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California gal
SS senior field agent

USA
8383 Posts

Posted - 11/22/2009 :  09:29:19  Show Profile
CBS-TV
GARRISON PRODUCTIONS






THE WILD WILD WEST

“The Night of the Legion of Death”

[Originally entitled “The Night of the Black Legion”]





#0368
FINAL DRAFT
September 20, 1967





THE WILD WILD WEST

“The Night of the Black Legion”


PRODUCER
BRUCE LANSBURY

ASSOCIATE PRODUCER
LEONARD KATZMAN

STORY CONSULTANT
HENRY SHARP

WRITTEN BY:
ROBERT C. DENNIS and EARL BARRET

SETS:

EXT. PRISON COURTYARD
EXT. DECREPIT BUILDING
INT. ATTIC
EXT. GALLOWS
EXT. SECOND STORY – ABANDONED BUILDING
EXT. FIRST STORY – ABANDONED BUILDING
EXT. ALLEY
EXT. STREET
INT. GAZEBO
INT. TUNNEL
INT. GOVERNOR’S OFFICE
EXT. GOVERNOR’S MANSION
EXT. FRONT LAWN
INT. MORGUE
INT. MORGUE OFFICE
INT. FLATBED CARRIAGE WAGON
EXT. KITTREDGE HOUSE
INT. CAROLINE KITTREDGE’S ROOM
INT. MONTGOMERY’S OFFICE
INT. COURTROOM
INT. AUDITORIUM BUILDING
EXT. WIDOW’S WALK
EXT. PRIVATE CAR
EXT. SIDING
INT. PRIVATE CAR

CAST:

JAMES WEST – ROBERT CONRAD
ARTEMUS GORDON – ROSS MARTIN
GOVERNOR WINSTON BRUBAKER
MONTGOMERY
AARON ADDISON
HENRIETTE FAURE
CAPTAIN DANSBY
CAROLINE KITTREDGE
SERGEANT
CORPORAL
ATTENDANT
PROSECUTOR
JUDGE
REEVES
FOREMAN

SILENT:

TROOPERS
GUARD

FADE IN:

1. OMIT

2. EXT. PRISON COURTYARD – DAY

CAMERA plays over the gallows set up in the courtyard, and picks out a decorative element rising above the gibbet on a long standard—of a ***** of lightning bordered by a cut-out frame of olive leaves. (see Fig. 37) This is the graphic symbol of the dictatorship that we will see so much of in the script to come. (The symbol should be repeated and used at every opportunity, just as the swastika was, and for the same carefully calculated hypnotic effect.)

3. STILL ANOTHER ANGLE

No sooner does the CAMERA PICK UP the blindfolded figure standing on the trapdoor with the rope around his neck (attended to by a jack-booted executioner) then the trapdoor is tripped and the figure plunges out of sight…

… but as the CAMERA MOVES TO show the underside of the gallows, we see that the swaying figure at the end of the rope is a dummy, and we are witnessing the standard last minute dry-run execution.

4. OMIT

5. EXT. DECREPIT BUILDING – DAY

Long abandoned, obviously, a near ruin; CAMERA moves over the sagged front door, the windows with glass panes cracked, gray and opaque from disuse…

… then MOVES UP to the equally cracked and gray attic window panes, from which we see a pair of binoculars unobtrusively protruding.

6. INT. ATTIC – AT WINDOW

The man behind the binoculars, we see is WEST. He takes the glasses from his eyes, lost in thought, then moves off to one of the many posts supporting the ruined roof partially opened to the sky—manipulates the post, and a panel flips down revealing the post is hollow…

… and to contain an impressive sniper’s rifle, complete with telescopic sight,* which he removes.

****************
*An opportunity to take some designer’s license here, since optical sights actually were not used at this time.
****************

7. ANOTHER ANGLE – AT WINDOW

West settles himself at the window, busies himself making adjustments to the rifle sights as he aims it out the window.

8. EXT. PRISON COURTYARD – DAY

A huge door is flung open and a half dozen black-shirted trooper march out by twos, their boots cracking in the cobbled yard. Sandwich between two columns is a GRAY-HAIRED, SCHOLARLY-LOOKING, SAD-EYED OLD MAN – (his name is AARON ADDISON) accompanied by a WARDEN. CAMERA PANS with the parade to show their destination: the gallows.

9. INT. ATTICK – AT WINDOW – DAY

West, peering through the rifle sights, tenses.

10. EXT. GALLOWS – DAY

Addison has mounted to the platform, the executioner loosely encircles his neck with the hangman’s noose, then the Warden steps up to Addison:

WARDEN
Aaron Addison – do you have anything to say before your sentence is carried out?

A beat, then Addison bursts out with:

ADDISON
Only this—I am innocent! It’s true I was sent into this territory to spy—but I didn’t kill anyone! I did not kill anyone!

VOICE
Make me believe that, Addison.

The voice is unbelievably HARSH AND GRATING on the ear – not as part of the moment, but constitutionally, without effort on the part of the voice’s owner, who we now see as CAMERA ANGLES to show:

11. ANOTHER ANGLE – ON GALLOWS PLATFORM

seated nearby, up to this point unnoticed, angle now includes a man whose appearance matches his voice; he is DEKE MONTGOMERY, an extraordinarily unprepossessing man—very much at his ease as he stares at Addison with hooded eyes.

ADDISON
But—how?

MONTGOMERY
Tell me the name of the one who sent you here.

Addison shakes his head, the picture of a tormented, indecisive man, then, as if his last reservation has been swept away:

ADDISON
All right, I’ll tell you everything! The name of the man is…

12. CLOSE SHOT – WEST

he FIRES.

13. BACK TO ADDISON

as his body recoils under the bullet’s impact, then, slipping out of the loosely encircling noose, Addison plunges inertly to the floor of the platform.

14. BACK TO WEST

as he gets up briskly, replaces the rifle in the phony post, starts to go to the door, then reacts at the SOUND OF MANY BOOTED FEED POUNDING up the stairs. West whirls, goes to the window and peers out, then flings himself back as a COUPLE OF RIFLE SHOTS from below shatter what remains of the window panes.

15. ANOTHER ANGLE

as West backs away, looking tensely for a way out, the one door leading into the room shudders under the impact of rifle butts SLAMMING against it, then, as panels SPLINTER and the door starts to disintegrate against the overwhelming force being directed against it,

FADE OUT:

END OF TEASER

ACT ONE

16. INT. ATTIC – DAY

CLOSE – ON WEST, as he extracts a flat canister from an inside pocket, twists the cap, then, in one sweeping, compass-like motion, lays down a circular furrow of gray powder, completely surrounding him—then recoils like a turtle into his shell…

… and in an instant we see why as the circular deposit bursts into flame with a WHOOSH—a fierce, thermite-like flash that instantly becomes ROARING hoop of fire completely surrounding West.

17. CLOSE ON DOOR

enough panels have disintegrated under the rifle butts to show the several TROOPERS milling behind the door, then the last resistance of the door vanishes and the structure literally disintegrates before our eyes…

18. BACK TO WEST

then, just before a VOLLEY OF RIFLE FIRE SLAMS into the spot where West is huddling, the floor burns clear through and drops out from under his feet, with West following after…

19. EXT. SECOND STORY OF ABANDONED BUILDING – DAY

… as West plunges to the floor from the attic above, then, as he lands, the rotted floor collapses beneath him, and West continues his flight, plunges through this floor, too…

20. EXT. FIRST FLOOR – ABANDONED BUILDING – DAY

… and lands hard, but intact, on the ground floor. West bounces to his feet to find THREE HARD-EYED, JACK-BOOTED TROOPERS in black shirts facing him, rocked at his precipitous appearance.

21. ANOTHER ANGLE

West is the first to recover from the surprise, splits the defense with a lunge. He decks #1 with a haymaker right, but #2 jolts West in the interval, prevents West from leaving. West SLAMS in a couple of punches that cave in Trooper #2. Trooper #3 raises his gun butt high, starts to SMASH
West’s skull, but at the last second West ducks and wheels so that the gun comes down on nothing. West karates #3 on the back of the neck—and takes off. A second later he vanishes into an alley. Trooper #2 recovers sufficiently to fumble a whistle from his shirt pocket.

22. EXT. ALLEY – DAY

SOUND OF WHISTLE SHRILLS OVER as West races along the alley. Behind him a Trooper springs out of a doorway, aims his sidearm and FIRES. West careens around a right-angled turn and is out of SCENE.

23. ANOTHER ANGLE

A platoon of Troopers, heavily armed, swings around a corner, racing along in close formation.

24. EXT. STREET – DAY

As another detachment of Mounted Troopers trot along street and into the main square. At their head is CAPTAIN DANSBURY, lean, handsome, and deadly. One eye is covered by a patch, black naturally.

25. EXT. STREET AREA – DAY

The detachment pulls up at a hand signal from Dansby. He turns to his Sergeant.

DANSBY
Sergeant, deploy the men around the area. Stop everybody. In case of doubt, shoot.

The Sergeant flips a hand up in salute as he scurries away, one element in a scene of frenzied, deadly activity.

26. EXT. PARK – DAY

This borders one side of the square. West comes cautiously through the shrubs lining the narrow path. As he nears the perimeter of the park a Trooper in the square rides across his route. West is barely screened by the shrubs. He turns back, looking for another way out. From all around him comes the SHOUTED COMMANDS of the Troopers as they take up positions. West’s indecisive progress indicates he’s being hemmed in.

27. ANOTHER ANGLE

West comes up to a gazebo, reached by several steps. It is not open to the public but is used by the park caretaker to raise plants and shrubs for later transplanting outside. The open walls are effectively screened from view by a thick growth of ivy; West runs up the stairs, flips open the door…

28. INT. GAZEBO – DAY

… and a LOVELY WOMAN, her arms full of cut flowers turns around to face West, her eyes clear and completely without fear.

WEST
Sorry; am I trespassing?

HENRIETTE
I think that depends on who you are—and what you want.

WEST
Sorry… I’m not used to finding someone so pretty in a garden house… no, better forget I said that…

HENRIETTE
Really? I thought it was a rather pretty compliment.

WEST
(with assumed bitterness)
It was my last one—and you may quote me.

HENRIETTE
(looking at him keenly)
Ah—there’s a lady in the wings, isn’t there?

WEST
(heavily)
There was;
(with measured anger)
-- or I should say, a lady’s husband I never even knew existed…

He stops, reacting grimly as the SOUNDS of HORSES, RUNNING TROOPERS and SHOUTED COMMANDS GROW LOUDER.

WEST (CONT'D)
… and a very important husband, by the sounds outside.

Henriette goes to the door, peers out, then closes—and locks it.

HENRIETTE
No, I think I can tell you definitely those are not outraged husband’s noises.

WEST
I can’t tell you how relieved I am to hear that. For a while I thought he had sic’d all those wooden soldiers in the black shirts on me.

Henriette stares narrowly at West, then:

HENRIETTE
You don't know about the Militia? You must be new to the Territory.

WEST
(nodding)
Passing through. What are they—Governor Brubaker’s private army?

HENRIETTE
(stiffly)
The Militia is more than that; they’re quite useful in controlling the Indians and maintaining law and order.
(a twinkle)
I don't think their duties include helping angry husbands who are…

She stops as a heavy boot slams against the door and an impatient hand rattles the knob. Henriette moves quickly to West, who is reacting alertly, directs him to hide behind the door. As soon as West is concealed she unlocks it. A Trooper stands there.

HENRIETTE (CONT'D)
Yes, Corporal?

CORPORAL
(flustered)
Oh—Sorry, Miss Faure, but there’s a killer on the loose. We got orders to look everywhere.

HENRIETTE
And you think he’s hiding in here?

CORPORAL
(appalled at the idea)
Oh, not, but he’s dangerous, and –
(steps back and salutes)
Don’t you worry none, I’ll be on duty right out here until he’s caught.


HENRIETTE
(quickly)
There’s no need for that, Corporal…

She pastes on a smile and closes the door. As she turns, West steps out.

WEST
I’m impressed; you must be very important.

HENRIETTE
(shrugging this away)
Would it restore your faith in women if I showed you a way out?

WEST
Is there a way out?

Henriette’s answer is delayed as she goes to one of the wall uprights, presses what had seemed to be just a decorative stud, and West reacts alertly to see a trapdoor rising up before him, accompanied by a MUFFLED HISS, while a retracting staircase (just a small portion of which is shown) rises up into place from below. West peers down into the opening:

WEST
(nodding, impressed)
I like it; no garden house should be without one.
(a beat)
Where does it lead?

HENRIETTE
To a service exit in the back of the Governor’s mansion.

West peers into the dimly lighted depths of the cavern-like opening, then, as he turns around again, he reacts slightly to find that Henriette is now looking narrowly at him.

HENRIETTE (CONT'D)
The thought just occurred to me; maybe the Militia is searching for you.

West smiles lightly at her, and walks easily toward her, bends over and puts his lips to hers in a nicely sustained kiss. As West finally separates:

WEST
Thank you; you’ve been very kind.

HENRIETTE
(a beat—huskily)
Don’t—mention it.

West turns and steps into the opening. HOLD on Henriette, her expression, a curious blend of outrage struggling with the hint of a pleased smile hovering about her lips…

29. INT. TUNNEL – DAY

decorative little wall sconces illuminate the tunnel roughly hewn out of rock as West negotiates its twists and turns…

30. ANOTHER ANGLE

… rounds a corner and comes to a door. West cautiously turns the knob, opens the door slightly…

31. POV

framed by the doorway, we see the backyard of a mansion; and as we watch, a TROOPER comes into view, obviously on patrol, his eyes on the alert—but fortunately unaware of the opened door.

32. BACK TO WEST

hastily closing the door, then listening hard at it for any indication that the Trooper is approaching…

33. ANOTHER ANGLE

satisfied that he was not detected, West turns away, frustrated for the moment, then his eye is caught by something…

34. HIS POV – THE TUNNEL FLOOR

An earthen floor, but made more elegant by a plush red carpet in the middle, running the full length. West’s eye is caught by (and we HOLD ON) a particular area of the ground lying between the carpet runner—and the rough-hewn rocky wall…

… and we see that the area is marked by innumerable imprints of a woman’s high heel—as if, for good and sufficient reasons, a woman has halted in this particular spot many times before.

35. ANOTHER ANGLE

showing West’s exploratory, foot pressing down over the area, and suddenly, as a result of pressure on a particular point, a smoothly fitting catch flips out of the wall…

… and when West turns the catch, a flush-fitting door set in the wall swings open. West cautiously steps into:

36. OMIT

37. INT. GOVERNOR’S OFFICE – DAY

… an elegantly furnished sitting room. Eyebrows riding high, West swings the tunnel door closed (and now we can see that it forms one of the panels of the paneled room) and surveys the scene; the room is softly lighted by a chandelier suspended from the high ceiling, dominated on one side by a massive desk that might have been used by a French king…

… and on the other side, over the marble fireplace, by a large oil painting of a man; tall, silver-haired, keen-eyed—and extraordinarily handsome. West goes to the painting…

38. ANOTHER ANGLE

… it is while he is studying the compelling figure on the canvas, that he HEARS:

A HARSH VOICE
Nature and Art conspired to produce—this most perfect of Governors.

With an effort of will that only we are aware of, West very, very casually turns around to the source of the voice…

39. ANOTHER ANGLE

… and finds Deke Montgomery framed in the one doorway opening into the office, his ugliness relieved not at all by the smile that distorts his face as he walks over to a velvet bell rope and pulls it.

WEST
I can easily believe that;
(gesturing)
That is Governor Brubaker?

MONTGOMERY
(nodding absently)
And I am his secretary, Deke Montgomery, with a question.

As he says this, TWO TROOPERS wearing the distinctive insignia of an elite corps, file into the room, reacting with surprise to see West, then coming to attention facing Montgomery.

WEST
A question, you say?

MONTGOMERY
Yes. How did you get past my office—and these so-called guards?

WEST
(vaguely)
Why, I don't know—I guess I looked around…

MONTGOMERY
(smilingly)
… and didn’t see anyone; correct?

WEST
Exactly.

Still smiling, Montgomery lashes one of the Troopers with a stinging backhand, then does the same to the other—both of whom maintain their rigid, ramrod stance throughout. A beat, then, to West:

MONTGOMERY
Well, sir; as long as you are here, make yourself comfortable and tell us what we can do for you, Mr…?

WEST
West.

Montgomery indicates a chair—West seats himself, Montgomery throws a significant little glance at the Troopers, who take up their position on either side of the door, their eyes fixed on West…

… after which Montgomery seats himself on an adjoining chair and turns his smile-disfigured face to West.

WEST
I came to plead with the Governor for clemency—for Aaron Addison.

There is a beats, during which Montgomery’s smile flickers, almost goes out, then resumes.

MONTGOMERY
What a pity; you’re too late.

WEST
(softly—shocked)
He’s--dead?

Montgomery nods, his eyes boring to West’s, who rises, agitated, and takes a turn or two before he says:

WEST
His body…?

MONTGOMERY
Is where all bodies go, after our Territory has exacted the punishment decreed by law; the Morgue.
(a beat)
I should add, however, that a sniper’s bullet saved our hangman the trouble; perhaps you heard?

WEST
(distractedly)
What? No—I didn’t.
(solemnly)
At least I can arrange for Aaron Addison’s burial.

MONTGOMERY
You’re too late again; someone else has beaten you to that, too.

He rises, nods again to the Troopers, who move toward West from either side, during the following. West’s eyes flicker casually toward them, taking in their approach…

40. ANOTHER ANGLE – AT DOOR

… then back to the doorway gain, as Capt. Dansby appears, stands for a moment framed in it, then saunters toward West with an arrogant grace and a JINGLE OF SPURS…

… during which Montgomery continues:

MONTGOMERY
In fact, Mr. West, the only thing you are not too late for, is the interrogation that our Captain Dansby is so justly renowned for; covering such points as, who you are—why you are so interested in the late Aaron Addison—how much pain you can endure before you…

This is the point where West suddenly explodes into action, with a murderous left hook doubling up the Trooper on the right, a karate chop with his right hand that thuds home in the neck of the Trooper on the left…

… and a ballet dancer’s kick that deflects the aim of the gun that Dansby has whipped out and FIRED at West; over the JANGLING and the pattering down of shattered lustres from the bullet that has found its mark in the chandelier, and the GATHERING SOUNDS of JACK-BOOTS RACING toward them from the adjoining hallway, West turns and launches himself straight at the huge window…

41. EXT. GOVERNOR’S MANSION – DAY

ON WINDOW—as West plunges through in a spindrift of glass fragments…

… lands on the porch…

42. EXT. FRONT LAWN OF GOVERNOR’S MANSION

… and winds up on the cushioned surface of the lawn, with bullets from above kicking up divots all around him as he bounces to his feet and races out of view…

43. ANOTHER ANGLE – AT HITCHING POST

… and up to the hitching post where three horses are hitched; West flips all three sets of reins clear of the rail, vaults up into the saddle of one, gathers up the reins of the other two, and thunders off, with the other two horses galloping after…

… SEVERAL TROOPERS run up, reacting impotently to their horselessness as they FIRE their guns at the unseen West—during which, we

DISSOLVE TO:

44. INT. MORGUE – NIGHT

One wall contains sliding slabs to hold the clientele. When closed, as they are now, the slabs appear as drawers with handles and brackets to hold identifying cards. The place is brightly lit and empty. The swinging doors are butted open by an Attendant and he backs in pulling a cart.

45. ANOTHER ANGLE

Now we see that on the cart is a sheet-covered body. Following and pushing is Attendant #2 who hauls out one of the slabs. Between them they heave the body onto the slab which is slammed back into the wall. The Attendants exit. CAMERA MOVES IN on bracket. It reads: AARON ADDISON. CAMERA PANS to another drawer. The bracket on it reads: J. W. BOOTH. The slab begins to slide slowly and eerily out of the wall, revealing another shrouded body. When the drawer is fully extended the corpse sits up and the sheet falls off revealing West. He hops off.

46. ANOTHER ANGLE

West checks the other drawers until he finds the one labeled Aaron Addison and pulls it open. Stripping off the sheet he exposes Addison’s body. Now West takes out a leather case from his pocket.

47. CLOSE SHOT – CASE

Opened, we see it contains a hypodermic needle and a small vial. CAMERA PULLS BACK as West loads up the needle and injects the corpse. Then, after putting the needle away, he begins to peel the disguise off Addison, revealing ARTEMUS GORDON.

WEST
Artie – wake up. Come on now.
(slaps his face)
Artie!

Artemus doesn’t move a muscle.

48. EXT. STREET – NIGHT

A carriage comes into SCENE followed by a flat-bed wagon driven by two blackshirts. The procession pulls up in front of a stone building marked: MORGUE. The carriage driver, an old retainer and ex-army adjutant, GARVEY, hops down and opens the door for his passenger. Out steps a lovely lady, CAROLINE KITTREDGE, who moves off into the morgue. The Black Shirts linger behind with Garvey, as he hitches horses to the hitching post.

49. INT. MORGUE OFFICE – NIGHT

A tiny room with the bare necessities for operating the place. The Attendant is playing solitaire on the desk. Caroline enters alone, waits patiently for the attendant to look up from his cards, then, finally:

CAROLINE
I’ve come to claim the body of Aaron Addison.

No answer from the attendant, who continues to study his cards. A longer beat, then:

CAROLINE (CONT'D)
My name is Caroline Kittredge.

She holds out a document to the attendant, who reaches out a hand, takes it, puts it down by his side, all without once looking up from his cards, during which Garvey enters and reacts grimly to the scene.

ATTENDANT
(shaking his head)
Ol’ Jack o’ diamonds kills me every time. What a run of luck I’m…

GARVEY
(barking it out)
Right now, Attendant!

The attendant reacts, cards flying, hastily rises, during which the two Troopers enter office.

ATTENDANT
(gathering up his cards)
Yes, sir!

50. INT. MORGUE – NIGHT

West has removed all traces of Addison disguise from Artemus, has him sitting up on the edge of a slab—is supporting his head by grasping Artemus’ chin, which he shakes from time to time, obviously in an effort to clear Artemus’ head.

WEST
Come on, Artie, pull up your socks—snap out of it, old son…

Artemus focuses bleary eyes on West with an effort, creases his numb lips with an effort into a smile…

ARTEMUS
Hi, Jim—someone went an’ stuffed the ol’ noggin full of tapioca…

WEST
I know, Artemus—I have an idea I plugged you with a sedative capsule that was a little overstrength—
(helping Artemus to his feet)
--but we don’t have the time to wait for the effects to wear off.

ARTEMUS
Okay, Jim, I’ll make the ol’ college try;
(looking down)
Is that really my legs I’m walking on? Don’t feel a blessed thing…

ATTENDANT’S VOICE
Hey!

West and Artemus look around to find the attendant staring at them from the door through which he has just entered.

ATTENDANT (CONT'D)
What’s goin’ on? You got no right bein’ here!

ARTEMUS
Y’know what, Jim? Man’s absolutely right.

WEST
(to attendant—elaborately affronted)
All right, if that’s the way you feel about it, we’re going.
(to Artemus)
Come on, Vernon.

They move away, revealing the empty slab; the attendant stares wildly at it for a beat, then goes to West and Artemus, who are approaching the door.

ATTENDANT
Wait a minute! What’d you fellas do with the stiff?

ARTEMUS
(severely)
My good man, if you’ve lost a body, you’re quite unfit to hold public office!
(to West)
Right, Sidney?

The attendant grabs West by the arm and skews him around—West completely involved in holding Artemus upright gives ground, momentarily, then:

WEST
Be right with you, Artie.

He releases Artemus, and…

WEST (CONT'D)
(to attendant—sincerely)
Sorry, friend. We’ll have to put you to sleep for a spell.

… grabs the Attendant by the back of the neck, squeezing his pressure point, to cause him to reel back dazedly until he contacts the wall, against which he slowly, numbly slides downward until he’s sitting on the floor…

…whereupon West has lunged for Artemus who has slowly started to cave in—West catches Artemus in time, straightens him in a chair—after which he heads for the dazed attendant.

FLIP TO:

51. INT. MORGUE OFFICE – NIGHT

Caroline, Garvey and the two Troopers look up as West enters from the slumber room, supporting Artemus—who cannot resist the opportunity to go into an exaggerated bow to Caroline as he passes her. All four stare after West and Artemus as they exit, with the two Troopers exchanging knowing grins.

CORPORAL
I heard about the way some buckos go around sampling embalming fluid, and from the looks of that one…

He stops, as a MUFFLED THUMPING IS HEARD proceeding from the slumber room. A beat, then the two troopers barge in through the swinging doors…

52. INT. MORGUE – NIGHT

The Troopers enter and find the place deserted. THUDDING CONTINUES. Also:

ATTENDANT’S VOICE
(muffled shouts)

CORPORAL
(grimly)
I hear someone—and it ain’t a stiff!

He spots the Aaron Addison nameplate.

CORPORAL (CONT'D)
Open this one.

The Trooper hauls the slab out. On it is the Attendant enshrouded in Artemus’ cast-off sheet.

53. INT. FLATBED CARRIAGE WAGON – NIGHT

West is piloting the wagon, which is being propelled at top speed by the team of bays, with West vocally urging them to give it all they have. Artemus is nowhere in sight.

54. ANOTHER ANGLE – FACING WEST

Clutching the reins, SHOUTING the INCOHERENT NOISES at the horses that drivers always shout—during which the cheerful face of Artemus comes into view from the flat bed of the wagon, where he has been comfortably sprawling.

ARTEMUS
Don’t look now, Jim, but there’s a couple of mounted troopers bustin’ their britches trying to catch up to us.

West shoots a glance over his shoulder.

55. HIS POV

A couple of mounted troopers, FIRING as they go, are bearing down after West and Artemus.

56. BACK TO SCENE

As West turns his attention back to the horses.

WEST
That makes it a little more sporting, doesn’t it?

A sliver of wood is wrenched from the wooden seat as a rifle BULLET SCREAMS past, then another sliver is torn free by another bullet, then the BANSHEE SCREAM of a BULLET RICOCHETING off a metal bracket nearby, as CAMERA MOVES IN to a CLOSE SHOT of West and Artemus exchanging one of their grim little smiles at their bleak prospects for longevity, as we

FADE OUT

END OF ACT ONE

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

California gal
SS senior field agent

USA
8383 Posts

Posted - 11/22/2009 :  09:30:23  Show Profile
ACT TWO

FADE IN:

57. INT. WAGON RACING ALONG – NIGHT

CLOSE ON WEST, with Artemus visible behind him, crouching in the wagon bed.

WEST
Artie—get up here alongside me before we hit that curve!

Artemus nods agreeably and, employing all the exaggerated care needed in his drug-befuddled state, starts climbing into the seat next to West.

58. ANOTHER ANGLE

SHOOTING from wagon bed toward the backs of West and Artemus, the wagon tears around a curve that West takes a high speed, the off wheels raised off the ground, SCREECHING PROTESTINGLY, and as soon as the wagon has recovered and started to boom down the straight stretch of road ahead, West reaches out and flips Artemus right off the wagon seat…

59. ANOTHER ANGLE

… to the ground, where the impact of body meeting ground is almost obscured by all the dust that has been raised…

… and West follows this up by joining Artemus in leaping from the careening wagon also.

60. SHOT – THE WAGON

tearing down the road, riderless and passengerless, though this is pretty well obscured by the dust being kicked up…

… and headed right into the scene, following full-tilt, come the two Troopers; CAMERA HOLDS on the now empty stretch of road, then picks up West getting to his feet from the ditch where he was flattened out, and running to:

61. ANOTHER ANGLE

… the point where we see Artemus's prostrate body sprawled in the ditch.

WEST
(concerned)
Artie!

Artemus suddenly raises a face on which a growing smile takes over.

ARTEMUS
Thanks, Jim, that did it.

WEST
Did what?

ARTEMUS
Whisked the last of the tapioca out of the old noggin. I feel great.

Artemus gets to his feet, stretching luxuriously. West dusts himself off:

WEST
(heavily)
Any time, Artie. Any time.
(a beat)
They’ll be coming after us – got any ideas where to head for?

ARTEMUS
(suddenly all smiles)
Of course! The one sanctuary – the one calm harbor free from the raging storm! Let’s go…

He starts walking blithely down the road – a puzzled beat, then West follows.

The following (in italics) is on 3 pages inserted in the script and are obviously the rewrite (which was used) of the above scene 61

61A. EXT. NIGHT – CLOSE SHOT – WEST AND ARTEMUS

WEST
Good.
(he looks after the departed riders)
We better stay low for a few minutes.

They crouch down behind some sheltering shrubs.

WEST
How’d you end up on the gallows? That’s cutting it pretty fine.

ARTEMUS
Well, it wasn’t on purpose. Brubaker’s got this state sewed up like a Thanksgiving turkey. Nothing happens that he doesn’t know about.

WEST
Sounds worse than we were advised.

ARTEMUS
It is. As the late Aaron Addison, I was a respectable businessman. No reason for anyone to suspect me. But after a couple of days of discreet questions that Legion busted in on me. Before I could turn around I was on trial for murdering someone I’d never even heard of.

WEST
Yeah… and convicted of murdering someone who probably never existed.

ARTEMUS
Oh yes, they go through all the legal formalities before they hang anyone. By the way, there is one little bone I have to pick with you.

WEST
Oh?

ARTEMUS
Next time, if there is a next time, I’d appreciate it if you didn’t wait till the very last moment to step in…

WEST
Sorry Artie. I got there as soon as possible.

ARTEMUS
It’s not that I don’t have every confidence in you.

WEST
Thanks.

ARTEMUS
It’s just that sometimes, I wonder if maybe you don’t get my message.

WEST
I know, Artie…

ARTEMUS
I wasn’t worried, you understand.

WEST
ARTIE!

ARTEMUS
Not really worried…

WEST
Artie—

ARTEMUS
Yeah?

WEST
Who’s the girl?

ARTIE
What girl?

WEST
In the morgue—blonde, pretty, the one that came to claim your body…

ARTEMUS
Aaron Addison’s body, and I don’t remember. Wait a minute… it must have been Katherine Kittredge. She was the only one I met here who stood up to the Legion, and the governor…

West rises, looks down the road. Artie also rises. There is no indication of the Legion returning.

WEST
I guess we can move now—got any idea where to head for?

ARTEMUS
Of course. The one sanctuary—the one calm harbor free from the raging storm! Let’s go…

He starts walking blithely down the road… a puzzled beat, then West follows


FLIP TO:

62. OMIT

63. EXT. KITTREDGE HOUSE – NIGHT

Into the circular driveway of the fine old home the hansom cab seen earlier at the morgue, comes rolling up, and stops at the front steps, followed by a half a dozen mounted Troopers.

64. ANOTHER ANGLE – CLOSER

… and led by Captain Dansby, who disengages himself lightly from the horse, swings open the hansom cab door and extends a graceful hand…

… which Caroline studiously ignores as she emerges and moves toward the stairs. Dansby overdoes the stagey sigh of despair at her obvious rebuff, then follows hastily after her.

65. ANOTHER ANGLE – AT FRONT DOOR

as Dansby comes up to her Caroline turns to him, her lips pursed angrily, her hand on the doorknob:

CAROLINE
Another of your interminable Militia searches, Captain?

DANSBY
It’s all a matter of perspective, isn’t it, Miss Kittredge? If you run with the enemies of the State, you become an enemy of the state -- and will be treated accordingly!

Caroline turns away from him with her face wreathed in cold contempt, starts to open the door, and finds that one of Dansby’s long arms is spanning the open doorway, blocking her progress.

DANSBY (CONT'D)
(softer now, almost whispering)
On the other hand the State would take a much ore relaxed, friendly attitude toward you if you, ah – made an effort to be more relaxed – and friendlier…

Caroline brings the flat of her hand around sharply, slapping Dansby’s face. A beat, then he bows, withdraws his hand; Caroline opens the door, sweeps in. Dansby turns to a Sergeant who comes up at this point.

DANSBY (CONT'D)
(curtly)
Search the place with a fine-tooth comb, Sergeant.

He waves vaguely in returning the Sergeant’s salute and enters the house.

FLIP TO:

66. INT. CAROLINE KITTREDGE’S ROOM – NIGHT

Caroline is sitting on a small couch, running a needle through a portion of material that is flattened out by a pair of hoops when there is a KNOCK on the door – which opens almost immediately to reveal Dansby, who looks around approvingly.

DANSBY
Charming room, Miss Kittredge; the rest of the house has been gone over by my men –
(spreading his arms)
— this room I reserve to myself.

CAROLINE
Go ahead; I can always have it fumigated afterwards.

She gets up, CAMERA FOLLOWING as she goes to a small closet, opens it, tosses her crocheting into a work basket on the floor, and starts to withdraw, when we see her eyes widen as she stares down…

67. HER POV

peeping out from behind several dresses hanging in the closet we see a couple of pairs of men’s shoes – and a gun in West’s hand, partially visible through the clothes.

68. BACK TO SCENE

Caroline closes the door of the closet, then reacts startled to fine that Dansby is at hand. She walks away from the closet watching Dansby covertly, until she sees him start to open the door. Then:

CAROLINE
Captain Dansby!

Dansby looks around at her as he swings the closest open.

DANSBY
Yes?

CAROLINE
I – I’m sorry I slapped you.

Dansby stares incredulously at her – then swings the closet closed as he comes up to her.

DANSBY
Really?

CAROLINE
Yes; and I’ve – been thinking about what you said – about being more relaxed – and friendlier…

Dansby comes nearer to her, a pleased smile on his face.

CAROLINE (CONT'D)
I thought later we might discuss the matter…

DANBY
Later? Why not right now?

CAROLINE
I – I have a headache; do you mind?

A beat, then Dansby takes her hand and presses it to his lips.

DANSBY
Later then; but not too much later.

He stares hungrily at her for a beat, then turns, spurs a’jangling and strides from the room. We HEAR MUFFLED COMMANDS then the SOUNDS OF HORSES DANCING AROUND, then CLATTERING AWAY IN A MASSED GALLOP.

69. ANOTHER ANGLE

as Caroline goes to a drawer and extracts a gun; CAMERA FOLLOWS HER as she goes to the closet – yanks the door open, and:

CAROLINE
Come out, whoever you are!

West and Artemus emerge, rubbing arms, and stretching, after their enforced state of motionlessness.

CAROLINE (CONT'D)
(extending gun fiercely)
Who are you?

WEST
My name is James West; this is Artemus Gordon, whom you may know better as Aaron Addison.

CAROLINE
(reacting scornfully)
Liar! I knew Aaron Addison!

ARTEMUS
(as Addison)
I’m innocent! I killed no one! It’s all a plot by Governor Brubaker to silence me…!

Caroline stares incredulously at Artemus, as she adjusts to the idea that the Addison she knew and Gordon are one and the same – then:

Caroline sets her poker gun, as she continues to stare bewilderedly at Artemus.

CAROLINE
But—you were hanged—or shot…

WEST
By me—but only with a drug which produces a comatose state resembling death.
(shrugging)
It was the only way to keep them from killing him.

CAROLINE
(to Artemus and West)
Who are you -- really?

ARTEMUS
Special agents. We were sent out by President Grant to investigate the charges made by your father of graft, corruption and the misuse of power by Brubaker.

WEST
I’ve come with a warrant for Brubaker’s arrest and return to Washington.

CAROLINE
You… alone?

WEST
Well, Artie will help, won’t you?

ARTEMUS
With pleasure.

CAROLINE
Mr. West, I don't know whether you’re joking or simply insane! Don’t’ you understand? Governor Brubaker is the absolute dictator of this territory – anyone who opposes him is thrown into prison or killed! My father devoted half his life to developing this territory – at this very moment he’s rotting in prison on false charges!

WEST
We plan to get him out too.

CAROLINE
It would take an army to do that!

ARTEMUS
That’s why the President won’t send one; the big idea is to avoid another civil war at all costs.

WEST
But now if Artie and I handle the situation…

CAROLINE
(half-hysterically)
… then everything will be all right, because you’ll just walk into the Governor’s mansion and serve your warrant – is that it?

WEST
That’s not a bad idea, Miss Kittredge –
(to Artemus)
What do you think?

ARTEMUS
(nodding approvingly)
Well, you’d have surprise going for you.

On Caroline’s absolutely flabbergasted expression

FLIP TO:

70. INT. MONTGOMERY’S OFFICE – NIGHT

We are looking at the original of the painting over the fireplace—and even in his silk dressing gown over pajamas, GOVERNOR BRUBAKER is an impressively handsome man—

-- then CAMERA PULLS BACK to show that we are in the much more plainly furnished office of Montgomery—with Montgomery himself standing beside West who holds a warrant out to the governor:

BRUBAKER
(a voice richly resonant)
Incredible! You’ve come here to arrest me?

WEST
That’s right, Governor.

BRUBAKER
Well, well; are we going to let him do that, Montgomery?

Montgomery steps forward fully dressed, looking as if he’s always on call, and places a document in Brubaker’s hand.

MONTGOMERY
Here is the document you asked me to draw up.

BRUBAKER
(glancing at it)
Ah – yes, of course—It so happens Mr. West I have one for you. Captain Dansby, you may serve this.

Dansby takes the warrant, rattles off the test:

DANSBY
You are hereby placed under arrest on the charge of willful murder of one Aaron Addison, and be it duly noted that anything you may say may be used against you…

MONTGOMERY
(cutting in harshly)
Never mind all that, take him away!

WEST
Just a moment, Governor. My warrant is a presidential warrant. It takes precedence over a territorial warrant.

BRUBAKER
Oh dear –
(to Montgomery)
Now I’m really in trouble, eh, Montgomery?

Montgomery takes the warrant from the governor’s hands:

MONTGOMERY
(to West)
Presidential decree?
(tearing document in two)
What Presidential decree?

Brubaker’s bell-like voice booms out in rich, hearty laughter—then, as the laughter dies away in chuckles:

BRUBAKER
By George, he’s got you there, Mr. West!

Still chuckling as he moves toward the door leading into his office, exits…

71. INT. BRUBAKER’S OFFICE – NIGHT

… and as soon as the door of his office closes upon him, Brubaker’s laughter is gone. He sits heavily in a chair…

… and a beat later, a lovely female hand comes into view, caressing his temples, as CAMERA PULLS BACK to show Henriette doing the caressing.

HENRIETTE
(murmuring)
It’s silly to let little things upset you, dear.

Brubaker reaches up, traps Henriette’s hand and presses it to his lips.

72. INT. MONTGOMERY’S OFFICE – NIGHT

Montgomery is gone, now—only West, Dansby and a couple of Troopers are in evidence. During the following, Dansby opens a cabinet, removes a bottle and a glass.

DANSBY
… and since we are not barbarians, naturally we will give you a trial.

WEST
It’s just a thought, but—you don’t have any evidence against me.

DANSBY
(amused)
Evidence? We never bother too much about that.

He pours a drink, then:

DANSBY (CONT'D)
But I’m curious. What’s Grant’s strategy? After we’ve hanged you, what’s his next move?

WEST
There’s always the Seventh Cavalry.

DANSBY
Ah yes, the Seventh Cavalry.

He helps himself to one of Montgomery’s cigars and lights it.

DANSBY (CONT'D)
It might be interesting to see how good they really are. Frankly, I think my legion could give them a bloody nose.

WEST
If you ever try, Captain, I’ll see that your next of kin are notified.

Dansby glowers at West, stubs out his cigar, then:

DANSBY
(curtly)
Put him in the hole!

As the Troopers take West out we

DISSOLVE:

73. INT. COURTROOM – DAY

The PROSECUTOR is making his opening address. During this intercut:

74. TWO SHOT

West and his counsel, a seedy, shabby old drunk named REEVES, who has been pulled out of a barroom to act as public defender. West, unconcerned about it all, looks over spectators, bows and smiles at:

75. CLOSE SHOT – HENRIETTE

wearing a thoughtful—almost regretful expression as she contemplates the fate that awaits West.

76. CLOSE SHOT – DANSBY

77. CLOSE SHOT – CAROLINE

PROSECUTOR
… therefore we will duly prove that James West, callously and in cold blood murdered Aaron Addison.

The Prosecutor sits down. The Judge quells the murmur in the crowd with his gavel.

JUDGE
Mr. Reeves, you may now address the jury.

REEVES
I, uh – I got nothing to say, your honor.

JUDGE
(not too surprised)
I see. Well, then –

WEST
What my counsel means, if it please the court, he would like to move for a dismissal.

The Judge glares at West, then turns to Reeves:

JUDGE
On what grounds, Mr. Reeves?

REEVES
On the grounds that—that—
(sotto to West)
--on what grounds?

WEST
On the grounds that no crime has been committed.

REEVES
Oh yeah – that.

Judge again raps severely for order.

JUDGE
The Court will have to be enlightened on how such a conclusion was arrived at.

WEST
Very well, Your Honor. What my learned counsel was getting at was that Aaron Addison was a convicted murderer; all I did, as Mr. Reeves will tell you, was carry out the sentence of this court; this, Mr. Reeves will submit, was a citizen’s execution and not murder at all.

Pandemonium in the courtroom. Judge raps, the Prosecutor shouts, during which CAMERA MOVES IN to a CLOSE SHOT of Reeves, looking a little amazed at his brilliance.

78. BACK TO SCENE

PROSECUTOR
Your honor – your honor – if it please the court –

Order is gradually restored.

PROSECUTOR (CONT'D)
I now call to the stand the secretary to the Governor Winston Brubaker, Mr. Deke Montgomery.

79. TWO SHOT

Reeves, puzzled, leans over to West.

REEVES
What rabbit am I gonna pull outta my hat now, son?

WEST
(thoughtfully)
I don't know—but you’ll come up with something—as soon as I think of it.

80. ANOTHER ANGLE

Montgomery has finished being sworn in. The Prosecutor approaches deferentially.

PROSECUTOR
Mr. Montgomery, if you please – in your own words --?

MONTGOMERY
Thank you, Mr. Prosecutor.
(turning)
Your honor, in the course of my duties as secretary to a great governor of this great territory – soon to achieve statehood…

APPLAUSE from the spectators. The Judge beams benignly.

MONTGOMERY (CONT'D)
… I was called upon by the Governor to review the conviction of Aaron Addison; at the same time, new evidence came to light which convinced the Governor there had been a great miscarriage of justice –
(a dramatic beat)
I rushed to the prison with a stay of execution and a full pardon – only to see him shot down before my eyes.

Big reaction in court.

PROSECUTOR
Then what you’re saying, Mr. Montgomery, is the deceased was not a condemned murderer, but a free, innocent man!

He turns dramatically to the jury as he continues:

PROSECUTOR (CONT'D)
… and therefore, the defendant did, in fact murder in cold blood an innocent man…

ARTEMUS’ VOICE
If the Court please, the innocent man in question would like to speak…

CAMERA ANGLES to show Artemus, once more Aaron Addison, moving with his old man’s gait up the middle aisle of the courtroom until he looks directly at the judge.

ARTEMUS
… and offer testimony in defense of Mr. James West.

Over the PANDEMONIUM, CAMERA MOVES IN to a CLOSE SHOT of Artemus nodding to a now smiling WEST, as we

FADE OUT

END OF ACT TWO

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

USA
8383 Posts

Posted - 11/22/2009 :  09:31:21  Show Profile
ACT THREE

81. INT. COURTROOM – DAY

CAMERA OPENS and HOLDS on the jury box—empty…

… then ROVES over the courtroom, STOPPING at the bench where we see the judge scowling at the empty jury box…

… CAMERA ROVES ON to pick up the Prosecutor in the witness section, staring fearfully at Montgomery, seated next to him, his face a mask of controlled ugliness…

… then on to West, his face expressionless, seated next to Artemus (Addison) who is nodding with his “old man’s” propensity for dozing off…

82. ANOTHER ANGLE – ON COURT

where we pick up Caroline, wearing a look of dread—

-- and, seated on the opposite side of the courtroom, Henriette; she wears the genteel, interested look that a member of the horsey set would be apt to wear at a sporting event; and then, as we HOLD on the spectator’s section, we see an undercurrent of electricity animating the courtroom…

83. ANGLE – ON JURY BOX

… as the MEMBERS OF THE JURY begin filing back into the box.

84. REACTION SHOT

The Judge, Montgomery, the Prosecutor, West, Artemus, et al., all greeting the jury’s arrival with varying degrees of expectancy.

85. ON PROSECUTOR

as he stands and addresses the jury.

PROSECUTOR
Members of the jury, have you reached a verdict?

86. SHOT – JURY FOREMAN

rising to his feet—visibly nervous.

FOREMAN
Sure enough.

PROSECUTOR
Before you inform the Court of your findings, with the Court’s permission I will remind you that we are all loyal citizens of the Territory—grateful, and responsive to a great Governor –
(a bow to Montgomery)
—and his dedicated colleagues—who remember, and reward public spiritedness when it lifts its shining head.
(briskly, now)
The verdict, if you please.

87. SHOT – THE JURY

The Foreman rises to his feet; if he was nervous before, now he is considerably more so, as the shaking hands he holds a slip of paper with attests.

FOREMAN
(falteringly)
Your Honor, we – we find that, uh –
(a beat)
— all of us, together, agree that – that…

Another member of the jury, a red-faced bull of a man rises to his feet abruptly:

MEMBER OF THE JURY
We find the dee-fendant purely not guilty -- and that’s a fact!

Over the HUBBUB and CHEERS that break out in the courtroom, CAMERA ANGLES to the Judge, his brow corrugated with anger as he pounds his gavel…

88. ANOTHER ANGLE – ON PROSECUTOR

Livid with fury, as he bounces to his feet.

PROSECUTOR
Your Honor, I move that this preposterous verdict be set aside and…!

MONTGOMERY’S VOICE
If I may interrupt the able prosecutor…

The Prosecutor retreats hastily before the quiet, yet harsh, compellingly strident voice.

89. ANOTHER ANGLE

as Montgomery gets to his feet, his face serenely ugly:

MONTGOMERY
It would seem to me that the people have spoken.

JUDGE
(cautiously)
By that you mean, of course, that…

MONTGOMERY
Exactly, your Honor – that the verdict must be honored – and observed.

90. SHOTS – PROSECUTOR AND JUDGE

Incredulous – bewildered.

JUDGE
(swallowing)
It – it is so ordered – and the defendant is hereby freed.

91. SHOT – WEST, ARTEMUS AND REEVES

West and Artemus exchange quizzically relieved glances, while Reeves puffs out his chest like a Pouter pigeon.

REEVES
It’s winnin’ the tough ones gives me the big pleasure!

WEST
(gravely)
You were magnificent, Counselor.

REEVES
Now if you get into any more legal hassles, why, you just look me up and…

He stops, suddenly aware that the crowd in the courtroom is thinning out rapidly—and now he, too, starts edging away from West and Artemus as he talks.

REEVES (CONT'D)
(hastily)
Like I was sayin’ I got t’be headin’ on!

He scurries out of view. West and Artemus survey the scene of a nearly empty courtroom, now.

ARTEMUS
My, my, this courtroom emptied out in record time, wouldn’t you say?

WEST
(wryly)
Almost as if folks had the idea that being around us might not be too healthy.

91A. ANOTHER ANGLE – AT FOYER, BEHIND SCREEN

as West and Artemus start to leave the courtroom, Artemus looks out idly, then stops, staring intently out of the swinging doors.

ARTEMUS
(guardedly)
Jim – over here.

92. ANOTHER ANGLE

showing Artemus covertly peering out the doors. West comes up to Artemus, joins him in casually send a glance outside.

93. THEIR POV

not too particularly well concealed from view, several Troopers have taken up what is obviously ambush positions—their guns all aimed expectantly at the front doors of the court building.

94. BACK TO SCENE

WEST
Reception committee, a la Brubaker; big surprise, eh?

ARTEMUS
(wryly)
The shock of my life;
(a beat)
Any brilliant tactic suggest itself, brother pigeon?

WEST
(shrugging)
We’ll make it as difficult as we can for the reception committee—let’s split up.

Artemus nods agreeably—he continues toward the front door, while West casually drifts across the now completely empty courtroom toward the staircase.

95 THRU 101. OMIT

102. ANOTHER ANGLE – AT FOYER OF COURT BUILDING

Artemus approaches front door, shrugging out of “Addison’s” old man’s coat—quickly turns it inside out, revealing the new coat to be a gaudy, horse-checked jacket—strips off his wig and (?) mustache, extracts a case from his pocket, from which he chooses a young man’s mustache that he deftly applies, and in front of our eyes has transformed himself into a totally different person.

********
*NOTE: The essence of this scene is the blinding speed with which it is performed.
********

103. INT. COURTROOM – AT STAIRS – DAY

West has started to climb the stairs when he stops, reacting with lifted eyebrows.

104. HIS POV

Out of one of the two rooms on the landing above a PUG-UGLY emerges and waits ominously, at the head of the stairs…

105. BACK TO WEST

A SOUND causes him to whirl around.

105A. HIS POV

TWO MORE PUG-UGLIES, all in civvies, are smirking up at him as they ascend the stairs to meet him.

105B. ANOTHER ANGLE

in which we see West being sandwiched in by the three Pug-uglies advancing from both sides…

… West makes as if to dash up the stairs, then whirls around to meet the foremost pug who has been drawn into running up the stairs by West’s feint 00

— and West unleashes a sizzling right that sends the unfortunate hurtling down, crashing into his mate behind him.

105C. ANOTHER ANGLE

West whirls around to meet the charge of the pug-ugly from above—dodges the haymaker right and left he sends West’s way, then West sinks a right deep into the other’s middle—the pug crumples toward West, who lifts him high…

… and swivels him into the other two who have started to rush toward him, fists swinging; all three pug-uglies roll to the bottom of the stairs and lie motionless.

105D. ANOTHER ANGLE

as West stares stonily down at the gangsters, then turns and heads up the stairs.

105E. EXT. BACK OF COURTROOM BUILDING – DAY

West appears at the open window, scans the neighboring terrain, lets himself hang suspended by his hands from the window sill, drops, then wheels and walks briskly away.

DISSOLVE TO:

106. EXT. AUDITORIUM BUILDING – HIGH SHOT – DAY – SHOOTING DOWN ON

Blackshirt workmen decorating the building. Two men are hanging a long banner which proclaims: GIGANTIC RALLY – DEMAND STATEHOOD NOW – COME ONE – COME ALL. There’s also a big CAMPAIGN type picture of Governor Brubaker. HOLD—then PULL BACK TO:

107. EXT. FIRST FLOOR – ABANDONED BLDG. –DAY

We see Caroline in semi-hiding. Outside we can HEAR the tramp of marchers, hoofbeats, and the excitement of the political rally. Caroline suddenly starts, whips a hat pin out of her hair and turns to face:

108. ANOTHER ANGLE

… West, who has dropped lightly and noiselessly onto the balcony beside her from the roof above. West puts a cautioning finger to his lips and delicately moves the lethal hat pin away from his proximity. Caroline sheepishly sheepish returns it to her hair, then:

CAROLINE
It was silly arranging for a meeting up here…

WEST
Silly, maybe, but a little safer than on the streets; the Troopers are thicker than thieves—
(wryly)
—which is not a bad analogy, now that I think of it.

CAROLINE
I saw Mr. Gordon—gave him your message to meet him at the gazebo tonight.

WEST
Thank you, Caroline.
(peering down)
The Brubaker circus is in full swing, I see.

CAROLINE
No territorial governor has ever been nominated for the presidency; he wants to be the first.

WEST
(trying it out)
Brubaker for president—
(reluctantly nodding)
I hate to say it, but it has a catchy ring.

CAROLINE
My father recognized his obsession years ago and tried to stop him then. But he couldn’t awaken the people to their danger. Now that Brubaker has the Black Legion—
(raises her hands, then lets them drop)
—there’s no way he can be defeated.

WEST
Oh, I don't know—he lost a battle today.

CAROLINE
(sharply)
No, not a battle, a skirmish! These trials are only to give the appearance of justice – to pacify the people. But all he lost was a few hours, while you…

West whirls the astonish Caroline into a clinch so intense and vivid that when the balcony door is flung open and a couple of Trooper stare in, all they can make out is that a young man and a lady have found heaven in each other’s arms.

A beat, the troopers exchange slack-jawed grins, slam the door shut and go.

West and Caroline reluctantly break their clinch, staring dazedly at each other for a beat, then Caroline is her old indignant self again.

CAROLINE (CONT'D)
You see? How long do you think you can keep this up?

WEST
(shrugging)
Indefinitely. I find it rather enjoyable.

CAROLINE
What? No, I mean the eternal dodging and hiding! Listen, Brubaker is going to have you and Mr. Gordon killed—both of you! You’ll never get out of the territory alive!

WEST
Then I guess we’d better hurry up and arrest him.

CAROLINE
Arrest him?

WEST
Sure. We’ll snatch him away from this sink of corruption, put him aboard the train and highball back to Washington.

HOLD for a beat on Caroline staring incredulously at West happily contemplating.

109. INT. GOVERNOR’S OFFICE – DAY

CLOSE – on Brubaker, his magnificent face alive with scorn and indignation.

BRUBAKER
No! It’s out of the question—a ridiculous idea!

CAMER HAS PULLED BACK to show that Brubaker is presiding over a council of war attended by Montgomery, Dansby, and Henriette.

MONTGOMERY
(quietly)
Actually, it’s a rather good idea. I’m positive that Grant will never chance the risks of moving the weight of Washington here—which means that his two bright young men will try to move you to Washington.

BRUBAKER
But how can two men even hope to get within striking distance, with all the guards that surround me!

Montgomery exchanges a fast glance with Dansby, who grins covertly.

MONTGOMERY
I don't know –
(to Dansby)
What do you know, Captain?

DANSBY
If there was some way to get into the office aside from the regular exits…

He has wandered to the side of the office where the secret panel was situated, and now he “accidentally” manages to open the door—putting on a great show of astonishment at the discovery he has made.

109A. ANOTHER ANGLE – ON BRUBAKER AND HENRIETTE

Both reacting in embarrassment and anger, then:

BRUBAKER
(a show of anger)
Captain Dansby!
(switching to petulance)
You—so you know about that, do you?

MONTGOMERY
(glancing at Henriette)
I have reason to suspect that West does, too.

BRUBAKER
I see; so you expect me to sit here, acting as bait for those two?

MONTGOMERY
Bait in name only, Governor. I’m reasonably sure that West and Gordon will try to approach you via the tunnel—but we have taken the precaution to mine it—on either end—with substantial amounts of high explosive.

He bows mock humbly.

MONTGOMERY (CONT'D)
But I know how very busy you must be, so the captain and I will detain you no longer.

He and Captain Dansby exit. Brubaker stares after them, then bows his head. Henriette slowly runs a hand through the thick, silvery thatch of the bowed head before her.

110 THRU 111. OMIT

112. EXT. GAZEBO – WEST AND ARTEMUS – NIGHT

Artemus affixes a dab of plastic to the lock. It HISSES briefly with a curl of smoke but no flare to attract attention. The door swings out. They enter.

West goes to the secret trap door and opens it for Artemus’ edification.

ARTEMUS
Right into Brubaker’s private office?

WEST
After a refreshing stroll through the tunnel.

ARTEMUS
Brilliant, Jim. How did you find out?

WEST
One of the Governor’s constituents showed it to me.

He exits into opening. Artemus starts to follow, then reacts curiously at the sight of a couple of inconspicuous wires that he notices snaking into the trapdoor opening—he dismisses them from his mind and follows West.

114. INT. TUNNEL – NIGHT

West has reached the bottom of the steps and is igniting a magnesium flare torch. Artemus catches up.

ARTEMUS
I suppose this accommodating constituent was female?

WEST
And of voting age. A Miss Faure.

West starts along the tunnel. Artemus bounds after him.

ARTEMUS
Jim, hold up. I think I ought to tell you that Miss Faure is not just any girl. She’s it—the Governor’s First Lady—underground, of course.

For a short, pregnant pause, West stares at Artemus, aghast, then:

WEST
Then we can assume she’s told him I know about this lover’s lane.

ARTEMUS
I’d say so—and we can also assume we’ve walked into a trap.

As one, both turn and sprint for the still opened wall section through which they entered from the greenhouse…

… but before they can reach it, ponderously, yet with an unbelievable swiftness, a steel section swings down with a bank vault type THUD, blocking their way.

West and Artemus try futilely to budge it with their combined efforts, and then both relax, only too aware of the futility of it all. On the “Here-we-go-again” expressions on their faces and their wry smiles,

FADE OUT.

END OF ACT THREE

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

USA
8383 Posts

Posted - 11/22/2009 :  09:32:17  Show Profile



ACT FOUR

FADE IN:

115. INT. TUNNEL – AT ENTRANCE – NIGHT

Artemus is kneeling, examining something near the floor of the tunnel. West looks on, nearby.

ARTEMUS
There was an interesting little item I noticed as we came through the trapdoor—a couple of inconspicuous wires.

WEST
(a beat)
The kind that might run to a buried charge of explosives, for instance?

ARTEMUS
Right; which could be detonated electrically by remote control;
(getting to his feet)
What are we waiting for?

They start to run.

116. EXT. PARK – NIGHT

Dansby is looking at his watch. A sergeant hovers over a nasty-looking plunger-type detonator that has been set up nearby, wires running from it and disappearing into the ground.

DANSBY
They must be well into the tunnel by now—Sergeant! Detonate!

The sergeant rams the plunger down.

117. SHOT TUNNEL

As long a shot as possible; West and Artemus round a corner, running desperately, just as a RUMBLE BUILDS UP, then, right behind them, the tunnel walls dissolve in an ear-blasting EXPLOSION that sends both flying, rolling and finally, motionless—both stunned…

… and then West, and now Artemus, sit up dazedly, then both rise and stare off, through the haze of agitated dust at the explosion that they just managed to avoid.

ARTEMUS
I suppose the front end is just as badly stove in.

WEST
(wryly)
Make a nice tomb for somebody caught in the middle.
(turning)
As long as we’re here, let’s pay a little visit to the Governor.

118. INT. BRUBAKER’S OFFICE – NIGHT

Brubaker is escorting Henriette to the double doors. She stops, looks around with a twisted little smile.

HENRIETTE
Strange; how often I’ve visited you here—and how seldom have I used the front door.

BRUBAKER
(taking her hand)
If you’d stop being so stubborn and marry me…

HENRIETTE
(shaking her head)
No, the public loves the image of you as a dashing, eligible bachelor—there’ll be time enough for that big wedding in the White House—
(Kissing his cheek)
Now I must hurry home and change for your rally, dear.

Henriette looks toward the door to the tunnel as she reaches out for the doorknob.

HENRIETTE (CONT'D)
He was an intriguing young man. And an accomplished liar!

BRUBAKER
What? Who?

HENRIETTE
James West.

BRUBAKER
Oh, I forgot—you did meet him once, didn’t you?

HENRIETTE
Just a brief encounter.

BRUBAKER
He seems to have made quite an impression—for a brief encounter.

HENRIETTE
Perhaps. But he would never have become president.

She goes out.

119. INT. TUNNEL – NIGHT

Ears pressed to the narrowly opened door leading into Brubaker’s office, West and Artemus look at each other.

ARTEMUS
(sotto)
That’s the trouble with you, Jim—You have no political future.

WEST
(sotto)
Neither does Brubaker.

West opens the door wide and emerges. Artemus follows.

120. INT. BRUBAKER’S OFFICE – NIGHT

Brubaker is pouring a drink, his back to the secret door. As West enters into view behind him, Brubaker stiffens, aware that he isn’t alone—

—then slowly turns around, starting at the sight of West and Artemus, dropping his glass.

BRUBAKER
You—I heard the explosion in the tunnel—you should both be dead…

ARTEMUS
It could easily have worked out that way, for your information.

WEST
By the way, you’re under arrest. You already have the warrant. Will you go peaceably, or…

He and Artemus both move briskly to keep Brubaker’s finger from stabbing at the button on his desk, then we see West’s hand go to the back of Brubaker’s neck, who grimaces, then stops all further resistance.

WEST (CONT'D)
It’s a simple pressure concentration on a particular nerve group, Governor—you’ll find you can’t yell even if you wanted to, so why bother?

ARTEMUS
And now that that’s settled, on to Washington—your train leaves within the hour…

Artemus has moved on to the secret panel as he speaks, now he swings door open and waves West and the governor on ahead.

ARTEMUS (CONT'D)
… and I’m sure you won’t mind leaving by the back door—what with one explosion and another, it’s all that’s available right now.

121. EXT. ALLEY – NIGHT

Garvey waits with the horses and carriage, staring off. SOUND of HURRYING FOOTSTEPS and then West and Artemus come into SCENE with Brubaker. West’s hand still is in contact with Brubaker’s neck—and Brubaker isn’t offering a shred of resistance.

The carriage door is opened and Brubaker is heaved in. Artemus climbs in after him while West swarms up to the driver’s seat.

WEST
(to Garvey)
Look after Miss Kittredge, Garvey—we’ll take over here.

Garvey dismounts, the horses start moving, and the carriage RATTLES out of the alley and is gone.

122. EXT. ROAD – NIGHT

The carriage races up and past CAMERA.

123. CLOSE SHOT – WEST

Shaking the reins to get more speed out of the horses.

124. INT. CARRIAGE (MOVING) – NIGHT

Artemus and Brubaker being bounced around.

DISSOLVE:

125. EXT. ROAD – RUNBY SHOT – NIGHT

DISSOLVE:

126. EXT. PRIVATE CAR – NIGHT

We HEAR the carriage coming.

127. EXT. SIDING – NIGHT

The carriage THUNDERS into SCENE and pulls up. West is hauling mightily on the reins. Then he leaps down and runs back to the carriage door.

128. CLOSER

Artemus is framed in the carriage door blocking a view of the interior.

WEST
Let’s go--!

ARTEMUS
Wait – Jim, we’ve made a mistake.

WEST
What?

ARTEMUS
Take a look – we’ve got the wrong man.

He gets out to clear the way for West to look in.

Rev. 9/21/67

129. INT. CARRIAGE – NIGHT

Brubaker is huddled in the corner, collar wrenched open, face beaded with sweat, his eyes wide and crazed.

BRUBAKER
Don’t – don’t take me away! Please, not to Washington! They’ll lock me up – I never did any of those things – it was the others – really -- they did it all! I didn’t even know what was going on – I just – I just signed the papers – they never told me what I was signing – believe me!
(blubbering)
Please – explain it to President Grant! He’ll understand – I served with him at Richmond – tell him it was the others, see? The others…!

130. EXT. SIDING – NIGHT

Artemus closes the door to block out the babbling and turns to meet West’s eyes.

WEST
The sawdust ran out; that’s all there was, inside.

ARTEMUS
(thoughtfully)
Could that weakling have ever been a Caesar? Legion or no Legion, he wouldn’t have lasted a day, unless…

WEST
(nodding)
… unless somebody was propping him up.

ARTEMUS
(softly)
Puzzle; find the real strong man.

FLIP TO:

131. EXT. WEST’S VARNISH – NIGHT

West and Artemus are helping Brubaker toward the car. He presents a picture of a state of complete apathy, disinterested in everything around him. As they approach, Montgomery appears from the rear door of the car, a gun in his hand.

MONTGOMERY
You’re right on schedule, gentlemen…

WEST
Montgomery—of course; the man behind the Great Man. I missed the connection, I must say.

MONTGOMERY
Don’t feel too bad about it—I’ve cultivated the manner of the underling—I play it well, when it suits me; you see, for a man with my gargoyle of a face—and my voice like the creak of a toad, the way to power is to be devious. I have had to work in the shadows—
(gesturing contemptuously at Brubaker)
—through the glossy, hollow ones like this this one. It’s the only way to power.

131A. ANGLE – ON BRUBAKER

lifting his head to stare at Montgomery, reacting to his words with a show of dignity and gathering outrage.

BRUBAKER
You dare say a thing like that about me! You forget—I’m the Governor!

Montgomery suddenly lashes out a hard, open hand that catches Brubaker across his chops with a CRA-A-ACK!

MONTGOMERY
(dripping with contempt)
You’re not the governor—you're just a wonderfully endowed face—a commanding presence—a bell-like, silver voice—
(voice raising)
You’re a hollow, tin-plated fraud, Brubaker--I’m the Governor; I made you—I put you in office—I created your Black Legion—I write your speeches, tell you what to say, what to think, what to reach out for, who to reward, who to execute—
(a long beat, then, softly)
You’re just a Greek mask I speak through, and don’t ever forget it again!

Dansby suddenly appears on horseback, followed by several other Troopers.

DANSBY
Any problems?

MONTGOMERY
(calmly)
None, the situation is under complete control, Captain.
(gesturing at Brubaker up)
The Governor is needed at the rally—as soon as we leave dispose of our friends from Washington.

DANSBY
(grinning)
My men will be cleaning their guns, and there’ll be an accident; okay?

MONTGOMERY
(shrugging)
Suit yourself.

ARTEMUS
Jim, why don’t we urge the Governor to stay, and avoid being shot?

WEST
Very sensible, Artie.

He moves closer to the Governor, which also brings him closer to Dansby.

WEST (CONT'D)
Hang around, Governor, there’s going to be all kinds of action -- !

Simultaneously he slugs Dansby. The fight is on. Someone FIRES a shot.

132. CLOSE SHOT – BRUBAKER AND MONTGOMERY

Brubaker is spun around by Montgomery and practically flung toward the carriage.

133. BACK TO SCENE

West is fighting his way in pursuit of Montgomery and Brubaker.

133A. ANGLE ON ARTEMUS

as a trooper barrels in to SHOT and Artemus nails him, turning toward the Troopers’ horses.

134. EXT. SIDING – NIGHT

The carriage rockets away into darkness.

135. EXT. PRIVATE CAR – NIGHT

West finishes off the other troopers, as…

136. WIDER ANGLE

Artie appears with two horses and they swing aboard and gallop out of SCENE.

FLIP TO:

137. EXT. AUDITORIUM BUILDING – NIGHT

Every window and open door streams with the bright lights inside, with a matching DIN OF VOICES that could only proceed from an auditorium…

138. INT. AUDITORIUM – NIGHT

… packed with an eager, enthusiastic crowd of worshippers, many with individual banners and placards that read “BRUBAKER, BRUBAKER, BRUBAKER!” “BRUBAKER—GOVERNOR TODAY—PRESIDENT TOMORROW.” Etc., etc.

139. EXT. AUDITORIUM BUILDING – NIGHT

Out of the shadows of the deserted street, a figure emerges and stares at the brightly lighted building—CAMERA MOVES IN and we see that it is Caroline—her face a mask of hate struggling with despair.

140. ANOTHER ANGLE

At the GATHERING SOUND of a CARRIAGE APPROACHING Caroline quickly retreats into the shadows—and a moment later a carriage skids to a stop with locked wheels…

140A. ANOTHER ANGLE

… and Montgomery leaps to the ground from the driver’s seat, wrenches open the door and pulls Brubaker out.

140B. CLOSE SHOT – CAROLINE

lurking in the shadows; she raises her hand, and now we can see light glinting off the gun in her hand.

140C. BACK TO MONTGOMERY AND BRUBAKER

Montgomery is hurriedly smoothing out Brubaker’s lapels, tie and collar, all ruffled by the fracas in West’s varnish, during which we HEAR VOICES CHANTING “BRUBAKER – BRUBAKER – BRUBAKER!!!” from the auditorium.

MONTGOMERY
Hear that? They’re waiting for you, Governor—waiting for that golden voice of yours to lift them to the drunken heights of Olympia! You remember your speech?

BRUBAKER
(nodding numbly)
Friends—
(his voice dull and vacant)
—it is I who should be cheering you

Montgomery stares at Brubaker as he speaks, and we can see a flicker of fear passing over his face as he listens.

MONTGOMERY
Good, but with the old fire—the old brilliance! Try it again…

BRUBAKER
(dully, hesitantly, almost mumbling)
… it is I who should thank you—all of you—for the faith, and—and—and the faith, and…

140D. SHOT – CAROLINE

During the above, CAMERA HAS SHIFTED TO HER, and we see hand with the gun, firmly (if despairingly) aimed at Brubaker start to lower as she listens…

140E. BACK TO MONTGOMERY AND BRUBAKER

Montgomery has seized Brubaker by his lapels and is shaking him in a sudden fierce surge of anger.

MONTGOMERY
Listen to me, Brubaker, you can’t quit on me now! You’ve got to pull yourself together, do you hear? You’ve got to!

VOICES
(massed—from the auditorium)
WE WANT BRUBAKER—WE WANT BRUBAKER—WE WANT BRUBAKER—WE WANT BRUBAKER

Montgomery shakes Brubaker, his face wild and fierce with impotent, despairing anger—then he thrusts Brubaker violently from him, sending Brubaker staggering backwards against the carriage, from where he sinks to his knees, head bowed…

… Montgomery stares for a moment at the crumpled figure his face working, lips writhing in bitter contempt—

— then he turns and walks blindly into the auditorium building.

140F. ANGLE – ON BRUBAKER

head bowed – still on his knees; Caroline comes into view, still carrying her gun, staring incredulously at Brubaker—then she drops the gun, extends her hands and helps Brubaker to his feet…

140G. ANOTHER ANGLE

as West and Artemus come dashing up on their horses. Both fling themselves from their saddles and go to Caroline and Brubaker, with Brubaker still wearing his dazed look as Caroline stares unbelievingly up at him.

CAROLINE
James—Artemus--look at him!

BRUBAKER
(mumbling thickly)
… we will march together—you and I—to our manifest destiny…

West gently takes Brubaker from Caroline’s supporting arms and helps the suddenly old man to a nearby bench.

ARTEMUS
(to Caroline)
Brubaker was only the face of authority—the real power was always in the shadows.

141. INT. AUDITORIUM – NIGHT

Only the dais is lighted. The rest of the tent filled with hundreds of people is blackness and a wave of SOUND and MUSIC which fades to silence as Montgomery moves into the spotlight on the rostrum. Backing him are the flunkies of Brubaker’s regime, a row of nonentities. On guard is the elite guard of the Black Legion. Montgomery has reverted to the deferential, retiring secretary—for the moment.

MONTGOMERY
Ladies and gentlemen—this is a historic moment. At long last we are gathered together in one great, common purpose. What do we want?

CROWD (O.S.)
(a mighty roar)
Statehood!

MONTGOMERY
Let them hear you in Washington.

CROWD (O.S.)
We want statehood!

MONTGOMERY
Yes, we want statehood. We have requested statehood, we have pleaded for it—we have even demanded it. Now our legitimate rights and aspirations can no longer be ignored by Grant and his minions in Washington. Ladies and gentlemen – the time has come: statehood or independence!

The crowd goes wild. They’ve been heated up.

142. GROUP SHOT – AROUND ARTEMUS

He looks around at the pandemonium in his immediate vicinity. O.S. BAND plays martial music.

CROWD
(chanting)
Statehood – statehood – Brubaker and statehood – we want Brubaker.

143. CLOSE SHOT – MONTGOMERY

He’s now at the crucial transitional point.

CROWD (O.S.)
We want Brubaker.

Montgomery holds his hands up for quiet and gradually gets it.

MONTGOMERY
My friends, we are in a fight – a fight for our rights, for our survival. And in every battle there are, there must be casualties. Now, I must tell you – sorrowfully – that the first warrior to fall in this struggle was our leader, our beloved governor, Winston E. Brubaker.
(a stunned silence)
Less than an hour ago, Governor Brubaker –
(a beat—groping, then sudden inspiration)
—was mortally wounded in a blatant effort to sabotage this rally, to destroy our hopes. I ask you now –has Winston Brubaker labored all his life in vain?

A stunned beat, then

CROWD (O.S.)
(thunderously)
No!

MONTGOMERY
Are we going to fight on?

CROWD (O.S.)
Yes!

MONTGOMERY
Are you with me?

CROWD (O.S.)
Yes.

There’s a difference in the spontaneity and volume of this last response.

MONTGOMERY
Let ‘em hear it in Washington!

CROWD (O.S.)
Yes…

It’s a very thin and ragged answer now. The enthusiasm just isn’t there and the first faint signs of panic show in Montgomery’s manner. He tries to whip his audience into action.

MONTGOMERY
Now. It happens now. Tonight we make our decision – to go forward or fall back. Are you for statehood?

CROWD (O.S.)
Yes.

They are for it but not under these conditions.

MONTGOMERY
Are you for us or against us? Now is the time to declare yourself. Now! Now! Now!

144. GROUP SHOT – AROUND WEST

With him is Caroline. The people in this area are unmoved, flat. A couple get up and exit from SCENE. Others follow.

145. EXT. AUDITORIUM – NIGHT

Several people come out. Then more, until the exodus is on.

MONTGOMERY’S VOICE
(haranguing)
Stand up and be counted. There are no neutrals – either you are my followers –or my enemies.

146. INT. AUDITORIUM – NIGHT

Montgomery’s face glistens with perspiration. Behind him the row of officials has been decimated.

MONTGOMERY
I will reward my friends – but my enemies will be dealt with by the Legion. I know who you are – and the Legion will know – I warn you –

The Legion, let by Lieutenant marches off the dais as Montgomery, desperately aware he’s being abandoned on all sides, grows more frantic.

MONTGOMERY (CONT'D)
I’m the power – not Brubaker – me!

147. EXT. AUDITORIUM – NIGHT

Citizens, musicians, blackshirts are spewing out.

MONTGOMERY’S VOICE
You fools – Brubaker was nothing. It was me! His ideas were mine, his speeches were mine – everything he did I was responsible for it.

148. INT. AUDITORIUM – NIGHT

MONTGOMERY
Come back – I will lead you – come back to me.
(long pause)
Who’s there – who’s out there?

He swings one of the lights around to aim at the audience.

149. MED. FULL

A sea of empty chairs stretching back to the far canvas wall. On one side of the center aisle is Artemus alone. On the other, West and Caroline.

150. REVERSE ANGLE – MONTGOMERY

A lonely figure on the dais. He slowly drops to one knee, staring sightlessly out, tears trickling down his face. CAMERA MOVES IN on him until we can hear:

MONTGOMERY
It was me – it was me.

West and Artemus come into SCENE with him. Montgomery focuses on them.

MONTGOMERY (CONT'D)
It was me.

WEST
Yes, we know.

FADE OUT:

TAG

FADE IN:

151. INT. WEST’S VARNISH – NIGHT

A party is in progress to welcome home (from jail) DANIEL KITTREDGE, a white-bearded frontiersman type. Around him are several old friends; Caroline and Artemus, with Garvey serving drinks.

152. ANOTHER ANGLE

to include West, just arriving. Caroline sees him and rushes to make him welcome.

CAROLINE
I was afraid you weren’t coming.

WEST
Never miss a good party.

CAROLINE
But it’s nearly over – and Artemus says you and he have to start back to Washington tonight.

WEST
Afraid so.
(to Artemus)
Why don’t you read this to everybody?

It’s a telegram. Artemus glances at it, smiles.

ARTEMUS
It’ll be a pleasure.
(louder)
Ladies and gentlemen, if I might have your attention, please.

Silence settles.

ARTEMUS (CONT'D)
You might be interested in a telegram just received from Washington.
(reads)
Congress has confirmed appointment as territorial governor pro-tem, Daniel Kittredge. Convey my congratulations and gratitude. Signed, U. S. Grant, President of the United States of America.

Guests applaud lustily.

Caroline hugs Kittredge, then, as the guests swarm around to offer congratulations she returns to West.

CAROLINE
James, did you bully President Grant into doing this?

WEST
Not exactly – I just made a suggestion. Which reminds me; I’ve got one for the new governor’s new secretary.

CAROLINE
New secretary?

WEST
I forgot to mention it—that’s you.

CAROLINE
What’s the suggestion?

WEST
You know the secret tunnel that was caved in?

CAROLINE
Yes.

WEST
Well, I’ll be coming back this way soon. Why don’t you have it repaired?

She LAUGHS and kisses him as we

FADE OUT:

153. EXT. COUNTRY – NIGHT (STOCK)

The train goes shooting past the camera and off into the distance.

154. INT. VARNISH CAR – NIGHT

West is lying on one of the couches, his head propped up on a pillow, thinking soft, warm thoughts. Artemus is seated at the table making notes in what seems to be a log book or diary. CAMERA MOVES TO ARTEMUS AND WE OVERHEAR HIM mumbling.

ARTEMUS
(as he writes)
Aaron Addison—60—businessman. Wig—white eyebrows—wrinkles—deep by slightly shaky voice—died by an unknown assassin’s bullet.

155. CLOSE SHOT – WEST

He looks up to watch Artemus.

WEST
Artie, what are you doing?

156. CLOSE SHOT – ARTEMUS

He finishes writing and starts leafing through the book.

ARTEMUS
This is of my rogues’ gallery; I keep track of all my disguises I’ve had occasion to adopt, on various occasions. You never know when one of them might have to reappear.

He chuckles cozily, leafing through the book, remembering the roles…

ARTEMUS
Martinez the fisherman… Jake the piano player in Deadwood… Lt. Greeley—very good officer…

156. CLOSE SHOT – WEST

He looks at Artemus, smiling indulgently.

WEST
Artie, I’ve got one I’d like to see come back.

FULL SHOT – ARTEMUS AND WEST

Artemus looks up eagerly.

ARTEMUS
Oh yeah… who? What are their specifications?

WEST
As I remember—about medium height.

ARTEMUS
Medium height…

WEST
Blonde hair, fair skin…

ARTEMUS
(musing)
Blonde with fair skin. Go on…

WEST
And answers to the name of Katherine Kittredge.

ARTEMUS
(reacts and slowly closes book)
Jim, that’s not funny—this is a serious business… and besides…
(with a smile)
I’m too tall…

As they laugh at this little pleasantry, we cut to:

158. EXT. COUNTRY NIGHT

Train runby:

FREEZE:

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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