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California gal
SS senior field agent

USA
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Posted - 11/08/2009 :  09:55:36  Show Profile
CBS-TV
GARRISON PRODUCTIONS


THE WILD WILD WEST

“The Night of the Ominous Oculist” – Part I

by

Ken Pettus





FIRST DRAFT
October 25, 1968
#0619


THE WILD WILD WEST

“The Night of the Ominous Oculist” (Part I)

PRODUCER
Bruce Lansbury

ASSOCIATE PRODUCER
LEONARD KATZMAN

STORY CONSULTANT
HENRY SHARP

WRITTEN BY
KEN PETTUS

SETS:

EXT. CAMPFIRE
EXT. VARNISH
EXT. DEPOT
EXT. GREASEWOOD STREET
INT. WAITING ROOM
INT. GALLERY
INT. OFFICE
EXT. DENVER STREET
INT. LAB CAR
INT. VARNISH
EXT. WOLFVILLE STREET
INT. CELL BLOCK
INT. JAIL OFFICE
EXT. SAN PABLO
INT. SNEED’S OFFICE
INT. HOTEL ROOM
INT. SALOON
INT. CONFERENCE ROOM

CAST:
[In the following list, some handwritten names are alongside the names; I’m putting them in Italics; some were crossed out.]

JAMES WEST – ROBERT CONRAD
FRANK HARPER Bill Schallert
PRESIDENT GRANT Roy Engel
MAYOR PUDNEY Jack Coogan
PROF. SIMON WINKLER
CHAVEROS Valentin de Vargas
SHERIFF Harry Lauter
DR. OCCULARIS-JONES Bob Ellenstein Bernard Fox
DR. OCCULARIS II Tony Zerbe Robt. Ellenstein
HIRAM SNEED
PROF. TOOMBS
TOM BRASS
JUDD BRASS
ZACK BRASS
DEPUTY Ron Pinkard
ROSA LAURETTE Michelle Carey
SECRETARY Janee Michelle
CONDUCTOR
ZENOBIA FINCH Dotty Neumann

THE WILD WILD WEST

“The Night of the Ominous Oculist” – Part I

TEASER

FADE IN:

1. EXT. CAMPFIRE – WEST – NIGHT

He’s squatting beside a small fire drinking coffee. Now he HEARS something—the distant HOOF BEATS of a galloping horse approaching. He tenses slightly, putting the cup of coffee aside and getting to his feet, pulling his revolver, then moving into the shadows beyond the glow of the fire.

2. WEST’S POV – FRANK

as he rides up and reins-in some distance from the campfire. Both horse and rider are mere silhouettes in the moonlight. Frank hesitates, then dismounts, pulling his rifle from his saddle scabbard. He starts toward the first slowly, warily.

3. WEST

waiting and watching in the shadows, his revolver pointing at Frank, obviously not certain who he is.

4. FRANK

still nothing more than a silhouette as he moves to the far side of the campfire and stops just outside its glow.

WEST’S VOICE
Hold it right there, mister!

Frank whirls, startled, then gulps with relief.

FRANK
Jim?

5. WEST

as he recognizes Frank’s voice and sighs with relief. The ANGLE WIDENS as he moves back toward the fire, holstering his revolver.

6. WEST, FRANK

as the latter lowers his rifle and the two shake hands.

WEST

What kept you?

FRANK
My horse threw a shoe in Duncan Center.

WEST
Was she pretty?

FRANK
The horse?

WEST
The blacksmith’s daughter.

FRANK
Now how did you know—

WEST
Artemus told me he’d loaned you his little black book.

FRANK
(laughs)
The tattle-tale.
(beat)
But I’ll have to admit, he does have good taste.

WEST
What’s the news?

FRANK
(grows serious)
The President received two more warnings.

WEST
Two?!

FRANK
One about Denver. The other about Greasewood, Arizona.

West starts kicking dirt on the campfire.

WEST
Then let’s ride. You take Denver. I’ll take Greasewood.

FRANK
Right.

The two rush to their horses and mount. They come together briefly around the dead campfire.

WEST
Wait for me in Denver!

Frank acknowledges this with a wave and the two ride off fast in opposite directions.

CUT TO:

7. EXT TRAIN – RUNBY – DAY

a diamond-stacker POUNDING along.

CUT TO:

8. EXT. TRAIN DEPOT – TIGHT SHOT – DAY

on a RED-FACED MAN in a tacky bandsman’s uniform HAMMERING mightily on a huge bass drum. Fancy lettering on the head of the drum tells us this is the “Greasewood, Ariz., Volunteer Fire Company Band.”

ANGLE WIDENS
To include four or five other MEMBERS of the band, all attacking their particular instruments with as much vigor and lack of talent as the drummer. Now the CAMERA PULLS BACK for a –

9. FULL SHOT

–- of the ceremony in progress outside the bunting-draped depot, across the front of which is a huge cloth sign which reads: “Greasewood Welcomes the Tucson and Tucumcari Railroad!”

A speakers’ stand has been erected on the station platform. A CROWD surrounds it and overflows onto the tracks. It obviously contains few “music lovers.” The crowd mills around restlessly as the band BLARES on.

10. TIGHTER ANGLE

on the speakers’ stand, occupied by the FIRE CHIEF, the LOCAL CONSTABLE and MAYOR CECIL PUDNEY, a cherubic, mild-mannered man in top hat and frock coat.

11. EXT. GREASEWOOD STREET – LONG SHOT – DAY

as West comes POUNDING into view at the far end of the street. It’s deserted. Everybody’s down at the depot. We can HEAR the BAND MUSIC in the distance. In the f.g., West reins in. He’s clearly completed a long, hard and urgent ride. He HEARS the BAND and spurs his horse toward the depot.

12. EXT. TRAIN – RUNBY – DAY

HAMMERING past, BLOWING its WHISTLE

13. EXT TRAIN DEPOT – BAND – DAY

as it completes its concert, the various musicians straggling across the “finish line” in ragged order. The CROWD DEMONSTRATES its approval, if not for the music itself, then for the fact that the concert is over.

14. ANOTHER ANGLE

featuring Pudney and his fellow town officials applauding. Now Pudney gets up, goes to the lectern, gesturing for silence.

PUDNEY
And now, ladies and gentlemen, here is our own Zenobia to sing for us!

There’s perfunctory APPLAUSE and a few AUDIBLE GROANS from the crowd as ZENOBIA FINCH, a skinny old “diva” with a voice like train whistle comes to the stand, blows a sour note on a pitch-pipe and starts to SING. (NOTE: Zenobia continues to assail us behind:)

15. WEST

as he rides up to the side of the depot, leaps from his horse and rushes toward the station platform.

16. ZENOBIA

going at it.

17. WEST

pushing his way through the crowd to the speakers’ platform..

18. PUDNEY, WEST

as Jim reaches the steps to the speakers’ stand, climbs them and goes to the Mayor. Although we can’t hear the exchange between Jim and Pudney, it’s obvious from the Mayor’s reaction that West hasn’t brought him good news. Pudney, looking upset, gets to his feet and leads West off the platform.

19. ANOTHER ANGLE

as Pudney points to the depot and he and West push their way through the crowd toward it, unaware of the—

20. FOUR TOUGHS

–-watching them suspiciously.

21. INT WAITING ROOM – WEST, PUDNEY – DAY

as they enter, Pudney closing the door behind them. They have the room to themselves. We can faintly HEAR ZENOBIA FINCH SINGING outside.

PUDNEY
Now what’s this all about, Mr. West?

WEST
Mr. Mayor, the government has received a warning that some sort of disaster is going to occur in Greasewood today.

PUDNEY
(shocked)
Disaster? … What—what sort of disaster?

WEST
We don't know.

PUDNEY
Well—well, who sent the warning?

WEST
We don't know that either.

PUDNEY
An anonymous message warning of some unnamed disaster? It sounds to me like someone’s idea of a joke.

WEST
Mr. Mayor, the government received the same kind of warning about the town of Cactus Falls. It was written off as a joke. But the next day the dam above the town collapsed and Cactus Falls was wiped out in a flood.

Although a bit shaken by this news, Pudney waves it aside impatiently. Outside, Zenobia brings her SONG to a SCREECHING CONCLUSION.

PUDNEY
Coincidence, no doubt.
(beat)
My Goodness! Zenobia’s finished!

Pudney turns to the door.

WEST
Mayor Pudney—

PUDNEY
I appreciate your concern, Mr. West, but I’m sure there’s no cause for alarm. The people would do nothing to mar this historic occasion. They know how important the arrival of the railroad is to our community.

In the distance we HEAR the HOOT of the train’s WHISTLE. Pudney reacts excitedly.

PUDNEY
Good heavens! The train! It’ll be crossing the trestle any moment!

WEST
(tenses)
The trestle… what trestle?

PUDNEY
Why the one just east of town.

Pudney goes out. Jim hesitates ponderingly, then plunges out the station door after him.

22. EXT. TRAIN DEPOT – WEST – DAY

as he comes out the door to find himself blocked by the four Toughs, standing with their backs to him. West unsuspectingly tries to push past them.

WEST
Excuse me.

But the Toughs don’t move, and when Jim tries to go around them, they move just enough to continue to block his path. West now realizes that the Toughs are deliberately boxing him in, but by this time he’s caught between them and the wall of the depot.

23. PUDNEY

as he mounts the speakers’ stand and goes to the lectern. He takes a speech from a pocket and puts on a pair of spectacles.

PUDNEY
And now my fellow citi—

Pudney breaks off, realizing that a strange silence has fallen over the—

24. CROWD

—and that all eyes are turned up the track. Pudney’s eyes follow those of the crowd and the strange, glassy-eyed look of a man going into a trance slowly comes over him.

25. WEST, TOUGHS

as he becomes aware of the silence that has fallen over the crowd. He, too, looks up the track.

26. LONG POV SHOT

up the tracks to a railroad handcar moving toward the station, emitting SQUEAKING NOISES that take on an ominous note against the eerie silence of the crowd—particularly in light of the fact that although the handles move up and down rhythmically, there is nobody on the car.

The handcar does have a passenger, however. It is a huge, black raven which is perched atop the car’s fulcrum housing. The housing is covered with a black cloth.

27. WEST

baffled by the handcar and its weird passenger. He shoots an apprehensive glance at—

28. PUDNEY

—on the speakers’ stand as the Mayor watches the—

29. HANDCAR

—comes to a SQUEAKING stop on the tracks right below the speakers’ stand. The ANGLE WIDENS to include Pudney. With the movement of sleepwalker, he starts off the speakers’ stand.

30. HANDCAR [this duplication is in the script!]

—comes to a SQUEAKING stop on the tracks right below the speakers’ stand. The ANGLE WIDENS to include Pudney as the Mayor takes a pair of spectacles out of his pocket and puts them on. They’re distinctive-looking glasses with heavy frames and thick, tinted lenses. After donning the glasses, Pudney starts off the speakers’ stand with the movement of a sleepwalker.

31. WEST, TOUGHS

as Jim renews his effort to break free of the Toughs. Now the Hardcases drop the pretense of being merely rude members of the crowd. They turn on West and a close-quarter fight ensues with Jim exchanging vicious jabs with the Toughs.

32. PUDNEY

approaching the handcar. As he does, we HEAR the distant SOUND of a TRAIN WHISTLE.

33. RAVEN

As if the whistle were some sort of cue, the Raven emits a low CAW and takes off with the black cloth covering the fulcrum housing in its claws. A sharp, startled GASP comes from the CROWD.

34. TIGHT SHOT

on a dynamite plunger which has been concealed under the black cloth. The ANGLE WIDENS as Pudney steps up on the handcar and places his hands on the plunger. We again HEAR the TRAIN WHISTLE, a little closer than before.

35. WEST

He has disposed of two of the Toughs and broken free of the other two and is now elbowing his way through the crowd.

WEST
Let me through!... Let me through!

36. EXT. TRAIN – DAY (STOCK)

a diamond-stacker POUNDING down the track toward a trestle over a deep canyon. It BLOWS its WHISTLE.

37. EXT. TRAIN DEPOT – WEST – DAY

fighting his way through the crowd, a job made more difficult by the two Toughs who still harass him.

38. PUDNEY

with his hand son the plunger. His lips are moving as he silently counts to himself. Then he suddenly slams the plunger home. And almost immediately he removes his spectacles and throws them to the floor of the handcar, smashing them.

39. EXT. TRAIN – DAY (STOCK)

as it rolls out on the trestle and the trestle is ripped apart by a HUGE EXPLOSION, sending the train plunging into the canyon.

FADE OUT

END OF TEASER

ACT I

FADE IN:

46. EXT. MUSEUM – TIGHT SHOT – NIGHT

on a bronze plaque which identifies the museum as being the “Denver Museum of Fine Art.”

41. INT. GALLERY – SECRETARY – NIGHT

She is a comely young woman carrying a large package wrapped in plain brown paper she enters a door which bears a discreet sign reading: “Office of the Curator.”

42. INT. OFFICE – WIDE ANGLE – NIGHT

as the Secretary enters with the package. Professor SIMON WINKLER, the curator, is seated at this desk examining a small piece of statuary with a magnifying glass.

WINKLER
Yes, Miss Simms?

SECRETARY
This package was just delivered by special messenger, Professor.

WINKLER
(surprised)
Really?

She places the package on the desk in front of him. It is so tall he has to stand up to examine it. He does o, putting on a pair of spectacles which look exactly like the ones Mayor Pudney wore.

WINKLER (CONT’D)
Odd … No return address … Did the messenger say who it was from, Miss Simms?

SECRETARY
No, sir.

WINKLER
Odd.

Winkler gestures for the Secretary to go. She does. He unsheathes a lethal-looking kris which he uses as a paper-knife and cuts away the strings. He then rips away the brown paper. As he does, the sides of a wooden box fall away to reveal a huge, stuffed –

43. RAVEN

– which looks every bit as ominous as did the live one we saw perched on the railroad handcar.

44. EXT. DENVER STREET – RIDEBY – NIGHT

of Frank, who is pounding along as if his life depended on it.

45. INT. OFFICE – WINKLER – NIGHT

staring at the raven. As did Mayor Pudney, Winkler looks as though he’s in a hypnotic trance. He glances down at the kris in his hand, then slowly and somnabulistically crosses his office toward the door to the gallery.

46. INT. GALLERY – SECRETARY – NIGHT

in hat and coat approaches the door to Winkler’s office as the Professor emerges.

SECRETARY
Professor, if you don’t need me any more this eve –

She breaks off, suddenly frightened by Winkler’s blank stare and the kris in his hand.

SECRETARY (CONT’D)
Professor Winkler –

Winkler pays no attention to her, EXITING SHOT.

SECRETARY (CONT’D)
Professor, are you all –

She breaks off with a SCREAM.

47. TIGHT SHOT

on a large oil painting as the kris in Winkler’s hand *****es it from top to bottom.

48. WINKLER

as he turns and *****es at another painting and at the same time knocks from its pedestal a piece of statuary standing beside it. The statuary hits the floor and is smashed into bits.

49. SECRETARY

continuing to SCREAM.

50. WINKLER

moving along the gallery, *****ing paintings and smashing statuary.

51. EXT. MUSEUM – FRANK – NIGHT

as he rides up, springs off his mount and rushes to the heavy double-doors, pounding on them. We can HEAR the Secretary SCREAMING inside.

FRANK
(shouts)
Open up!!
(loudly)
Open up!!

Getting no response, Frank kicks the door open.

52. INT. GALLERY

Winkler continues his senseless carnage. The Secretary emits one more SCREAM, then abruptly faints. Frank comes rushing in, is momentarily taken aback by the destruction. He then runs to Winkler and wrests the kris from his hand. Winkler offers no resistance. He turns and stares blankly at Frank. Then Winkler removes his glasses and throws them to the floor, smashing them., following which he himself sinks to the floor in a dead faint.

53. FRANK

as he looks around at the carnage Winkler has wrought, shaking his head in complete dismay.

CUT TO:

54. EXT. WEST’S TRAIN – RUNBY – NIGHT

speeding through the night.

55. INT LAB CAR – WEST, FRANK – NIGHT

Jim is seated at a desk, looking through some file folders, glum and bewildered. Frank is moving around the car, admiring it and, at times, being surprised when he accidentally trips something which opens a secret panel, etc.

WEST
It doesn’t make any sense, Frank.
(Indicating the file folders)
Cecil Pudney … Simon Winkler … Ethan Forbes.

FRANK
You’re sure Forbes is the one who blew up the dam at Cactus Falls?

WEST
No question about it.

FRANK
But he founded the town. He’s a former territorial governor. Why would he do such a –

Frank lifts the lid off a cigar box and is startled by the RASPING noise it gives off. West pays no attention.

WEST
Why would Mayor Pudney blow up that trestle? Why would Professor Winkler destroy nearly a million dollars worth of art work in his own museum?

FRANK
Are you sure there’s nothing in those dossiers that would help us?

WEST
Not a thing. Their lives are as pure as the driven snow.

West slams the folders down on the desk and gets to his feet.

WEST (CONT’D)
There’s one thing I haven’t mentioned, Frank.

FRANK
Don’t spare me, friend.

WEST
Ethan Forbes’ wife swears a raven flew in the open window of her husband’s study just before he left the house – the blow up the dam.

FRANK
Another raven, eh? The one on the handcar, the stuffed one I found in Winkler’s office, now the one that visited Forbes.
(a beat)
What’s the answer, Jim?

WEST
(shakes his head)
I’m not even sure I know the question.

Sudden West and Frank are startled by a series of short blasts of the train’s WHISTLE followed by the SCREECH of brakes. The two are thrown off balance by the train skidding to an emergency stop.

56. EXT. ENGINE – STOCK – NIGHT

on the drive wheels skidding over the tracks, throwing up a shower of sparks.

57. INT. LAB CCAR – WEST, FRANK – NIGHT

as they quickly douse the lights in the car and look out the windows as the train comes to a stop. Unable to see anything, they exit the car, arming themselves with revolvers as they go.

58. EXT. PLATFORM – WEST, FRANK – NIGHT

as they emerge from the Lab car and encounter the CONDUCTOR, carrying a lantern.

WEST
What’s wrong?

CONDUCTOR
A boulder on the track, Mr. West.
(points o.s.)
Must’ve rolled down from that cut. We’ll have it off right away.

The Conductor EXITS SHOT. West and Frank watch him go, then start into West’s Varnish.

59. INT. WEST’S VARNISH – WEST, FRANK – NIGHT

as they enter the darkened car from the rear platform. West strikes a match to light a lamp.

GRANT’S VOICE
Pull the curtains first, gentlemen.

West and Frank whirl, pointing their revolvers at the far end of the car.

60. POV SHOT

on two men standing in the deep shadows. One wears a slouch and a cape. The large hat is pulled down so that it hides most of his face. The second man stands behind the caped figure. The latter CHUCKLES.

61. WEST, FRANK

look at one another, baffled for a moment. Then they realize who the caped man is.

WEST
Mr. President!

62. ANOTHER ANGLE

as PRESIDENT GRANT moves out of the shadows. The man behind him – SEÑOR CHAVEROS – is a tall, well-dressed, aristocratic-looking Spaniard. Jim and Frank hasten to pull the curtains over windows before lighting the lamps. Grant and Chaveros help with the curtains.

GRANT
My apologies for dropping in on you unannounced, gentlemen, but I felt it best that we meet in complete secrecy. I don’t even want it known that I am not in Washington.

The curtains have been pulled, the lamps lighted and Grant sheds his slouch hat and cape. West and Frank look inquiringly at Chaveros.

GRANT
May I present Senor Chaveros.
(to Chaveros)
Senor James West and Frank Harper.

CHAVEROS
(bows stiffly)
An honor, Senores.

GRANT
Senor Chaveros is a special assistant to President Juarez. Artemus sends his regards to both of you.

WEST
How is he bearing up under his Washington assignment?

GRANT
The question is – how is Washington going to bear up? I’m told there’s been a noticeable influx of lovely young ladies into the capital since Artemus was assigned to us there.

West and Frank chuckle. Grant’s expression grows solemn.

GRANT (CONT’D)
I’m sure I don’t have to tell you why I’m here.

FRANK
No, Mr. President.

GRANT
I’m troubled – deeply troubled – by the events of the last couple of weeks.

WEST
And with good reason.

GRANT
And with more reason than you know, Jim.

WEST
What do you mean, Mr. President?

GRANT
(to Chaveros)
Tell the, Senor.

CHAVEROS
Senores, what has been happening in your country – this strange, inexplicable behavior on the part of such men as Mayor Pudney, Professor Winkler and Senor Forbes – has also been taking place in my country.

West and Frank are shocked.

CHAVEROS (CONT’D)
Several of my countrymen – men of unimpeachable patriotism – have engaged in senseless acts of sabotage.

GRANT
And as with Pudney, Winkler and Forbes, Senor Chaveros’ countrymen have no memory of committing the crimes.

CHAVEROS
Or any possible explanation of why they committed them.

Grant sighs heavily, taking a cigar from his pocket.

GRANT
We might as well make ourselves comfortable, gentlemen. We have a great deal to talk about.

Grant sits down, lighting his cigar.

CUT TO:

63. EXT. WEST’S TRAIN – RUNBY – NIGHT

of the train, its whistle BLOWING intermittently.

CUT TO:

64. INT. WEST’S VARNISH – TIGHT SHOT – NIGHT

on an ashtray with several cigar butts in it. The ANGLE SLOWLY WIDENS to include Grant, West, Frank and Chaveros. Their conference has been a long and troubling one. West is pacing the floor, his coat off, his tie loosened.

WEST
And it seems obvious to me that whoever is behind all this has found a way to “condition” a man’s mind and make him do things he’d never think of doing under normal circumstances.

CHAVEROS
You mean a sort of hypnosis, Senor?

WEST
You could call it that.

CHAVEROS
But why are our governments always warned that a disaster is to take place?

FRANK
But don’t forget – we’re always warned too late to do anything to prevent the disaster.

GRANT
It appears we are being given a preview of their power.
(adds:)
Whoever “they” are.

WEST
Exactly, Mr. President. Someone has started a campaign of fear and suspicion among the people of this country and Mexico by destroying their confidence in the leaders of their communities.

CHAVEROS
But what do they want?

FRANK
I have a hunch we’ll find out soon enough.

GRANT
(nods grimly)
I’ve been expecting some demand to be made on me before this.
(stands, putting his cigar aside)
Jim, President Juarez is going to be in Nogales day after tomorrow. I want either you or Frank – or both of you – to meet with him there.

WEST
Yes, sir.

GRANT
Senor Chaveros will be there, too. You’ll give the Presidente all the information we have and assure him of our complete cooperation with the Mexican government in combating this terrible threat.
(picks up his hat and cape)
This insidious power – whatever it is and whatever its purpose – must be crushed and crushed quickly.

Grant starts to put on his hat and cape, but is stopped by the CLICK of the –

65. TELEGRAPH

– suddenly coming alive. The ANGLE WIDENS as the men, a bit startled, listen. West’s and Frank’s expressions darken.

GRANT
What’s wrong?

FRANK
The message is for you, sir.

GRANT
(stunned)
For me?! … But that’s impossible! … No one knows I’m here!

WEST
Someone does.

GRANT
What is the message?

FRANK
It says –
(beat)
– Wolfville is next.

FADE OUT:

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

California gal
SS senior field agent

USA
8377 Posts

Posted - 11/08/2009 :  09:56:34  Show Profile
ACT II

FADE IN:

66. EXT. WOLFVILLE STREET – LONG SHOT – NIGHT

on West and Frank as they come riding hard TOWARD CAMERA and rein in.

WEST
You take the Mayor’s office! I’ll check the sheriff!

The two ride off in different directions.

67. EXT. SHERIFF’S OFFICE – ON WINDOW – NIGHT

with lettering reading: “Wolfville Town Jail and Sheriff’s Office.” Now the CAMERA PANS to a bulletin board alongside the street door and we see a –

68. WANTED FLYER

– announcing a $5,000 reward for the BRASS BROTHERS, wanted for murder and robbery. The poster contains pictures of the three – TOM, JUDD, and ZACK.

69. INT. CELL-BLOCK – BRASS BROTHERS – NIGHT

languishing in a large cell, one of three cells in the block. There are two smaller ones across a wide aisle, at the end of which is the door into the Jail Office. It stands open. Tom Brass picks up a tin cup and hammers on the bars with it.

TOM
Hey, Sheriff!

Sheriff ELMO STONE appears in the open doorway.

SHERIFF
What d’ya want?

TOM
How ‘bout some supper?

SHERIFF
Y’ll get it when it gets here!

70. INT. JAIL OFFICE – SHERIFF – NIGHT

as he goes back to his desk and sits down, shuffling through some papers, then looking up as a –

71. DEPUTY

– enters from the street with a large, black raven perched on his shoulder. He’s also carrying a tray of food.

DEPUTY
Hey, Elmo, look what was sittin’ on the hitch rail out front!

The ANGLE WIDENS to include the Sheriff as he takes a pair of those heavy-rimmed, thick and tinted lens glasses from a pocket and puts them on, his eyes glowing glassy as he stares at the bird on the Deputy’s shoulder.

DEPUTY (CONT’D)
Ain’t that somethin’? An’ he’s as tame as can be! Hopped right up on my shoulder like he wanted to come inside.

The Sheriff’s eyes follow the raven hypnotically as it hops off the Deputy’s shoulder and onto the desk. The Deputy is unaware of the Sheriff’s glassy-eyed reaction to the bird.

DEPUTY (CONT’D)
Friendly critter, ain’t he?

The deputy crosses to the door to the cell-block with the tray of food. The ANGLE TIGHTENS on the Sheriff and the raven. The sheriff stares at it a moment more, then gets up, takes the huge ring of keys hanging from a hook behind his desk and starts for the cell-block—pulling his revolver.

72. EXT. WOLFVILLE STREET – RIDEBY – NIGHT

of West pounding toward the Sheriff’s office.

73. INT. CELL-BLOCK – DEPUTY, THE BRASSES – NIGHT

The Deputy is about to hand plates and cups from the tray to the Brass Brothers through the pass-through in the cell door. The Sheriff enters from the office, moving like a sleepwalker, his revolver pointed at the Deputy. The Brasses see him first and look at one another, not knowing what to make of it. Finally, the Deputy looks around. Baffled and frightened, he starts backing away from the Sheriff.

DEPUTY
W-w-what’s the matter, Elmo?

The ANGLE TIGHTENS on the Sheriff as he aims and FIRES at the Deputy o.s. We HEAR the tray and dishes CLATTER to the floor.

74. WIDER ANGLE

to include the Brass Brothers as the Sheriff turns to their cell. They, too, start to back away, thinking that they’re the next to get it.

TOM
Now just hold on, Sheriff!

But their fear turns to bewilderment as the Sheriff starts to unlock the cell door.

TOM
What’re ya doin’?

75. EXT. JAIL OFFICE – WEST – NIGHT

as he rides up, jumps off his horse and rushes into the office.

76. INT. CELL-BLOCK – SHERIFF, THE BRASSES – NIGHT

The Sheriff is holding the cell door open like a dutiful doorman. The Brass Brothers look at one another, completely confused.

JUDD
What’s he up to?

ZACK
I don’t get it.

TOM
Looks like he’s lettin’ us go.

JUDD
Why?

TOM
I don't know, but I ain’t gonna argue with him … let’s go.

They rush out of the cell. As they do, West appears in the doorway to the office. Both Jim and the Brasses are surprised by the unexpected encounter. But their hesitation lasts only a fraction of a second. The Brass brothers start to rush West. Jim throws himself at them, bowling them over. The brothers go staggering back, tripping over one another, sprawling out on the floor. West goes after them, fists working, and the battle is joined.

77. SERIES OF SHOTS

of the fight in the narrow confines of the cell-block aisle. As much as possible, Jim concentrates on one Brass brother at a time. Finally, he nails Judd and pushes him back into the large cell. Then Zack. Tom, however, proves more obstinate.

78. INT. JAIL OFFICE – RAVEN – NIGHT

as it flutters from the desk to the open door to the cell-block.

79. INT. CELL-BLOCK – WEST, TOM BRASS – NIGHT

Their struggle carries them into one of the smaller cells and back into the aisle again. Throughout the struggle, the Sheriff has been looking on with a trance-like indifference. As the fight continues, the –

80. RAVEN

– waddles into the cell-block. The moment it is inside the cell, the door is slammed shut in the course of the fight and the raven is “caged.”

81. WEST, TOM BRASS

as Jim unloads a stinging right to the jaw that sends the latter staggering back into the large cell already reoccupied by the unconscious Judd and Zack. West slams the cell door shut and turns the key in the lock.

82. ANOTHER ANGLE

as Jim whirls on the Sheriff. He lifts the latter’s revolver from his hand. As he does, the Sheriff slowly removes his spectacles, smashes them, and then sags to the floor – out Coldwater Creek

CUT TO:

83. INT. JAIL OFFICE – SHERIFF – DAY

lying unconscious on a couch, sunlight streaming in on him from a window. The ANGLE WIDENS to include West and Frank. They’re standing at the desk examining the frames of the glasses the sheriff wore.

WEST
They’re exactly the same as the ones Pudney and Forbes wore.

FRANK
(nods)
And Professor Winkler.

Frank runs the tip of a finger over the shattered lenses which he has on a piece of paper on the desk.

West nods, looking solemnly at the unconscious sheriff.

FRANK
You know him, don’t you?

WEST
(nods)
Yes, and his behavior is incredible, Frank. Elmo Stone is one of the most dedicated lawmen I’ve ever known. Before the war he brought the law to his territory almost single-handedly.

The Sheriff emits a low GROAN, coming to.

FRANK
He’s waking up.

The Sheriff’s eyes flutter open. He looks around, bewildered, then suddenly sits up, agitated.

SHERIFF
Billy!

FRANK
Your deputy was wounded, Sheriff, but he’ll be all right.

SHERIFF
Thank heavens for that.

Now he sees West and recognizes him.

SHERIFF
Jim West!

WEST
Hello, Elmo.

SHERIFF
What - what’re you doing here?

WEST
That’s a long story.
(indicates Frank)
This is my partner, Frank Harper.

SHERIFF
Howdy.
(to West)
You’re sure Billy’s all right?

WEST
(nods)
Fine.
(beat)
You remember shooting him, Elmo?

The Sheriff nods guiltily. Jim and Frank exchange a smile. Now, perhaps, they’re getting somewhere.

FRANK
Why did you shoot him?

WEST
And try to release the Brass gang?

The Sheriff shakes his head, looking completely bewildered.

SHERIFF
I don't know. I just don't know.

West picks up the Sheriff’s spectacles from the desk.

WEST
We’re interested in these spectacles, Elmo. Have you had them long?

SHERIFF
‘Bout a week.

FRANK
Did you get them here in Wolfville?

SHERIFF
Well – yes and no?

FRANK
Yes and no?

SHERIFF
There was a fella who came through. A traveling – uh – whatchacallem.

FRANK
Oculist?

SHERIFF
Yeah.

WEST
Tell us about him.

SHERIFF
I don’t see what my specs’ve got to do with –

FRANK
Just tell us about this oculist, Sheriff… What was his name?

SHERIFF
Occularis – Doctor Horatio Occularis. He said he was goin’ around the country introducin’ a new kind of spectacles. Said he’d give me the specs free if I’d just wear ‘em for a month and then write him a letter tellin’ him if I liked ‘em or not. He said the had some kinda new lens he’d invented.

WEST
(to Sheriff)
Did he tell you why he’d picked you for this trial offer?

SHERIFF
(nods)
‘Cause I was Sheriff and he always picked a leadin’ citizen of a town.

FRANK
(to West)
That fits.

WEST
(nods)
Go on, Sheriff.

SHERIFF
That’s it. He tested my eyes an’ fitted me with the specs and then left town.

WEST
How did he test your eyes, Sheriff?

SHERIFF
(shrugs)
He put drops in ‘em and had me read one of them charts.

FRANK
Is that all?

The Sheriff frowns, remembering something.

SHERIFF
Come to think of it, no, it weren’t. He had a kind of machine.

WEST
A machine?

SHERIFF
Like on of them ‘magic lanterns’ I seen in a penny arcade one time in Kansas City. Y’know, one o’ them boxes ya look in an’ crank a handle an’ you see pictures move?

WEST
A kinetoscope.

SHERIFF
Huh?

FRANK
That’s what they’re called.

SHERIFF
Oh … Well, anyway, this whatchacallit was just a little one he got outa his wagon and put on the desk.

FRANK
And what did you see when you looked into it/

SHERIFF
Nothin’ but a lot of dots an’ lines an’ circles and stuff like that.
(adds)
But all of ‘em goin’ by real fast-like.

WEST
Did Doctor Occularis say where he was going after he left Wolfville?

SHERIFF
(shakes his head)
No, but he asked me if I knew anybody in any of the towns ‘round here that might like to take him up on his offer – a major or a judge or a sheriff or anybody like that – and I give him Hiram’s name.

WEST
Who’s Hiram?

SHERIFF
Hiram Sneed… He’s my brother-in-law… Hiram’s mayor of San Pablo.

FRANK
San Pablo?

SHERIFF
Just this side of the border.

WEST
Did Occularis give any indication that he’d be going there when he left Wolfville?

SHERIFF
(shakes his head)
Just said he might look Hiram up if he got down that way.

FRANK
That could mean he won’t show up there for days or weeks. Or maybe not at all.

WEST
But we can’t take a chance. Frank, you get down to San Pablo while I ask around town to see if he headed in another direction.

FRANK
Right.
(going to door)
I’ll wait in San Pablo until I hear from you.

Frank exits. The Sheriff gets to his feet shakily.

SHERIFF
I better go see how Billy’s –

WEST
(cutting him off sharply)
Elmo!

SHERIFF
What?

WEST
Listen!

Now we HEAR it, too – the CAWING of the raven. It comes from the cell-block.

SHERIFF
Sounds like a bird.

WEST
It is a bird!

84. INT. CELL-BLOCK – RAVEN – DAY

imprisoned in the cell. The ANGLE WIDENS as West, followed by the Sheriff, enters from the office and sees the bird.

WEST
A raven!

SHERIFF
That’s the one Billy brought in last night. How d’ya reckon it got caught in there?

West is too busy with his own thoughts to answer.

SHERIFF (CONT’D)
Billy found it on the hitch rail outside. Said it acted like it was tame. Maybe it belongs to somebody.

WEST
(nods)
It does… To Doctor Horatio Occularis.

SHERIFF
Why would he lave it here?

WEST
He didn’t leave it. He sent it.

SHERIFF
Huh?

WEST
And I think he expected it to return to him after it had served its purpose.

SHERIFF
Ya mean it’s been trained like a – a homing pigeon?

WEST
(nods)
Exactly.

The ANGLE TIGHTENS on the raven in the cell, perched on the edge of a bunk, CAWING and flapping its wings.

CUT TO:

85. EXT. DESERT – A SERIES OF SHOTS - DAY

of the raven on the wing and of West riding like the wind, following the bird.

86. EXT. HILLTOP – WEST – DAY

as he rides to the crest of it and reins in, looking off into the distance.

87. LONG POV SHOT

on the raven settling down, behind some trees in a valley below.

88. WEST

as he urges his horse on, riding down the hill toward the trees.

CUT TO:

89. EXT. VALLEY – LONG SHOT – DAY

on West riding TOWARD CAMERA . He reins up in the f.g. and dismounts.

90. POV SHOT

on a well-dressed man squatting in front of a campfire. A delivery-type wagon stands nearby, but we can only see the rear of it from this angle.

91. TRAVEL SHOT

on West as he leaves his mount and moves cautiously and silently toward the man at the fire.

92. ANOTHER ANGLE

as West creeps up behind the man at the fire. The man is totally unaware of Jim until the latter grabs him and yanks him to his feet. The man emits a sharp GASP of surprise and fear then, suddenly, West’s toughness turns to dismay as he looks beyond the man in his grasp to the –

93. WAGON

– standing nearby. Now we can see the side of it and the large, fancy lettering which proclaims” “Doctor Jerome J. Jones – Chiropodist.”

94. WEST – JONES

as Jim continues to stare at the wagon, stunned. Jones starts sputtering indignantly.

JONES
Who are you? What’s the meaning of this? Unhand me, you – you ruffian!

West releases Jones, eyeing him narrowly.

WEST
You’re Jerome J. Jones?

Jones gestures at the wagon angrily.

JONES
You can read, can’t you? … And who, may I ask, are you? … And by what right do you sneak into my camp and manhandle me like this?

95. ANOTHER ANGLE

as West ignores Jones’ questions and moves slowly and suspiciously toward the wagon in the b.g. As he does, Jones’ eyes go to an –

96. AX

– with which he has cut firewood. It sticks in a log within reach.

97. JONES, WEST

as Jones picks up the ax and starts for Jim. West, half-suspecting something like this from Jones, whirls and ducks just as the latter swings the ax. West grabs Jones’ arm, turns the man around and uncorks a hard right that sends –

98. JONES

– staggering back against the side of the wagon. He hits it with such force that the side panel is jarred loose and falls off.

99. WEST

as he gapes at the wagon.

100. POV SHOT

on the wagon. The fancy lettering on the side of it now reads: “Doctor Horatio Occularis, Oculist – Eyes Tested – Glasses Fitted.”

101. WEST

as he goes around to the rear of the wagon and pulls open the doors, reacting with a big surprise to the sight of –

102. ROSA

– cowering in fear in the rear of the wagon. Rosa is a lovely young Mexican girl, but not too young to have all the right curves in all the right places. The ANGLE WIDENS to include West, recovering from his surprise.

WEST
Well, well, well!
(to Jones)
You’re just full of surprises, aren’t you?

Rosa climbs out of the wagon and drops to her knees in front of West.

ROSA
Please, Senor! … Please do not hurt me!

WEST
(to Makepiece)
Who is she?

Occularis shakes his head, looking genuinely puzzled.

OCCULARIS
I don't know.

ROSA
It is true, Senor! He does not know me and I do not know him. I hid in the wagon just to get a ride, Senor.

WEST
Where?

ROSA
Anywhere, Senor. It does not matter. I have had to leave my home because my family is so poor and there was not enough food for my little brothers and sisters if I stayed.

WEST
What’s your name?

ROSA
Rosa, Senor.

WEST
All right, Rosa, get up on the wagon. You can ride into Wolfville with us.

ROSA
Oh, gracias, Senor! … Gracias!

West turns to Occularis, unlocking the handcuffs.

WEST
Get the horses hitched up and let’s get going.

Occularis gets to his feet and he and West go after the horses for the wagon, West covering Occularis with his revolver.

CUT TO:

103. EXT. SAN PABLO – CANNON – DAY

It is of old Spanish vintage and is one of two standing in front of the City Hall. The ANGLE WIDENS to reveal the second gun. Both face toward the plaza. Now the CAMERA PANS around the plaza to reveal two more cannons, identical to the ones in front of the City Hall at other points in the plaza.

104. INT. SNEED’S OFFICE – SNEED – DAY

standing behind his desk, looking upset. Hiram Sneed is a fluttery, bird-like man who wears pince-nez perched halfway down his nose.

SNEED
Occularis, you say? … Doctor Horatio Occularis? … Oh my!

105. WIDER ANGLE

to include Frank standing across the desk from Sneed, eyeing the man curiously.

FRANK
Does the name mean anything to you, Mr. Sneed?

SNEED
Oh, dear, ye! Yes, it does, Mr. Harper. It does indeed!

FRANK
How?

Sneed starts looking for something on his cluttered desk.

SNEED
It was right here! … Oh, my! … What could I have done with it?

FRANK
With what?

SNEED
The letter… It was from Doctor Occularis… Now where could it be?

FRANK
What did it say?

SNEED
(continuing to search)
It came just yesterday… Here! … No! … No, that’s not it … Oh, dear, I know it’s here… Say? … It said he was going to be in San Pablo on the fifteenth –

FRANK
The fifteenth?

106. ANOTHER ANGLE

as Sneed goes to an equally cluttered table under a window and continues his search there. Frank follows him.

FRANK
That’s today!

SNEED
Today? … Oh, yes … Yes, of course it is … Oh, my! I get so provoked when I can’t find –
(breaks off)
Or did his letter say the sixteenth?

Frank’s attention has been drawn to something he sees out in the plaza.

FRANK
(flatly)
It said the fifteenth, Mr. Mayor.

SNEED
It did? … Are you sure?

FRANK
Positive.

Frank points out the window. Sneed looks.

SNEED
Oh, my!

107. EXT. PLAZA – PAN SHOT – DAY

on a delivery-type wagon, a twin of the one West caught up with in the desert. The lettering on the side reads “Doctor Horatio Occularis, Oculist – Eyes Treated – Glasses Fitted.” The driver is a distinguished, well-dressed man.

CUT TO:

108. EXT. WOLFVILLE JAIL OFFICE – ROSA – DAY

seated on Occularis-Jones’ wagon, waiting patiently.

109. INT. JAIL OFFICE – SHERIFF – DAY

behind his desk, bobbing his head up and down with stern conviction.

SHERIFF
This is the fella, Mr. West.

110. WIDER ANGLE

to include West and Occularis-Jones.

OCCULARIS
I’ve never seen this man before in my life!

SHERIFF
Ya callin’ me a liar?

OCCULARIS
If the shoe fits –

SHERIFF
(starts for him)
Why ya miserable little –

WEST
Hold it, Sheriff.
(to Occularis)
Let’s see if a few hours alone in a cell will refresh your memory, Doctor.

SHERIFF
(grabbing his arm)
Come on, you!

OCCULARIS
(wrenching free)
Oh, no you don’t!

And with that, a double-barreled derringer suddenly appears in Occularis-Jones’ hand. While Jim and the sheriff recover from their surprise, Occularis-Jones backs toward the door. West starts toward him, moving slowly, warily.

WEST
You’re making a mistake, Doctor.

OCCULARIS
You’re the one who’s making the mistake, Mr. West.

Occularis-Jones raises the derringer to fire at Jim.

111. EXT. JAIL OFFICE – ROSA – DAY

as the SOUND of a GUNSHOT is heard from inside the Jail Office, Rosa smiles with satisfaction.

112. INT. JAIL OFFICE – HEAD CLOSEUP – DAY

of Occularis-Jones, his face distorted with shock and pain.

113. WEST, SHERIFF

as they gape at Occularis-Jones, stunned.

114. WIDER ANGLE

as Occularis-Jones slumps to the floor, sprawling out – dead. West and the Sheriff rush to him, kneeling beside the body. West picks up the derringer and examines it grimly.

SHERIFF
(bewildered)
W-w-hat happened?

WEST
The gun was rigged to backfire.

SHERIFF
Backfire?… Why?

WEST
To make sure he wouldn’t be able to talk.
(beat)
I searched him before we started for town. He didn’t have this gun on him then.

SHERIFF
Then how did he –

WEST
Rosa! She slipped him the gun. He didn’t know it was fixed to backfire. He thought she was helping him.

West jumps to his feet and rushes to the street door.

115. EXT. JAIL OFFICE – WEST – DAY

as he comes out of the office and is pulled up short by the sight of –

116. WAGON

– standing there – deserted. Rosa is gone.

FADE OUT:

James: Thanks, Artie.
Artemus: "Thanks Artie"! Is that all you can say to me? I've just come back from the grave, risen like Lazarus, and that's what you say? "Thanks, Artie"?
James: Thanks, Artie.
Artemus: It's a pleasure.
- TNOT Pistoleros
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Posted - 11/08/2009 :  09:57:40  Show Profile
END OF ACT II

ACT III

FADE IN:

117. EXT. WOLFVILLE JAIL OFFICE – WEST, SHERIFF – DAY

Jim is mounted and ready to ride.

SHERIFF
That gal’s just gotta be around town somewhere, Mr. West.

WEST
Well, keep looking, Elmo, and if you find her, you know how to contact me in San Pablo.

West whirls his horse and goes GALLOPING off down the street.

CUT TO:

118. EXT. PLAZA – OCCULARIS II – DAY

as he climbs down from the boot and enters San Pablo City Hall.

119. INT. SNEED’S OFFICE – ON DOOR – DAY

as he HEARS a KNOCK on it,

FRANK’S VOICE
(sound for all the world like Sneed)
Come in, come in!

The door is pushed open and Occularis II enters, beaming.

OCCULARIS II
I have the honor of addressing Mayor Sneed, I presume.

120. FRANK

seated at the cluttered desk and made up to hauntingly resemble the bird-like Sneed.

FRANK
You do?... I mean—you do… Yes… My goodness, yes… I’m Mayor Sneed.

The ANGLE WIDENS as Occularis II, extending a hand.

OCCULARIS II
Doctor Occularis, sir. Doctor Horatio Occularis. I wrote you a letter from Laskerville a few days ago. I trust you received it.

FRANK
Oh, yes… yes… Yes, I certainly did.

OCCULARIS II
Excellent! Then you know the purpose of my visit.

FRANK
You want to give me a new pair of glasses, your letter said.

OCCULARIS II
Exactly, Your Honor. And without charge or obligation… All I ask is that you try them for 30 days and then drop me a line telling me frankly and honestly what you think of them—a letter which you will permit to use as a testimonial when I make my new lens available on the open market.
(beat)
Is that agreeable to you?

FRANK
Oh, yes… Yes, indeed… As a matter of fact, I’ve been needing new glasses. The ones I have—
(breaks off, searching his desk)
Let’s see… They’re here somewhere… That’s strange… I’m sure I put them—

OCCULARIS II
You have them on, Your Honor.

FRANK
What?
(sees them)
Oh!... Oh, dear!... So I do!
(giggles)
Apparently I need new glasses even more than I thought.

Occularis II chuckles appreciatively.

OCCULARIS II
Now if you’ll give me just a moment, Mr. Mayor, I’ll get the equipment I need for the examination.

Occularis II goes to the door, pulling open.

FRANK
Doctor –

Occularis II turns back.

FRANK (CONT’D)
It won’t hurt, will it?

OCCULARIS II
The examination?
(chuckles)
My dear sir, you won’t know that anything is happening.

FRANK
How nice!

121. EXT. DESERT COUNTRY – RIDEBY – DAY

of West, really pushing his mount to the limit.

CUT TO:

122. INT. SNEED’S OFFICE – TIGHT SHOT – DAY

on Frank’s eyes as Occularis II’s hand ENTERS SHOT, putting drops in one eye, then the other.

123. WIDER ANGLE

to reveal Frank seated in a portable examination chair.

OCCULARIS II
There we are… Now, if you’ll just step over to your desk, sir.

124. ANOTHER ANGLE

as Frank and Occularis II go to the desk on which a small, portable –

125. KINETOSCOPE

– is sitting. The ANGLE WIDENS as Frank sits down in front of the machine.

OCCULARIS II
Now just look into the kinetoscope and turn the handle as rapidly as you can.

Frank does.

FRANK
Like this?

OCCULARIS II
That’s right.

FRANK
Oh, my!... Oh, dear!

OCCULARIS II
Faster, Your Honor… Faster… Fine… Excellent.

FRANK
Good my all! How interesting!

126. INSERT – KINETOSCOPE FILM

as fast-moving montage of lines, dots, circles, geometric figures, giving an impression which we might call “psychedelic” these days.

FRANK’S VOICE
Lovely!... Lovely!

127. BACK TO SCENE

as Occularis II watches Frank benignly for a moment, then:

OCCULARIS II
You may stop now, Your Honor.

But Frank continues to turn the crank and look into the kinetoscope.

OCCULARIS II (CONT’D)
Your Honor –

Frank pays no attention.

OCCULARIS II (CONT’D)
Mr. Mayor!

Frank still cranks and looks into the machine. Occularis II finally has to pull his hand from the crank.

OCCULARIS II (CONT’D)
Frank looks up from the kinetoscope. There’s a glassy look to his eyes.

OCCULARIS II (CONT’D)
(snaps his fingers)
Mr. Mayor.

Frank snaps out of it, blinking his eyes.

FRANK
What?

OCCULARIS II
You may stop now.

FRANK
Oh.

OCCULARIS II
Now about your glasses, Your Honor. The ones you are wearing will do for every day use.

FRANK
(puzzled)
They will?

OCCULARIS II
However –

Occularis II breaks off, taking a pair of glasses from a small satchel. The new glasses are, of course, the heavy-rimmed, thick and tinted lens spectacles we have become acquainted with.

OCCULARIS II (CONT’D)
(continuing)
– there may be an occasion when you will find use for this pair.

He reaches over and slips the glasses into Frank’s breast pocket.

FRANK
I don't know how to thank you, Doctor. I really don’t.

OCCULARIS II
Oh, you’ll find a way Mr. Mayor. I know you will.

CUT TO:

128. EXT. PLAZA = PAN SHOT – NIGHT

on West as he emerges from the City Hall and crosses to the San Pablo Hotel.

129. INT. HOTEL ROOM – FRANK – NIGHT

seated at a table, removing his make up. There’s a KNOCK on the door.

WEST’S VOICE
Frank?

Frank gets up, surprised, and goes to the door, unlocking it to admit West.
FRANK
Jim?

WEST
I just saw Mayor Sneed.

FRANK
Did he tell you that I had a visit from Occularis?

WEST
You had a visit from a Doctor Occularis, Frank. The one who “conditioned” Sheriff Stone is dead.

FRANK
Dead? .. You mean there’s more than one of these guys?

WEST
Probably several. Maybe we can find out just how many after we’ve talked to your Doctor Occularis.

FRANK
Well, now that’ll be a little hard to do… He’s left.

WEST
(gapes)
Left?! … You mean you didn’t arrest him?

FRANK
(equally puzzled)
Why should I? he didn’t do anything unlawful.

West stares at Frank incredulously as the latter strips off his coat and turns to a large wardrobe. He pulls the doors open.

WEST
Frank, we have to find him and –

West breaks off, staring at a stuffed –

130. RAVEN

– which sits on a shelf in the wardrobe, wings outspread as though in flight.

131. FRANK

as he turns back to West. He’s not only wearing the glasses Occularis gave him, but he has a revolver in his hand. His eyes have that vacant, sleepwalker look with which we have become familiar.

132. WIDER ANGLE

to includes West, stunned.

WEST

Frank!

133. WEST – FRANK’S POV

Jim takes on constantly changing forms which make him appear to Frank to be some sort of distorted and disembodied specter of evil floating around in front of his eyes.

FRANK’S VOICE
(only it is Hiram Sneed’s voice now)
I am going to kill you, Mr. West.

WEST’S VOICE
Frank, put that gun down!

FRANK’S VOICE
Who – is Frank? Why do you call me that? My name is Sneed! Hiram Sneed!

134. WEST

as he reacts to this, realizing the significance of it.

WEST
(placatingly)
That’s right. You are. And Doctor Occularis told you to kill me, didn’t he?

West, noticing the full-length mirror, has an idea. He starts moving around the room in wide circles to get to the mirror. Frank, his back to the mirror, turns with Jim, keeping the revolver leveled at him.

FRANK
Doctor Occularis?

WEST
And how about Frank Harper? Were you told to kill him if he showed up in San Pablo?

135. WEST – FRANK’S POV

Jim looks more evil than ever now.

FRANK’S VOICE
Frank Harper? … Yes… Oh, my, yes… Kill him, too.

136. WEST, FRANK

as West continues to circle slowly toward the mirror.

FRANK
(angrily)
Stand still, Mr. West!

WEST
(stalling as he continues to move)
All right, Mr. Mayor … All right
(he’s in front of the mirror)
– I’ll stand still.

Frank aims the gun at Jim.

WEST (CONT’D)
(pointing to the mirror)
Sneed, look! … Look, there’s Frank Harper! … You can get us both!

Frank whirls toward the mirror.

137. MIRROR – FRANK’S POV

He sees his own reflection and he looks as menacing and evil as West does. He starts to FIRE, emptying the revolver into the mirror, completely SHATTERING the glass.

138. WEST, FRANK

as West rushes him, twisting the revolver out of hand. Frank looks at him, vacant-eyed, then takes off the glasses and raises his arm to throw them to the floor. West, however, snatches them from Frank’s hand before he had [[i[sic[/i]] break them. Frank then sways dizzily and slumps to the floor unconscious. The ANGLE TIGHTENS on Jim as he stares at the glasses in his hands, troubled.

CUT TO:

139. INT. HOTEL ROOM – RAVEN – DAY

It’s the stuffed one from the wardrobe and it is perched on a table in front of a window with the sun streaming on it.

140. WIDER ANGLE

to include West and Frank. The latter is sitting up in bed. He looks as if he’s suffering from a hangover – which, in a way, he is. West is gazing moodily at the stuffed raven.

WEST
How are you feeling?

FRANK
Better.
(adds ruefully)
Until I remember how close I came to killing you last night.
(grimly)
I still don’t understand how Occularis was able to get control of me like that without my being aware of it.

West picks up the glasses from a table and puts them on.

141. FRANK – WEST’S POV

although he looks distorted by the thick lenses, there’s nothing evil or threatening about him.

WEST’S VOICE
Well, we know the glasses are only a part of it.

142. BACK TO SCENE

as West removes the glasses, inspecting them.

FRANK
And the drops in the eyes and the kinetoscope are the rest of it.
(looks at the stuffed raven)
With the appearance of the ravens to trigger the desired reaction from the person who’s being conditioned.

WEST
There’s a brilliant mind behind this scheme, Frank, and it isn’t these eye doctors named Occularis who’re traveling around the country. They’re just the –

West breaks off, surprised by something he has seen through the window.

FRANK
What’s the matter, Jim?

143. POV SHOT – THRU WINDOW

To Rosa crossing the plaza below, heading for the San Pablo Saloon.

WEST
Rosa!

144. BACK TO SCENE

as West whirls and bolts out of the room.

FRANK
Jim!

Frank starts to get out of bed, but is stopped by his throbbing head, which he grabs with a grimace of pain.

FRANK (CONT’D)
Oh, brother!

He sags back on the pillows.

145. EXT. PLAZA – PAN SHOT – DAY

on West running across it to the saloon.

146. INT. SALOON – WEST – DAY

as he pushes through the batwings and pauses, looking around.

147. POV SHOT

on the saloon. Rosa isn’t among the customers. At least, not those we can see. However, one side of the room is lined with booths which can be curtained off. One is.

148. WEST

puzzled, wondering where Rosa could be. Then he finds out. He HEARS her laughter coming from the curtained booth.

149. ANOTHER ANGLE

as West strides to the booth and jerks the curtain back. Rosa is drinking beer with a Trail Hand. Seeing Jim, she beams.

ROSA
Senor West!
(squeals with delight)
Oh, Senor, I am so happy I found you!

WEST
I didn’t know I was lost. Thanks for telling me.

Rosa loves it, loves it.

ROSA
Oh, Senor, you say the funniest things!

WEST
(to Trail Hand)
I’d like to speak to the lady lone, if you’ll excuse us.

The Trail Hand looks as if he’s going to put up an argument until he sees West’s hand resting casually on the butt of his revolver.

ROSA
(sternly to the Trail Hand)
You heard him… Go! … Go, go, go!

The Trail Hand does. Rosa, patting the seat beside her, smiles at West.

ROSA (CONT’D)
Senor –

West sits down, but not as close to her as Rosa wanted, so she snuggles closer.

ROSA (CONT’D)
You want to buy me a drink, eh?

WEST
No.

ROSA
(pouting)
You are angry because I did not wait for you in Wolfville.

WEST
That’s right.

ROSA
I am sorry, querido mio, but I can explain.

WEST
You don’t have to explain.

ROSA
(happily)
Senor, you are the nicest man I –

WEST
I know why you left.

Rosa is all wide-eyed innocence.

ROSA
You do?

WEST
You didn’t want to explain about the trick gun you slipped Doctor Occularis.

ROSA
Trick gun? … Doctor Occularis? … What are you talking about?

WEST
Murder.

ROSA
(scandalized)
Murder?
(gasps)
Me?!

WEST
You.
(takes her arm)
Come on.

ROSA
You are arresting me?

WEST
I’m not asking you for a dance.

ROSA
Querido mio, you are making a horrible mistake.

150. TIGHT SHOT

on the wall of the booth directly behind Jim as a long needle suddenly starts to protrude on a level with the back of his neck.

ROSA’S VOICE
I have never hurt anyone in my life!

151. WEST, ROSA

as the girl’s hands start for West’s face caressingly. To avoid them, Jim jerks his head back and is stuck by the needle. He emits a little gasp and a hand goes to the back of his neck. He looks around but the needle is gone, having snapped back into the wall. West looks at Rosa angrily, suspecting what has happened to him.

WEST
A Rose complete with thorns, eh?

Rosa smiles. Already the dope on the needle is having an effect on Jim. He bats his eyes and shakes his head.

152. POV SHOT

on Rosa. Her face begins to swim in front of West’s eyes. Her smile slowly builds into a laugh.

153. WEST, ROSA

as West struggles to get out of the booth, but he can’t make it. His head begins to roll around on his shoulders and finally sinks to the table. He’s out cold.

FREEZE FRAME

END ACT III

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
8377 Posts

Posted - 11/08/2009 :  09:58:26  Show Profile



ACT IV

FADE IN:

154. INSERT – KINETOSCOPE FILM

of racing dots and lines and geometric figures – the same effect we had when Frank looked into Occularis II’s kinetoscope.

CUT TO:

155. INT. CONFERENCE ROOM – CLOSE SHOT – DAY

on West, his head down on a table, slowly regaining consciousness. His eyes open and he bats them a few times, then raises his head. He’s clearly suffering the “hangover” from the drug. He focuses on a portable kinetoscope on the table in front of him, then the ANGLE WIDENS into a –

156. FULL SHOT

of the room. West is seated at a long, long conference table. The room is constructed of heavy stone block. It is vaulted and labyrinthine. It is windowless and appears to be without doors. At one end of the conference table is a huge, high-backed chair. It’s elaborate, almost throne-like. The wall behind the chair is completely covered with heavy drapes that reach from floor to ceiling. They are red with a huge, black raven on them.


157. TIGHTER ANGLE

on West as he slowly gets to his feet, supporting himself by holding onto the table for a moment before he begins a turn of the room, walking on legs that have the disturbing tendency to be rubbery. He starts toward the drapes, but is stopped by the –

158. CURTAINS

opening slowly and finally revealing what would seem to be the stage-set for a cozy, book-lined library of a private home. There’s another high-backed chair in the center of the “set.” It’s identical to the one at the conference table. However, this chair is occupied – although all we can see of the person in it is a shadow, the silhouette of what appears to be a very small man with a large, bulbous head. We catch a glimpse of a tiny hand holding a long cigarette holder. He is, as we shall learn, TYCHO.

159. WEST

as he focuses on the “set” groggily, looking as if he’s a man caught up in some dream-like unreality. He makes a move toward the dais, but is again stopped, this time by the –

160. WALL

– behind him sliding open and three men in surgical gowns, caps and masks entering the room. The outfits of two of the men are gray in color, while that of the third is a bright orange.

The ANGLE WIDENS to include West as the wall slides shut and the man in orange (Professor THADDEUS TOOMBS) moves to the table. He sits down at the end opposite the high-backed chair. The two men in gray remain just inside the door. The ANGLE TIGHTENS on –

161. TOOMBS

– as he removes his surgical mask. He’s a benign and scholarly-looking man of middle age.

TOOMBS
Permit me to introduce myself, Mr. West. I am Professor Thaddeus Toombs.

The ANGLE WIDENS as West moves to the table groggily.

TOOMBS (CONT’D)
Sit down, Mr. West.

West continues to stand.

TOOMBS (CONT’D)
(shrugs)
Suit yourself.
(studies Jim smilingly for a moment.=)
It may interest you to know that you are the first outsider ever to visit the headquarters of Raven.

West is still too punchy to react.

162 TOOMBS – WEST’S POV

The man’s face tends to move in and out of focus and now and again his voice becomes distorted, almost unintelligible.

TOOMBS
Raven, Mr. West, is an organization composed of a number of scientists like myself, men who possess learning and talents undreamed of by – well, by lesser mortals, shall we say.

163. HEAD CLOSE-UP

of West, trying to fight through the fog surrounding his mind.

TOOMBS’ VOICE
(distorted)
Men who have dedicated themselves to freeing the world from the ignorant masses and their vain and small-minded leaders.

The ANGLE WIDENS slowly to include Toombs. His voice clears.

TOOMBS
We feel it has become too complex to be left to happenstance any longer. We shall, when we come to power, rule the earth and its inhabitants scientifically.
(smiles)
We call our organization Raven out of our admiration for that misunderstood and much maligned bird.

West sways woozily.

TOOMBS (CONT’D)
I do wish you would make yourself comfortable, Mr. West.

Jim, however, merely steels himself. Again, Toombs shrugs.

164. TOOMBS – WEST’S POV

as the Professor gets to his feet.

TOOMBS
I will not detain you any longer, Mr. West. You have been brought here for one purpose – to carry a message to President Grant.

165. BACK TO SCENE

as Toombs’ voice grows cold and menacing.

TOOMBS
We have proved what we can do with men like Mayor Pudney, Professor Winkler, Ethan Forbes and Sheriff Stone. They no longer interest. Now Raven is ready to reach into the highest councils of government – of both the United States and Mexico – and ‘conditions’ men to do our bidding.
(beat)
Mr. West, you will tell President Grant there is no defense against Raven. Tell him we demand Unconditional Surrender.

Though groggy, West has listened with growing indignation. Now, suddenly, he lunges at Toombs. As he does, the two men in gray leave their posts and pounce on him.

166. A SERIES OF SHOTS

of the ensuing fight, which Toombs watches with amused detachment. Jim mixes it up pretty well with the two gray-clads—considering his condition. He decks both of them a couple of times before the exertion proves too much for him – and he sinks into a chair at the conference table, puts his head down and goes back to sleep.

CUT TO:

167. INT. SALOON – CLOSE SHOT – NIGHT

on West with his head down on the table in the booth.

FRANK’S VOICE
Jim! … Jim, wake up!

West’s eyes flutter open.

168. WIDER ANGLE

to include Frank seated in the booth with West. Jim raises his head woozily.

WEST
Frank?

FRANK
Jim, what happened to you?

West touches the back of his neck.

WEST
I was sitting here with Rosa and something jabbed me in the back of the neck. Must’ve been a needle with a drug on it. It knocked me out and I had a dream.

FRANK
A dream?

WEST
(recalling it)
I was in a large, stone room … There was a man with a large head sitting on some sort of stage… Then three other men came in… They were dressed like doctors who were going to operate … only they weren’t doctors… One said his name was Toombs.

FRANK
Toombs?

WEST
(nods)
Professor Thaddeus Toombs… He talked about an organization called Raven… He told me to tell Grant it was going to take over the world… No use fighting it… Might as well surrender… Then –

West breaks off, trying to recall more of the “dream.”

FRANK
Go on.

WEST
(shakes his head)
That’s all I can remember except there was a fight and –

Jim breaks off again, then shrugs.

WEST (CONT’D)
That’s it. Then you woke me up.

FRANK
Sounds pretty wild.

West nods.

FRANK (CONT’D)
This ‘Raven’ thing is enough to give anybody nightmares.

WEST
Yeah.
(beat)
Well, we’d better be on our way to Nogales to meet Juarez.

The two start to leave the booth. As they do, West notices something about his right hand that pulls him up short.

WEST (CONT’D)
Frank!

FRANK
What?

WEST
My hand!

FRANK
What about it?

169. TIGHT SHOT

on West’s hand. The knuckles are skinned.

WEST’S VOICE
My knuckles are skinned.

170. WEST, FRANK

as the latter examines Jim’s hand.

FRANK
You’ve been in a fight since the last time I saw you, Jim.

West and Frank look at one another as they absorb the implications of Jim’s skinned knuckles.

WEST
Frank – that “dream” I had wasn’t a dream. I was in a fight.

FRANK
How could you have been?

WEST
I don't know. But I was.
(beat)
I was in that stone room. saw the man with the large head. I talked to somebody named Toombs. There is an organization called Raven.

FRANK
But it doesn’t make sense. If it wasn’t a dream, then you were taken somewhere. I don’t see how, but you were.

WEST
And then brought back here.

FRANK
Why? … Why would anybody go to all that trouble?

WEST
Toombs said it was to give me a message for Grant.

FRANK
There had to be more to it than that.

The blood drains from West’s face as he remembers something.

WEST
There was, Frank. I just remembered something else – seeing the same sort of dots and lines and geometric figures.
(beat)
And there was a kinetoscope right in front of me when I came to in that room.

FRANK
And you think it was used on you while you were unconscious.

WEST
It must’ve been.
(beat)
Frank, Raven has ‘conditioned’ me just as it did you and all the others.

FRANK
‘Conditioned’ to do what?

WEST
(shakes his head)
I don't know. And I don't know when. But I’m sure of this – I’ve been turned into a walking “time-bomb,” ready to explode when it’ll do Raven the most good.

The two stare at one another in horror for a moment. Then:

FRANK
Well, what’re we going to do about it?

WEST
There’s nothing we can do right now. We have to be in Nogales to meet Juarez in the morning.

FRANK
Look, Jim. Raven had to get you from here to that stone room somehow, so why don’t you have a look around the saloon while I get our gear from the hotel?

WEST
All right.

171. ANOTHER ANGLE

as Jim and Frank exit the booth. Frank hurries toward the bat-wing doors as West moves toward the bar.

172. EXT. PLAZA – WIDE ANGLE – NIGHT

shooting past the two artillery pieces in front of the San Pablo City Hall as Frank comes out of the saloon and starts for the hotel.

173. TIGHTER ANGLE

on one of the two guns as it slowly starts to move and elevate so that it is tracking Frank.

174. EXT. PLAZA – WIDE ANGLE – NIGHT again duplication of entries

featuring the war memorial as Frank comes out of the saloon and starts for the hotel.

175. TIGHTER ANGLE

on the war memorial as the base on which the four artillery pieces are anchored slowly starts to move so that one of the guns is tracking Frank.

176. FRANK

He doesn’t notice the moving artillery pieces moving until the –

177. GUN

– fires at him and –

178. FRANK

– is thrown to the ground by the concussion as the shell blasts a large crater in the street.

179. INT. SALOON – WEST, OTHERS – NIGHT

as the EXPLOSION outside OVERLAPS. West rushes to the batwings.

180. EXT. PLAZA – FRANK – NIGHT

lying in the street, stunned, as the second –

181. GUN

– swivels around, aiming at him.

182. WEST

as he sees Frank. He races toward him.

183. ANOTHER ANGLE

West reaches Frank, kneeling beside him just as the second –

184. GUN

– fires at them.

185 WEST, FRANK

as another crater is blasted in the street. Flying debris hits West. He, too, is stunned and sprawls out on the ground next to Frank.

186. ANOTHER ANGLE

looking down the barrel of the third artillery piece as the platform moves around to bring it to bear on West and Frank, lying helpless in the street.

FREEZE FRAME:

TAG

(NOTE: The Tag will consist of a series of cuts “previewing” Part II.)

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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