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California gal
SS senior field agent

USA
8376 Posts

Posted - 12/21/2009 :  09:10:18  Show Profile
THE WILD WILD WEST


“THE NIGHT OF THE KILLING EYE”

By

PAUL PLAYDON





SECOND DRAFT
April 3, 1968
#0604






THE WILD WILD WEST


“The Night of the Killing Eye”


PRODUCER
BRUCE LANSBURY

ASSOCIATE PRODUCER
LEONARD KATZMAN

STORY CONSULTANT
HENRY SHARP

WRITTEN BY
PAUL PLAYDON

SETS:

INT. SAN FRANCISCO MUSEUM
INT. MUSEUM HALLWAY
INT. TOMB OF KINGS
INT. RR CAR
EXT. WATERFRONT
INT. WATERFRONT BAR
EXT. WATERFRONT DISTRICT
EXT. ICE HOUSE
EXT. STREET AND ALLEYWAY
EXT. WATERFRONT BAR
INT. ROSIE’S ROOM
EXT. ARABIC QUARTER
INT. PORT SAID BAR
EXT. PORT SAID BAR
INT. AMALEK’S HEADQUARTERS
EXT. WAREHOUSE
INT. BAGGAGE COMPARTMENT
EXT. RR CAR
INT. ICE HOUSE
INT. FREEZER ROOM

CAST:

JAMES WEST – ROBERT CONRAD
ARTEMUS GORDON – ROSS MARTIN
HEISEL
FINLEY
JASON
ROSIE
ABDUL
AMALEK
PROPRIETOR
CURATOR
WORKMAN #1
GUARD
MAN #1



“The Night of the Killing Eye”

TEASER

FADE IN:

1. INT. SAN FRANCISCO MUSEUM – THE TOMB OF THE KINGS – ANGLE – RUBY – NIGHT

A gigantic ruby fills the frame, flooding it with a red glow. It appears larger than it’s normal size because we are viewing it through a magnifying glass. The magnifying glass moves in a circular fashion as WE PULL BACK to reveal Artemus, atop a ladder, examining the ruby, which is embedded in the forehead of a large, Egyptian sun god statue.

As WE CONTINUE TO PULL BACK FARTHER most of the room becomes visible. The light in the room is subdued, with portions of the walls and corners falling into blackness. Egyptian artifacts, pieces of furniture, mummy cases and sculptured objects give the room the atmosphere of the deep past. Dominating the center is an ornately carved sarcophagus. Inside lie the remains of HO TEM RA, once a mighty pharaoh of Egypt. This is his tomb… his resting place for all eternity. The walls are lined with hieroglyphs. By entranceway stand two, huge cat figures… silent sentinels, watching.

Observing Artemus’ examination of the eye is the CURATOR of the museum. Elderly, spectacled and learned in appearance. He stands at the foot of the ladder. Artemus finishes his examination and begins to descend.

CURATOR
All is in order I trust, Mr. Gordon?

ARTEMUS
(nods)
Quite.

Artemus steps off the ladder.

CURATOR
(as though remembering)
Oh before I forget, you may inform the government that the room will be ready for shipment to Egypt no later than the end of this month.

ARTEMUS
Thank you. I will do that.

The Curator looks around the room. There is a disturbing sadness in his wandering eyes—Artemus catches this.

ARTEMUS
Is something the matter?

CURATOR
(snapping out of his thoughts)
What?...
(waves his hand)
Ohh no… it’s… it’s just that I shall be sorry to see the room go.
(half a beat)
Even though the United States government has compensated us handsomely—
(looks around)
—it was by far our most popular exhibit. I shall miss it.

ARTEMUS
(looking around, agreeing)
Yes—it is fascinating.
(half a beat—to Curator)

CURATOR
(emphatic)
Oh definitely so—definitely so. Everything in the room is the original. Plus it is laid down to the exact specifications of the original tomb.
(a beat—to himself)
Yes, I shall be sorry to see it go. Morbid as it may sound, I loved this room.
(collects himself)
Still in a way it is being returned to its rightful owners.
(half a beat)
When will the official ceremonies take place?

ARTEMUS
The Princess Miasmin and her entourage are arriving by boat tonight. But the ceremony won’t be for another two days.
(looks at his watch)
However a Mr. West and a Mr. Heisel, an Egyptian diplomat, will be coming to inspect the room tonight.

A KNOCK is HEARD at the door.

ARTEMUS (CONT'D)
That must be Jim now.

2. ANOTHER ANGLE – ARTEMUS AND CURATOR

As Artemus moves to the door, unbolts it. SOUNDS of a LOCK BEING OPENED on the other side of the door is HEARD. The door opens. However, it is not Jim, it is two Museum guards. One stands by a large, oblong crate which is on casters. The Curator moves towards the doorway as the two guards push the crate into the room.

3. CLOSER ANGLE – THE SCENE

CURATOR
(looking at the crate)
What is this?

GUARD
Late night shipment for you, Mr. Richmond—it’s marked rush.

CURATOR
(he now examines the crate)
Yes… yes, that’s correct… that’s what it says.
(thinks to himself)
But I don’t remember ordering any shipment.
(a beat—then waves guards away)
Fine—thank you. I’ll open it up later.

The two guards leave. Artemus waits by the door to re-bolt it. The Curator moves toward him, speaking as he advances:

CURATOR
I must admit that of late I have been getting absent-minded. Age. It comes to us all.
(surveys the room)
… all except the very old.
(a beat)
Now where were we… oh yes… the ceremony.

4. ANGLE - Crate and Barrel
Under the Curator’s ramblings the crate begins to open in three sections allow three strange forms to emerge. All wear odd-looking masks—brightly painted—terrifyingly unreal. They begin to move toward Artemus and the Curator who have their backs to the strange-looking figures.

CUT TO:

5. INT. MUSEUM HALLWAY – ANGLE – WEST AND HEISEL – NIGHT

Heisel is an Egyptian diplomat—tall—in his late thirties—deep-set eyes. He moves down the hallway with West. As they come up to the first guard.

GUARD
Mr. West and Mr. Heisel?

Jim nods—possibly shows credentials for both he and Heisel. The guard lets them through and nods to the second guard who starts to unlock the door to the TOMB OF KINGS.

6. ANGLE – WEST AND HEISEL

As they come up to the door. West opens it. He and Heisel go into the room.

7. INT. TOMB OF KINGS – ANGLE – WEST AND HEISEL

As they enter. A look of shock greets both of their faces.

8. ANGLE – ARTEMUS AND CURATOR

Both lying on the floor.

9. WIDER ANGLE – THE SCENE

As the three men with masks suddenly appear. They hold gas sticks in their hands.

10. WEST AND HEISEL

As sticks are pointed at them and as a red gas juts out. Heisel is immediately overpowered. He slumps. West tries to guard his face against the fume.

11. ANGLE – WEST AND THREE MEN

As he makes a grab for one and partly pulls off his gas mask.

12. ANGLE – JASON

The partly removed mask reveals Jason’s face. Young, thirtyish, a small scar on his cheek.

13. ANGLE – THE SCENE

As the other two masked men fling West backwards. Jason puts his mask back on. The other men fend off West’s now drunken-like attack. The jet more gas at him and he begins to succumb. He swings punches as though in a stupor. He starts to fall.

14. ANGLE – WEST

As he falls to the ground—face up. He looks at the room.

15. ANGLE – WEST’S POV

The room is starting to go hazy. The status of the sun go Ra is IN FRAME. WE ZOOM to its forehead. The ruby is gone—only an empty socket is visible. This starts to go hazy as we…

FADE OUT:

END OF TEASER


ACT ONE

FADE IN:

16. INT. RAILROAD CAR – ANGLE – EGYPTIAN PRINCESS – NIGHT

Her name is Miasmin, a beautiful but unhappy young woman. Her face wears a veil of stoic composure. If it were to slip she would be crying. However, she sits, holding back her tears with iron determination. FULL BACK to show an angry Heisel standing by her chair. West and Artemus are off to one side. FINLEY, a state department autocrat moves around the room trying to placate Heisel’s anger, apologize for the loss of the ruby, and at the same time give vent to his own anger by casting quick, withering glances at West and Artemus.

FINLEY
(to Miasmin)
Let me re-state your highness the deep apologies of the government over this most unfortunate incident.

HEISEL
Apologies are a poor substitute for the loss of the ruby, Mr. Finley.

Finley mops his sweating brow – he looks “bullets” over to West and Artemus.

FINLEY
(treading softly)
You must understand, Mr. Heisel, that it will take a… little time… to recover the gem…

HEISEL
And time, like my patience, is running short!!! Results are called for now – not words.
(Miasmin places her hand on his arm – he looks at the princess)
As you can see, gentlemen, the Princess is extremely tired.

17. ANGLE – MIASMIN, WEST AND HEISEL

West moves to the compartment door. Miasmin rises. She moves to the door – Heisel half a beat behind her. West opens the door. As the Princess comes by Jim she stops. Heisel does also. She turns to the Egyptian diplomat.

MIASMIN
You may go ahead. I will join you shortly.

Heisel gives a brief glance over to West – then back to Miasmin. He nods and then moves out of the compartment.

18. ANGLE – MIASMIN AND WEST

Miasmin composes herself for a beat. Her face is troubled. She does not speak for a beat.

WEST
(softly)
Your highness?

MIASMIN
You must not judge Mr. Heisel too harshly – sometimes he speaks faster than he thinks; and he is quick to temper.
(a beat – she briefly glances over Artemus and Finley)
I know this must be a very difficult time for all of you. And I do not wish to burden you with more trouble -- -- but I think you should know Mr. West that before I left Egypt a wedding date was set between myself and the Arab prince, Ali Cadiph.
(a beat – she fights back the tears before continuing)
However, unless my dowry contains… the ruby, the Arab prince’s father… the Khan… he…

She finds it too difficult to continue.

WEST
… he won’t allow the wedding?

She nods – holds back the tears.

MIASMIN
(sincere – with fear as an undertone becoming strong in the speech)
And it is more than just a wedding. It will bring peace where there has always been war.
(a beat – almost to herself)
Both the Prince and I know the great benefits that a lasting peace can bring.
(a beat)
He is a very kind… very gentle young man… and… and…

WEST
And you happen to love each other.

She turns and faces him – nods.

WEST (CONT'D)
Believe me, your highness, we will do everything we can to recover the ruby.

MIASMIN
(smiles)
I know you will, Mr. West. Good night.

She exits. A beat as West watches her go and then turns and move back into the compartment.

19. WIDER ANGLE – THE SCENE

As West moves back to Finley and Artemus. Finley moves back and forth – mops his sweating brow and generally fumbles for words to express himself.

FINLEY
Ohh… this is… this is terrible… catastrophic…
(looks at West and Artemus)

WEST
We’ll find the ruby, Mr. Finley.

FINLEY
Yes, but when… how???

Artemus moves towards a window.

ARTEMUS
Why don’t you let us worry about that.

FINLEY
I will have to make a full report to the…

At this point Artemus opens the window.

20. ANGLE – FINLEY

As he stands near a cuckoo clock. A bird comes out and gives a single BEEP, cutting off Finley’s line. The bird comes right up to Finley’s ear. Finley spins around. The bird retreats inside his house. Finley burns.

ARTEMUS
(embarrassed)
Sorry, sir. A warning device I forgot to turn off. You see, when you open any of the windows –

FINLEY
(on top, picking up his hat)
Just… just find that ruby… and within twenty-four hours.

Artemus opens the door. Finley presses his hat firmly on his head and exits.

21. ANGLE – ARTEMUS

He is about to close the door, but stops as he notices something.

22. ANGLE – PARCEL

Small – plain wrapped – and sitting on the stoop. Artemus comes down INTO FRAME and picks it up.

23. WIDER ANGLE – ARTEMUS AND WEST

As Artemus brings the package into the car and places it on the desk. West quickly cuts the string with a letter opener. The wrapping paper removed we see a gas mask and a note. The mask is the same as those used in the Teaser. Artemus picks up the mask – spreads it in his hand.

ARTEMUS
Look familiar.

WEST
We passed the night.
(sees the piece of paper)
A note.

ARTEMUS
A thank you note probably.

West reads the note – shakes his head.

WEST
They stole the ruby for ransom.

ARTEMUS
How much do they want?

WEST
Fifty thousand dollars.

ARTEMUS
When?

WEST
Tonight. The White Whale Bar on the old waterfront.

CUT TO:

24. EXT. WHITE WHALE BAR - WATERFRONT DISTRICT – NIGHT

A seedy looking place. The ripple of raucous LAUGHTER floats out into the night air. We PAN AWAY AND OVER TO West as he stands observing the place from across the street.

25. CLOSER ANGLE – WEST

As he moves toward the bar. WE PAN AWAY FROM him and over to an alleyway. Just visible and lurking in the shadows is a sailor. This is AMALEK, who we will come to know later. He watches West move towards the bar. His hand clutches an ornately carved dagger, which we shall also come to know later.

CUT TO:

26. INT. WATERFRONT BAR – ANGLE – ENTRANCE

West comes in – looks over the place.

27. ANGLE – WEST’S P.O.V. – THE BAR

We PAN the bar. The customers like the place appear seedy and untrustworthy. A group of men dressed in western attire dominate the scene. Girls with shrill GIGGLES are scattered everywhere. Cheap ale flows from behind the bar where we pick on the proprietor who looks our way and begins to move toward us. WE CONTINUE the PAN over to a drunken old sea captain whose grubby beard is surpassed only by his grubby clothes and drunken attitude. WE ZOOM IN to his face as he looks up and gives a slight nod. It is of course Artemus.

28. ANGLE - WEST

As he catches the look and knows that it is all right to go ahead with the meeting. WIDEN ANGLE as the Proprietor comes up to West. The man, like his manners, leaves a lot to be desired.

PROPRIETOR
Your name West?

Jim nods.

PROPRIETOR (CONT'D)
This way.

The Proprietor indicates for West to follow him over to a table by the wall. West sits – looks over to Artemus.

29. ANGLE – ARTEMUS

Acting the part of a drunken sailor. A beer mug in one hand – a girl in the other. He glances over to Jim then back to his other business.

30. ANGLE - WEST & STATUE

Standing erect by a wall and close to Jim is a gargoyle-like statue—with an open, leering mouth, from which a voice emits. It is the voice of Jason, leader of the gang that stole the ruby. The voice lacks any of the coarseness of its surroundings. It’s cultured.

JASON’S VOICE
Good evening, Mr. West.

Jim remains silent.

JASON’S VOICE (CONT'D)
So good of you to come – and on such short notice.

WEST
(deadpan)
Well I had nothing else planned.

JASON’S VOICE
Now if you will kindly pull the slat back on the wall.

West pulls the slat back – looks into the opening.

31. ANGLE – WEST’S P.O.V. – THE BACK ROOM OF THE BAR

Tied to a chair and gagged is Heisel. His eyes speak volumes of indignation. Standing close by is a mountain of a man with a gun in his hand.

32. ANGLE – WEST AND STATUE

West is concerned. Heisel is not the only one who has his hands tied. Jason’s voice comes through the statue.

JASON’S VOICE
A most regrettable insurance policy.
(a beat)
I put his life entirely in your hands.

West turns and now faces the bar and Ferret, a small wiry looking man who now sits facing Jim… expressionless.

JASON’S VOICE (CONT'D)
Meet Mr. Ferret. A business associate who has two main talents. One, he’s mute and two he can spot a phony bill blindfolded. Which brings us to object of this meeting – the money. I trust you’ve brought it.

West puts a briefcase on the table. (NOTE: West has had this small briefcase throughout the entire scene.)

WEST
I have – but first I’d like to see the ruby.

33. ANGLE – FERRET AND BRIEFCASE

A knife flashes in Ferret’s hand. It deftly slices through the thin layer of leather. Ferret’s hand searches inside. It’s empty.

34. ANGLE – WEST, STATUE AND FERRET

JASON’S VOICE
Really, how stupid.

WEST
I didn’t say I had the money. It’s in the bar somewhere. On a… business associate.

JASON’S VOICE
Move, counter-move. Excellent. You may see the ruby. However, any more tricks will cost Mr. Heisel his life.
(beat)
Observe, if you will, the prettiest thing in the room.

West turns to see:

35. ANGLE – ROSIE

A young woman – pretty – with long red hair that swirls as she dances on a table top.

36. ANGLE – WEST, FERRET AND STATUE

West looks at the girl.

JASON’S VOICE
Charming, isn’t she? Her name is Rosie…

Suddenly West’s eyes flash down to the girl’s feet.

37. ANGLE – ROSIE’S FEET

As they dance on the table top. Fastened to one of her toes is the ruby.

JASON’S VOICE
Dazzling, wouldn’t you say?

38. ANGLE – WEST

As he looks over to Artemus.

39. ANGLE – ARTEMUS AND ROSIE

As she dances from table top to table top. She comes by Artemus’ table. He drunkenly admires her and her footwork. He looks over to Jim and nods. It’s authentic.

40. ANGLE – ROSIE

As a terrible SCREAM comes from her mouth.

41. ANGLE – WEST AND FERRET

As Ferret pitches forward onto the table – his mouth trying to emit a silent scream – a curved, ornate dagger imbedded deep in his back.

42. ANGLE – AMALEK & GROUP

Amalek and a group of similarly dressed sailors invade the bar. Their target – Rosie. Their opposition, Jason’s men, dressed as cowboys, who quickly move to counter the attack.

43. ANGLE – WEST AND STATUE

JASON’S VOICE
I warned you, Mr. West.

West quickly looks through the slat on the wall.

44. ANGLE – HEISEL AND THUG

The huge thug cocks his pistol and prepares to aim at Heisel.

45. ANGLE – WEST

His gun is out and he aims it through the slat.

46. ANGLE – HEISEL AND THUG

West’s BULLET hits the thug’s hand causing him to drop the gun. However, two more thugs ENTER the SCENE.

47. ANGLE – WEST

As he moves back from the wall – takes a flying run and crashes through the wall and into the back room where he immediately comes to grips with the two thugs.

48. ANGLE – ARTEMUS AND ROSIE

Artemus is trying to get to Rosie, making his way thru the fighting bodies.

49. ANGLE – ROSIE & SAILOR

One of Amalek’s men has got Rosie. Suddenly Artemus hits him over the head with a beer tray.

50. CLOSER ANGLE –ARTEMUS

As he turns to grab Rosie one of Jason’s thugs is upon him.

51. ANGLE – ROSIE

As she moves to the back of the bar and out through another exit.

52. ANGLE – ARTEMUS AND THUGS

Artemus manages to exit quickly after Rosie.

53. ANGLE – WEST AND TWO THUGS
(INTERCUT WITH ARTEMUS AND ROSIE SEQUENCE)

West with a barrage of punches disposes of the two men and moves quickly to rescue Heisel.

CUT TO:

54. EXT. WATERFRONT DISTRICT – ANGLE – ROSIE – NIGHT

Frightened – on the verge of panic – she runs blindly down the street.

55. ANGLE – ROSIE

As she takes off down a sidestreet. The SOUND of running feet pursuing her are coming closer.

56. CLOSE ANGLE – ROSIE

Exhausted she pushes on. The SOUND of approaching running feet grow ominously louder.

57. ANGLE – TWO SAILORS

One of which is Amalek. They run quickly after Rose.

58. EXT. STREET – ANGLE – ARTEMUS – NIGHT

As he moves swiftly down the street in pursuit of Rosie.

CUT TO:

59. EXT. ICE HOUSE – ANGLE – ROSIE – NIGHT

She runs and practically collapses near the doorway which opens easily under the force of her collapsed body. The pounding FOOTSTEPS are coming closer. Rosie sees a chance to escape in the opened door. She quickly slips inside the ice house and swiftly closes the door behind her.

60. ANGLE – SIDE STREET – NIGHT

As Amalek and another sailor comes down the street and move past the ice house.

61. EXT. STREET & ALLEYWAY – ANGLE – ARTEMUS – NIGHT

He comes to a halt at the intersection. He looks all around and realizes that he has lost the girl. He begins to move back to the bar.

CUT TO:

62. INT. WATERFRONT BAR – ANGLE – WEST AND HEISEL – NIGHT

The bar is in shambles. Jason and his men have left – so have Amalek’s thugs. A policeman moves around the bar while two others carry Ferret’s body out. We MOVE IN on Heisel, who is straightening his coat, looking very relieved, and West, who is by the Egyptian’s side.

HEISEL
They were going to kill me. They would have had it not been for your intervention. I am very grateful. I am in your debt.
(thought crosses his mind)
Ohh but the ruby – you were able to get it?

WEST
I’m afraid not.

HEISEL
(grateful tone beginning to change)
I see.
(half a beat)
You seem to be in need of some competent assistance, Mr. West. I shall give you my help in this matter.

WEST
If you want to be helpful, I suggest you go back to your hotel and…

HEISEL
(cutting in)
But I….

WEST
(overrides)
… and stay there.
(Indicates for a policeman to come over. One does so)
This policeman will escort you.

Heisel goes to say something in retaliation—stops and begins to walk out of the bar, the policeman following. Artemus enters and crosses to West.

63. OMIT

64. ANOTHER ANGLE

ARTEMUS
(surveying the wreckage)
Quite a party.

WEST
Did you catch the girl?

Artemus shakes his head. He picks up the dagger that was in Ferret’s back and which is now on the table.

ARTEMUS
It appears we’re not the only ones interested in getting the ruby.

WEST
You recognize it?

ARTEMUS
(examining it)
It’s decidedly Arabic. Very ancient markings.

West has a key in his hand—he shows it to Artemus.

WEST
This mean anything to you?

65. ANGLE – KEY

Simply shaped. Its only markings is an engraved star.

66. ANGLE – WEST AND ARTEMUS

Artemus shakes his head.

ARTEMUS
Where’d you get it?

WEST
Off Ferret’s body.

ARTEMUS
(a beat—thinks—looks at the knife)
Find the owner of this knife and you’ll find some very interesting people. Shouldn’t be too difficult to trace.

WEST
All right. I’m going after the girl.
(indicates proprietor)
I’ve found out where she lives from him. There’s just a chance she might drop home before continuing her travels.

CUT TO:

67. INT. ROSIE’S ROOM – ANGLE – DOOR – NIGHT

As it is suddenly flung open and a panting Rosie comes in. She shuts the door, leans against it for a beat to catch her breath. She begins to move into the room. She hurriedly picks up a small valise, opens a drawer and begins to throw a few clothes into the bag.

68. CLOSER ANGLE – ROSIE

As she hurriedly packs. In front of her is a small wall mirror. It reveals the rest of the room, now in darkness. Suddenly a match is struck and we see the face of Jason in the mirror. The match is held down. The light it casts off makes Jason’s face appear almost ghoulish. Rosie instantly sees Jason’s face—she lets out a gasp.

ROSIE
(Terrified)
Jason!

She drops her bag and instantly dashes for the door which she swings wide open.

69. ANGLE – ROSIE AND TWO THUGS

Rosie’s exit is blocked by two of Jason’s thugs. One of them instantly grabs Rosie.

70. WIDER ANGLE – THE SCENE

Jason has used the match to light an oil lamp. The room is now lit. We see that Jason is around thirty—impeccably dressed, and now without a certain suavity—cruel though it may be. Rosie struggles. The thug who holds her should be a huge brute of a man—lacking in brains but abounding in muscles.

JASON
(looking at the thug and Rosie)
Now, now, Samson… there’s no need to be rough with the—lady. You can let her go.

The thug releases Rosie who runs to the wall and flattens against it.

71. ANGLE – JASON

As he moves slowly towards her.

JASON
(slowly; deliberately)
Now where is the ruby?

Jason advances toward her.

72. ANGLE – ROSIE

Too frightened to speak. She watches Jason move toward her. And on this 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
8376 Posts

Posted - 12/21/2009 :  09:11:20  Show Profile
ACT TWO

FADE IN:

73. EXT. ARABIC QUARTERS (SAN FRANCISCO) – ANGLE – ARTEMUS – NIGHT

As he moves down the street, still in the disguise of the sea captain. He stops and looks at:

74. ANGLE – ARTEMUS’ P.O.V. – PORT SAID BAR

An Arabic bar – North African in appearance.

75. ANGLE – ARTEMUS

As he moves toward the bar and enters.

CUT TO:

76. INT. PORT SAID BAR – ANGLE – ENTRANCE

Strands of beads are just inside from the entrance. Artemus enters and moves through them.

77. WIDER ANGLE – ARTEMUS & WAITER

A man steps in front of Artemus’ progress into the bar. The man is all muscle. He eyes Artemus.

WAITER
What do you want?

Artemus speaks in the guise of an old British sea captain. The accent is rough. The letter “H” has entirely disappeared from the alphabet.

ARTEMUS
What most seamen want after a rough voyage. A place that don’t rock – whiskey – women.

WAITER
You will have to leave. There are no more tables left.

Under the above speeches, Artemus has proceeded to take out a tobacco pouch. He then takes out from underneath his coat the ornate dagger and prepares to cut a chunk off.

78. CLOSE ANGLE – ABDUL HESSAN

Proprietor of the establishment. He’s fat and unscrupulous. His eyes flit instantly to Artemus’ dagger. He gets up and moves forward.

79. ANGLE – ABDUL, ARTEMUS AND WAITER

As Abdul comes up behind the waiter and with a wave of his hand gently eases the man out of his path so he can better observe Artemus. A toothy smile flashes on Abdul’s face. His eyes barely flit to Artemus’ dagger. He gives a scolding look to the waiter.

ABDUL
(under above)
For a seafaring man there is always a table.

His hand motions for the waiter to leave. The man does so. Abdul’s tone is no most obsequious.

ABDUL (CONT'D)
I am Abdul Hassan. Proprietor of this humble establishment. And I beg your forgiveness for the rudeness you have been shown. I trust you will accept the best table in the house as an apology.

Artemus nods. The bulky Abdul then sweeps his hand gesturing Artemus to follow him into the bar.

The bar now becomes visible. Small, low tables – cushions to sit upon. A smattering of deep-eyed gentlemen all Egyptian or Arabic in origin. Water pipes are everywhere.

80. ANGLE – ARTEMUS AND ABDUL

The people in the bar all look over to Artemus = then back to their drinking or water pipes. Artemus sits. Abdul hovers by him. Artemus looks up at him.

ARTEMUS
Somethin’ the matter?

ABDUL
Oh no – no. It is just that… I envy you.

ARTEMUS
Eh?

ABDUL
Being a man of the sea. To be free and restless like the waves. To journey from horizon to horizon – the wind pushing your sails onward.

Abdul sits during this, almost lost in his fanciful account of sea life.

ARTEMUS
You wouldn’t talk like that if you’d sailed ‘round the ‘orn without fresh wa’er and a murderous scum of a crew waitin’ to slit yere gullet first chance they got. The sea… Bah. All it’s left me is the clothes on me back, a bit a silver in me pocket…
(takes out knife)
… ‘n a knife to cut me tabacco.

Artemus takes out a tobacco pouch, takes out a hunk and starts to cut off a chunk. Abdul feigns seeing the knife for the first time.

ABDUL
What exquisite craftsmanship.

ARTEMUS
What?

ABDUL
The knife…
(reaches for it)
Do you mind if I…?

ARTEMUS
(hands him the knife)
Naw.

As Abdul begins to examine the knife he suddenly stops, looks at Artemus.

ABDUL
A drink?

Before Artemus can say yes or no Abdul has clapped his hands.

81. WIDER ANGLE

– as a waiter appears. Abdul gives him a look – a knowing look.

ABDUL
An Arabian delight for the gentleman.

The waiter departs.

82. ANGLE – ABDUL AND ARTEMUS

As Abdul goes back to looking at the knife.

ABDUL
I have a passion for true artisan work. It is a weakness that does great harm to my pocketbook. May I ask where you acquired it?

ARTEMUS
On one of my many travels. I always wanted to find a mate for it. You wouldn’t ‘appen to know where I might get me another one do ye?

ABDUL
No. I have never seen a knife like that before.

ARTEMUS
(a crafty smile)
I didn’t think you ‘ad.

83. ANGLE – WAITER

As he fixes the drink. We see him put a potion into it. He brings it to the table.

84. ANGLE – ABDUL, ARTEMUS AND WAITER

As the waiter brings the drinks over to the table, Artemus’ and Abdul’s conversation come in. Artemus watches the drinks as they are laid on the table.

ARTEMUS
Now I wasn’t always a sailor. I was gonna become a magician. Me father, ‘e ‘ad been one – his father before ‘em. It was like a family trade.

Abdul picks up his glass – Artemus picks up his. He casts a glance at the drink. He knows it’s been fixed.

ARTEMUS (CONT'D)
Many’s the night, as a lad, I’d spent practicin’ this likkle trick. Gotta watch close, mind.

Artemus starts to prepare for the trick – rolls up his sleeves. Artemus picks up the drink with his one hand. His other hand is empty. He holds it up for display. He makes several passes. Suddenly a large balloon seems to come from nowhere. It grows bigger and bigger – all eyes are fastened on it.

85. ANGLE – ARTEMUS’ HAND

It holds the drink. The hand moves like a flash to dump the drink into a potted palm tree.

86. ANGLE – THE SCENE

As the balloon grows bigger – then suddenly pops and a shower of confetti bursts out. Artemus brings the empty drink up to his mouth and pretends to gulp it down. He slams the glass down on the table.

ARTEMUS
That was good. What ya call it?

ABDUL
(watching disappointedly)
An Arabian delight.

ARTEMUS
I could sit ‘n drink them all night long.

ABDUL
(shaken - he can’t believe it)
I believe you could.

ARTEMUS
But I’ve got business to attend to. So I’ll be takin’ me leave ‘n thankin’ ya.

Artemus has already risen.

ABDUL
(stammering)
But…

ARTEMUS
No, don’t bother to see me out.

Before Abdul can make any objection Artemus is almost to the exit.

87. ANGLE – ABDUL
A hardness flashes over his face. He motions to two sailors to go after Artemus.

CUT TO:

88. INT. ROSIE’S ROOM – ANGLE – THE ROOM AND DOORWAY – NIGHT

The oil lamp still burns. We PAN the room. It’s barren. Suddenly the door crashes open. West moves into the room. He moves in suspiciously. It becomes immediately apparent that the room has been ransacked.

89. CLOSE ANGLE – WEST

He realizes the room will give him no clue as to where Rosie is, and has been thoroughly searched for the ruby. He digs into his pocket – and pulls out the key. As he looks at it:

CUT TO:

90. EXT. PORT SAID BAR AND STREET – ANGLE – ARTEMUS – NIGHT

He has moved down the street from the bar. We ZOOM in to two men coming from the bar. They are dressed as sailors. They move after Artemus.

91. ANGLE –ARTEMUS

Aware of their presence. He continues to move on.

92. WIDER ANGLE – ARTEMUS AND TWO SAILORS

They come up behind him. Artemus stops as he feels something against his ribs. The two men move Artemus down an alleyway.

93. ANGLE – ALLEY

It is a dead end. A wall blocks passageway. However on this wall is a large theatrical poster announcing – “Fifi LaMore” tightrope dancer. Artemus and the two men move into SHOT. One of the men goes to the poster and presses the end of the tightrope. The poster swings open. As Artemus is guided inside.

94. INT. AMALEK’S H.Q. – ANGLE – AMALEK

A knife is poised in his hand for a half a beat before he throws it.

95. ANGLE – ARTEMUS

As the knife thuds into the wall close to his head. Artemus doesn’t look at it.

96. WIDER ANGLE – THE SCENE

The room should be Arabic in appearance. Besides Amalek there are half a dozen men, all dressed as sailors. Amalek is expressionless.

AMALEK
I have heard you were looking for that.

ARTEMUS
(looking at the knife for the first time)
Oh that. Yeah. Thanks for pointin’ it out to me.

Artemus finds himself pushed forward. One of the men quickly divests Artemus of his knife. Amalek takes it – gives it a brief glance and states.

AMALEK
Where did you get it?

ARTEMUS
I found it – in a friend. He’d run into it – by accident.

AMALEK
It must have pained him to part with it.

ARTEMUS
‘E was too dead to make any objections.

Behind a screen in the room, the faint SQUEAK of somebody moving in new boots can be heard. Artemus catches it.

AMALEK
Captain ‘Ull, late of ‘her majesty’s frigate, Northumberland.
(confidential)
There was a misunderstandin’, y’understand. I was forced to retire – without pension.
(Half a beat)
Who might I be addressin’?

AMALEK
(ignoring the question)
You have gone to a great trouble to find us – why?

ARTEMUS
I am by profession a trader ‘n a collector. When I come jupon that knife I said to myself, Captain ‘ull, that there knife is the start of a right nice collection. So I come to trade for some more.

AMALEK
(Knowing Artemus is playing a game)
And if I were to tell you that they were not for sale.

ARTEMUS
Then I would have to tell that everything is for sale if the bidder knows the right price.

AMALEK
We have no need of money.

ARTEMUS
Did you ‘ear me speak of money?
(a beat – Amalek looks hard at Artemus)
No. What I ‘ad in mind was a jewel. Very old – very desirable and if I might say… very ‘ard to come by.

AMALEK
(quickly)
What kind of jewel?

ARTEMUS
(a beat – smiles)
A ruby.

AMALEK
Where is it?

ARTEMUS
Now, now, now. ‘alf the joy is in the anticipation. Mustn’t ‘urry these things I always say.

Amalek grabs Artemus and holds a knife up to his throat.

AMALEK
Where is it?

ARTEMUS
‘old on a minute. No need to get tough.
(a beat – Amalek doesn’t release Artemus)
You’re not actin’ very smart. Do me in and you’ll never get the perishin’ likkle
gem.

Artemus is slowly released, but Amalek stays very close to him.

ARTEMUS (CONT'D)
I think you’d turn blue if you don’t get that ruby soon. Which leads me to thinkin’ that maybe it’s worth a lot more’n I figured.



Amalek gives him a look and then moves over to the screen behind which the shadowy figure hides. Artemus strains to see if he can get a clue to the shadow’s identity.

97. ANGLE – AMALEK

As he holds a quick whispered conversation with the figure behind the screen. He then turns and comes back to Artemus.

98. ANGLE – ARTEMUS AND AMALEK

AMALEK
I will give you fifty thousand dollars if you can deliver the ruby. But it must be within three hours.

ARTEMUS
(whistles)
Three hours. Now that makes it rough.

AMALEK
(brings up knife)
Bring in any later and you will get one of these for the small payment of your life.

ARTEMUS
(smiles)
Since ya put it that way, I guess I’ll just ‘ave to put meself out a likkle.

Artemus moves toward the “poster” wall. Amalek presses a button. The poster swings open and Artemus exits. WE PUSH in on Amalek, who turns as he hears the sound of the APPROACHING SQUEAKY BOOTS.

CUT TO:

99. EXT. WAREHOUSE – ANGLE – KEY – NIGHT

The key, with its one indelible mark, A STAR, dominates the frame. WE PAN UP to the face of West as he clutches the key and looks off at:

100. ANGLE – STAR WAREHOUSE

A warehouse. A sign states: STAR WAREHOUSE. The star symbol is also painted on the building. Standing at the only entrance are armed guards. However, there is a loft opening right above the main entrance.

CUT TO:

101. INT. WAREHOUSE – ANGLE – ROSIE – NIGHT

Bound to a chair. WIDEN ANGLE as Jason MOVES INTO SHOT. Standing by him are three of his thugs.

JASON
Stubbornness is an admirable trait, my dear Rosie. I admire you for it… but pity you the consequences.
(a beat – pleasant tone but it is edged with menace)
Now where is the ruby?

Rosie glares at Jason – shakes her head. Jason comes very close to her.

102. ANGLE – JASON AND ROSIE

Jason lets his hand caress Rosie’s hair. He brings his hand softly onto her cheek. Rosie pulls away.

JASON
Such a pretty face. In fact, fear has even made it beautiful. It would be such a shame…
(he lets the thought hang. A beat)
Now what did you do with it?

ROSIE
(defiant)
You’ll put nails in my coffin before I tell you.

JASON
It would grieve me for it to come to that, Rosie. You’re being very stupid.
(a beat)
You see, I know why you won’t answer my questions. It’s because that dummy Ferret got killed tonight.

ROSIE
(flaring up – defensive)
I hope God takes your own tongue for calling him that.
(a beat – looks up at Jason)
In his own way he said more than you’ll ever say.
(a beat – thinks about Ferret)
He was a kind, good-hearted man.

JASON
And he was like a father to you.

ROSIE
Yes… and if he hadn’t gotten mixed up with the likes of you he’d be alive right now.

JASON
This is all very touching – but also very taxing.
(a beat – hard)
Now where is the ruby?

ROSIE
You’ll be gone to join your friend the devil before I tell you.

Jason begins to move away from Rosie, explaining at the same time:

JASON
You have just made it necessary to make the acquaintance of a little pet of mine.

103. ANGLE – JASON

He has his back to us. He picks something up and turns around, facing us. In his hands he holds a small glass cage. WE ZOOM IN on the occupant a large, ugly, deadly looking tarantula.

104. ANGLE – GLASS CAGE AND TARANTULA

Jason moves forward. WE HOLD TIGHT on the glass case as it approaches us. The deadly looking tarantula looming closer.

105. ANGLE – ROSIE (INTERCUT WITH ABOVE SHOT)

As she watches with growing horror the approaching case. On her fear-etched face we…

CUT TO:

106. OMIT

107. EXT. WAREHOUSE – ANGLE – GUARDS – NIGHT

As a CLATTERING SOUND is heard. West moves cautiously up some steps leading to a second story entrance.

108. ANGLE – WEST

As he picks the lock and enters.

109. INT. LOFT – WEST

He moves into sight and peers at the scene below.

110. ANGLE – WEST’S POV

The scene below. Rosie is tied to a chair. Jason is in front of her. The thugs stand close by and in a group. WE ZOOM IN TO A TIGHT SHOT of the glass box being held in front of Rosie’s face.

111. ANGLE – JASON AND ROSIE

Jason is teasingly opening the glass box door – inching it open slowly. The tarantula is poised, ready to get out of his cage.

112. ANGLE – ROSIE

Gripped by fear. She begins to shake her head. Tears are welling in her eyes.

ROSIE
All right, Jason – you win. It fell off my foot while I was running. Believe me, I don't know where it is. That’s the honest truth.

113. ANGLE – JASON

As he holds the glass cage – he still continues to lift the glass door.

ROSIE’S VOICE
You’ve got to believe me.

JASON
(pleasant smiling)
Unfortunately, I don’t believe you, Rosie. You’re lying.
(a beat – hard)
Now where is it?

114. ANGLE – THE GLASS CAGE

The door opens wider – the tarantula is almost out.

115. ANGLE – ROSIE

Intense fear on her face.

ROSIE
I swear I don't know where it is.

116. ANGLE – JASON

Still not believing her.

117. ANGLE – WEST

As he looks around. He sees a pulley with a connecting rope leading to the rafter and secured there. He takes a hold of the rope and prepares to swing.

118. ANGLE – THE SCENE

As West comes down from the rafters, via the pulley in a swinging arc. He careens into the group of startled thugs who are momentarily caught and thrown off balance.

119. ANGLE – WEST

As he lets go of the pulley, grabs a crate and hurls it into the first of the reviving thugs.

120. ANGLE – FIGHT

Using Judo chops, knee punches and an assortment of crates and rolling barrels, West manages to put down each new thug assault.

121. ANGLE – WEST AND TWO THUGS

West battles it out with a thug. A second lies on the floor unconscious.

122. ANGLE – THIRD THUG

As he takes the pulley and aims the hook at West’s head. As he prepares to let the hook fly 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
8376 Posts

Posted - 12/21/2009 :  09:12:27  Show Profile
ACT THREE

FADE IN:

123. INT. WAREHOUSE – ANGLE – WEST, THUG & PULLEY – NIGHT

As the pulley comes straight toward West—gathering momentum as it travels. West turns just in the nick of time. He is fighting a thug. He dives just as the pulley hook is about to strike. The hook continues right on and into the body of the thug who lets out a yell and slumps.

124. ANGLE – JASON

As he realizes that West is to much for his men. He begins to whip out a gun.

125. ANGLE – WEST AND JASON

As West spots this and dives for Jason, knocking the gun out of his hand. West pulls Jason to his feet and at the same time the derringer slips down into his hand. He aims it at Jason’s head.

JASON
(points to derringer)
I think you’d better drop that gun, Mr. West.

WEST
Now why would I do that?

JASON
Just look around you.

126. WIDER ANGLE – THE SCENE

To show that Jason’s men have their guns trained on West. West doesn’t lower his gun.

WEST
They shoot me—I shoot you.

JASON
A highly unpleasant arrangement for either of us.

WEST
It’s a stalemate.

Jason
And what do you suggest we do about it?

WEST
You and your boys can leave. But the girl stays with me.

JASON
Your life and hers—for mine. A fair trade.

Jason begins to back away. His thugs begin to move toward the entrance. West moves over to Rosie and begins to untie her.

127 AND 128 OMITTED.

129. WIDER ANGLE – THE SCENE

JASON
Until our next meeting, Mr. West.

One of the thugs opens the door. Jason and group exit.

130. ANGLE – JASON [sic] AND ROSIE

Rosie now untied is helped out of the chair by West. As they begin to move out of the warehouse…

DISSOLVE TO:

131. INT. BAGGAGE COMPARTMENT – ANGLE – ROSIE – NIGHT

She is sitting on a bed which has been made up for her. She appears tired. As she starts to speak WIDEN ANGLE to include West and Artemus standing near the doorway—listening to her. Artemus is still in the seaman’s disguise.

ROSIE
After saving me from Jason Starr, if I knew what I did with the ruby, I’d tell you.
(a beat)
But when I left the bar I don’t know where I went. I just kept running. It had to’ve fallen off my foot… I was in such a panic I don't know where…
(half a beat)
… and I don’t care. It’s only brought unhappiness.
(a beat – inward)
It can stay lost…

Rosie lies down on the bed. She brings her hand up to her head. Artemus looks at West.

ARTEMUS
She’s very tired, Jim.

WEST
(to Rosie)
Get some sleep.

ROSIE
Thank you again.

West smiles. Artemus and Jim then move through the door.

132. INT. RAILROAD CAR – ANGLE – THE SCENE – NIGHT

West and Artemus come through the doorway. Artemus closes it. He then moves over to a button and presses it.

ARTEMUS
A very charming young lady.
(half a beat)
Pity she’s such a liar.

WEST
(nods)
Exactly.
(a beat)
And where have you been?

ARTEMUS
To the pleasure palace of Arabia. The Port Said bar. From there two very helpful gentlemen took me to see Fifi LaMore…

West gives him a puzzled look.

ARTEMUS (CONT'D)
She’s on a theatrical poster at the end of a blind alley near the bar. Well, it was blind until someone touched Fifi’s tightrope.

CUT TO:

133. EXT. RAILROAD CAR – ANGLE – TREES AND UNDERBRUSH – NIGHT

A shadowy figure MOVES INTO SHOT and takes cover behind the undergrowth. He watches the train. After a few beats:

CUT TO:

134. INT. RAILROAD CAR – ANGLE – WEST AND ARTEMUS – NIGHT

Artemus is finishing up his account of the meeting with Amalek.

ARTEMUS
I only met the second in command. The leader was in the room… but hidden.

WEST
They make you a deal?

ARTEMUS
(nods)
If I can get them the ruby they’ll pay fifty thousand dollars for it.
(a beat – puzzled)
And what puzzles me is that it’s not worth a tenth of that amount.

WEST
What do you mean?

ARTEMUS
I examined the ruby in the museum. It’s a third-rate stone, Jim. On the open market it would barely fetch five thousand dollars.

WEST
Maybe their motive is the same as Jason’s… to blackmail the government.

ARTEMUS
I doubt it. They’ve set a time limit. They have to have the ruby within two hours.

WEST
That could be a problem.

ARTEMUS
Oh, I don't know about that.

Artemus pulls out a whole tray of rubies. West smiles.

WEST
(a beat)
Why the deadline…
(thinking about it – to himself)
And why pay so much for something that’s worth so little?

Artemus has moved away to several large volumes that lie open on the desk. All deal with Egyptology.

ARTEMUS
I think the answer’s somewhere in these books. I’ve been doing some research on the Tomb of Kings. And I’ve come up with some startling information.

Artemus stops as he and Jim both notice the cuckoo come out of his house and beep.

WEST
Looks like Rosie isn’t so tired after all.

CUT TO:

INT. BAGGAGE COMPARTMENT – ANGLE – ROSE – NIGHT

As she silently slips out of the window.

DISSOLVE TO:

136. EXT. ICE HOUSE – ANGLE – ROSIE – NIGHT

As she moves hurriedly to the ice house door.

137. CLOSER ANGLE – ROSIE

As she comes to the entrance. She looks up and down the street to make sure she hasn’t been followed. Satisfied that she hasn’t been, she slips inside the building.

138. INT. ICE HOUSE – ANGLE – ROSIE – NIGHT

As she comes into the ice house.

139. CLOSE ANGLE – ROSIE

As she comes up to an oil lamp – lights it and moves over to a water tray. She begins to search inside it. After a few beats her hands begins to frantically move about in the tray. She moves to another one and proceeds to search – desperately now.

WEST’S VOICE
Is this what you’re looking for, Rosie?

Rosie spins around and looks at:

140. ANGLE – WEST AND BLOCK OF ICE

West throws the light from an oil lamp he is holding onto a block of ice beside him. The block is at least two hundred pounds – all frozen solid. A red hue emanates from the block.

141. ANGLE – ROSIE AND WEST

Rosie is stunned.

ROSIE
It will take weeks to thaw.

WEST
(spots an ice pick – moves over to it)
Yes it would. And I need it right now.

142. ANGLE – WEST

As he takes the ice pick over to the block of ice.

143. ANGLE – BLOCK OF ICE AND WEST

West examines the block of ice. He then carefully draws a line with the ice pick. A beat – further examination and then he etches another line. The two lines intersect at a point. West then takes the ice pick and carefully aims it at the point where the two lines meet. Then with a mighty swing he smashes the pick into the ice.

144. ANGLE – BLOCK OF ICE

As it splits asunder making the removal of the ruby possible.

145. ANGLE – WEST, ROSIE AND BLOCK OF ICE

West reaches into the split ice block and takes the ruby out. He buries the ice pick into the remainder of the ice. He looks at the ruby.

JASON’S VOICE
How very good of you, Mr. West.

146. ANGLE – JASON AND THUGS

Jason has a gun leveled at West and Rosie.

He moves forward. Jason holds out his hand for the ruby.

JASON
The ruby, Mr. West.

147. WIDER ANGLE – THE SCENE

West doesn’t move.

JASON
(pleasantly)
It would be such a pity to have a bullet ruin your evening clothes.

148. ANGLE – WEST AND JASON

West moves forward and starts to give Jason the ruby. As Jason holds out his hand West prepares to drop the ruby in it. However, West lets the ruby fall just short of Jason’s fingers. The gem drops to the ground. Jason’s eyes flicker to it and West immediately jumps him. West knocks Jason to the ground.

149. ANGLE – THE SCENE

As the thug, a huge brute of a man, immediately jumps West. They fight.

150. ANGLE – ROSIE

She would like to get to the ruby, but the fighters are continuously in her way.

153 THRU 155 OMITTED.

156. ANGLE – JASON

He has recovered and now goes for his gun.

157. ANGLE – THUG

As he goes reeling back a few feet and into a wall. Horace opens his mouth but the scream never comes out. He pitches forward and reveals that he had been thrown onto an ice hook.

158. ANGLE – THE SCENE

As Jason levels the gun at West who is moving towards him.

JASON
That’s quite far enough…

West stops. Jason points his gun toward the freezer.

JASON (CONT'D)
In there. Both of you.

159. ANGLE – WEST AND ROSIE

As West looks at the girl and sees they have no other recourse. Both move toward the freezer, the door to which is open. They stop by the doorway.

160. ANGLE – JASON, WEST AND ROSIE

JASON
(indicating with the gun)
Inside.

West and Rosie move into the freezer room. Jason picks up Rosie’s shawl which she had dropped and throws it at her.

JASON (CONT'D)
Your shawl, my dear.

WEST
(looking at Rosie and then at Jason)
Yes. We wouldn’t want her to catch a death of cold.

161. OMIT

162. INT. FREEZER ROOM – ANGLE – WEST AND ROSIE TO JASON

Jason stands in the doorway looking at West and Rosie.

JASON
Remember, Mr. West… things always look darkest before they go completely black.

And with this he slams the door shut, blacking out the freezer room entirely. HOLD A BEAT.

163. INT. ICE HOUSE – ANGLE – JASON – NIGHT

As he bolts the freezer door and turns the key in the lock. He throws the key away. He gives a quick glance to the ruby in his hand and, depositing it in his vest pocket, turns and starts to move out of the ice house. He HEAR a soft thunk.

164. CLOSE ANGLE – JASON

As he turns – looks surprised and then suddenly his face contorts with pain.

165. ANGLE – JASON

As he pitches to the floor – an ornate, curved dagger in his back.

CUT TO:

166. INT. FREEZER ROOM – ANGLE – THE SCENE – NIGHT

The room is totally black. Suddenly a match is struck and we see West’s and Rosie’s faces. West finds an oil lamp and lights it.

167. ANGLE – WEST

As he moves around the room hoping to find another door or a window. The room is a box with only one way out – the way they came in. West moves to the door and looks at it.

168. ANGLE – WEST AND ROSIE

Rosie is beginning to shiver. West looks at her and then at the oil lamp. It begins to flicker – the light growing dimmer. Suddenly it goes out.

ROSIE
What does that mean?

WEST
It means we can either die from lack of oxygen or freeze to death.

WE PUSH IN on West’s face…

FADE OUT…

END ACT THREE

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

USA
8376 Posts

Posted - 12/21/2009 :  09:13:17  Show Profile



ACT FOUR

FADE IN:

169. INT. FREEZER ROOM – WEST AND ROSIE

ROSIE
We’re trapped. No one knows we’re here.

WEST
(inspecting the interior)
Yeah… and I’m afraid Artie’s got his own problems right now.

169A. EXT. ALLEY – ANGLE – ARTEMUS – NIGHT

Dressed as the sea captain. He comes down the alley and up to the poster. He presses the button and the poster swings open allowing him to enter.

170. INT. AMALEK’S H.Q. – ANGLE – ENTRANCE – NIGHT

As Artemus comes in. Three of Amalek’s men are present. They are busy playing a betting game – a betting game. One of the men immediately gets up and moves over to Artemus. (THROUGHOUT THE SCRIPT THIS MAN WILL BE REFERRED TO AS MAN #1.)

MAN #1
Amalek will be back soon. He said you should wait.

ARTEMUS
Thank ‘e – thank ‘e. That I will.

The man moves back to the game.

171. ANGLE – ARTEMUS

As he watches the game in progress. Let’s say it’s craps for the time being. He smiles to himself and then begins to move closer to the game.

172. ANGLE – ARTEMUS AND THREE MEN

Artemus watches for a beat.

ARTEMUS
What’s going on ‘ere? A game of chance?

173. ANGLE – THREE MEN

As they look at one another and then back to Artemus who they are regarding as a possible s*cker. Man #1 nods.

ARTEMUS
Strange lookin’ game. ‘ow’s it played?

MAN #1
You have never played it before?

Artemus shakes his head.

MAN #1 (CONT'D)
(looks at the other two – they do have a s*cker)
Then we will show you.

As the four being to play and as Artemus takes out a small wad of bills.

CUT TO:

174. ANGLE – WEST

As he slips open the heel of his shoe and takes out some thermite putty. He begins to wedge it into the bolt area of the door. He takes out a small, ignitable piece of wire and attaches it to the putty. He strings it back into the small freezer area.

175. WIDER ANGLE – ROSIE AND WEST

West indicates for Rosie to get behind a block of ice to protect her from the blast.

WEST
Stay down.

West then ignites the fuse. It starts to burn, inching its way slowly towards the door. West moves behind the ice block with Rosie.

176. ANGLE – FUSE

As it sputters and dies.

177. ANGLE – ROSIE AND WEST

West gets up. He moves over to the fuse. Rosie stays behind the ice block.

178. ANGLE – WEST

As he breaks the fuse wire off, very close to the thermite putty.

179. ANGLE – ROSIE AND WEST

Rosie is shivering. She has West’s coat around her shoulders. She watches him. Both her and West should have difficulty breathing. It is labored and heavy.

ROSIE
What’s the matter?

WEST
There’s very little oxygen left. The fuse dies almost the moment it’s lit.

He motions for her to get back down behind the ice block.

180. ANGLE – WEST

The fuse stem is barely two inches from the thermite putty. West strikes the match right next to the fuse and then dives away at the same instant.

181. ANGLE – THE SCENE

As West hits the floor the door is suddenly blasted out.

182. INT. ICE HOUSE – ANGLE – FREEZER ROOM

The door lies on the floor. West and Rosie come out of the freezer room. As they begin to move forward, they both stop and look at:

183. JASON & ICE BLOCK

Jason has the curved dagger in his back. He lies partly in the smashed block of ice.

184. WIDER ANGLE – JASON, WEST AND ROSIE

As West and Rosie move up to the body of Jason.

WEST
Well, that’s one problem on ice.

ROSIE
The other men – they did it?

WEST
(worried)
Yes.
(a beat)
Which means they have the ruby… and Artemus is in real trouble when he shows them his!

CUT TO:

185. INT. AMALEK’S H.Q. – ANGLE – ARTEMUS – NIGHT

As he rakes in a wad of money and places it with a larger stack. His winnings.

186. WIDER ANGLE – ARTEMUS AND THREE MEN

The three sailors look broke. Man #1 is taking off a ring from his finger and hands it to Artemus—none too good naturedly. Artemus looks at it.

ARTEMUS
(examining the ring, closely)
You ‘ave very good taste, my man – very good indeed.

MAN #1
(hard)
For a man who does not know how to play, you play very well.

ARTEMUS
‘ave you never ‘eard of beginner’s luck?

AMALEKS VOICE
Yours just ran out…

Artemus turns around to see:

187. ANGLE – AMALEK AND ANOTHER MAN

Both dressed as sailors. Amalek moves into the room.

188. WIDER ANGLE – THE SCENE

As Artemus gets up and moves toward Amalek.

AMALEK
You have the ruby, Captain Hull?

ARTEMUS
That I do.

AMALEK
Give it to me.

ARTEMUS
(a beat – scratches his beard)
I been givin’ this matter some thought. And as I see it, I might be able to get a better offer from your ‘ead man.

AMALEK
There is no one else.

ARTEMUS
Naw. I know ‘ired ‘elp when I see it.
(a beat)
Your ‘ead man – or no deal.

AMALEK
(a beat – hard)
No deal.

Amalek nods and two men quickly grab Artemus. A third quickly searches him for the ruby.

ARTEMUS
Take ya’ perishin’ hands off me.

Amalek looks at the ruby that Artemus had on him. He tosses it aside and then takes out the real ruby from his pocket. Artemus looks at it and instantly recognizes it.

AMALEK
Strange. I believe this was the ruby you had agreed to bring.

ARTEMUS
It’s a fake!

AMALEK
(smiles)
I think you are the fake… Captain Hull.
(half a beat)
I would like to find out who you really are. I have the means but unfortunately not the time.

ARTEMUS
Ohh wha’ a pity. But then I wouldn’t want to be the cause of your missin’ an previous engagement.

Amalek has started to leave – he turns, looks at Artemus.

ARTEMUS (CONT'D)
Or should I rather say – a golden opportunity.

Amalek moves back to Artemus – his face disturbed.

ARTEMUS
(sly)
One that’s been hangin’ around for over three thousand years.

189. ANGLE – AMALEK

AMALEK
You will take that fact to the grave.

190. ANGLE – ARTEMUS AND AMALEK
(to two of the thugs)
Kill him – slowly.

Amalek leaves and motions two other men to come with him. All three exit.

191. ANGLE – ARTEMUS AND TWO THUGS

The two men hustle Artemus over to a chair. They bind him to it. One of the men is MAN #1.

192. ANGLE - MAN #1

As he moves away from the chair and over to a brazier of burning coals. A poker is in it. The man starts to withdraw it.

193. ANGLE – POKER

As it comes out of the brazier. The poker is two pronged. The separation between the prongs is less than two inches. The tips are white hot.

194. ANGLE – MAN #1

As he looks at the tips and satisfied that they are hot enough moves over to Artemus.

195. ANGLE – ARTEMUS

As he looks at the approaching poker. He appears to be bracing himself.

196. ANGLE – ARTEMUS AND TWO THUGS

The one thug holds the chair firmly, gripping it from behind. Man #1 brings the poker up and aims it at Artemus’ eyes.

197. CLOSE ANGLE – ARTEMUS

As he looks at the poker moving slowly toward him.

198. CLOSE ANGLE – POKER (ARTEMUS’ POV)

The poker comes slowly toward us – the white tips beginning to go OUT OF FOCUS

199. ANGLE – THE SCENE

As Artemus suddenly pitches the chair forward causing him to pitch his head to sink into Man #1’s stomach. The thug behind catches the chair leg in his shins.

CUT TO:

200. EXT. ALLEY – ANGLE – WEST – NIGHT

As he moves swiftly down it and up to the poster. His hand goes to “Madame Fifi La More’s” tightrope.

201. INT. AMALEK’S H.Q. – ANGLE – ARTEMUS AND TWO THUGS – NIGHT

The two thugs have recovered and have gotten up and jammed the chair against the wall. Man #1 now moves in again with the poker.

202. CLOSER ANGLE – MAN #1 AND ARTEMUS

The man moves in close to Artemus with the poker. The situation reaches its peak when:

203. ANGLE – ENTRANCE TO ROOM

As the poster swings open and West moves quickly into the room.

204. ANGLE – THE SCENE

The thug with the poker turns away from Artemus. The other thug makes a dive for West who sidesteps it allowing the thug to go barreling past him. The other thug moves towards West with the poker and swings it. West deftly moves back out of the way of the hot tips.

205. CLOSE ANGLE – FIGHT

The other thug moves in on West who quickly cuts him down and sends him flying into Man #1 with the poker. West quickly descends upon this man, knocking the poker out of his hand with a well placed kick. A succession of rapid punches follow which pulverizes the thug.

206. ANGLE – WEST AND ARTEMUS

West, having dealt with the two thugs, now moves over to Artemus. Using a knife he quickly severs the bonds. As he’s doing this the following takes place.

ARTEMUS
They’ve got the ruby.

WEST
I know. They took are of our “friend” Jason to get it.

ARTEMUS
How obliging.
(half a beat)
Rosie all right?

WEST
(nods)
I sent her to a hotel.
(half a beat)
Any idea where they’ve gone?

ARTEMUS
Yeah… and we’ve got half an hour to get there!

By now Artemus is free. As he and West get up and begin to move towards the entrance…

CUT TO:

207. INT. MUSEUM – (THE TOMB OF THE KINGS) – ANGLE – THE ROOM – NIGHT

Dark – deserted. Moonlight comes in from a skylight over head striking the statue’s shoulders. WE PAN around the deserted room until we come to the entrance. The door begins to slowly open. Two shadowy figures enter.

208. CLOSE ANGLE – TWO FIGURES

WE FOLLOW their movements over to the statue of the sun God Ra. The lead figure’s boots SQUEAK. This shadow proceeds to place something in the open socket in the statue’s forehead. The moonlight is now very close to the idol’s head.

209. CLOSE ANGLE – HAND

As it places the ruby in the forehead. Suddenly it hovers.

210. ANGLE – SHADOWY FIGURES

As it hesitates in placing the ruby in the forehead. The figure has turned his head to look at:

211. ANGLE – MUMMY CASE

The door slowly CREAKS open.

212. ANGLE – FIGURES

Transfixed. Then suddenly the lead figure looks back to the statue and starts to place the ruby in the forehead. Suddenly the whole room is filled with light, illuminating the figure by the statue to be HEISEL, the man by his side Amalek.

213. WIDER ANGLE – THE SCENE

Out of the mummy case steps West. Artemus stands near the lights. Heisel looks from West to Artemus to the statue. He shouts a quick command to Amalek.

HEISEL
(to Amalek – frantic)
Out with those lights.

Amalek moves toward West. He draws his dagger. Artemus moves toward Heisel.

214. ANGLE – WEST [sic] AND HEISEL

Heisel struggles with Artemus and at the same time tries to desperately replace the ruby. It becomes a lost cause as Artemus pulls him down to the base of the statue. Heisel stays there.

215. ANGLE – WEST AND AMALEK

West manages to disarm Amalek by flipping him. A few more punches and Amalek lies unconscious.

216. ANGLE – THE SCENE

Heisel remains at the base of the statue. He wears a look of utter defeat and hopelessness.

HEISEL
It’s too late…
(looks up at West – angry)
… too late.
(spits it out)
I curse you.
(almost to himself)
Years I have waited for tonight. Years. Only to have everything ruined.

WEST
You mustn’t let these little upsets discourage you.

HEISEL
You stupid fools. Do you know what lies concealed in this room?

WEST
The treasure of Ho Tem Ra.

ARTEMUS
And ingeniously concealed if I might add. Only when the moon is in a certain position is the location revealed.

WEST
Right, Heisel?

Heisel rises – he’s stunned – shaken that they know.

HEISEL
Yes… yes…
(puzzled)
… but then you must also know that it will be another twelve years before the chance comes again.

ARTEMUS
(correcting)
Twelve years, six months, two days and four hours to be exact.

Heisel becomes more bewildered as the conversation continues.

WEST
(glancing over to Amalek – and then to Heisel)
And since you gentlemen will probably still be detained by then…

HEISEL
(he has been thinking – he didn’t hear West – cuts in)
But what do you intend to do to get the treasure? Tear a priceless monument apart?

ARTEMUS
No. I think I know a way to turn the clock back.
(he moves over to Heisel and takes the ruby)
If you’ll allow me to return this to its rightful owner.

Artemus places the ruby in the socket of the statue’s forehead.

217. ANGLE – ARTEMUS

As he adjusts a clamp with mirror attached over the statue’s head. He then moves to another mirror attached to the skylight. Taking a mirrored pocket torch he starts to bring it up to the mirror, explaining as he does.

ARTEMUS
The exact angles of the mirrors match perfectly the position of the moon a few minutes ago.

The light source is suddenly reflected off the mirror by the skylight.

218. ANGLE – STATUE AND SECOND MIRROR

The mirror over the statue’s head flares with a white light. This light moves up the statue’s shoulder, until it reflects down a small hole in the top of the statue’s head.

219. ANGLE – RUBY

As it shines and sends a ray of red light towards:

220. ANGLE – PILLAR

As the red light hits it at a small point of ornamentation on the column.

221. ANGLE – HEISEL

As he watches. Unable to contain himself he rushes over to the pillar.

222. ANGLE – HEISEL AND PILLAR

As Heisel presses the ornamentation.

223. CLOSER ANGLE – HEISEL AND COLUMN

As the column suddenly opens and a cascade of jewels rushes out onto Heisel who slowly slumps to the floor, defeated, but immersed in wealth.

FADE OUT:

END ACT FOUR

TAG

FADE IN:

224. INT. RAILROAD CAR – ANGLE – WEST AND ARTEMUS – DAY

As they enter.

ARTEMUS
I must say the Princess looked radiantly happy.

WEST
Well, she got her Prince, the ruby and about eight million dollars in jewels.

Artemus has spotted a small parcel on the desk. He crosses over to it. It should look similar to the one Jason’s gang delivered. As West spots it.

WEST (CONT'D)
Not again.

By this time Artemus has unwrapped it. A small box is inside – a note lies on top of it – Artemus scans the note.

ARTEMUS
It’s from the Princess – a present – a token of her appreciation.

Artemus opens up the box and reveals a large diamond.

ARTEMUS (CONT'D)
Very magnanimous…

WEST
Pity we can’t accept it.

At this point the cuckoo bird shoots out of his house and beeps. West and Artemus look at each other and then to the baggage compartment. As they start to move towards it…

225. INT. BAGGAGE COMPARTMENT – ANGLE – ROSIE – DAY

She has climbed through a window. She holds open a valise. The door to the compartment opens. She turns around.

226. WIDER ANGLE – THE SCENE

Standing in the doorway is West and Artemus – their looks demanding an explanation as to why the intrusion. Artemus makes a hand gesture indicating to Rosie to move into the railroad car. Rosie looks at them and then moves past them and into the other room.

227. INT. RAILROAD CAR – ANGLE – THE SCENE – DAY

As Rosie comes in. She appears a little guilty. West and Artemus follow behind her. She turns and faces them.

ROSIE
Now before you go jumping to any conclusions I can explain everything. I didn’t come to steal from you.
(she holds up her valise)
I just came back for my things. I left them the other night.
(looks at them)
You can search me if you don’t believe what I’m saying.

Artemus and West both shake their heads.

ROSIE (CONT'D)
Then I’ll be going.
(looks at West – a beat – softens)
Thank you again for saving my life.

Rosie turns and starts to move out of the car.

WEST
What will you do now?

Rosie stops – turns and faces them.

ROSIE
(a beat – shrugs)
I’ll find something.

ARTEMUS
In a bar – dancing?

ROSIE
(a beat – a small sigh)
If I have to.
(half a beat)
I want to be a seamstress, but no one will hire me – knowing what I’ve been. I’ve tried before.
(looks at them)
That’s why I wanted the ruby. With it I could have opened up my own store. Still, after all the trouble I’ve caused I shouldn’t be burdening you with my problems.

West and Artemus look at one another and with a mutual nod Artemus hands the diamond over to Rosie.

ARTEMUS
Take it. Open your shop.

ROSIE
(reaches for it – stops)
No… no, I can’t accept it.

WEST
We insist.

ROSIE
(a beat)
All right. I’ll trade you for it.

West and Artemus look at each other, puzzled. Their puzzlement ends when Rosie takes out two silver candlesticks which she had obviously stolen from them. West and Artemus look at one another.

WEST
Such reform deserves a drink.

Artemus crosses to the liquor cabinet – takes out a bottle of champagne – pops it – as drinks are poured and laughter ripples we…

FADE OUT:

THE END

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