANYON – DAY

West rides into the canyon, reacts to the high walls, and continues on, alertly.

53. * CLOSER ANGLE – WEST

He looks up at the steep slope.

54. * WEST’S EYELINE – THE HIGH STEEP SLOPE

It should be exaggerated by the CAMERA TO APPEAR impossible to ride.

55. * BACK TO SHOT – WEST

He dismounts, patting his horse, and continues several paces on foot. Now he pauses, scanning the fortress-like rocks above. He takes out a viewing apparatus and commences to inspect those at closer range.

56. * SHOT – BANDIT GUARD

He stands with a rifle, guarding an unseen pass.

57. * BACK TO SHOT – WEST

He puts away the telescope and starts climbing up the rocks toward the guard.

58. * NEW ANGLE – STEEP SLOPE – WEST

As he hangs precariously on a rocky ledge, his eyes alert to any move above.

59. * SHOT – TOP OF ROCKS – BANDIT GUARD

West suddenly appears beside him and takes him down. West looks down now.

60. * POV SHOT – BANDIT ENCAMPMENT

There are horses and men milling about the campsite—men in big hats and bandit bandoliers of ammunition, perhaps one or two women, tending the fires that send a little pall of smoke up into the air, a dog or two BARKING.

61. * MED. CLOSE SHOT – WEST

Sprawled half hidden on a ledge of rock, he again takes out his viewing device and aims it downward.

62. * WEST’S EYELINE – MAT – THE ENCAMPMENT

We PAN SLOWLY OVER the scene below and stop at a crude rope corral, where we discover the stallion, and the small figure of SORDO, standing at the rope, petting the horse. We HEAR A CLICK as West punches a button and new lens enlarges the image of SORDO AND THE HORSE as much as possible; he is so clear you could almost reach out and touch him. The horse is saddled. The cinch hangs loose.

63. * CLOSE SHOT – WEST

He lowers the device and reacts, puzzled. Then he trains it on the camp again.

64. * WEST’S EYELINE – SORDO

He is petting the stallion’s neck, LAUGHING. The VIEW PANS AWAY FROM SORDO to the figure of a man hanging by his wrists from a tree. He is stripped to the waist and shows the effects of hunger and thirst—we recognize him as one of the phony soldiers seen with Gregorio in the opening scenes.

65. * ANGLE ON WEST

He reacts to this. Now he produces an eye-bolt with a bullet-like appendage on the ring. He plugs this into the barrel of his six gun and fires the eye-bolt into the rock. That secured, he now attaches the end of a running wire to the eye-bolt, and the wire in turn is played out from a two-handed reel. West grasps this and drops lightly over the sides of the cliff.

66. * LONG SHOT – WEST

As he nimbly reels himself down the face of the sheer cliff.

66A. EXT. BANDIT ENCAMPMENT – SORDO

We PAN Sordo as he walks through the encampment, fire to fire, where his men are sprawled, eating and drinking. He AD LIBS Spanish small-talk such as “Hombre! Que Hermosa dia.” “Esa senorita muy amable, eh?”, etc., to responses of good-natured LAUGHTER from his men. A GUITAR is PLAYING a moody Mexican SONG, and we MOVE WITH GORDO into the main campfire area where the blackened bean pot smolders. We discover the guitarist, JUAN, playing. Sordo acknowledges the player with a smile.

SORDO
Ha comido usted? Es bueno?

He dips the big spoon into the beans, blows the steam off them and tastes, reacts with pleasure.

SORDO (CONT’D)
Lo comprare!

He turns to look off, suddenly, his eyes losing their bright, joyful look, growing hard and dangerous. The guitar player also reacts, ceasing his playing, moving his position, ready to fight. Another man also turns to follow their gaze, and abruptly whips out a long, wicked machete.

66B. ANOTHER ANGLE

SHOOTING PAST SORDO on James WEST as he steps forward, CAMERA PUSHES IN QUICKLY ON HIM –

FREEZE FRAME:

END ACT ONE


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
8373 Posts

Posted - 09/06/2009 :  12:54:18  Show Profile


ACT TWO

FADE IN:

67. EXT. BANDIT CAMP – WEST – DAY

The scene is a few moments later. The Mexican bandits gather tensely about the fire, weapons drawn, or within immediate reach, their eyes dangerous as they watch West, who walks forward to the campfire and Sordo. CAMERA BACKING AHEAD OF HIM until we PICK UP SORDO IN FRAME. Sordo is suddenly amused.

WEST
Good day.

SORDO
(an ironic smile)
Buenos dias, senor.

WEST
I was passing by and I hear the music.

He looks around calmly, then spies the bean pot:

WEST (CONT’D)
(continuing into the silent faces)
The truth is, I was hungry and I smelled the beans. May I?

He indicates the pot. Sordo, still amused, nods and gestures:

SORDO
Eat all you want. We have plenty. We are not people to keep food from a hungry man.

He looks around at the grim faces in the firelight. West lifts the big spoon carefully and blows off the steam. He looks up and meets Sordo’s steady, unblinking gaze, salutes him with the spoon:

WEST
Happy days.

He tries the beans, and reacts, they’re good:

WEST (CONT’D)
Excellent. My compliments to your cook.

Sordo translates West’s statement into Spanish for the benefit of his men, and LAUGHS. A few tentative smiles appear on the deadly faces. Sordo stops smiling abruptly and turns to West, who is eating the beans from the pot. The other faces cease their smiles as abruptly. West looks up at them, appraises each, then returns his gaze to Sordo:

WEST
Your family?

SORDO
Si. My brothers, my cousins, my uncles and my aunts! I have many relatives to feed. As you see.

West glances toward the man hanging in the trees:

WEST
It doesn’t look like you’ve fed that one recently.

Sordo’s expression changes, suddenly hard and sullen.

SORDO
He is not one of us, senor—he is a different breed, like a bad snake. During the revolution, we lost many good friends, good fighting men—for the cause of the little Indian—Juarez.
(a gesture of disgust)
We killed many like that one—but we did not kill enough of them, you see? They would have Mexico back—for themselves.
(makes a face)
Dogs!

WEST
What are you going to do with him?

SORDO
(with a smile of pleasure)
After a while, we will think of something.
(beat—with cold hardness)
What brings a gringo into these mountains?

West puts the spoon back into the pot, wipes his mouth with the back of his hand, smiles:

WEST
I’m looking for something.

SORDO
Gold?

WEST
No.

He draws out the cigar packet, opens it and offers it to Sordo:

WEST (CONT’D)
Cigar? They come from Havana.

Sordo reacts:

SORDO
(smiles, pleased)
You are very generous, senor.

He appraises the cigar.

SORDO (CONT’D)
(casually, as he examines the cigar)
You said you were not looking for gold, eh?

West selects a cigar for himself, equally as calm and assured.

WEST
I’m looking for something as rare.

He looks up to meet Sordo’s gaze.

WEST (CONT’D)
A horse.

Sordo smiles. West reaches into the fire and selects a flaming stick.

SORDO
(playing the game)
There are many horses, Señor. All kinds. We have horses of our own in the corral. What kind of horse could be rare as gold, eh?

West smiles at him and leans forward, holding the flaming stick to light Sordo’s cigar.

WEST
It’s called an Arabian.

SORDO
(looking quickly at West, then leaning forward to light the cigar)
It is a rare animal, then. What does this horse look like?

WEST
Like the horse in your corral.

They hold each other’s gaze. Sordo LAUGHS. West smiles. The other men edge in closer, threateningly.

JUAN
It was Enrique. He told this Gringo where to find us. Kill him now.

SORDO
(he looks toward Juan and turns back to West)
Where is Enrique now.

WEST
Dead.

JUAN
You have to kill him. Less danger. Kill him now.

SORDO
(ignoring Juan)
What will you do with this rare horse that looks like my horse—if you find it?

WEST
Return it to its rightful owner. It’s as simple as that.

Sordo nods, then averts his gaze.

SORDO
You are a fool of a gringo. You have walked into my camp. I have no choice but to kill you.

WEST
I didn’t come in here empty handed.

SORDO
No? What have you got? Money?
(laughs)
Listen, gringo, after we kill you, we take the money anyway. So what have you gained?

The Mexican faces around West burst into LAUGHTER with the leader; suddenly Sordo’s cigar starts to SPUTTER; he reacts.

SORDO
What is this?

WEST
(sighs)
It’s going to explode.

SORDO
(alarmed, outraged)
Explode!

West smiles at him.

WEST
Like a bomb!

And West bursts into action—tossing his cigar at the men behind him, who are startled. Sordo tosses his cigar away at the same time. A ONE TWO BLAST. Men scatter, dust. Just before the explosion West dives to:

68. ANOTHER ANGLE – WEST

As he rolls under some cover, perhaps a cart. Dust and rocks from the blast sprinkle down. He sits calmly, lighting another cigar from the glowing coal on the end of the stick. There is much confusion in the dark around him. He gets to his feet and runs toward the corral.

69. ANOTHER ANGLE – THE CORRAL

As West runs up, ducks under the rope, and takes the bridle of the stallion. We can HEAR in the b.g. the BANDITS SHOUTING, FIRING guns, much in confusion and anger. West pets the stallion’s neck, tightens the cinch.

WEST
Let’s keep ‘em stirred up, huh?

He tosses the second cigar out into the darkness.

70. ANOTHER ANGLE – THE EFFECT

A BLAST that lights up the night, so that we see two or three men tossed into the dust.

71. BACK TO SHOT

West takes the reins and swings up into the saddle, drawing his gun. He FIRES in the air, swings the stallion to stampede the horses out of the corral.

72. ANOTHER ANGLE

As the horses stampeded from the corral come THUNDERING through the ranks of the confused bandits. CAMERA PICKS OUT AND PANS WITH WEST, slumped down on the bank of the stallion. Dust boils up. We HALT THE PAN ON – Sordo, who is just getting to his feet, his face and clothes blacked by the blast. He SHOUTS angrily AD LIB Spanish to his men. We HEAR the stampeding horses FADING into the desert. Men rush about. Sordo shouts at one, then another.

There is so much confusion it is hopeless at the moment. He knows it. He looks off after West, his eyes fierce. He removes his singed and ruined sombrero and slams it into the dust at his feet and kicks it angrily out of frustration, then he turns and looks after West again. Juan, equally tattered, appears behind him.

SORDO
Get the horses back. I’m going to follow that gringo into hell if I have to!

Juan nods, intimidated by his leader’s anger: begins to back away. On the fierce eyes of Sordo:

FLIP FRAME TO:

73. INT. HOTEL ROOM – NIGHT

Captain Fortuna pacing in one direction, wheels back to: WIDEN THE ANGLE TO INCLUDE Artemus, who is deep in thought carefully going through a stack of police mug shots if obvious hard case Mexican bandits. Featured is a photo of Sordo. Then another of PONCHO, a surly, mustachioed man, who might be Artie in disguise.

FORTUNA
What I cannot believe is that you would let Señor West go out alone!

ARTEMUS
We had no choice.

FORTUNA
Ay, mamacita, I should have become a chicken farmer. Do you realize the danger? A man alone in a country that has not even been charted yet?

ARTEMUS
(he holds up Poncho’s picture)
Who is this?

FORTUNA
El Poncho… Do you know what will happen to me, my friend – when I tell my superiors that not only have I lost the horse, a gift for my presidente, but the top United States Secret Service agent to boot?

ARTEMUS
What did this Poncho character do to deserve a place in the police gallery?

FORTUNA
Do? What didn’t he do, senor. He has been a bank robber, a kidnapper… Last week he murdered three men in cold blood… but still he is not so bad as Sordo…

Artie gets up, places Poncho’s picture in a position of prominence. Now he goes to the closet and begins to pull out a selection of western garb. Fortuna looks on frustratedly.

FORTUNA (CONT’D)
Would you mind telling me what you are doing, senor? I hate to be in the dark all the time!

ARTEMUS
When the time comes.

FORTUNA
Ay, mamacita. Why didn’t I listen to my father? He wanted me to be a playboy.

Fortuna turns sharply and exits. Artemus appraises the clothes in his hands…

74. EXT. OPEN DESERT COUNTRY – WEST – DAY

West is riding the stallion fully out, eating up the ground in great strides. The sun hot and bright. He is crossing the salt flats we saw earlier.

DISSOLVE TO:

74A. EXT. A SMALL HILL – DAY

Sordo and his men ride up onto the ridge and rein up:

74B. CLOSER ANGLE – FAVORING SORDO

He reacts to:

75 OMIT

76. EXT LONG SHOT – DESERT – DAY

The small moving miniature figure of James West riding away from CAMERA into the desert terrain.

77. OMIT
THRU
78.

79. SORDO’S EYELINE – ONE WEST

The stallion moving away rapidity in the distance.

80. CLOSE SHOT – SORDO AND JUAN

Sordo removes his big sombrero and wipes his face with the sleeve of his shirt.

JUAN
That is some horse, jeffe.

SORDO
More horse than we can catch this way, amigo.
(turns to his men)
Dismount! Pull off the saddles.

Juan and the others do so as Sordo’s eyes pierce the distance between him and West.

SORDO (CONT’D)
You will take the men back to camp. On foot. Quick!

Juan begins to dismount, Sordo turns to look off:

DISSOLVE TO:

81. INT. CANTINA – BORDER TOWN – NIGHT

ISABEL is the center of attention in the smoke-filled room, as she dances a flamenco step to the VOICE and GUITAR of an ACCOMPANIST. The voice is guttural and wild. There are Mexican bar girls sprinkled among the crowd – LAUGHTER, CHATTER, as much business as possible. Suddenly Isabel’s attention is captured and she reacts to what she sees.

82. ISABEL’S EYELINE – ARTEMUS Gordon

But at the moment he is impressively disguised as the bandit chief Poncho. He enters the room, thumbs locked in his gunbelts, the shells in his bandoliers glittering brassy in the light. He swaggers a little, and glares at a man who stands in his path. The man reacts, sickly smiles, and moves aside to let him pass. Gradually, every eye in the room is on this magnificent figure. Silence has fallen. Except at the front table.

Isabel stops her dance – her guitar player has already stopped playing and singing. Gordon strides to a front table, where a group of tough-looking Mexicans are seated with two bar girls. They are LAUGHING, unaware that the room has become so silent. Isabel is staring at Gordon:

ISABEL
(half whisper to herself)
Poncho…

Now most of the room has caught on and turns to appraise Gordon – and react, with gulps, fear in their faces. They get up from the table, slowly, smiling weakly. Gordon pulls back a chair and appraises the room with a fearful glance. They faces watch him, tensely. Then he waves his hand in a gesture like a king granting a reprieve.

ARTEMUS
Music! Everybody have a good time! Continue, amigos!

There is a sudden reaction—the crowd LAUGHS, CHTTERS, becomes animated again. The GUITAR PLAYER picks up the TUNE. But Isabel crosses to Gordon, awe and admiration in her eyes:

ISABEL
Señor, may I bring you something to drink? Tequila, cerveza?

ARTEMUS
I never drink!

Artemus takes her roughly and pulls her onto his knee, kissing her. When they break, she is breathless and smiling…

ISABEL
You are more handsome than I could have believed, senor.

ARTEMUS
Heaven was good to me.

ISABEL
Is it true you have killed a hundred men?

ARTEMUS
One-hundred and one.

ISABEL
Oh, senor.

Gordon leans close to her. Isabel thinks she is about to be kissed, and is thrilled.

ARTEMUS
(confidentially)
Where is Sordo?

Isabel reacts to this, a bit disappointed, but wanting to please him:

ISABEL
He has gone to the mountains.

ARTEMUS
Where in the mountains?

ISABEL
The usual place.

Gordon tries to look casual, he fiddles with a tequila bottle the previous occupants left at the table:

ARTEMUS
Mmm. I see.
(beat)
What is this I hear about a horse—a beautiful horse?

ISABEL
That’s it. Everybody wants that horse.
(giggles)
But Sordo has it.

ARTEMUS
Mmm. and Sordo is in the mountains – at the usual place, eh?

ISABEL
Si. You know, the old campsite near the Hacienda de la Vega?

ARTEMUS
Ah, but of course—I have hidden out many times in that place myself… I…

There is a SMALL RIOT taking place at the door to the cantina—both Gordon and Isabel turn to:

83. THEIR EYELINE – THE CANTINA DOOR

Four or five rough looking bandits, headed by CHICO, enter. Chico is a wild-looking chap, heavily armed and is at the moment FIRING both his big pistols in the air in a jubilant mood.

84. BACK TO SHOT

Isabel turns brightly to Gordon:

ISABEL
You brought your men, how wonderful, senor.

ARTEMUS
(worried)
My men?

Before he can stop her, she moves off his lap toward the group of Mexicans. Gordon slips a cartridge from his bandolier, and quickly unscrews the lead from the casing. Isabel and Chico embrace like old loves.

ISABEL
Ah, Chico, my Chico!

CHICO
Isabel! My pet. How I have missed you!

ISABEL
Poncho is here, Chico!

The smile fades from Chico’s face, as well as the other faces of his men.

CHICO
Poncho? But Poncho is dead. I buried him myself two days ago…

ISABEL
No, no—he’s right here.

Gordon, who has kept his back to them, turns now and stands, smiling, holding the tequila bottle in his hand. As he moves, he slips the bullet-less cartridge into the tequila bottle. Chico glowers and shoves her aside.

CHICO
Hey, Poncho. Turn around. I think maybe I want to bury you again.

ARTEMUS
Once is enough, amigo.

He smashes the tequila bottle on the floor, just as Chico and his men move in on him. There is a FLASH and a gush of tear gas fills the room like a fog. Men stumble, COUGHING, much confusion. OUR CAMERA finds Gordon on his hands and knees, crawling rapidly under one table, through legs, to the door. He pauses there, glances back to approve his own work, like an artist appraising his painting, then exits amid much scrambling, groping, SHOUTING, GUNSHOTS, general confusion in the swirling gas.

DISSOLVE TO:

85. EXT. DESERT COUNTRY – TRACKING SHOT – DAY

On James West riding ahead of CAMERA. He turns in the saddle to look back:

86. EXT. DESERT COUNTRY – TRACKING SHOT – DAY

On Sordo riding, leading two hoses in a chain.

87. EXT. DESERT COUNTRY – TRACKING SHOT – DAY

On West as he veers off AWAY FROM CAMERA like a fighter plane peeling off to attack—and we watch as he rides toward some distant objects.

DISSOLVE TO:

88. EXT. VANTAGE POINT – DESERT COUNTRY – DAY

In the distance we see JAMES WEST on the stallion riding. CAMERA BACK to discover Sordo, watching. He has the last horse saddled now. He reacts with a smile of satisfaction, turns, CAMERA WIDENING THE ANGLE to slap the sweat-stained tired horse on the rump.

SORDO
Go home, pet!

He turns as the horse trots away, and mounts the last horse in his string, touches his spur to its flanks—CAMERA PANNING with him for a beat.

89. OMIT

DISSOLVE TO:

90. EXT. A WATER HOLE – EXT. SHOT – DAY

The reflected sky on the surface of the water, then the figure of James West appears, leading the stallion. CAMERA PANS UP to view the actual figure of West as he leads the horse into the water. We PAN AWAY FROM THE stallion, onto West as he dips his face into the cool, pleasant surface, and reacts. He lifts his head, dripping, and sees something o.c. that makes his eyes go tense:

91. WEST’S EYELINE – SORDO

Stands above West on the rocks, rifle leveled.

SORDO
Hola, amigo! Where have you been keeping yourself?

He smiles and walks down the rocks toward West.

92. ANOTHER ANGLE

As Sordo squats on the edge of the water hole, rifle leveled at West’s face.

SORDO
It’s not polite to leave a man’s table so quickly, you know? I wanted to talk some more with you. Who knows, we both might make a new friend, eh?

West eases up to a sitting position.

WEST
That would be pretty difficult—
(appraises the muzzle of the rifle)
From my point of view.

SORDO
(grins)
We all have a point of view, eh? From here, you look pretty good to me!
(laughs)
Remove your gunbelt, senor.

West reacts, slowly unbuckling his gunbelt.

SORDO (CONT’D)
You know, amigo, I would have killed you for your gun, happily.
(smile fades)
But for stealing my horse—that is an unspeakable crime!

WEST
(handing him the gunbelt)
It’s according to how you look at it, isn’t it?

SORDO
We are looking at it from my point of view, amigo—I have the gun.

West reacts with a smile.

WEST
So you have. Then I guess there’s nothing left but to kill me.

SORDO
I must think on it. Such a crime as your deserves a great deal of thought—as to how to kill you. Just shooting you, no imagination. I am a man of great imagination.

West’s eyes have strayed to something o.c. that really worries him now:

WEST
You better get started.

SORDO
Eh?

WEST
We’ve got company.

Sordo reacts, suspicious of West, but he carefully turns his gaze o.c. and reacts:

93. THEIR EYELINE – A RIDGE

Several riders stand along the ridgeline, looking down at the waterhole.

94. CLOSE TWO SHOT – SORDO AND WEST

Sordo spits out his words with contempt and hatred:

SORDO
Imperialistas!

WEST
Look over there!

Sordo changes his view:

95. THEIR EYELINE – ANOTHER AREA

Four or five horsemen moving toward the waterhole. They are in no hurry. The trap is set.

96. BACK TO SHOT

Sordo reacts to this development, an ironic little laugh:

SORDO
This is really very funny, amigo!

WEST
Funny? You don’t mind if I miss the humor?

SORDO
(growing laugh)
A grand joke on us!

Sordo tosses West’s gunbelt back to him.

SORDO (CONT’D)
Because of that horse, we were going to kill each other—now for the same reason, we must fight together to avoid being killed. It’s very amusing, no?

West looks down at his gun, then at Sordo, who is really laughing now. A BULLET whips Sordo’s big hat off WITH A VICIOUS AIR-RIPPING SOUND. Both drop to the ground. Now West is smiling.

FREEZE FRAME

END 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
8373 Posts

Posted - 09/06/2009 :  12:55:21  Show Profile


ACT THREE

FADE IN:

97. EXT. THE WATERHOLE – TWO SHOT – FAVORING WEST – DAY

They are behind a barricade of a fallen tree, surveying their front and flank: The horses are corralled behind them in the rocks.

98. THEIR EYELINE – THE FRONT

We PAN the terrain in which nothing stirs.

99. BACK TO SHOT

Sordo wipes the sweat from his face:

SORDO
Ay, it’s hot. Too hot to die, eh? No wind. No air. Only heat.

WEST
It’ll be dark in an hour.

SORDO
Before it is dark, we will see our visitors, you can believe that. They will come not as the wind, but as a river flood—a sudden rush, there and there! We ill get a good look at them.
(smiles)
Perhaps too good a look, eh?

West reacts to something o.c. Sordo tenses:

WEST
Something moved.

SORDO
Where?

WEST
In those rocks—over there.

SORDO
I am not a religious man, but I could become one, if somehow I would suddenly find myself sitting in a cantina talking to a pretty girl at this moment.

West, still watching the terrain, draws out the cigar case and opens it. Without taking his eyes from the front, he offers the cigar case to Sordo.

WEST
Have a cigar. They come from Havana.

Sordo reacts, looks at the cigar case, then at West:

SORDO
(with a slow smile)
They come from Havana, eh?
(takes one, examines it)
In Havana, they make most intriguing cigars!

West takes one, put it in his teeth, strikes a match, lights it and offers the map to Sordo:

WEST
Light?

SORDO
Why not? Up until the point they get exciting, these are not bad!

He lights the cigar. They puff and appraise the train.

SORDO (CONT’D)
When?

WEST
Now!

They both cock their arms to throw—a YELLING o.c.

100. ANOTHER ANGLE

as suddenly the terrain comes to life with men rushing the waterhole, firing. The smoldering cigars arch to their targets and explode, violently, and men go down.

101. TWO SHOT – WEST AND SORDO

Firing expertly at the attackers.

102. ANOTHER ANGLE – THE EFFECT

The withering fire from West and Sordo cuts down the attacking ranks. The men run and fall, the attack confused by the blasts.

103. ANOTHER TWO SHOT – WEST AND SORDO

As one or two men suddenly appear on the flanks—West wheels and FIRES his gun, dropping both men. Sordo reacts—there is a sudden silence. Sordo thumbs back his hat and leans against the log, appraising West, who commences to reload his revolver.

SORDO
Hey, you know you’re not a bad type, for a gringo.

West reacts, looking up at Sordo.

WEST
What do you know about gringos?

SORDO
Not very much. Generally I avoid them. Bad company.

WEST
Oh? And you?

SORDO
Not so good company, either. I am a bandit. How I make my living—stealing a little, sometimes killing a little. Not a good living—but it’s all I got.

Suddenly, Sordo reels and FIRES o.c. West reacts to:

104. THEIR EYELINE – THE REAR

A man topples from a high rock, struck by Sordo’s bullet, but others suddenly are swarming about the horses. A man mounts the stallion, and spurs it forward.

105. ANOTHER ANGLE – WEST

as he rushes forward and makes a diving tackle, dragging the attacker from the back of the stallion; behind him comes Sordo, FIRING like a demon.

106. ANOTHER ANGLE

as West and the attacker struggle. West disarms the man, and uses a few fancy karate blows to stagger him. Sordo runs across the b.g., FIRING at a second man who has mounted Sordo’s horse and is riding away at a gallop. CAMERA PULLS AWAY FROM WEST’S death blow to his antagonist and follows Sordo, who is less successful. The rider turns around a corner and is gone. Sordo reacts, angry with himself.

SORDO
Ay! Your mother was a cow! I spit at your befouled eyes! Ay, stupidity!

He turns and:

107. ANOTHER ANGLE

West in the f.g. looking down at the man he has just dispatched. Sordo comes up behind him.

SORDO
My stupidity is a thing of awe to behold—they took one of the horses.

West appraises the terrain:

WEST
It doesn’t matter—we’ve got to get this horse out of here.

SORDO
It will be dark soon—then it will be easy. One of us can slip away, no problem.

WEST
Yeah, but which one?

They hold each other’s gaze, and Sordo smiles:

SORDO
I always win, amigo – it’s a bad habit of mine.

DISSOLVE:

108. EXT. OPEN COUNTRY – ARTEMUS AND FORTUNA – DAY

They ride toward the distant mountains, a late afternoon sun throwing long shadows.

FORTUNA
(pointing)
The old hacienda the girl talked about is in the foothills… Sordo will be somewhere near there…

ARTEMUS
How far?

FORTUNA
Six… seven hours…

ARTEMUS
(anxiously)
Soon it’ll be too dark to ride… Let’s move!

As if to close the gap more quickly, Artie pokes his mount into a canter, Fortuna following.

DISSOLVE TO:

109. EXT. A FULL MOON – EST. SHOT (Stock)

We HEAR A WOLF baying in the night, far off:

110. CAMPSITE – WEST AND SORDO - NIGHT

Sordo looks up at the stars:

WEST
Wolves.

SORDO
Si. He has made a kill. He is calling his mate. Listen, he is telling her of his love, of his need. Listen to him sing – he must survive. It is a hard world, even for a big wolf.
(looks at West)
We all must kill to survive, eh?

WEST
Sometimes. Even when we don’t want to.

SORDO
(looks at West, half a smile)
We are luckier, eh? We have only to settle the matter of a horse.

West appraises him as though seeing him for the first time:

WEST
What made you steal him—you took a great risk, just for a horse.

Sordo shrugs.

SORDO
Risk, si. But not just a horse, a great horse, amigo! Worth more than my life, even.

He draws his knife and commences some business with it, perhaps like picking his fingernails as he talks, but we note a growing menace in Sordo as he does so:

SORDO (CONT’D)
You know what it is like to be a man like Sordo? Great ugliness. Even my face, ugly! Look at this country—hot in the day, cold at night. Ugliness. Dust. Snakes. Scorpions! Life and death—it is nothing! Yet it is where I live. Where I survive. Not very pretty, eh?
(beat; - looks off at the stallion)
But when I saw that horse—ay! That is beauty, amigo! Have you ever seen so much horse?

WEST
No. I haven’t.

SORDO
To have him, ay—to look at him and say he is mine, that is worth my life, amigo.
(beat – smiles)
So, when I see you and your compadre with him—I say, see the gringo bringing that fine animal to some pig of a rich patron, ah…!

Suddenly Sordo lunges forward, knife cocked to threaten West—but West makes a swift gesture, and Sordo freezes. We hear the gun cock, even as Sordo eases back—West has the weapon pressed deep into his belly:

WEST
(calmly)
You made a mistake.

SORDO
I did…

WEST
We’re not taking it to a rich patron—we’re taking it to Juarez.

Sordo reacts, stunned:

SORDO
The presidente?

WEST
Yeah. Come on, we’re going to get out of here.

SORDO
You’re not going to kill me?

WEST
If I have to, I will.

He moves off toward the horse, as Sordo reacts to him, puzzled:

SORDO
(half whispered to himself)
Gringos?

DISSOLVE TO:

111. EXT. A VANTAGE POINT IN THE DESERT – DAY

West and Sordo, riding double on the stallion, ride over the rise, and rein up, looking back. (Note: the horse is lathered from the ride.)

112. THEIR EYELINE – THE DESERT BELOW

The dust of half a dozen horses approaching can be seen; the riders growing larger and larger as they come at us:

113. BACK TO SHOT

Sordo reacts, glancing off:

SORDO
They are gaining ground, amigo.

WEST
(discouraged)
Even a great horse has his limits—we’ll kill him if we keep up this pace!

SORDO
Listen, over there, to the north—there is a narrow canyon. It makes a passage through the mountains. Very narrow. But one man could hold an army off in it. It’s our only chance, amigo.

West makes a decision.

WEST
Yeah.

He spurs the horse and CAMERA PANS to watch them go down the sloe toward the distant mountains.

DISSOLVE TO:

114. EXT. SAME VANTAGE POINT – DAY

Gregorio and four riders appear on the rise. Antonio reins up behind him:

ANTONIO
They’re heading off to the mountains!

GREGORIO
Bueno! Keep after them!

ANTONIO
But the men are tired!

GREGORIO
So is that horse they are riding! Another hour in this sun, he’ll be dead. And our work is finished.

ANTONIO
What about the gringo—and the other?

GREGORIO
We will kill them.
(turns to look at the desert)
I want no trace of them found.

Page missing – scenes 115 through 117

117. CONTINUED

WEST
(holding Sordo’s gaze)
If a man’s clever.

SORDO
(smiles)
The question is, which man, eh?

WEST
That’s it.

SORDO
For me—it is survival. I have survived a long time, amigo.
(beat thoughtful)
But for you, it is something else, eh? It is that ugly little man we call Juarez who waits for this horse—do you know him?

WEST
I’ve met him.

SORDO
He is an ugly little Indian, like me. Born in misery. But what a man, amigo! Benito Juarez is Mexico!
(beat)
And he awaits my horse.

He pets the stallion on the neck.

SORDO (CONT’D)
(to the horse)
What a grand beauty you are – better than a star in my pocket. Why were you ever born?

With that, Sordo wheels suddenly and backhands West, staggering him. Another blow and West goes down.

SORDO
The winner rides on, eh?

West coils himself to rush:

WEST
Suit yourself!

He lunges at Sordo and they fight.

NOTE ON THE FIGHT:

We want this fight to be as sensational as possible, a life and death struggle between two first class fighting men, who are trying hard to beat each other’s brains out. Their skills should be as near equal as possible, and the spirit with which they fight each other should be one of respect and growing admiration for each other. Never has West faced a man so close to this own physical power; neither has Sordo. The edge swings from West to Sordo and back to West again. At this point the fighting should take a definite turn to West’s side. A series of quick, efficient blows that would disembowel a whale send Sordo tumbling and stunned into the dust.


118. FULL SHOT – WEST AND SORDO

Sordo is on his hands and knees, groggy. West stands over him struggling for breath as though there was not enough air in the whole canyon to fill his lungs:

WEST
Enough?

Sordo nods his head, weakly:

SORDO
Si, como no?

Sordo collapses, rolling over on his back, exhausted. West stumbles to him and holds out his hand. In a quick, unexpected move, Sordo grabs West’s outstretched hand, and flips him over onto the ground. West comes up, quickly—to peer down the muzzle of Sordo’s gun:

SORDO (CONT’D)
You fight good, but you trust too quickly. Never trust anyone!
(beat – smiles)
I have lived a long time by that rule. It always pays.

WEST
Does it?

SORDO
I always win, see? Get up?

They get to their feet.

WEST
What now?

SORDO
We made a bargain—winner rides the horse out of here! You win the fight. You better get going. There is little time.
(beat)
Leave your gun. I will have need for it.

West reacts, surprised.

WEST
Why are you doing this?

SORDO
I am sentimental.
(glance at the horse)
What is a bandit compared to Juarez? That little Indian compadre—he is more fitting to have such a horse as this!
(change of expression and tone)
Get out of here! Before I change my mind and kill you!

West crosses to the stallion. Sordo walks to the horse, appraises it and pets its neck.

SORDO (CONT’D)
Adios, my pet pony. Have a good life and take care of yourself.

West has one foot in the stirrup. He looks at Sordo:

SORDO (CONT’D)
Take good care of him, eh?

WEST
Yeah.

In a sudden move, using the stirrup and the pommel to brace himself, West drives a kick into Sordo’s jaw that sends him sprawling. Now, it is West that holds the gun.

WEST
Get on the horse.

Sordo gets to his feet, slowly, looking for an opening for a countermove.

SORDO
Have you lost your mind?

WEST
I just think I can hold them off longer than you can. Get going!

Sordo crosses to the horse, gives West a look, and mounts:

SORDO
How can you be sure I will deliver this horse to Juarez?

WEST
I trust you.

Sordo shakes his head.

SORDO
Gringos!
(he wheels his horse, then turns toward West)
Keep the fire warm, eh?

He turns the stallion, spurs. CAMERA MOVES IN ON WEST as he watches off—we hear the HOOFBEATS going away down the canyon. West reacts, a certain relaxation. He turns, walks to where Sordo’s gun lies in the dust, picks it up, and then looks off after the disappearing Sordo.

DISSOLVE TO:

119. EXT. CANYON MOUTH – SORDO – DAY

He rides into view and reins p as we hear o.c. GUNSHOTS. Sordo reacts. He is torn between one move and another. He wants to go back and help fight, but he appraises the stallion, pats its neck.

SORDO
That’s his problem, eh? Me, I’ve got to see you get to Juarez!

But there is a SUDDEN BURST OF FIRING that echoes and re-echoes in the canyon. Sordo’s face shows his reaction, an inner anguish.

SORDO (CONT’D)
(to himself)
Stupid gringo!

He touches up the horse and rides away from the canyon.

120. EXT. THE CANYON – DAY

A rider halts past CAMERA – from behind a huge boulder steps James West – he FIRES.

121. ANOTHER ANGLE

The enemy horseman tumbles from the saddle. West runs INTO FRAME picks up the dead man’s rifle and sprints CAMERA PANNING him, to new cover.

122. CLOSER ANGLE – WEST

As he hunches down in the cover. He reloads the revolver in his hand. He has another stuffed into his belt, the dead man’s rifle resting on the rock. From THIS VIEW WE CAN see the narrow opening in the rocks where the enemy must come to get through.

123. ANOTHER ANGLE – GREGORIO

He reins his hose, his men behind him. Antonio to one side. Gregorio appraises the situation.

GREGORIO
Antonio! Climb up there—get above him.

ANTONIO
Si, Jeffe!

He dismounts.

GREGORIO
Miguel—anda!

The horseman called Miguel cocks his rifle, and spurs his horse.

124. ANOTHER ANGLE – WEST

as the enemy horseman appears, ducking low on the opposite side of his horse like an Indian. West sees that the shot is useless, lets the man get past, but moves to the other side of the rock, and gets a clear view of him from behind. He fires, and the horseman called Miguel slips from the saddle, tumbling into the dust. West wheels back to face the opening in the rocks. He fires.

125. ANOTHER ANGLE

as two horsemen turn away from the opening in the rocks, West’s bullet splitting spastic puffs of rock dust around them.

126. CLOSER ANGLE – WEST

A bullet clips the rock close to him. He reacts, looking up on the cliff. He turns, picks up the rifle and sprints into the open, crossing to the other side of the canyon to better cover.

127. REVERSE ANGLE – WEST

AS he ducks behind the new rock cover—a bullet spits dust just above his head and whines off. West reacts, cocking the rifle.

128. CLOSE SHOT – ANTONIO

He tries to get a good angle on West. West fires – the bullet clips dangerously close to Antonio, forcing him to duck back.

129. HIGH ANGLE – WEST

as he sprints down the canyon to a new cover. ANTONIO looms into THE FRAME and fires. West reacts like a shot rabbit, tumbling behind a rock.

130 CLOSE SHOT – WEST

He is sweating and struggling for breath.

GREGORIO (O.C.)
Antonio—what’s happening?

ANTONIO (O.C.)
He’s hit!

GREGORIO (O.C.)
Are you sure?

ANTONIO (O.C.)
Si, Jeffe, I saw him fall!

GREGORIO (O.C.)
Bueno!

As the last conversation is heard, West slowly brings his left hand into FRAME and we discover it is streaked with blood. He reacts to it and: FREEZE FRAME;

END 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
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California gal
SS senior field agent

USA
8373 Posts

Posted - 09/06/2009 :  12:56:06  Show Profile


ACT FOUR

FADE IN:

131. EXT. OPEN DESERT COUNTRY – Gordon AND FORTUNA – DAY

They rein their horses in the rocks, as O.C. and DISTANT WE HEAR THE SOUND OF GUNFIRE. They exchange a look

FORTUNA
Señor West.

ARTEMUS
We won’t find out sitting down here!

Artie spurs his horse into a furious gallop and Fortuna follows.

132. ANOTHER ANGLE

Gordon and Fortuna riding. A SHOT and they saw back on the reins, CAMERA PANNING THEM – CONTINUING THE PAN TO – SORDO, who sits the stallion, rifle leveled.

SORDO
Buenas dias, senors.
(react to Artemus)
Hey, don’t I know you from somewhere? Sure, you are Señor West’s friend, eh?

ARTEMUS
Yes… what have you done with him?

SORDO
You will find that out, shortly, senor.
(indicating Fortuna with the rifle)
You—get off your horse!

There is a DISTANT SOUND OF GUNFIRE—Sordo reacts to it, as does Gordon and Fortuna.

ARTEMUS
What are you going to do, Sordo?

SORDO
Change horses.

Sordo swings from the saddle. Gordon reacts to him.

SORDO (CONT’D)
(to Fortuna)
Tell Juarez, I am sorry for the delay in the receiving of his gift. Tell him an old bandit who fought for him in the revolution sends his regards and blessings.
(to Gordon)
You and me, senor—we have a friend in trouble. Shall we help him?

ARTEMUS
Why not?

They spur their horses, Fortuna looks after them, then at the stallion. He shakes his head:

133. EXT. CANYON – ON WEST – DAY

He is in pain; pressed tightly against the rock. He listens as:

GREGORIO’S VOICE (O.C.)
Hey, gringo! You hear me?

West says nothing, but tenses, waiting.

GREGORIO (O.C.)
Antonio—can you see him?

ANTONIO (O.C.)
No, Jeffe!

134. ANOTHER ANGLE – GREGORIO

he steps out into the open, revolver in his hand:

GREGORIO
He’s dead. I tell you he’s dead. Follow me!

No one moves.

GREGORIO (CONT’D)
What’s the matter with you?

135. LOW ANGLE – ANTONIO

He stands high on the ledge—WE ARE SHOOTING UP AT HIM—as Gregorio WALKS INTO FRAME, gun in hand:

ANTONIO
They are afraid, Excellency!

GREGORIO
Of one dead gringo? Has any one of you ever been bitten by a dead scorpion?
(angrily)
The smell of cowards is too strong here! Look! Look at me!

He advances.

136. ANOTHER ANGLE

SHOOTING PAST WEST, crouched against the rock, on the approaching Gregorio:

GREGORIO
Hey, gringo—are you dead? Shoot me. Kill me!

He laughs.

GREGORIO (CONT’D)
See? I am not afraid. Get your horses, he’s dead. We have work to do.

West makes his move—darting into the open:

WEST
You bet you have !

Gregorio reacts—FIRES. West FIRES and Gregorio dies. Antonio fires at West, who ducks back as the bullet hits the rock. A SUDDEN OUTBURST OF GUNFIRE.

137. ANOTHER ANGLE – ANTONIO

as he topples from his perch in the high rocks.

138. ANOTHER ANGLE – THE ROCKS BEHIND THE ATTACKERS – DAY

as Gordon swings his rifle and FIRES.

139. ANOTHER ANGLE – SORDO

He charges down the hill, FIRING his RIFLE from the hip.

140. ANOTHER ANGLE – WEST

He reacts, joins the firing.

141. THE EFFECT

The attackers scattering, using whatever cover they can. They drop as the bullets spit the dust around them.

142. CLOSE SHOT – ONE OF THE ATTACKERS

He reacts to something O.C., takes aim and fires.

143. ANGLE – SORDO

He is hit, staggers and falls.

144. CLOSE SHOT – WEST

He fires O.C. at:

145. ANGLE – THE LAST ATTACKER

Tumbles as he reaches the horses—and dies.

146. FULL SHOT – THE ROCKS – DAY

as West comes down the rocks to meet Artemus.

ARTEMUS
Been having a little trouble?

WEST
Might say so, Artie. Where’s the stallion?

ARTEMUS
Safe as a baby with Captain Fortuna.

Gordon reacts to West’s wound:

ARTEMUS (CONT’D)
You’re hurt!

WEST
It’ll heal. You come alone?

ARTEMUS
No. Your friend…

He turns and reacts. West follows his gaze:

147. THEIR EYELINE – ON SORDO

Sprawled in the dust.

148. ANOTHER ANGLE

As West and Artemus run up to Sordo. West kneels beside him, lifts his head. Sordo seems to be barely alive. He tries to smile.

SORDO
(weakly)
Hey… gringo… you… got… a… good cigar?

West looks at Artemus—who pulls a cigar from his lapel pocket. He hands it to West, who places it in Sordo’s mouth. Sordo bites hard on it. Gordon strikes a match.

SORDO (CONT’D)
Made… in… Havana?

WEST
It won’t explode.

SORDO
(takes a weak puff, holds the cigar right in his teeth.
You… got… no… sense… of humor!
(shakes his head in apparent pain, closing his eyes)
Gringos!

Artie and West exchange worried glances.

ARTEMUS
He was a good fighting man.

WEST
Yeah. One of the best.

149. NEW ANGLE – FAVORING SORDO

As, in shocking contrast to the pathos of the scene, he slowly brings his six-shooter INTO FRAME, covering both West and Artie.

SORDO
Now, hombres, you will do nothing stupid.

ARTEMUS
Jim! I’ve got a feeling we’ve been had!

WEST
You’ll never make it, Sordo. You’re too badly hurt.

Sordo is pulling himself to his feet in a monstrous, most painful effort. He is truly battered and scarred, an impressive old fighting machine standing now half crouched in agony. He hobbles to Artie’s horse, still covering West and Artie with the gun.

SORDO
(with obvious difficulty)
… I’ve been hurt worse, amigo. They don’t call me the Old Fox for nothing.

He mounts the horse, leaning over the saddle horn.

150. ANGLE – WEST AND Artie

They both have their hands in the air.

Artie
Jim… you’re not going to let him go!

WEST
What can we do? He’s got us covered.

That’s hardly the case, so Artie double-takes and then catches on, smiling.

151. FULL SHOT

Sordo is mounted up, a grimace on his face, the gun almost falling out of his hand.

SORDO
(to West)
Give my best regards to Juarez. Tell him to ride his beautiful horse in good health.
(an afterthought)
You are not such a bad man, gringo. Adios.

Sordo canters off. West and Artie watching:

ARTEMUS
I wonder just how far he’ll get.

WEST
About as far as the end of a hangman’s noose…

ARTEMUS
Yep. One of these days…

WEST
But not today, Artie, not that old fox…



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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