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California gal
SS senior field agent

USA
8373 Posts

Posted - 10/01/2009 :  07:50:40  Show Profile
CBS-TV
GARRISON PRODUCTIONS


THE WILD WILD WEST

“The Night of the Cut-Throats”








#0353
FINAL DRAFT
JUNE 21, 1967

FADE IN:

1. EXT. PRAIRIE – LONG ESTAB. SHOT – DAY

Flat, desolate terrain. A stagecoach moves across the wasteland.

2. INT. STAGECOACH

JAMES WEST is sitting opposite an ATTRACTIVE YOUNG LADY enjoying the view while beside her sits a round little businessman type named HOGAN who keeps up an annoying harangue for her benefit. Beside West is a tall, dark, distinguished man in his late forties. He is impeccably dressed, smokes a pencil thin cheroot. His name is JOHN TRAYNE. Hogan is addressing himself primarily to the young lady.

HOGAN
New Athens isn’t the biggest town in the Wyoming Territory. But since it’s stuck out in the middle of nowhere, I amt he sold distributor of ladies needleware – got the market all sewed up. Ha ha! Joke. All sewed up. You get it?

3. ANGLE

– on Trayne.

TRAYNE
(quietly)
Sir – if you don’t stop boring us – you may very soon find your mouth ‘all sewed up.’

4. SHOT – SCENE

Hogan stiffens with embarrassment, turns to the lady who is having a hard time suppressing a grateful smile.

5. EXT. RUNNING SHOT – ON THE STAGE – DAY

A group of four masked, armed riders come POUNDING up behind the stage and are nearly abreast of it before the DRIVER and GUARD see them. The Guard reacts, reaches for his weapon. The nearest masked rider FIRES, wounding the Guard in the shoulder. The Driver pulls the stage to a halt.

6. INT. STAGE – DAY

The passengers exchange startled looks.

HOGAN
Was that a shot?!

LADY
What’s happening? Why are we stopping.

TRAYNE
(casually)
It would appear we are being held up.

The door is suddenly flung open by TWO MASKED MEN.

WEST
(blandly)
It would appear.

FIRST MASKED MAN
All right, everybody out!

West and Trayne exchange an annoyed glance. The lady begins to shrink back, half whimpering with fear.

TRAYNE
(gently)
Don’t be afraid, Ma’am. Under the mask he’s probably as worried as you.

FIRST MASKED MAN
(annoyed)
I said out!

The Lady allows West to help her out. Hogan stumbled out next.

7. EXT. ANGLE

Hogan thrusts his hands skyward. One of the four masked men comes down from the driver’s seat, tells the first.

SECOND MASKED MAN
Nothing.

HOGAN
(helpfully)
Say, you boys must not be from around here. I mean I could have told you nobody ever robs this stage. Never carries any money. Mines shut down two years ago.

FIRST MASKED MAN
Shut up!
(beat)
All right, all of you empty your pockets! Quick!

Hogan begins turning his pockets out, revealing a wallet, a gold watch. The Second Masked Man takes the young lady’s purse, begins rifling through it.

LADY
(near tears)
Please – every cent I have is in that purse…

8. ANGLE

– on West, as the Third Masked Man moves to him, reaches into his vest for his wallet. West suddenly rams an elbow into the man’s ribs, doubling him over. West brings an uppercut next, snapping the man’s head back.

9. ANGLE

– on the Fourth Masked Man. He turns his attention from the Driver and Guard, levels his pistol towards West.

10. CLOSEUP – WEST’S RIGHT ARM

As the derringer SNAPS from his sleeve.

11. ANGLE

– on West, swinging his right arm upward, revealing the derringer on his arm, FIRING it in the same motion.

12. SHOT – SCENE

The Fourth Masked Man takes the slug in the chest, dies. West rushes the Second Masked Man, driving him away from the girl. They exchange hard, swinging blows. The Lady SCREAMS, shrinks back against the stage.

13. ANGLE

– on the First Masked Man. He steps back, putting himself closer to Trayne who stands there by the door of the stage, unmoving, leaning against an expensive, gold tipped walking cane.

FIRST MASKED MAN
Get back, Clyde!

ANGLE
– on West, slamming “Clyde” to the jaw, indeed driving him back. As West whirls, defense, to face the First Masked Man –

15. ANGLE

– Trayne, moving swiftly, cracks the First Masked Man on the skull with the heavy gold end of his walking stick. The man sinks to the ground.

16. SHOT – SCENE

West steps in, picks up the First Masked Man’s weapon, tosses it to Trayne who quickly levels it at the two Masked Men still standing. West examines the fallen man, removing his mask, while Hogan examines the man West shot, removing his mask.

WEST
Dead…

HOGAN
This one too!

Trayne considers this, turns his walking stick around, studies the end of it.

TRAYNE
Doesn’t seem to be any damage here.

Even as he says this, the two remaining masked men bolt for their horses. West sees them going, pulls up, tells Trayne.

WEST
They’ve lost their taste for battle.

17. CLOSE – TRAYNE

He reacts to –

18. POV

– the two masked men, mounting, riding away.

19. SHOT – SCENE

Trayne watches them go, shrugs.

TRAYNE
Personally, I’d rather not have their company the rest of the way to New Athens…
(beat)
It would upset the lady.

The lady allows Trayne to put a reassuring arm around her shoulder.

WEST
(smiles)
Never upset a lady.

TRAYNE
You handle yourself very well –

West smiles, nods his thanks for the compliment.

TRAYNE (CONT’D)
And now, Miss, if you’ll allow me…

The lady smiles. Trayne helps her into the stage with a flourish.

20. ANGLE

– on West, looking down at the masked man Trayne struck down. Hogan edges in, looks too, quips:

HOGAN
The gentleman’s walkin’ stick packs quite a wallop.

WEST
So does the gentleman’s stagecoach manner.

Hogan follows West’s gaze.

21. POV

Trayne is sitting beside the lady now, gently wiping her tear-stained cheeks with his handkerchief.

22. ANGLE

– on West. He helps the wounded man into the stagecoach, then takes shotgun position himself as we:

FADE OUT:

ACT I

FADE IN:

23. EXT. MAIN STREET – NEW ATHENS – LONG EST. SHOT – DAY

A small town. The stage RUMBLES down the street and halts in front of the depot. West jumps down to survey a strange scene taking place in the street: it is a kind of exodus, a trickle of carts, wagons and riders – men, women and children – making their way out of town.

Two men are walking among them, exhorting them to stay. One is CASSIDY, mayor of the town, a round little man, and the other is JEREMIAH, an antique dressed in the garb of a buffalo hunter, carrying an ancient squirrel rifle.

JEREMIAH
Where you going, you chicken-livered cowards --? You call yourselves men? Stand and fight!

CASSIDY
(the voice of reason)
Protect your property! Don’t panic, gentlemen. In unity there is strength; we cannot be bluffed! Please…

24. ANGLE

Meanwhile, the driver is helping the wounded guard into the depot. Trayne helps the young lady out, as West nods to him.

WEST
(nods to lady)
Ma’am…

Trayne offers his arm to the young lady.

TRAYNE
May I escort you to the hotel?

She smiles, nods, takes his arm. CAMERA TRUCKS WITH THEM A MOMENT.

25. TWO SHOT – WEST AND HOGAN

As the salesman steps up beside West, surveying the exodus.

HOGAN
(worriedly)
Where’s everybody going?

WEST
(bemused)
Maybe they don’t like it here.

West walks out of SHOT.

25A. INT. SHERIFF KOSTER’S OFFICE – DAY

CAMERA IS TIGHT on a huge tray of food on a desk. CAMERA PANS up to SHERIFF KOSTER as he literally “inhales” the huge repast. Koster is 40, fast, unpleasant and has a whining voice which we can hardly understand as he mumbles through his food.

WEST (O.S.)
You the Sheriff of New Athens?

KOSTER
This badge sure ain’t for dog catching.

WEST
(tolerantly)
Then you can answer a question for me.

KOSTER
Make it quick. Eat’n’ and talk’n’ at the same time ain’t good for the digestion.

CAMERA PULLS TO A WIDE ANGLE to reveal the rest of the office. A couple of empty cells in the rear. The office is dusty, unkempt, Koster’s desk in a state of disarray. Even the rifle rack lock is broken, hanging loose and the rack itself is a rooming house for all that creeps and crawls. West is brushing off a corner of the desk to lean on as he speaks, studying Koster.

WEST
Why are all the people leaving town, Sheriff?

KOSTER
(snorts)
Wild rumors… nothin’ you can put your finger on.

WEST
Like what?

KOSTER
A passel of gunslingers… bums and ex-cons… been drifting into this territory. Makes folks nervous. Course, I ain’t seen none of them myself. Understand they’ve been camping outside of town.

WEST
And if they did come into town?

KOSTER
Well, if I saw them, I’d sure give it some thought.

WEST
I bet you would!

West pulls off the desk, brushes some dust from his pants, takes a dainty sample of the pie on Koster’s tray, moves to the door, CAMERA PANNING. As he samples the pie, he frowns:

WEST (CONT’D)
You should try to cut down on your starches. Nobody likes a fat hero.

West EXITS.

25B. ANGLE

– on Koster. He glowers after West, tastes the pie with worried wonder as we –

CUT TO:

26. NEW ATHENS SALOON – WIDE ANGLE – DAY

A gaudy but pleasant place. A small crowd is gathering for some early drinking. The SOUND OF A SALOON PIANO IS HEARD O.S.

27. ANGLE

– on West, as he enters the saloon, looks around, then moves toward the piano, CAMERA PANNING.

28. ANGLE

ON WEST as he reaches the piano. The pianist wears a mustache, hair parted down the middle, striped shirt, garter on the sleeve, cigar in his mouth. It is Artemus. He continues to VAMP on the PIANO. Their conversation on the surface is relaxed and smiling, but we detect the underlying tensity as they trade vital information against constant interruptions of passing customers.

ARTEMUS
Howdy, mister. Selection you’d like to hear?

WEST
Depends… do you know something recent by a man called Mason?

ARTEMUS
If you mean Walter Mason… he hasn’t written anything since he left Washington. Either he’s found urgent business elsewhere…

WEST
Unlikely…

ARTEMUS
… or he’s dead.

WEST
(depressed)
What about Arthur Cole?

ARTEMUS
(shakes his head)
Cole’s been out of town.

A pretty WAITING GIRL steps up to Artie, strokes his cheek. She has a shawl over her work clothes.

WAITING GIRL
Lunch at my place, as usual, dahlin’?

ARTEMUS
Yes… dahlin’…

Artemus executes a small but impressive PIANISTIC FLOURISH, avoiding West’s arch look.

WEST
Must’ve been a dull few days for you.

ARTEMUS
You get your information where you can find it…

WEST
(nods)
I know what you mean. I just met Sheriff Koster.

ARTEMUS
Cole’s expected back this afternoon.

WEST
I’d better get over there now, then. Meet us later?

ARTEMUS
Right. East of town. Pembroke Road. Name’s on the gate.

28A. NEW ANGLE

as West’s attention is captured by the entrance down the saloon’s staircase of a very beautiful woman. She has a naughty, proprietary manner as owner of the saloon and is dressed accordingly. This is SALLY YARNELL.

ARTEMUS
(seeing West’s reaction)
She’s the boss! Sally Yarnell…

29. ANGLE ON SALLY

She reacts to the somber mood of clientele.

SALLY
What’s the matter with you guys?
(to Artemus)
C’mon, Joe. Play something to liven these boys up.

30. ANGLE ON SALLY

Artie goes into a bouncy tune. Sally begins moving through the room, addressing her conversation to a few special men. West watches her, sits down at a nearby table. CAMERA TRUCKS WITH HER as she tries to cheer the customers up.

31. SHOT – SALLY

as she suddenly stops, paling, and looks across the room at the door. There is a mixture of fear, curiosity, and longing on her face.

32. POV

John Trayne, at the entrance to the room. He seems quiet, deadly as he watches her.

33. CLOSE – SALLY

As she looks at him a beat longer then she rushes upstairs and out of sight, CAMERA PANNING.

34. ANGLE

ON West. As she rushes past him, he and Artemus exchange a puzzled look, then turn, watch:

35. POV

Trayne moves to a table near the bar which is occupied by two obvious hardcases, WALT and SAM. There is less speaking in the room now. Various groups of men exchange silent whispers, glance toward Trayne. It would seem, Trayne has been in New Athens before.

35A. THREE SHOT

Trayne is looking down at Walt and Sam. There is an air of tension produced by his unquestioned authority and the others fearful obeisance to it.

TRAYNE
Gents…

WALT
Welcome home, Johnny…

36. ANGLE

on Trayne, as he proceeds to bar now flanked by Walt and Sam. The BARTENDER moves in, worried, uncertain. Trayne takes his walking stick, shoves away one of the bottles on the bar, says quietly:

TRAYNE
That’s not my brand of course…

The Bartender nods, begins searching in the cabinets below the bar.

37. ANGLE

– on West and Artemus, exchanging a wondering glance.

38. ANGLE

– on Trayne as the bartender pulls forth a dusty, half empty bottle of whiskey, puts it on the bar. Trayne picks it up, examines –

39. INSERT SHOT

– a pencil line drawn across the label which coincides with the level of the whiskey in the bottle.

40. SHOT – SCENE

Trayne nods. The bartender nervously wipes the dust off the bottle, takes the top off, pours t. Trayne savours the drink.

TRAYNE
People are staring – I don’t like that.

BARTENDER
(nervous)
Well – it’s – sort of a shock – you coming back…

TRAYNE
Shouldn’t be. This is my home town.

Trayne turns to the staring faces, quietly tells the bartender.

TRAYNE (CONT’D)
I want to drink alone. Clear the room.

Trayne lays his walking stick on the bar, sips his whiskey. The Bartender nods; then clears his throat, announces:

BARTENDER
Er – listen folks…

41. WIDE ANGLE

– on the men present, as they go silent, turn to the bar.

42. SHOT – SCENE

BARTENDER
The bar is – is closing.

The Bartender glances at Trayne.

43. WIDE ANGLE

– on the room. Everyone exchanges a glance. Then, wordlessly, everyone gets up, walks quietly out of the saloon.

44. ANGLE

– on West and Artemus, watching, curious.

45. WIDE ANGLE

– on the now empty room.

46. ANGLE

– on Trayne, reacting to the mirror.

47. HIS POV

– into the mirror, seeing West and Artemus.

48. SHOT – SCENE

Slowly Trayne turns, studies West.

49. ANGLE

– on the Bartender, hurriedly moving to West and Artemus.

BARTENDER
(quietly)
Er – the bar is closed.

WEST
Why?

The gentleman at the bar wants it that way.

West studies Trayne, then turns back to the Bartender.

WEST
I came in for a drink.

BARTENDER
Look, sir, I told you…

WEST
I know what you told me. Whiskey. Straight.

49A. PANNING SHOT

Walt and Sam cross to West and stop in front of the table. Walt takes the near edge and in a violent movement turns it over.

WALT
Mr. Trayne drinks alone.

West shrugs, feinting, and lets Walt have a haymaker which sends him reeling across the length of the room to CRASH into a fancy glass mirror beside the bar. Sam starts in and gets the same summary justice.

49B. ANGLE ON Artie

He smiles to himself and launches into something like “Hearts and Flowers.”

49C. West dusts himself off and crosses to the bar.

50. ANGLE

– at bar. The Bartender moves behind the bar, expecting an explosion any moment from Trayne.

WEST
You seem to have an adverse effect on the people in this town.

TRAYNE
Homecomings can be – emotional…

West turns to the Bartender.

WEST
I said whiskey.

The bartender looks questioningly at Trayne. Trayne studies West, measuring him.

51. CLOSE – ARTEMUS

– watching. He reacts to –

52. POV

– Sally Yarnell, peeking out from behind the curtain, looking very scared.

53. BACK TO BAR

The Bartender continues to wait for Trayne to tell him what to do. Trayne pours a drink for West from his own bottle.

TRAYNE
This is the best whiskey in New Athens, Mr. –

WEST
West… James West.

TRAYNE
(nods)
I’m John Trayne.

WEST
(to the bartender)
See? Mr. Trayne didn’t want to drink alone after all.

TRAYNE
Oh, I did – but occasionally I change my mind.

West picks up the full glass and holds it to the light, thoughtfully, then he puts it down.

WEST
Me, too. I don’t think I want a drink… even the best whiskey in New Athens.

Trayne lifts his glass, smiles thinly. West EXITS, CAMERA PANNING.

54. ANGLE – TRAYNE

– watching him go. He spots Sally. He then turns, tells Artemus.

TRAYNE
This silence is deafening. Do you know the girl in the gilded cage?

55. ANGLE

– on Artemus. He measures Trayne.

ARTEMUS
I’ll fake it.

Which he DOES, badly.

56. ANGLE

– on Trayne, not very pleased.

CUT TO:

57.-58. – OMIT


59. EXT. COLE RANCHE – MEDIUM LONG SHOT – DAY

Pleasant little place, slightly away from it all. House, small barn, well out in front, picket fence. West rides in, dismounts in front of the house, walks to the front porch.

60. ANGLE

– on West, knocking on the door.

WEST
Mister Cole?

No answer. West looks around him. There is a rocker and a table with a pipe on it.

61. POV INSERT

– the pipe, still smoking in its rack.

62. SHOT – SCENE

West picks up the pipe, studies it, puts it down, then reacts to the SOUND OF A NOISE NEARBY. He EXITS the porch.

63. ANGLE FROT OF THE HOUSE

West moves cautiously toward the barn.

64. EXT. BARN – MEDIUM SHOT – DAY

A tall, well built man in his forties at the rear of the barn is carrying a shovel, stops, reacts to –

65. POV

– West, entering the shot.

WEST
(pleasantly)
Arthur Cole?

66. SHOT – SCENE

The man studies West, puzzled, then moves forward, putting the shovel aside.

MAN
Yes?

West notes a saddled horse, slightly lathered, munching hay from a stanchion.

WEST
Looks like I timed my arrival just right.
(smiles)
Haven’t even unsaddled your horse yet…

The man smiles, nods, begins to unsaddle the horse.

MAN
Yeah – just got back
(beat)
Didn’t get your name.

WEST
West. James West.

The man leans on the horse, casually wiping some sweat away.

MAN
What can I do for you?

WEST
Among other things, I’m looking for Walter Mason. Has he contacted you yet?

The man studies West, tries to hide his confusion.

MAN
Mason – no – not yet.

WEST
You did get a letter saying he was coming…

The man considers this, then nods.

MAN
Yes – I got the letter – but Mister Mason never showed.

West nodes, pulls two cheroots from his inside pocket, hands one to the man.

MAN (CONT’D)
Thank you…

West lights both cigars as he casually nods, reflects.

WEST
Well, when we got no report from Mason – we feared something might have happened to him. That’s why I’m here.

MAN
I see.

WEST
And since I am here – just what was it you wanted the Secret Service to know – that you couldn’t put in a letter…

The man considers this, inhales casually on the cheroot, reflects:

MAN
Mason never wrote – told you before he – disappeared…

West smiles, shrugs.

WEST
If he’d told us – I wouldn’t be here asking you, Mister Cole…

67. ANGLE ON THE MAN

The man turns, casually lifts a hand scythe from its cradle on the stanchion wall, begins rubbing it with a whetstone. He smiles, nods.

MAN
So you’re completely in the dark, eh, Mister West?

68. ANGLE

– on West.

WEST
(smiles)
Blindly groping, Mister Cole.

69. SHOT – SCENE

Suddenly, the man lunges at West. West meets him with a hard punch. Then a SECOND MAN drops INTO SHOT from off scene and West crouches, ready for his move, as we:

FREEZE FRAME


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 - 10/01/2009 :  07:51:33  Show Profile
ACT TWO

FADE IN:

70. EXT. BARN – FULL SHOT

West and the second man are fighting. West knocks him down. Now the First Man is up and he has a scythe in his hand. West is backed into a stanchion. As West ducks, the scythe whistles past his head, is impaled in the wood. Before the man can jerk it free, West grabs the walls of the stanchion, lifts himself, jams his feet into the man’s chest, sending him—

71. ANGLE

– flying backwards across the stable. The second man runs out of the scene.

72. ANGLE

– on a plowshare, hung on an opposite stanchion – as the First Man comes hurtling backward – and impales himself on it.

73. ANGLE

– on West, stunned, as he moves forward, watches the man die, slump to the floor. Then, hearing a footstep, he whirls to see—

74. POV

– Artemus, trotting into shot. He moves forward, looks down at the dead man, confused. He dismounts.

ARTEMUS
Cole?

WEST
No… My guess he’s Cole’s murderer…

ARTEMUS
Cole’s dead?

WEST
(nods)
I think so…

West picks up the shovel, carries do to another area. Artemus follows.

75. REAR OF BARN – MEDIUM SHOT

West comes out, reacts downward toward CAMERA, Artemus alongside him.

WEST
Looks like a fresh grave, doesn’t it?

Artemus nods, reacting to:

76. POV

– the freshly turned square of earth.

77. SHOT – SCENE

ARTEMUS
(nods)
Cole’s… which mean we still don't know what information he was trying to tell us…

WEST
Or where Mason is, or if he’s alive.

They both unhappily reflect.

DISSOLVE

78. EXT. COUNTRYSIDE – WEST AND ARTIE – DAY

They ride easily back toward town.

Artie
… There must be 15 or twenty of these hardcases camped at Willow Creek, outside of town. More coming in every day.

WEST
Been any trouble in town?

Artie
None. They’ve looked threatening enough, but they haven’t done anything. You can’t arrest a man for looking! But the town’s plain scared… Good, solid folks have been packing up and leaving all week.

WEST
What is there in New Athens that would attract this kind of scum, Artie?

They have come to a fork in the trail and they stop their horses.

79. NEW ANGLE

ARTIE
You tell me. The town’s as poor as a church mouse. The mines gave out and there’s no heavy industry.

WEST
(contemplatively)
A small army of cut-throats just sits out there at Willow Creek… waiting…

ARTEMUS
For what?

WEST
Maybe for somebody to light a match?

The two friends exchange worried looks.

ARTIE
I’ll take the north trail.

WEST
See you in town.

And they kick their horses into a canter, taking separate ways.

DISSOLVE:

80. NEW ATHENS STREET – WEST

As he canters around corner INTO SHOT, pulling his horse to a skidding halt, reacting down the street to:

81. POV

six toughs who are dunking Cassidy into a large horse trough in front of the general store, a well kept structure next to the New Athens Hotel. The sign on the store reads “CASSIDY GENERAL STORE.

82. ANGLE

– on West, reacting, moving forward.

83. SHOT – SCENE

Cassidy is gasping for air, hopelessly trying to fight back. A crowd of shocked citizens is gathering. West appears suddenly beside one of the tough at CAMERA. He taps the man on the shoulder. When the man turns, he flattens him. The second touch turns, seeing this, and goes after West.

West promptly flattens this one. But now the Third Tough jumps him from behind. West begins spinning around, trying to shake him off.

Now the Fourth and Fifth toughs head for West. West spins hard. The feet of the man on his back rap the Fourth sharply in the jaw, sending him—

84. ANGLE

– sprawling out into the street. As he gets up, Artemus appears, trips him. As the man sprawls face down, Artemus hops smartly over his body, then kicks his foot back, catching the fellow squarely in the jaw as he lifts his head up.

85. SHOT – SCENE

West flips the Third Tough over his shoulder, dumping him squarely on the Fifth Tough who is closing in. As the toughs start to gather themselves up to continue the fight, two reach for their six guns. Artemus grabs a shotgun from the saddle sling of a nearby horse, levels it at them, with a loud double CLICK as he cocks it.

ARTEMUS
All right, children – recess is over. Climb on your horseys and go away.

The toughs look toward Artemus and West, then mount.

FIRST TOUGH
(to the crowd)
Remember – you people stay in town – you’ll get a lot worse than what your Mayor got.
(nods to others)
Let’s go.

They ride off down the street as West and Artemus pull Cassidy from the horse trough. Koster comes hurrying into SHOT.

WEST
You all right?

CASSIDY
(grunts, nods)
Take more than six of that breed to scare a Cassidy away.

KOSTER
Say, what’ going on here?

ARTEMUS
If you’d come sooner you’d have seen for yourself, sheriff.

CASSIDY
Ha! He probably had his head buried in a plate of food!

KOSTER
You got no right to say that, Cassidy. Didn’t know about anything till some kid came busting into my office a minute ago…

CASSIDY
Well, you better get back there before he steals your pie…

Koster does a slow burn, then turns, stomps off.

CASSIDY (CONT’D)
Useless…

West nods after the toughs exit.

WEST
What were they trying to prove?

CASSIDY
They think they’re going to chase my people away by terrorizing me.

Cassidy turns to the crowd.

CASSIDY (CONT’D)
Don’t listen to them. Any of them. If we stand together – we’ll win!

The crowd exchanges wondering looks, then begins to disperse.

CASSIDY
(to West)
Don’t believe I got your name, lad.

WEST
West, James West.

CASSIDY
West – West – that’s not an Irish name.

WEST
Probably because I’m not Irish.

CASSIDY
But you must be! Only an Irishman could fight like that!

ARTEMUS
(amused)
This is Mayor Cassidy, James.
(indicates store)
Proprietor of the Cassidy General Store –
(nods across the street)
The New Athens bank and sundry other establishments.

CASSIDY
You fellows know each other?

WEST
We’ve crossed paths once or twice.

Cassidy smiles, nod. They start inside, then Cassidy stops, reacts toward the second story landing of the hotel. He tightens with rage. Puzzled, West and Artemus follow Cassidy’s gaze upward.

86. POV

John Trayne is standing outside his room on the second story landing of the hotel, smoking the inevitable cheroot… He smiles, nods to West.

CASSIDY
You don’t fool me, Trayne! Getting somebody else to do your dirty work doesn’t make you any less guilty!

TRAYNE
Your good citizens may have nailed me once, Cassidy. This time you better be sure of what you’re saying…

WEST
(to Trayne)
Odd how you’re always in the audience when someone’s getting his head knocked in.

TRAYNE
Seems to work out that way, doesn’t it?

87. BACK TO SCENE

Cassidy turns to West.

CASSIDY
You two know each other?

WEST
More and more.

Puzzled, Cassidy follows West and Artemus into the store, CAMERA PANNING.

88. ANGLE

– on Trayne, intrigued, wondering.

DISSOLVE

89. INT. CASSIDY STORE – MEDIUM SHOT – DAY

Artemus is seated near the potbellied stove in this well stocked, prosperous store. West is pacing. Cassidy is seated across from Artemus, now out of his west clothes, wrapped in a blanket, his feet in a pan of hot water.

WEST
So you think John Trayne is the one gathering this outlaw army outside town?

CASSIDY
Well – I’ve got no proof. But he’s got the motive.

ARTEMUS
Which is?

CASSIDY
Three years ago Trayne was a big man in this town – made it from the mines before they shut down.

ARTEMUS
Didn’t I hear he was engaged to Miss Yarnell…?

WEST
(to Artie)
Boss Lady at the Saloon?

CASSIDY
The same. Trayne bashed in the head of some fella who was paying her too much attention. He claimed it was justified – folks in New Athens didn’t agree. Sent him to prison.

WEST
And he was just released.

CASSIDY
(worriedly)
He’s back to take his vengeance.

WEST
Do you know Arthur Cole - of Pembroke Road…

CASSIDY
Very well. Arthur’s one of my best friends. In fact he’s even more disturbed than I am about his ‘army’ of cutthroats gathering outside town – but until Trayne arrived today – neither of us realized who was behind it. I’m sure he’ll be interested when he gets back.

ARTEMUS
He won’t be getting back, Mayor. He’s dead.

CASSIDY
Dead? When?

WEST
Less than an hour ago –

CASSIDY
(stunned)
Why… that filthy scum… I’m going to have him arrested!

WEST
If you mean Trayne… he wouldn’t have done his own dirty work…

ARTEMUS
(to Cassidy)
Mmm… Jim’s right, Mr. Cassidy… Meanwhile his ‘army’ gathers!

WEST
What’s Sheriff Koster been doing about this?

CASSIDY
That dunderhead! He’s too fat and yellow to fight. Wouldn’t even be surprised if Trayne had him in his pocket.

ARTEMUS
(to West)
– which might explain how somebody got out to Cole’s before you did…

west nods, says with finality.

WEST
Mayor – while you try to keep every able-bodied male citizen from ‘evacuating,’ we’ll try to figure a way to stop Trayne’s ‘army.’

Artemus pulls to his feet, checks his watch.

ARTEMUS
(glumly)
Well, back to the keyboard.

WEST
Could be worse. You might be trading the piano for a rifle soon.

90. ANGLE – ARTEMUS

This isn’t too appealing later.

ARTEMUS
Maybe I could learn a new song…

FLIP SCREEN:

91. INT. NEW ATHENS SALOON – EST. SHOT – DAY

The place is semi-deserted.

92. OMIT

93. NEW ANGLE

– including Artemus at the piano. He looks toward:

94. ANGLE – SALLY

– as she comes downstairs, she stops at CAMERA, startled. CAMERA SWIFT PANS TO REVEAL John Trayne, waiting.

TRAYNE
Hello, Sal.

She struggles to regain her composure.

SALLY
Why did you come back, John?

TRAYNE
(smiles)
You, too?
(beat)
You of all people should know why.

Trayne gently puts his hands on her arms; she shrugs them off.

I don’t need the kind of trouble you bring… Look what you’ve done to this place… Look at New Athens! You’ve scared everybody out!

TRAYNE
Now Sal, I count that downright uncharitable… All I want is for everything to go back to where it used to be…
(he moves closer to her)
Especially you, Sal… You and me…

She begins to lose her composure again. Her reaction is one of sexual attraction, and fear. Artemus appears at her side.

ARTEMUS
Excuse me.

Sally stiffens, stands there under Trayne’s gentle but demanding grasp.

ARTEMUS (CONT’D)
I was about to ask Miss Yarnell if she’d honor those gentlemen with a song.

TRAYNE
I’ve decided Miss Yarnell will be spending the rest of the evening with me…

Artemus considers this, then studies Sally wonderingly.

ARTEMUS
And what has the lady decided…

Sally reads the look of cold hate in Trayne’s eyes as he casually rubs the knob of his walking stick. She suddenly puts her arms around Trayne’s waist, tells Artemus:

SALLY
The lady agrees…

She moves off with Trayne, leaving Artemus to watch, bewildered.

CUT TO

95. INT. TELEGRAPH OFFICE – DAY

An anxious telegraph CLERK reads back a telegraph message West finishes scribbling on a pad.

CLERK
Captain William Gates, Commander, Fort Savage – stop – request detachment of twenty armed troops proceed immediately to New Athens – stop – James West – stop…

The Clerk stares at West.

CLERK (CONT’D)
You really think they’ll come, Mister West – the outlaws I mean…

WEST
Better safe than sorry…

CLERK
Well, that settles it – Mayor or no Mayor – I’m taking my family and gittin’!

WEST
Send that first…

CLERK
Oh, sure…

The Clerk sits down at the key, begins to send the message.

CUT TO

96. EXT. PRAIRIE – DAY

CAMERA IS TIGHT ON THE TOP OF A TELEGRAPH POLE. A rope snakes into SHOT, then another. CAMERA PANS DOWN TO REVEAL a group of mounted men, including the six toughs we’d seen dunking the mayor. They prod their horses and pull the telegraph pole down.

CUT TO

97. INT. TELEGRAPH OFFICE – MEDIUM SHOT – DAY

The Clerk frowns, rattles the key.

WEST
What’s wrong?

CLERK
I can’t get an acknowledgement. The line’s dead.

The clerk tries again, as if mistaken the first time, then turns to West.

CLERK (CONT’D)
Like I say – the line’s dead.

CAMERA TIGHTENS ON A WORRIED WEST as he picks up the message, slowly tears it up and we

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
8373 Posts

Posted - 10/01/2009 :  07:52:34  Show Profile
ACT THREE

FADE IN:

98. EXT. MAIN STREET OF NEW ATHENS – ESTAB. SHOT – NIGHT

A few remnants of populace are moving out, their belongings loaded on buckboards, etc.

99. EXT. FRONT OF CASSIDY’S STORE – MED. SHOT – NIGHT

Cassidy is standing in front of the store, trying to dissuade the departing citizens. Jeremiah is in evidence nearby.

CASSIDY
Stop! Please… you’re abandoning New Athens to scum…

JEREMIAH
Ain’t no use, Cassidy… Gonna be up to the real men, like you ‘n me…
(an afterthought, he pats his squirrel gun)
… ‘n’ Betsy here…

100. INT. WEST’S HOTEL ROOM – MED. SHOT – NIGHT

West is standing at the draped window of his hotel suite, looking down into the street. Artemus joins him, reflects.

ARTEMUS
That telegraph clerk spread the word in a hurry, didn’t he?

West turns, nods, then begins casually sniffing the air while:

WEST
Even Cassidy can’t keep them here now.

Artemus begins to pace, also begins to sniff the air.

ARTEMUS
Do you think Trayne knows who we are?

West has gotten a wondering look on his face during the above. Now he steps toward the door. Artemus nods.

WEST
I think he’s trying to find out just how much we know before he makes his move.

West pulls open the door, revealing Sally Yarnell. She GASPS.

ARTEMUS
(mildly surprised)
Miss Yarnell!

WEST
Care to join us?

She steps sheepishly in, sits down on the bed.

SALLY
I’m sorry… I didn’t know who else to turn to… I’m frightened…

ARTEMUS
John Trayne? You didn’t look too frightened last time I saw you with him!

SALLY
If I hadn’t done that he’d have killed you!

WEST
Why don’t you leave with the others?

SALLY
He wouldn’t let me!
(beat)
Can’t you help me to get away?

ARTEMUS
Jim… I was just thinking… with the telegraph out, one of us will have to ride to Fort Savage for help…

SALLY
(eagerly)
Take me with you, please… I’m a good rider… I won’t hold you down.

Artemus looks at West.

WEST
If you left now – you could be back with the troopers by tomorrow night.

101. NEW ANGLE

ARTEMUS
Come to think of it – the young lady will do wonders for morale at Fort Savage…

102. EXT. WOODED TRAIL – NIGHT

A narrow trail. Artemus and Sally ride toward CAMERA. At CAMERA, she reins to a halt.

ARTEMUS
What is it?

103. SHOT – SALLY

She pulls a carbine from a scabbard on the saddle horn, cocks it and points it at Artie’s head.

SALLY
There’s been a slight change in plan, that’s all.

104. SHOT – SCENE

As Artie smiles.

ARTEMUS
Fine… except you can’t do much with a gun that doesn’t have any bullets in it.

Sally looks at the gun, furious. She pulls the trigger. CLICK. No bullets. Artemus takes it from her.

ARTEMUS (CONT’D)
A rule of mine… Never travel next to a loaded gun unless you’re sure it belongs to a friend

TRAYNE (O.S.)
Very well put, Mr. Gordon…

104A. NEW ANGLE

To REVEAL Trayne, smiling, with gun drawn, and two HEAVIES, in the nearby shrubbery.

TRAYNE
… And now if you’ll be good enough to surrender your gunbelt…

The men move in to disarm Artemus.

ARTEMUS
(swallowing)
I was thinking of handing in my resignation anyway, Miss Yarnell…

105. EXT OUTLAW CAMP – NIGHT

CAMERA IS CLOSE ON ARTEMUS. He is tied in a neat bundle at the rear of a wagon that is loaded with supplies. He struggles vainly to free himself, then stops, reacts to –

106. POV

– Sally and Trayne moving toward him. We note that the area has several small campfires, another wagon, loaded with supplies, and a sleeping area where the outlaws, some of whom we can SEE now, lounging around, playing cards. A remuda of horses is visible in the b.g. Sally is holding Trayne’s arm and they seem pretty pleased with themselves as they pause –

107. ANGLE

– by Artemus

TRAYNE
Miss Yarnell has told me you and Mister West are government sent to look for Walter Mason…

ARTEMUS
Whom you had killed no doubt…

TRAYNE
(avoiding the question)
Your message didn’t get through to the army – so there’ll be no resistance when my men move on the town…

ARTEMUS
All in the name of revenge?

TRAYNE
The citizens of New Athens took everything I had…

ARTEMUS
You can’t steal a town, Trayne…

TRAYNE
No. But you can erase it… take away from it all that endures in memory. I’m going to burn New Athens to the ground, and with it the public and private records… papers, deeds, transactions… certificates of birth, life, and death… all the paper symbols of permanence. In short, there will be nothing left to show that New Athens ever existed.

ARTEMUS
The citizens might give you more of a fight than you bargained for, Trayne.

108. CLOSE – TRAYNE

TRAYNE
My – er – partner back in town has assured me that the citizens have left. There will be no resistance…

109. CLOSE – ARTEMUS

He frowns, puzzled.

110. EXT. MAIN STREET NEW ATHENS – TRUCKING SHOT – NIGHT

CAMERA IS TRUCKING WITH KOSTER AS HE FOLLOWS WEST ACROSS THE STREET TOWARD THE CASSIDY GENERAL STORE.

KOSTER
(whining)
S’pose that crazy Trayne sends his men in before the army gets here?!

WEST
We’re about to prepare for that right now, Sheriff…

Puzzled, Koster follows West into the General Store.

111. INT. GENERAL STORE – MEDIUM SHOT – NIGHT

The place is deserted. West enters, stops, looks around.

WEST
Mayor Cassidy…?

No answer.

KOSTER
Hah. He probably took off with the others… which is what you’d do if you had any sense…

WEST
Sheriff – how could I leave you to defend the town all by yourself?

KOSTER
By myself! I didn’t mean…

WEST
(interrupting)
Who could desert you when you’re showing such courage? Who? Well, never mind.
(looks around)
Now – we’ll need gunpowder, bullets… Let’s hurry. We’ve got a full night’s work!

112. CLOSE – KOSTER

– Listening, thoroughly frightened.

DISSOLVE

113. EXT. OUTLAW CAMP –WIDE EST. SHOT – NIGHT

Quiet, most of the men have settled for the night.

114. ANGLE

– on Artemus, still tied to the rear of the ‘arsenal’ wagon. He is struggling to loosen the bonds on his hands and feet.

114A. CLOSE – ARTIE’S HANDS

He has a cutting device and is hard at work on his bonds.

114B. AS BEFORE

A GUARD approaches and he is forced to stop his efforts. He leans back, closes his eyes. The Guard moves through SHOT, continues on. Now Artemus resumes his labors.

115 THRU 118. OMIT

119. INSERT SHOT

on Artemus' hands. The rope frays and breaks and Artemus is now able to begin loosening the network of ropes from his hands.

120. SHOT – SCENE

ARTEMUS
Guard… come here!

The guard ENTERS SHOT again, stops, suspicious. Artemus smiles at him.

ARTEMUS (CONT’D)
My back itches… Could you scratch it for me? Right here?

Artemus brings his hand around, pulling his ropes free, in order to point out his aggravation. The Guard frowns, caught off guard. Artemus doubles up his legs, kicks the man in the stomach, doubling him up. He then pulls the rifle from the man’s grasp, raps him sharply over the skull with it. He then slides off the wagon, pulls a knife from the Guard’s waist, cuts his legs free. He then lowers the tailgate of the wagon, takes the bung out of a barrel of powder. First he makes a small pyramid of powder directly underneath the wagon, then he tucks the barrel under his arm and heads off toward the remuda line, carefully leaving a trail of gunpowder across the ground behind him.

121. ANGLE

– on Artemus as he reaches the remuda line, takes a horse, discards the barrel, then takes a match and lights the trail of gunpowder.

122. ANGLE

– on the fire racing up the line of gunpowder, up the tailgate of the wagon. The spilled powder begins to burn fiercely as the Guard starts to come around.

123. ANGLE

– on Artemus, as h e mounts the horse, rides –

124. ANGLE

– on the guard as he stumbles away from the wagon. A sharp EXPLOSION, then ANOTHER.

125. WIDE ANGLE

– on the sleeping camp. Everyone is jolted awake as more EXPLOSIONS are heard.

126. ANGLE

– on Trayne and Sally, running forward, startled.

127.

– on Artemus, riding like hell.

DISSOLVE TO:

128. EXT. MAIN STREET OF NEW ATHENS – HIGH ANGLE – DAWN

West and Koster finish putting a barricade at one end of the street. Another similar barricade is down the street about fifty feet behind them.

129. ANGLE AT FRONT OF GENERAL STORE

Jeremiah and Cassidy exit the store, carrying various items of defense.

130. ANGLE – GROUP

Jeremiah tells West in a thin, cracked voice:

JEREMIAH
Mister West… I ain’t been so excited since me an’ Colonel Cadge Montgomery took on a hunnert’n fifty Sioux at Flat Creek.
(brandishes rifle)
me an’ old Lizzie here been a polecat killin’, rattlesnake drillin’ team for a long, long time.

CASSIDY
It’s good to have you and Lizzie with us, Jeremiah.

Koster has been laboriously putting mattresses, furniture, the piano from the saloon up to fortify the barricade.

KOSTER
How much longer before you expect your friend to return with the soldiers, Mister West?

WEST
With luck – around sundown.

CASSIDY
I’m going to cover the bank.

At the SOUND of APPROACHING HOOFBEATS, Jeremiah raises his rifle over the barricade to FIRE.

JEREMIAH
They’re startin’ to come!

West looks, reacts, then knocks Jeremiah’s rifle upward as a rider comes hurtling over the barricades.

JEREMIAH (CONT’D)
Hey, what’s the idea?!

West, Koster and Cassidy turn to see –

131. REVERSE ANGLE

– Artemus wheels his horse around, run in, then dismount.

132. SHOT – SCENE

WEST
Artie, how’d you get back here so fast?

ARTEMUS
I’m back here because I never got there! Sally’s in with Trayne. They were waiting for me!

KOSTER
Ya mean the army ain’t coming?!

ARTEMUS
That’s the general idea!

CASSIDY
That tears it! We’ll never be able to stop Trayne now.

WEST
Not standing around crying, Koster! See what you can do about strengthening the barricade!

ARTEMUS
How’s are armaments situation, Jim?

WEST
Plenty of rifles and bullets… what we need now is the psychological advantage… heavy weapons.

Artie is nonplussed only for a moment, for now he sees the object of Jim’s interest – the hardware store!

ARTEMUS
Oh? You mean mortars? Howitzers?

Artemus and West start toward the store.

ARTEMUS (CONT’D)
We’ll need black powder… nails, stovepipes, wire, fireworks maybe, baking flour… and—er—ladies’ garters!

Cassidy, Koster and Jeremiah exchange puzzled glances as we

DISSOLVE:

135. EXT. STREET – MEDIUM SHOT – DAY

The character of the barricade has changed drastically. Now, the walls are bristling with an odd battery of stovepipes, the purpose of which will surprise and delight us when the battle is joined.

134. ANOTHER ANGLE

At the other barricade, Artemus and Jeremiah are crouched with their rifles and six-guns, awaiting the enemy.

135. ANGLE

… on Cassidy, waiting anxiously at the front of the bank. Now he reacts to –

136. LONG POV

– a horde of men riding toward town.

137. BACK TO CASSIDY

CASSIDY
They’re coming!

138. ANGLE

– on West. He and Koster look over the barricade, as first we HEAR the steadily CRESCENDING HOOFBEATS, then see:

139. LONG POV

– Trayne’s ‘army’ riding in, carrying weapons and torches. CAMERA HOLDS ON THEIR OMINOUS APPROACH AS WE –

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
8373 Posts

Posted - 10/01/2009 :  07:53:53  Show Profile



ACT FOUR

140. EXT ENTRANCE TO NEW ATHENS – WIDE ANGLE – DAY

Trayne’s men, some firing rifles, others carrying torches, pound toward the barricade.

141. ANGLE

– at barricade. West jumps to one of the stovepipe cannons, picks up a torch of his own nearby, tosses a second torch to Koster, yells.

WEST
When I give the signal!

Koster catches the torch, moves to another stovepipe “cannon.’

142. ANGLE

– on West, as he lowers the torch to the crudely fused “barrel” of the cannon.

WEST
Now!

The cannon explodes, belching out a spume of white flour and nails.

143. ANGLE

– on Koster as he follows suit with his cannon.

144. ANGLE

– on Trayne’s men as they are blinded by the flour and peppered with the nails…

145. ANOTHER ANGLE

– as several of them head down an alley to come up from the other side.

146, ANGLE

on West, as he pours more flour, more nails into the “cannon.” The piano in the barricade, hit by bullets, begins to play a macabre “tune.”

WEST
Reload!

147.

– on Trayne, several yards behind his men, who are trying to regroup, fire at the barricade through the white smokescreen. A couple lie on the ground, wounded, a couple more are holding their faces, blinded by the deluge of flour and nails. Trayne dismounts, runs down an alley.

CUT TO:
148. ANGLE

– on Artemus and Jeremiah at the barricade at the other end of the street. They react to –

149. POV

– the second group of Trayne’s men who come pounding out of the alley toward them.

150. BACK TO SCENE

JEREMIAH
Come and get it you yellow livered, skunk eatin’ polecats!

The rest, graciously, is lost in an explosion of gunfire from Trayne’s men. Artemus touches a torch to one “cannon,” then another.

151. ANGLE

– on Trayne’s men as they are peppered with flour and nails. Total confusion.

CUT TO:

152. EXT. ALLEY – REAR OF BANK – DAY

Trayne moves down this alley, slips into the bank while the SOUND OF BATTLE CONTINUES O.S.

153. INT. BANK – MED. SHOT – DAY

Cassidy is in the desk area in the rear of the bank. He has the safe open and is tossing empty files, records, etc., into a small fire he’s set on the floor. He stops short, startled, as Trayne appears behind him.

CASSIDY
Trayne, what the devil are you doing here?

Trayne steps closer, looks at the burning pile of papers on the floor.

TRAYNE
You think I really believed you’d meet me next week, Cassidy?

CASSIDY
Get out of here and let me do what needs to be done.
(nods to fire)
If the proper records aren’t destroyed, some clever snoop’ll get wise to us.

TRAYNE
Wise to you, Cassidy.

CASSIDY
All right, to me…
(impatient)
Look, Trayne, we agreed…

TRAYNE
Yeah… we agreed. But I’ve been thinking it’s a little uneven: the way it comes out, I take all the risks.

CASSIDY
Don’t let’s forget who’s been emptying the vault the past six months!

TRAYNE
Sure… except the way you’ve set it up, John Trayne takes his well-publicized revenge by burning the town and this bank to the ground! Nobody ever knows the bank’s even been robbed and the benevolent Mayor Cassidy comes out clean as a whistle.

CASSIDY
(impatient)
We don’t have time to argue…

Cassidy starts back into the safe. Trayne slaps his walking stick across a nearby desk, blocking Cassidy’s way.

TRAYNE
I’ve made other arrangements.

154. INSERT SHOT

Cassidy’s hand begins to pull open a drawer of the desk.

CASSIDY (O.S.)
What do you mean?

155. SHOT – TRAYNE

TRAYNE
It’s not complicated. I’m going to keep it all for myself, Cassidy I’m not going to give you any…

Cassidy suddenly pulls a gun from the desk drawer.

CASSIDY
Prison’s turned you loco, Trayne.

Cassidy raises the gun. A SHOT rings out and the bullet wings Cassidy in the arm. He whirls around to see –

156. POV

– Sally, holding a revolver, having entered the rear of the bank.

157. SHOT – SCENE

CASSIDY
Sally…

Before he can say more, Trayne brings his walking stick sharply down on his head, dropping him with one blow. Sally moves forward, puts the revolver aside.

SALLY
(nods to safe)
Is it here?

(During all this the SOUND OF THE BATTLE CONTINUES O.S.) Trayne moves to the safe.

TRAYNE
Let’s take a look…

She follows him into the safe.

158. INT. SAFE

Sally and Trayne are startled to find –

159. POV

– the save is empty, save for a few files, folders, etc.

160. SHOT – SCENE

Trayne scrambles through the safe, finds nothing.

TRAYNE
Where’s he kept the money?

SALLY
The store! I’ve heard he has a safe there!

TRAYNE
Come on!

161. ANGLE

– on Trayne and Sally as they come out of the safe, exit out the rear door.

CUT TO:

162. EXT. BARRICADE – MED. SHOT – DAY

Koster is now loading the “cannon,” FIRING them with great zeal.

163. ANGLE

– on several of Trayne’s men as they crawl, belly down, FIRING at the barricade.

164. ANGLE AT OTHER BARRICADE

– on Artemus as he keeps FIRING the “cannon” and Jeremiah FIRES his rifle at –

165. POV

– the advancing group of Trayne’s men.

166. ANGLE

– on Trayne and Sally as they come out of the rear alley door of the bank, stop, react toward the main street.

SALLY
John, look…

167. POV UP THE ALLEY

– two of his men, moving from the hotel roof to the roof of the General Store. They are about to set fire to it.

168. BACK TO SCENE

SALLY
If they burn the store, we’ll never find it!

TRAYNE
Let’s get going!

168A. SHOT OF WEST

He FIRES toward roof of store.

169. HIS POV

on the first man as he topples off the roof.

170. ANGLE

on West. He reacts to another man.

171. POV

West FIRES a second shot.

172. WEST’S POV

The second man is sent hurtling off the roof.

173. OMIT

174. OMIT

175. INT. CASSIDY’S GENERAL STORE – MED. SHOT – DAY

Trayne and Sally enter, close the door behind them, dulling the SOUND OF THE BATTLE RAGING IN THE STREET. They look around. There are some pictures on the wall, as well as an appropriately framed mirror.

TRAYNE
Now – where?

SALLY
He wouldn’t keep it in the store safe.

TRAYNE
A wall safe?

SALLY
Behind a picture?

Sally moves to a nearby picture. Trayne moves to another. She looks, finds nothing.

176. ANGLE

– on Trayne as he looks behind one picture, moves to the mirror.

177. POV

– on Sally. She stands waiting, a strange, anticipatory look on her face as –

178. BACK TO SCENE

– Trayne reaches for the mirror.

179. CLOSE – TRAYNE

Some alarm goes off in his brain as he sees –

180. POV – THROUGH MIRROR

Sally’s carnivorous leer is an open book, and it reads treachery, avarice and cruelty!

181. BACK TO TRAYNE

He hesitates, then picks up a rake from a nearby display, steps back, slowly lifts the mirror with the rake handle.

182. CLOSE – SALLY

Looking worriedly disappointed.

183. SHOT – SCENE

The mirror suddenly EXPLODES outward.

184. ANGLE

– on Sally, fading back, seemingly startled.

SALLY
John…

185. ANGLE

– on Trayne. He brushes the debris from his clothes, steps forward to where money is spilling out of the demolished wall safe. He examines it, surprised, as Sally moves INTO SHOT.

SALLY
John, are you all right?

Trayne gives her a wondering look, then grabs a handful of the cash.

TRAYNE
Here it is – thousands. Get something to put it in!

Trayne begins gathering the cash up while Sally reaches for an empty sack.

186. EXT. STREET – WIDE ANGLE – DAY

Trayne’s men continue to give the defenders at the barricades a bad time.

187. ANGLE ON WEST

as he interrupts FIRING for a moment to react toward bank.

188. POV – BANK ENTRANCE

Cassidy, be draggled and bloody with his pistol dangling in his hand, is leaning crazily in the doorway.

189. WEST

He reacts.

190. ANGLE – CASSIDY

as he appears to be struggling across no-man’s land toward the Hardware Store! Suddenly, he realizes that he will never make it. He raises his gun and FIRES impotently, SHATTERING the front pane of glass on the hardware store.

191. WEST

as he reacts to this action, then tells Koster.

WEST
Keep ‘em busy!

Koster nods. West sprints toward bank, CAMERA PANNING.

192. CLOSER

ON WEST, as he kneels over Cassidy, verifying his moribundity. Now he looks from him into the bank. He springs into the bank.

193. ANGLE – BARRICADE

Artie and Jeremiah are FIRING at Trayne’s men. Two of them taking a flying leap over the barricade and Artie joins Jeremiah in subduing them.

194. INT. BANK – WEST

as he surveys the burning pile of records, papers, etc.

195. ANGLE

as he moves forward, picks up a piece of burning paper, studies it, puzzled. Then he strides out of the bank.

196. EXT, BANK

West crouches by the door, not far from Cassidy’s body.

197. POV – HARDWARE STORE

West is seeing the window where Cassidy’s bullet shattered it!

197A. ANGLE – WEST

as he senses a solution to The puzzle. He rises, springs again across No-Man’s land, enters the store.

198. INT. CASSIDY’S STORE – WEST

he reacts to the demolished wall safe, stops, picks up an overlooked…

199. INSERT SHOT

– the scorched remainder of a one hundred dollar bill.

200. SHOT – SCENE

Puzzled, but definitely suspicious, West reacts to –

201. SHOT – SCENE

– a rear door of the store, half ajar.

202. SHOT – SCENE

West sprints out the door.

203. EXT. ALLEY BEHIND STORE – MEDIUM SHOT – DAY

West comes out, reacts to –

204. POV

– a buckboard, its horses nervously tied to the hitching rack – all ready for travel. The roof of the hotel is burning heavily now.

205. SHOT – SCENE

West glances at the rear entrance of the hotel (which, as previously stated, is adjacent to the store) then runs inside.

205A. ANGLE

– on Artie behind the barricade. While Koster is FIRING OFF, Artie is manipulating a long, rake-like farming implement which is rigged with a series of slingshots, the rubber parts of which are improvised from ladies’ garters. These contrivances are rigged to fire 4th of July impact-detonating cherry bombs, in series! Artie trips the device, and –

205B. OMIT

205C. SERIES OF SHOTS

– the cherry bombs prang in series behind Trayne’s men, like a Gatling gun, making them turn in fear and confusion!

CUT TO:

206. INT. SALLY’S ROOM – MEDIUM SHOT – DAY

Trayne has a large suitcase on the bed. He and Sally are just putting the last of the money into it. Now, as Trayne closes the lid, secures it:

SALLY
John, hurry before the roof caves in…

TRAYNE
What’s your hurry, Sally? You’re not going anyplace.

Sally fixes him with a wondering stare as he picks up his walking stick from the bed.

SALLY
What are you talking about?

TRAYNE
I’m leaving here alone.

SALLY
What about me?

TRAYNE
You would have been very happy to see me blown to pieces by that rigged mirror…

SALLY
(shaken)
John, you’re wrong… I swear I didn’t know…

TRAYNE
Come on! You wanted Cassidy and me to kill each other so you could have it all to yourself!

SALLY
(huskily)
There was a time, John, when you would have preferred me to the money…

TRAYNE
It’s been a long three years for both of us…

WEST
It won’t be prison this time, Trayne!

Startled, they turn to see…

207. POV

– West, standing in the doorway.

208. SHOT – SCENE

Trayne studies West, smiles, as West moves into the room.

WEST
I found Cassidy – with your mark on his skills. Do you always dissolve partnerships that way?

TRAYNE
I figured you and I were going to have a “basic disagreement” sooner or later, West…

At that moment, a random BULLET CRASHES thru the window, spraying West with glass and plaster. Suddenly Trayne shoves Sally toward West. West is caught off guard as Sally stumbles into him.

209.-210. OMIT

211. SHOT – SCENE

Trayne grabs the suitcase of money, rushes past him out the door that leads to the second story landing.

212. ANGLE

– on Trayne as he heads across the landing, starts down the stairs. West rushes after him, tackles him. The suitcase goes tumbling down the stairs, opens up, spilling the money in a cascade of bills.

213. SERIES OF SHOTS

Trayne and West fight, Trayne using his lethal cane to good advantage. Finally, Trayne falls backward through the upper railing and falls down –

214. ANGLE

– into the lobby below.

215. ANGLE

– on West as he looks down at –

216. POV

– the dead Trayne. During the above scene, the SOUND OF THE FIGHTING IN THE STREET HAS SLACKED OFF. Now –

217. ANGLE ON LOBBY FRONT STREET ENTRANCE

– Artemus enters, moves to Trayne’s body, moves to the staircase, looks at the shower of money, looks up at West questioningly.

218. ANGLE

– on West.

WEST
How are things in the street?

219. ANGLE

– on Artemus.

ARTEMUS
All the mean kids got mad and went home…

Artemus picks up a handful of the bills.

ARTEMUS
This what Trayne was after?

220. ANGLE

– on West. He looks down at Trayne, reflects quietly:

WEST
A part of what he was after.

221. ANGLE

– on Artemus, puzzled. CAMERA PANS, following his gaze on to the dead Trayne as we –

DISSOLVE

222. EXT. MAIN STREET NEW ATHENS – HIGH ANGLE – DAY

The fires are out, the dust of battle has settled. The street is still cluttered with cannon, flour, barricades., the dead bodies of Trayne’s men are being carted away.

223, EXT, FRONT OF CASSIDY BANK – DAY

Artemus, West, and Koster come out of the bank, survey the street. Jeremiah is out in the street, pretty pleased with himself. Nearby are two horses, saddled and ready.

ARTEMUS
Won’t take long to clean up the mess; townspeople should be back soon.

KOSTER
(pensive)
Glad I didn’t leave when they did…

WEST
(nods)
Maybe you can live with them now..

KOSTER
And myself…

ARTEMUS
Good luck, sheriff.

KOSTER
Thank you, Mr. Gordon.
(to West)
And than you, Mister West.

WEST
(grins)
Watch the starches.

Koster pats his belly, nods, waves to West and Artemus as they walk across the street and mount up, CAMERA PANNING.

224. HIGH ANGLE

as West and Artemus canter off.

TAG

FADE IN:

225. INT. MOVING TRAIN – NIGHT

West is seated at the dining room table cleaning his six-gun, his derringer and various armaments lying on the table. Artie is at the other end of the table, a miniature piano in front of him on which he is idly picking out a TUNE.

ARTIE
Whoever said there is honor among thieves had obviously never been to New Athens.

JIM
Their particular brand of greed left two of them dead and Sally imprisoned for the next ten years or so.

Artie hits a few NOTES on the PIANO and gets a very pleased look on his face. Turns to Jim.

ARTIE
Listen to this.
(he then commences to play CHOPSTICKS)

226. CLOSE UP

West has a slightly pained look on his face.

227. CLOSE UP

Artie beaming as he plays.

228. BACK TO SCENE

WEST
Artie, you have just convinced me I should have suspected Sally from the beginning.

Artie looks at him, surprised.

ARTIE
What do you mean?

WEST
Anyone who would hire you to play the piano had to have a mean streak clear through them.

229. CLOSE UP

ARTIE
(he mumbles)
Very funny.

230. CLOSE UP

WEST
(laughing)

231. EXT. COUNTRY STOCK SHOT

train roars PAST CAMERA…

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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