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California gal
SS senior field agent

USA
8383 Posts

Posted - 03/26/2010 :  11:36:13  Show Profile
WILD WILD WEST

NIGHT OF THE JUGGERNAUT


By Calvin Clements, Jr.


FINAL DRAFT
July 5, 1968
#0608

CBS Television Network
Press Information
Television City
Los Angeles, Calif. 90036


Sept. 16, 1968

“The Wild Wild West”. . .

FLOYD PATTERSON IN ACTING DEBUT OCT. 11

Floyd Patterson, who came within a whisker of regaining his world heavyweight crown last week in a both with World Boxing Association champion Jimmy Ellis in Stockholm, Sweden, that ended in an unpopular 9-6 decision, steps into a new arena Friday, Oct. 11.

The former champ makes his acting debut o that date on “The Wild Wild West,” action adventure series, presented 7:30-8:30 PM, PT, in color on the CBS Television Network.

Patterson plays a homesteader whose farm is threatened by a high-powered land syndicate. Robert Conrad stars as secret agent James West and Ross Martin as his colleague, Artemus Gordon.

When agents West and Gordon arrive on the scene, they discover that a respected local citizen, Theodore Bock, is the power behind the move to dispossess local landowners.

James West…..ROBERT CONRAD
Artemus Gordon…..ROSS MARTIN
Lyle Dixon…..Floyd Patterson
Theodore Bock…..Simon Scott
Lonie Millard…..Gloria Calomes
County Clerk…..Byron Foulger
Harwood…..Peter Hale
Farmer No. 2…..Irving Mosley
Geezer…..Wild Bill Reynolds
Farmer No. 1…..Stuart Nisbet
Nurse…..Evelyn Dutton
Storekeeper…..Bart LaRue

Director…..Irving Moore
Writer….Calvin Clements, Jr.


THE WILD WILD WEST

“The Night of the Juggernaut”

PRODUCER
BRUCE LANSBURY

ASSOCIATE PRODUCER
LEONARD KATZMAN

STORY CONSULTANT
HENRY SHARP

WRITTEN BY
CALVIN CLEMENTS, JR.

SETS:

EXT. JORGENSON FARM
INT. JUGGERNAUT
EXT. BLACK BOWL STREET
INT. LAND RECORD OFFICE
INT. WEST’S VARNISH
EXT. COUNTRYSIDE
INT. SALOON
EXT. MISSION RANCH COMPLEX
INT. LONIE’S ROOM
EXT. DIXON FARM
INT. FOUNDRY ROOM
INT. CORRIDOR
INT. OIL CHAMBER
INT. TOOL CHAMBER

CAST:

JAMES WEST – ROBERT CONRAD
ARTEMUS GORDON – ROSS MARTIN
LYLE DIXON
THEODORE BOCK
LONIE MILLARD
COUNTY CLERK
STOREKEEPER
FARMER #1
FARMER #2
DOCTOR
GEEZER
GUARD
2ND GUARD
HARDCASE

SILENT:
NURSE

WILD WILD WEST

“The Night of the Juggernaut”

TEASER

FADE IN:

1. EXT. FARMHOUSE GROUNDS – NIGHT

Establish a simple farmhouse, a nearby barn with corral attached. A light burns in the farmhouse window, one of the barn doors swings slightly ajar—into this scene rides JAMES WEST and ARTEMUS GORDON. They ride to the front of the house and dismount. West CALLS softly.

WEST
Mr. Jorgenson…

There is no answer from within.

ARTEMUS
I’ll check the barn.

He moves off toward the barn. CAMERA stays with West who moves to the doorway—KNOCKS.

WEST
Mr. Jorgenson…

2. CLOSE AT DOORWAY

The door swings softly open, West peers in, again CALLING off.

WEST
Mr. Jorgenson…

He moves back onto the porch, in the b.g. we see Artemus come out of the barn.

ARTEMUS
Jim…

3. CLOSE SHOT – ARTEMUS

Sorrow is on his face as he refers to the barn.

ARTEMUS
I found him… We’re too late.

4. CLOSE SHOT – WEST

he reacts to the information. Suddenly the air is filled with MECHANICAL SOUNDS of frightening intensity. The SOUND seems to come from every direction. West reacts trying to pinpoint the direction of the sound.

5. ANGLE WITH ARTEMUS

against the barn. Suddenly his gaze centers again:

6 ANGLE TO THE JUGGERNAUT – (ARTEMUS’ POV)

Emerging from the fence area is a monstrous mechanical mass, roughly in the shape of a tank, though it is seen here only as a shadow as its form blends into the night blackness. Smoke belches from a smokestack, and steam is generated from beneath the machine and from a number of ports, giving us the impression that the thing moves on and within a cloud. The Juggernaut swings to face Artemus, and now all clues to its silhouette disappear as two beams of light, the “eyes” of this creature, glare into CAMERA.

7. WEST

raises his arm against the glare at the first appearance of the monster, then starts once again for the corral area;

8. ARTEMUS

trying to see what it is.

9. THE JUGGERNAUT

seen only as a huge mass, its two beams of light glaring as it CRASHES through the corral fencing, sending beams flying, and heads INTO CAMERA.

10. ANGLE TO ARTEMUS

SHOOTING PAST THE FRONT OF THE JUGGERNAUT as it approaches Artemus who pulls out his gun and fires.

11. WEST

vaults the corral fence, FIRES a couple of shots in desperation at the Juggernaut, trying to divert the machine from Artemus. These shots are HEARD TO PING harmlessly off the steel hull of the monster.

12. THE BARN

The tank rams into a section of barn dropping timbers on Artemus who lies pinned.

13. THE JUGGERNAUT

CLOSE ON THE FRONT OF THE MACHINE as it turns from Artemus and now heads for West, its form still obscured by smoke.

34. WEST

would turn to elude the thing but finds himself trapped between the barn and the corral fencing.

15. THE JUGGERNAUT – VARIOUS ANGLES

1. The twin beams of light coming INTO CAMERA.

2. The smokestack belching smoke.

3. The bottom of the machine, billowing smoke. Also seen is a steam port form which we HEAR THE WHISTLING SOUND with each new gust of steam.

16. INT. JUGGERNAUT

SHOOTING THROUGH A PORT OF THE JUGGERNAUT to see West FIRING his last few futile shots, then, in desperation, hurling his gun INTO CAMERA.

17. CLOSE – THE JUGGERNAUT – (WEST’S POV)

SHOOTING UP-ANGLE as the Juggernaut FILLS THE SCREEN.

18. WEST

As the Juggernaut bears down, now inches from him. West leaps upon the face of the thing, crawls to the top, turns to see:

19. THE FENCE – (WEST’S POV)

The Juggernaut CRASHES through the fence now. The timbers come into CAMERA, scraping West off the Juggernaut.

20. WEST

falls to the ground and the machine rolls past him. CRUNCHING SOUNDS fill the air, joining the SOUND of the mechanical monster. Timbers fall over West, one large beam rendering him unconscious as the Juggernaut rolls off on its way.

FADE OUT:

END OF TEASER

ACT ONE

FADE IN:

21. STOCK SHOT – WEST’S VARNISH – ON SIDING

HOLD for titles.

22. INT. VARNISH

CLOSE on the face of TOM HARWOOD—a member of the Secret Service. Youngish and obviously impressed with the presence of West and the car…

HARWOOD
And Mr. Gordon, sir, how is he?

WEST
You’ll see for yourself in a moment.

HARWOOD
And you said Mr. Jorgenson was dead by the time you got there?

Now CAMERA PULLS BACK to disclose we are in the car. Harwood has a sheaf of papers in front of him. West is relaxing on the couch.

WEST
That’s right. And whatever he wanted to tell us is gone with him.

At this moment the rear door of the car swings open, and in comes Artemus, his leg heavily bandaged supported by two of the prettiest NURSES any sick man could reasonably hope for, as they guide him to a chair, he leans heavily on them.

ARTEMUS
Careful… careful now… hold tight.

He slowly eases himself into a chair, smiles at the girls.

WEST
Nice to see you’re bearing up so well, Artie.

ARTEMUS
I never was one to pamper myself.

WEST
Artie, this is Tom Harwood, he works out of our Albuquerque office.

HARWOOD
A real pleasure, Mr. Gordon. I hope your leg gets better.

ARTEMUS
I expect it’ll be fine shortly.

WEST
Harwood was checking up on the homesteaders in the Big Hill area.

ARTEMUS
Come up with anything?

HARWOOD
(shakes head)
No, sir, the homesteaders up there are getting along fine. A few quit, but mainly they’re settling on the land.

ARTEMUS
So it’s only in the Black Bowl area that they won’t stay on. I wonder why.
(to West)
You see any connection with that—whatever it is we ran into.

HARWOOD
Someone’s going to a lot of trouble to try to run the homesteaders out of the Black Bowl area.

WEST
Be interesting to know if anyone takes over the land once the farmers move off.

HARWOOD
The title changes would have to be recorded.

ARTEMUS
Jorgenson’s letter mentioned a man named Lyle Dixon—another farmer they’re trying to run off.

WEST
I think a little visit to Black Bowl might be in order.

Artemus looks at his two nurses hovering near.

ARTEMUS
I’ll join you there… just as soon as my leg gets better.

DISSOLVE TO:

23 THRU 28 OMIT

29. EXT. BLACK BOWL TOWN STREET – DAY

ESTABLISHING a small town. West rides in. Before the general store an old GEEZER sits, whittling, the only activity apparent in the town. CAMERA EMPHASIZES A LAND RECORDS OFFICE where West dismounts and enters.

30. INT. LAND RECORDS OFFICE – DAY

Where the officious but cheerful COUNTY CLERK comes from behind shelves of records which serve to screen the front of the office from the back, there to greet West.

COUNTY CLERK
Howdeedo. Help you out?

WEST
I’d like to take a look at the titles to certain properties in this area.

COUNTY CLERK
I can save you the trouble. Nothing for sale out this way.

West takes a list from his pocket.

WEST
Maybe the owners just haven’t heard the right offer. Might start with the old Sommerlad place.

COUNTY CLERK
Sorry on that one. Records ain’t available right now.

WEST
The Fernstrom property over there near the bluffs…

COUNTY CLERK
(shakes his head negatively)
Sorry again. Not your day, looks like.

WEST
(annoyed)
Now just a minute. You the County Clerk?

COUNTY CLERK
Guilty as charged.

WEST
Those titles a matter of public record?

He trails off as two toughs—identify them as JIMBO and TOUGH #1—emerge from behind the shelf screen, their presence an unspoken threat.

COUNTY CLERK
See, we’re reorganizing the files right now. You come back in a month or so… be glad to help you out.

West sees the wisdom of withdrawing here.

WEST
As you say. Guess it can wait.

COUNTY CLERK
Sure am sorry can’t oblige.

West EXITS.

31. EXT. BLACK BOWL STREET – DAY

West exits the Land Records Office, more than a bit annoyed. He notes something O.S.

32 THRU 33 OMIT

34. WITH WEST

abreast of the general store, West notes the old Geezer whittling; also noted here is a farm wagon outside the store, the store being the type that displays much merchandise outside, on the boardwalk, and hanging from overhead.

34A. ANGLE AT THE GENERAL STORE

Where West moves to the old Geezer and speaks:

WEST
I’m looking for a man—Lyle Dixon.

The old Geezer speaks in a disinterested monotone.

GEEZER
‘Spect Dixon’ll be along anytime.

Punctuating Geezer’s line is a loud CRASH as a man comes hurtling through the door of the general store, falling off the boardwalk to sprawl in the street dirt.

GEEZER (CONT'D)
There he is now.

35. FAVORING DIXON

LYLE DIXON is a bull of a young man; a well-formed, good-looking Negro, about thirty-five. As he gets groggily to his feet, a number of TOUGHS (call them Toughs #1, 2, 3, 4 and HARDCASE) emerge from the general store, obviously having propelled Dixon from the store in the first place.

Hardcase wrenches the shovel from Dixon’s hand and hands it to the STOREKEEPER, who has emerged last from the store.

DIXON
You got no right not to sell me supplies!
(turning to crowd)
Ain’t that what a store’s for?

The crowd shuffles its feet, gaping, aimless, without purpose, as yet—

—and while Dixon is appealing to the crowd, Hardcase comes up to him, slams a punch to Dixon’s jaw, sending him sprawling into the street. A nod from Hardcase and a couple of the Toughs now start for Dixon as he gets to his feet. Dixon slams these two, left and right, but is overwhelmed as the other Toughs move to join the fracas. With two of the Toughs holding Dixon, Hardcase prepares to deliver a beating—and this is the point where West steps into FRAME to stand next to Dixon; before Hardcase can deliver a blow, West decks him. A couple of the Toughs now move for West while Dixon throws off the two men holding him and the fight is on.

36. ANGLE TO ARTEMUS

walking his horse this way, now quickening his pace as he sees the fight.

37. THE FIGHT

As a small crowd is gathering, the fight continues in the street where Dixon battles a couple of men near his wagon, spooking his horse, and on the boardwalk where West fights, spilling plenty of goods in the process, creating much RACKET.

38. ANOTHER ANGLE – AT A DIFFERENT STORE

where we see a DISTINGUISHED-LOOKING MAN, in his fifties (his name is THEODORE BOCK) emerge from the store, followed by LOVELY, YOUNG NEGRO GIRL, straining under the weight of what is evidently a very weighty shopping basket. (Her name is LONIE MILLARD.) Bock stops, shaking his head with a pained expression as he watches…

39. ANOTHER ANGLE

… the fight raging in the street before him—where we see West and Dixon beginning to function very well as a team, with first one, then a second tough sent sprawling to the ground, out of commission.

40. FAVORING ARTEMUS

watching the fight from an inconspicuous place on the outskirts of the crowd. Bock and Lonie pass this point on their way into the crowd.

41. ANGLE IN THE CROWD

As Bock stands on the periphery of the fight, continuing to shake his head regretfully, muttering so all can hear him.

BOCK
Why? Why this terrible, senseless fighting…?

42. THE FIGHT

With most of the toughs now out of the fracas, West now contends with Hardcase, sends him sprawling into the horse trough to be soaked, then turns to aid Dixon—who needs very little help.

43. BOCK

Speaking to no one in particular:

BOCK
This must be stopped!

44. OMIT

45. HARDCASE

scrambling out of the horse trough in rage and humiliation, fumbling, as he starts to draw his pistol…

46. OMIT

47. WEST

spotting Hardcase, going into a crouch as he draws…

48. HARDCASE

A SHOT RINGS OUT and the gun flies from his hand.

49. WEST

Surprised at the sound of the shot since he didn’t fire.

50. OMIT

51. FAVORING BOCK

looking at a smoking pistol in his hand as if with disbelief—as all swing to look at him.

52. ON SCENE

The Toughs are picking themselves up, Dixon looking about somewhat surprised; West approaches Bock who still appears shaken by his action.

(NOTE: during the following, Hardcase and the gunsels will all drift off inconspicuously—when West turns to look for them, they are all gone.)

WEST
Well… thank you.

BOCK
Thanks? No, I don’t want thanks—
(suddenly angry)
Why all this fighting? We’re a small community—can’t we live as neighbors?

DIXON
That’s all the homesteaders want—we need supplies—
(a finger at storekeeper)
—only we can’t get none from him!

WEST
A small problem of money?

DIXON
I got money; problem is, he won’t sell!

West and Bock have turned and are staring at the storekeeper; West narrow-eyed, Bock incredulously.

BOCK
Maddox…?

STOREKEEPER
I don’t set the policies, Mr. Bock; the Co-op does—and the policies say we don’t sell to no farmer who ain’t a member of the Co-op!

BOCK
Policies, policies, would your policies replace the blood spilled in this fight? Would your policies bind the wounds of this community? Life is short! A shovel isn’t reason to fight!

STOREKEEPER
(stubbornly—as he hefts the shovel)
Mebbe not; but I gotta go by the rules.

BOCK
Policies! Rules!
(turning to crowd)
Men aren’t animals to fight over trifles, like dogs over a bone.
(pointing to Dixon)
I say, if this man needs supplies—
(pointing to storekeeper)
—and he has supplies, the two should get together.

The crowd begins to wake up, MUTTERING TO ONE ANOTHER, shaking heads approvingly and casting ugly, disapproving glances at the storekeeper…

… who suddenly caves in; he tosses the shovel to Dixon, who catches it expertly.

STOREKEEPER
All right! That’ll be two an’ a half dollars.

DIXON
I want beans and flour, too.

The storekeeper nods sourly and stalks into his store, over the CROWD’S MURMURS OF APPROVAL, now. Dixon starts to follow, then swings around to West, hand outstretched.

DIXON (CONT'D)
I’m obliged to you, Mister.

WEST
(shaking hands)
Pleasure.

DIXON
Name’s Lyle Dixon.

WEST
Jim West.

DIXON
(turning to Bock)
And I’m sure obliged to you, too, Mr. Bock; if it hadn’t been for the way you stood up and—
(breaking off)
—Miss Lonie…

Dixon and Lonie gaze at each other, suddenly oblivious to everything else—it’s obvious the two have enjoyed a previous relationship.

LONIE
I was worried there for a while—watching you and all those others…

BOCK
(cutting in)
I think we’re holding up Mr. Dixon, Lonie—he’s got to get his supplies loaded.

The spell is shattered; Dixon and Lonie nod awkwardly at one another, then Dixon turns and EXITS into the store.

… as Bock swings around to West.

BOCK (CONT'D)
You call yourself James West…

WEST
And you’re Mr. Bock; a pleasure.

West turns to Lonie, standing behind Bock—his manner obviously indicating that he is waiting to be introduced—and finally, with a start:

BOCK
Oh, this is—Miss Lonie Millard, a member of my household…

WEST
Pleasure, ma’am.

Lonie starts to lift the weight basket into the bed of a wagon nearby, straining to lift it over the high sides…

… until West takes the basket from her and sets it into place. Lonie thanks West with another dignified nod, then allows West to help her up into place on the front seat…

… after which West turns to find Bock looking him over appraisingly.

BOCK
It’s unfortunate your introduction to our little community was so strenuous. Actually, it’s a good town, with good people.

WEST
Business establishments a little odd though—never saw a store fight to turn away business before.

BOCK
(wryly)
Ah, yes, this Co-operative store; some homesteaders saying to another group of homesteaders, “No, you will not have our help in scratching a living from the soil…”
(shaking his head)
It must come to an end, this division between men.
(abruptly)
Good day, Mr. West.

WEST
(nods to Bock, and)
Miss Millard.

LONIE
Nice to meet you, Mr. West.

Bock climbs aboard his wagon and drives OFF.

At this point Dixon emerges from the General Store, his arms laden with supplies. West moves to Dixon, gives him a hand loading at the wagon.

53. ANGLE AT DIXON’S WAGON

Where Dixon regards West with appreciation.

DIXON
I meant to tell you—you can handle yourself.

WEST
For the record, you do fine, too.
(a beat)
Too bad you weren’t around when Jan Jorgenson had his—accident.

DIXON
(eagerly)
You knew Jan?

WEST
(soberly)
Only that he wrote to the Government, asking for help… it was his letter that brought me here… but he was dead when I reached him.

DIXON
So you’re a Government man… well now you’ve seen part of it.

54. OMIT

55. BACK TO SCENE

As Dixon nods to West,

DIXON
Listen, you come to my farm tonight—me and the other farmers—we’ll tell you plenty!

West nods; Dixon boards the wagon and MOVES OFF, West watching him go…

56. INT. VARNISH CAR – DAY

WEST ENTERS having come from town. He crosses to the buffet, a puzzled frown on his face… as he moves to the buffer he spots leaning against the back exit door a pair of crutches… he smiles and goes through the door.

57. INT. LAB CAR

ARTEMUS is working, apparently recovered, among all manner of chemical equipment, he has at the moment a mold into which he is pouring some liquid chemicals, he now closes the mold as WEST ENTERS and looks about;

WEST
Where are they?

ARTEMUS
Who…?

WEST
The nurses… the last time I saw you… I didn’t think you’d ever walk without them.

ARTEMUS
Jest if you will… only my iron determination… and my ability to withstand pain allows me to be here now… and my time has not been wasted.

WEST
Really?

He watches at Artemus opens the mold and pulls the pellet of now solid chemicals out… he now cuts off a sliver of material, places this in a pair of forceps, bangs it against the table.

ARTEMUS
While lying in my sick bed… I managed to work out the formula for this… won’t go off on impact… but watch when exposed to heat.

He now holds the sliver, in the tongs, at arms length, over a burner and the tiny sliver gives off an EXPLOSION much greater than its size…

West nods impressed, Artemus throws him the rest of the pellet, which West pockets.

ARTEMUS (CONT'D)
So… fill me in…

WEST
Well, briefly, there’s a land record office… that doesn’t seem to want the records to be seen by anyone.

ARTEMUS
That’s a little unusual.

WEST
And a co-op store that won’t sell to the farmers… who, by the way have invited me to a meeting tonight…

ARTEMUS
Shall we say I’ll meet you at the farmers… later?

WEST
Later!...

QUICK CUT TO:

58. EXT. BLACK BOWL TOWN STREET RE-ESTABLISHING – NIGHT

Featuring the County Clerk’s Office.

59. ANGLE TO THE RECORDS OFFICE – ARTEMUS

He comes stealthily INTO SCENE, takes out his wind-up lock-pick, inserts it. CLICKETY-CLICK, and he lets himself in.

60. INT. LAND RECORDS OFFICE – NIGHT

Artemus proceeds stealthily to filing cabinet, opening it. He riffles through the folders, evidently finding what he wants. He takes out a folder and starts perusing its contents.

61. EXT. BLACK BOWL STREET – COUNTY CLERK

As he makes his way down boardwalk to office!

62. INT. OFFICE – ARTEMUS

Still working, making notes. He HEARS approaching FOOTSTEPS, whirling around as:

63. ANGLE ON DOOR

As Clerk ENTERS, making straight for filing cabinet. He stops shot as he sees the aforementioned folder on top of cabinet, picks it up suspiciously, whipping out a pistol that he holds at the ready…

… and cautiously prowls the length and breadth of the room looking around filing cabinets, under desks, the picture of a gunsel prepared to gun down an intruder…

64 AND 65 OMIT

66. BACK TO SCENE

The clerk shrugs, puts folder into filing cabinet, slams it shut, pockets his gun and strolls out of the room—and the door has hardly closed behind him when…

67. OMIT

68, BACK TO SCENE

… as Artemus steps out of a hidden place, breathing a happy sigh of belief.

68A. EST. SHOT – DIXON FARM – NIGHT

69. INT. DIXON BARN – NIGHT

A number of farmers are gathered, holding a meeting. Dixon stands upon a crude podium constructed of a few bails of hay while West stands to one side, observing the meeting. Oil lanterns, hanging on timbers, light the scene. FARMER in the group is voicing a common point of view.

FARMER #1
… and we cannot buy food, cannot buy tools, cannot buy nothing! How are we to live? My Martha and me—we think maybe another place is better to live.

DIXON
An’ I say, don’t let ‘em run us out! We’ll buy our own tools and food!

A farmer speaks up.

FARMER #2
Where, Lyle? Albuquerque is so far!

DIXON
Who says we can’t start our own Co-op? Point is, we stay!

Loud MURMURS of agreement, but the timid Farmer continues.

FARMER #2
And maybe we’d stay for good! In our graves! They killed Jan Jorgenson! Mebbe they kill us all!

Some in the crowd agree with this.

DIXON
Not if they know we’re gonna stand up an’ fight!
(pointing to West)
I been saving this—this is James West, from the Government—here to help us fight, too!

FARMER #1
What can one man do?

DIXON
That’s the point. One man alone can’t do anything, but if we buy our goods together, if we fight together—then we’ll stay on together!

CHEERS at this.

70. CLOSE – WEST

watching, listening with satisfaction.

71. FAVORING DIXON

as he continues rousing the men with his speech, being forced to shout over the enthusiasm of the crowd.

DIXON
These are our homes! There ain’t nothing can move us, nothing that can beat us down, nothing…

Suddenly Dixon ceases, and the crowd quiets, for another SOUND now fills the air and is overpowering in its intensity. This is the SOUND OF THE JUGGERNAUT!

72. WEST

Knowing what the sound portends, he leaps into action, CAMERA FOLLOWS as he moves into the crowd, trying to urge the farmers away.

WEST
Get out of here! Quick!

But the farmers are frozen by the sound. West grabs one mans and hurls him away as he shouts, his voice barely audible above the sound of the Juggernaut and terrible CRUNCHING SOUNDS coming from outside.

WEST (CONT'D)
Everybody! Out!

He is herding them toward the barn doors, as:

73. ANGLE TO THE MAIN DOORS

The SOUND GROWS IN INTENSITY. Suddenly the Juggernaut crashes through the barn doors, and heads for the terrified farmers.

74. FAVORING WEST

As the farmers near him bolt for cover.

75. CLOSE – FARMER

looking up in terror as:

76. THE JUGGERNAUT

SHOOTING UP-ANGLE as the Juggernaut comes INTO CAMERA.

77. FARMER

falls in the path of the tank. West runs to pull him aside. The tank bears down.

77A. WEST

reacts to the tank closing at him.

FREEZE FRAME:

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 - 03/26/2010 :  11:37:07  Show Profile
ACT TWO

FADE IN:

77B. WEST:

rolls aside as the tank rolls past.

78. ANGLE ON JUGGERNAUT

As it proceeds through the milling farmers, knocking them to either side, then CRASHES through the barn doors on side opposite to its entry.

79. EXT. DIXON FARM – ANGLE ON BARN – NIGHT

Juggernaut makes its appearance through wall of barn.

80. ANGLE ON WEST

As he runs after the Juggernaut.

81. EXT. DIXON FARM – NIGHT

West runs out of the barn and Juggernaut swings around to do battle with him. As the Juggernaut moves toward West, he takes the pellet of Artemus’ contrivance from his pocket, runs to the side of the Juggernaut, scrambles up to the top.

82. ATOP THE JUGGERNAUT

West flings the pellet down the smokestack, then dives off. A beat later an EXPLOSION FILLS THE SCREEN.

83. WEST

Dazed by the impact of the explosion ripping past him, then seeing:

84. THE JUGGERNAUT

wounded, stopped, then bucking forward, backing and filling with great straining MECHANICAL NOISES, crimson smoke and sparks billowing from where the smokestack had been, the stack now trailing like a snapped limb. The Juggernaut makes its way with great difficulty out through the barn and off into the night.

85. BACK TO WEST

shaking his head clear as he watches the machine go.

86. EXT. DIXON BARN – (CONTINUOUS ACTION) – NIGHT

Farmers emerge from behind various other concealment, some examining their fallen fellow, others stamping out the remnants of the fire left after the encounter, others, including Dixon, gathering around West who is now rising to his feet.

FARMER #1
I will fight any many for my land… but how do I fight that?

Others nod in agreement.

WEST
Sell out and they’ll know they can keep up the pressure and force you all out.

FARMER #2
That is all right for you to say. You are from the government. It is your job to fight.

WEST
No more than it is yours.

FARMER #2
It is my job to see I am alive long enough to raise my children.

DIXON
(soberly)
Mr. West, Viktor here ain’t no coward.

FARMER #2
They offered me a dollar an acre. The price is low—but there is other land I can find. My children have but one father.

They are interrupted by:

ARTEMUS’ VOICE
Somebody selling land?

All eyes swing to:

87. ANGLE TO THE YARD

Artemus seated in a buggy has arrived.

ARTEMUS
—‘Cause if someone’s selling—I’m buying.

88. FAVORING WEST

West looks on, obviously puzzled, as Artemus joins the farmers. The men are very grim, considering Artemus, feeling his timely arrival and desire to buy land is proof he is no friend of theirs.

FARMER #2
You are not from the Co-op… Why do you want our land?

WEST
Meet Artemus Gordon. My partner.

DIXON
(to West)
I don’t get it—your friend suggestin’ we pull out?

ARTEMUS
Not at all. I’ll give any of you a government note for you land. You can buy it back for the same price in ten days, if you want. Meantime, you can live on it, stay right where you are, if you want to do that.

DIXON
That’s a fair enough shake; what’s the catch?

ARTEMUS
No catch at all!

FARMER #1
(pipes up)
I’ll sell whatever your reasons.

Dixon looks to West, who nods his approval, though obviously still puzzled.

DIXON
I’ll take the names.

Dixon moves off, followed by the farmers. West and Artemus confer.

WEST
Becoming a land baron, Artie?

ARTEMUS
It’s one way of getting to meet other land barons. I got a look at those title transfers.

WEST
And? Who’s been moving in when the farms moved out?

ARTEMUS
A real rogues gallery – Harmon Baines, Telly Morgan, Dirk Mauldin, Tate Kingsly, both Mace brothers…

WEST
(reflecting great concern)
Sounds like a Who’s Who in the criminal world. You couldn’t put together a rougher bunch of boys.

ARTEMUS
Every one of them signed a quit-claim deed on his land over the D&F Land Company.

WEST
Which is?

ARTEMUS
Unidentified.

WEST
That should change quickly enough once they learn you’ve bough the land they’re after.

ARTEMUS
And I’ll make sure they know I’ve got it…

WEST
(indicating the corral dirt)
The track shouldn’t be too hard to follow. I’ll think I’ll see where that thing lives…

CAMERA PANS DOWN TO THE CORRAL DIRT to see oil stains, bits of metal, nuts and bolts, gouged earth, etc., left by the Juggernaut.

MATCH DISSOLVE TO:

89. EXT. COUNTRYSIDE – DAY

CLOSE ON AN OIL STAIN ON THE GROUND, then PANNING UP to see West on horseback, noting the oil stain, then continuing on.

90 THRU 97. OMIT

98. BACK TO WEST

Riding after the tank.

99. EXT. BLACK BOWL TOWN STREET – DAY

100. INT. LAND RECORDS OFFICE – DAY

Artemus, in the guise of a big, cigar-chomping Texan, is now RINGING the bell with brash Texas gusto. The County Clerk comes dashing out from behind the records shelves, much annoyed. Jimbo also comes out to see what all the commotion is about.

COUNTY CLERK
What do you want?

Artemus talks a mile a minute and is loud, a real table-slapping, belly-laughing, bragging Texas bore.

ARTEMUS
I want a smile from you, my friend, a big, wide Texas grin to make me feel welcome so far from home, and celebrate my new home right here amongst y’all.

The County Clerk can hardly believe Artemus is for real.

COUNTY CLERK
The saloon’s that way, bub.

ARTEMUS
Bub’s no say to address a neighbor. The name’s Elsworth R. Caldwell. R stands for rich.

COUNTY CLERK
I’m a busy man.

The clerk turns away. Artemus gets his attention with:

ARTEMUS
Okay, okay, you ain’t in a mood for sociability, business it is.

Artemus takes a number of papers from his pocket, begins to sift through these, sorting them.

ARTEMUS (CONT'D)
(places the papers to counter)
Like to record the title transfers to a few little properties hereabouts.

The Clerk exchanges surprised glances with Jimbo.

COUNTY CLERK
You bought land – here?

ARTEMUS
That’s what I’m saying. A whole bunch of little places, so’s I could put together one spread for myself and keep my privacy. Got the Bergstrom place, Klinger’s… whole bunch of them. Near as I can figure, ‘bout eleven thousand four hundred acres…

The Clerk exchanges bewildered glances with Jimbo, mute and thunderstruck.

ARTEMUS (CONT'D)
(concerned)
You all right, friend? Your jaw’s hangin’ mighty low.

COUNTY CLERK
(regaining his voice)
That—that would make you about the biggest spread around here!

ARTEMUS
Everything I do I’m the biggest. Wherever I go, whatever I do, Elsworth B. Caldwell is my name. The B stands for Big. Big, that’s the way I do things and may I come down with the ague if that ain’t the truth. Have a cigar on that, friend!

The O.S. voice of Bock is heard:

BOCK’S VOICE
Mr. Caldwell.

101. ANGLE TO BOCK

CAMERA ZOOMS TO BOCK emerging from behind the shelves of records.

102. ON SCENE

Considering the defense [deference?] shown him by Jimbo and the County Clerk, Bock is obviously the man in charge here. Indeed, Bock’s manner and tone now change.

ARTEMUS
The same, sir. Caldwell is my name.

They shake hands.

BOCK
I overheard you say you bought a few parcels of land in the area. I’d like to welcome you into our little community.

ARTEMUS
Yessirreee, I did. I did that, and I’m obliged for your welcome.

BOCK
Like to buy you a drink on it.

ARTEMUS
Be my distinct honor to drink with you, sir. Soon as I finish recording these titles we’ll see to it.

BOCK
(to clerk)
Couldn’t you manage to hurry things along for this gentleman?

COUNTY CLERK
Yes sir! Mr. Bock.

The Clerk attends to recording the titles.

BOCK
(back to Artemus)
Surprised you were able to buy land here. My understanding was no one wanted to sell. I’m just as happy to hear it, though—rather deal with one gentleman than a bunch of unreasonable red-neck farmers.

ARTEMUS
You lookin’ to buy my land?

BOCK
No, I’m not interested in land—but I’ve been asked to speak for a group that’s trying to establish themselves in this area.

ARTEMUS
Land syndicate, eh?

BOCK
A Farmer’s Cooperative, to be more accurate.

ARTEMUS
Their names bein’…?

BOCK
They prefer to remain nameless.

ARTEMUS
Well, sorry to disappoint your nameless eccentric friends. I’m real pleased with this area. Yessir, real pleased. Plan on staying.

BOCK
(a beat, then)
We’ll talk about it over that drink.

ARTEMUS
Fine with me. You do the talking. I’ll do the drinking.
(He cackles)

CUE TO:

103. EXT. HIDDEN VALLEY RIDGE – DAY

West arrives at a ridge, spies something in the distance, takes out his telescope, looks:

104. ANGLE TO DISTANCE RANCH COMPLEX – TELESCOPE MATTE – (WEST’S POV)

Far off is a ranch complex, reconstructed from an abandoned mission.

105. BACK TO WEST

lowering his telescope, then continuing on toward the ranch complex.

106. INT. SALOON – DAY

Artemus and Bock sit at a table, a couple of empty bottles and a bleary-eyed Artemus testimony to the amount of time they have been drinking. The Bartender. Jimbo, and Tough #2 watch from B.G.

BOCK
… Still can’t figure how you ever talked those farmers into selling.

ARTEMUS
Where there’s a will there’s a way, and us Texans got a monopoly on will, my friend.

BOCK
Three dollars an acre, my final offer. That’s got to be more than twice what you paid.

ARTEMUS
(toying with Bock)
Gotta say that’s more than fair of you. Three dollars an acre, eh?

BOCK
(pours one for Artemus)
Close the deal with a drink.

ARTEMUS
Four would have me thinking…

BOCK
(finally, exasperated)
All right, call it four. I’ve got some paper with me, all legal…

ARTEMUS
Have me thinking but not selling!

Artemus breaks into hearty laughter, thinking this is a fine joke, and knowing it is sure to trigger a reaction from Bock. Bock seethes.

ARTEMUS (CONT'D)
Nope, won’t sell at any price. Like it here. Like you. Like the way you take a joke. Yessir, feel real at home meeting friendly folk like yourself.

Bock sees he cannot buy Artemus out, forces a devious smile.

BOCK
Well then, I wish you good luck.
(to Bartender)
A fresh bottle to toast my friend’s new enterprise.

107. ANGLE TO THE BARTENDER

returning Bock’s nod, then taking a bottle, opening it, doctoring the contents with an amount of powder.

108. FAVORING ARTEMUS

A flick of Artemus's eyes indicates an awareness of the not unexpected turn of this situation. Then, covering, Artemus claps an arm around Bock’s shoulders and continues playing the fool.

ARTEMUS
You’re a gentleman, kind of man we appreciate down home. Once I get set up, I’ll be returning this gesture… show you what Texas hospitality can be. Yessir, we’ll be roasting the fatted calf…

The Bartender brings the bottle. Bock pours a drink. Artemus accepts with a flourish of his hand, processes his face to Bock’s as he rambles on, building to a toast.

ARTEMUS
You have welcomed me warmly. Salt of the earth is what you are, my friend. A boil on my neck if that ain’t the truth. I don’t mind saying it neither… though I be a man of a few words…

The Bartender exchanges knowing glances with Jimbo and Tough #2, who go to the front doors and lock them, then pull down the window shades. Bock is annoyed but patient as he awaits Artemus’ drinking. Artemus thoughtfully considers the drink, then raises it in a toast to Bock. During the following, Artemus keeps turning… trying to dump the drink… but each way he turns… there is a heavy staring at him.

ARTEMUS (CONT'D)
I toast your good health and fortune… the great state of Texas… this great country of ours… and the sacrifices men make on her behalf…

Finally, with an “I guess it’s the only way” Artemus downs the doctored drink. Bock turns grim, knowing Artemus will be in his power in a moment. Sure enough Artemus gets dizzy, attempts to stand, falters, knocking over his chair. He stares at Bock with disbelief, then crumbles to the floor. Bock now rises, stands over Artemus.

BOCK
(disgust and rage)
Buffoon!

Bock snaps his fingers, summoning Jimbo and Tough #2.

BOCK (CONT'D)
Throw him in the wagon out back. Think we’ll find him a bit more pliable as this day wears on.

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 - 03/26/2010 :  11:38:11  Show Profile
ACT THREE:

FADE IN:

109. EXT. MISSION RANCH COMPLEX – DAY

An abandoned mission complex, complete with adobe walls and heavy entrance gate, modified to accommodate ranch life. The couple of guards seen at the gate entrance give the place the appearance of an armed fortress.

110. ANGLE AT NEARBY ROCK CONCEALMENT

To see our previous shot has been from West’s POV. He continues studying the complex, taking note of the guards, then steals away, undetected.

111. ANGLE AT SECTION OF ADOBE WALL FROM INSIDE

No one is seen in this area of the wall. West comes into view and swings onto the wall.

112. ATOP THE ADOBE WALL

West lies prone on the top of the wall, looks to:

113. ANGLE WITHIN WALLS OF THE MISSION COMPLEX (WEST’S POV)

A number of buildings are here, giving the effect of a small, self-sustaining community. Many men are seen, all well armed. None are nearby by coming in this direction, however, to:

114 THRU 116. OMIT

117. BACK TO WEST

Quickly he moves to the balcony, swings himself up onto the landing… and just in time, for men now pass around the corner and pass under the balcony speaking MOS, neither seeing West above.

118. ANGLE ON THE BALCONY

West looks into the room of the landing, sees:

119. INT. LONIE’S ROOM – DAY

SHOOTING THROUGH THE HALF OPEN DOORS OF THE ROOM to see Lonie signing a number of papers on her desk. CAMERA MOVES FORWARD.

120. WITH LONIE

Unaware of any intruder in the room until suddenly a hand reaches out to pick up the paper’s she’s been signing. ANGLE ADJUSTS to include West, now studying the papers, as Lonie recoils in startled fear, then recovers, speaking with spirit.

LONIE
Mr. West!

WEST
(reading)
Lonie Millard, president of the D & F Land Company.

LONIE
Does Mr. Bock know you’re here…!

WEST
(overlapping)
How long have you been signing documents for Mr. Theodore Bock…?

LONIE
That’s none of your business.

WEST
Bock is using you.

LONIE
(indignantly)
You talk that way about a man who saved your life! You oughta be grateful…!

WEST
I am… I’m grateful he didn’t shoot me… but then he didn’t know I was from the government.

Lonie stares at West incredulously… then

LONIE
The government… but what do you want here?
(she looks at West)
Not Mr. Bock… not him… you don’t understand… he’s a good man… he’s kind… he’s helped everybody around here… when my family died, if Mr. Bock hadn’t taken me in… why… I don't know what I’d be now.

WEST
What you are, is the front for the outfit that’s running the honest farmers out of the Black Bowl…

She looks at him stunned.

LONIE
I don’t believe that…

WEST
(holding up the papers)
And what about D and F, the company you’re the president of…

LONIE
They’re just papers, I sign them.

WEST
And among the papers has there been a will, leaving your holdings to Mr. Bock… Just in case you should die after D and F controls the Black Bowl.

Her reaction indicates West has hit home with this, but she still refuses to believe Bock guilty.

LONIE
Now you get out of here…

She moves to the window West came in.

LONIE (CONT'D)
Before I yell and bring the guards in here… now…

West looks at her.

WEST
Listen to me; if I can prove that Bock has been using you, will you help?

LONIE
How do you mean?

WEST
The barn in the courtyard… There’s something in there we should see.

LONIE
So.

WEST
(grins)
I want you to buy the admission tickets.

QUICK CUT TO:

121. OMIT

122. EXT. COURTYARD BARN – DAY

A SECOND GUARD stands before the barn. Lonie approaches as if meandering aimlessly on a walk to break the boredom.

LONIE
You seen Mr. Bock?

SECOND GUARD
Miss Lonie, you ain’t supposed to be down here.

LONIE
I was just looking for Mr. Bock…

SECOND GUARD
He’s in town they tell me.

From a point of concealment among some barrels and equipment alongside the barn West now springs at the occupied Second Guard, using a pressure point to render the man unconscious, then drags him back among the concealment of the barrels. He places on enormous barrel over the unconscious man.

WEST
Sleep tight.

West now moves toward the barn door, guiding Lonie.

123. INT. BARN – DAY

West closes the door cautiously behind him and Lonie. The barn appears quite normal—hay on the floor, horses in the stalls. Lonie turns triumphantly to West:

LONIE
You see? It’s just a barn!

WEST
Not with an armed guard at the door.

West is right. As they talk, there is a GRATING SOUND behind them. West whirls to see the whole wall starting to raise. In a flash he pulls Lonie behind a nearby bale, as:

124. NEW ANGLE – WALL

Two ROUGHT TYPE appear, crossing to door West and Lonie entered; they exit. Quickly West grabs Lonie’s hand once more and pulls her under the quickly descending wall, to discovery:

125. INT. FOUNDRY – DAY

West and Lonie enter, crouching, and react in awed wonder at:

126. NEW ANGLE – TO SHOW MORE OF ROOM

which includes the dreaded Juggernaut, half disassembled in the process of repairs to correct the result of West’s attack the night before. Close by, a workman is SEEN using a hammer to forge a piece of steel. A furnace brazier, anvil and other assorted Smithy-type tools are in evidence.

127. FAVORING WEST AND LONIE

Seeing the above from a concealing corner, Lonie is increasingly frightened. Suddenly someone is HEARD to approach. West and Lonie duck as the man passes this point and we see it is Hardcase.

128. ANGLE IN THE FOUNDRY ROOM

As Hardcase calls to the workman:

HARDCASE
Boss comin’ in with a “guest.” Give us a hand.

The Workman puts down his tools, EXITS after Hardcase.

129. ANGLE TO WEST’S CORNER

Where West and Lonie are unseen as the Workman passes this point, then rise from their concealment.

WEST
You seen enough, Lonie?

LONIE
(tearful—she wants to know all, now)
No, Mr. West—I’ve seen just enough to want to see more.

WEST
(a beat; then)
All right—stay here…

130. ANGLE IN THE FOUNDRY ROOM

West moves into the room to investigate the Juggernaut, touching the fearsome machine in wonderment. Some of the heavily armored plates have been removed, exposing steam pipes, various mechanical devices. It is unlike anything West has even seen before. Suddenly he becomes aware of a PUMPING SOUND O.S. and moves off to investigate the SOUND.

131. ANOTHER ANGLE

West crosses the room to one of several doors, opening it to find a corridor.

132. INT. CORRIDOR

West proceeds down the corridor and down some stairs.

132A. INT. TOOL ROOM

West comes down stairs into the room then goes to a door in the far side and enters.

133. INT. OIL CHAMBER

As West enters, the room is a tangle of pipes and gauges. There is an oil rig in full operation! Amazed at finding such a rig, West rests his hand on one of the pipes running along the wall, takes it away after finding oil on it. He smells the fluid on his hand. The smell is unmistakable. West HEARS O.S. SOUNDS and goes to door, looks up corridor.

Now seeing:

134 THRU 135 OMITTED

136. ANGLE AT THE TOOL ROOM

He can SEE into THE FOUNDRY ROOM where Hardcase and the Workman are carrying the limp form of Artemus while Bock, Jimbo and Tough #2 follow.

137 THRU 141. OMITTED

142. INT. TOOL CHAMBER – DAY

This area is very like the foundry, though somewhat less spacious. Spare tools and equipment are kept here – rope, chain, clock and tackle devices, a brazier and smelting pot, metal working and cutting devices, spare engine parts, etc. Also seen here is what appears to be a metal hitching rail – two posts anchored in the ground and a cross-rail. Presently Artemus is propped up against this as he is held by Hardcase and Workman, being revived by Jimbo’s slaps, while Bock and Tough #2 look on. In the B.G. we can see Lonie watching in the shadows.

BOCK
I trust you will have no ill effects from your drink, Mr. Caldwell. But then, you won’t need much strength… just enough for a signature or two.

ARTEMUS
If this is your idea of amusement…

At a nod from Bock, Hardcase gives Artemus’ arm a twist, drawing a wince from him.

BOCK
Was that amusing, Mr. Caldwell?

Bock takes a contract from his pocket.

BOCK (CONT'D)
Five dollars per acre for your land. An offer no man in your position can afford to turn down, wouldn’t you say?

ARTEMUS
Appears to me a man in my position might not get to spend that profit, once I signed.

BOCK
A chance you’ll have to take. A chance you’ll want to take, I’m sure.

Artemus remains mute.

143. CLOSE SHOT – LONIE

Reacting to Bock, putting the screws to Artemus.

144. BACK TO SHOT

BOCK
Caldwell, I’m about to stop being nice to you.

LONIE (O.S.)
No… I told him it was a lie.

Bock spins startled to see Lonie flying down the stairs at him, tears in her eyes… she has finally seen the true Bock.

LONIE
I said you were good, that he was wrong.

She has reached Bock and throws herself at him, pounding his chest in her angle… all the heavies are distracted by this and turn to Bock and the girl… West seizes the opportunity to attack… he comes flying through the air and into the heavies and a battle royal takes place. West taking on the heavies, Artemus despite his injury doing yeoman work. One after another the heavies are dispersed of… and now West spins to find Bock he is halted by…

145. TWO SHOT – BOCK AND LONIE

Bock has the girl, a pistol pointed at her, using her as a shield.

BOCK
That’s enough… if you want her to live, stand right there.

146. FULL SHOT

West and Artemus realize they are helpless, as the heavies gradually come to and move to them.

147. TWO SHOT – BOCK AND LONIE

BOCK
Now then, let’s see what we can come up with to entertain you three…

FREEZE:

148 THRU 161 OMIT.

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
Go to Top of Page

California gal
SS senior field agent

USA
8383 Posts

Posted - 03/26/2010 :  11:39:08  Show Profile

ACT FOUR

FADE IN:

162. INT. SUBTERRANEAN TOOL CHAMBER – DAY

West and Artemus stand tied to opposite ends of the metal “hitching rail.” Lonie is tied to a stanchion in the middle of the room. Bock now addresses Artemus.

BOCK
Mr. Caldwell, you’re a fool. Still, that’s better than being a dead fool. You might give that some thought. Mr. West, you appear to be a man of some sense. So I’ll put it to you: convince this man sign over his lands, and you’ll all be set free… on the wastes, as I said.

WEST
Sounds almost too good to be true.

BOCK
If you have some misplaced sense of loyalty to the farmers, let me remove that obstacle. A letter has been sent, in your name, Mr. West, asking for another meeting today, a meeting which is no doubt in progress right now. A meeting which will end this struggle once and for all.

WEST
To your satisfaction, of course.

BOCK
You’ve seen my machine, Mr. West. I have created the greatest instrument of destruction known to men. The Juggernaut! Capable of crushing anything in its path. What chance have the farmers against it.

ARTEMUS
Why are you doing this?

WEST
Bock’s reason is very simple. He wants to be rich.

ARTEMUS
What kind of wealth is here?

WEST
Petroleum.

BOCK
Your snooping paid off, Mr. West. Yes, petroleum! Oil! Oil under the Black Bowl. Discovered by me… then… the government opens up the whole area to homesteaders… Johnny-come-latelies… This land belongs to me! Why should I relinquish any part of it?! No bunch of pig-headed farmers will do me out of what’s mine by right! Who can stop me?! You have until I get back to think it over.
(to Jimbo)
Prepare the Juggernaut. I’ll take the men on ahead…

Jimbo goes OFF.

BOCK (CONT'D)
Before we are through, you will be happy to do anything I say… I promise you this.

Bock EXITS, the toughs following, leaving West, Artemus and Lonie alone.

DISSOLVE TO:

163. EXT. COMPOUND – DAY

Bock and his man RIDE OUT.

164. INT. SUBTERRANEAN TOOL CHAMBER – DAY

where West and Artemus struggle to slide their bindings along the rail in an attempt to get their hands together. But it’s useless, for the rope has been secured also to the upright portions of this “hitching rail.”

WEST
It’s no go, Artie. Seems Mr. Bock doesn’t believe in togetherness.

LONIE
(tearful)
If he gets to Lyle’s farm… I’m afraid to think…

West leans back hard against the “hitching rail.” As he does so, he notices it budges. He tries it again and exchanges glances with Artemus.

WEST
We’re not getting much done here.

ARTEMUS
I’m waiting.

WEST
O.K.

West now pops his sleeve, and what comes out… a cylinder with a pointed barb at one end… West presses the tip and the barb shoots out and digs into the wall, attached is a fine steel line. West now turns the cylinder twice around the pipe and pushes the take up button… as the steel line tightens, the pipe begins to buckle and finally pulls out of its fitting on the far end, allowing West and Artemus to slip off the end…

165 THRU 168. OMITTED

169. INT. FOUNDRY ROOM – DAY

Where the Juggernaut is idling in neutral, ready to go. A Workman is about to descend into the machine through the top hatch. Suddenly West, Artemus, and Lonie burst into the room. The Workman sees them duck into the Juggernaut, pulling the hatch closed after him. He is not fast enough, however, the West bounds up onto the Juggernaut, grabs the hatch handle before it can be closed and:

170. ANGLE ATOP THE JUGGERNAUT

West rips the hatch open before the Workman can seal the hatch. Because the Workman has been holding the locking mechanism, he is also yanked INTO VIEW as West throws the top open. West now hauls him out of the opening. As the two grapple, they fall off the Juggernaut to the floor.

171 THRU 172. OMITTED

173. ON SCENE

West polishes off the Workman.

WEST
Let’s get out of here.

Artemus scrambles up to the top, helps Lonie in and descends through the hatch. West climbs up to the top, talks to Artemus within.

WEST (CONT'D)
Can you maneuver this thing?

174. INSIDE THE JUGGERNAUT

Artemus sits at the controls, trying to puzzle them out. This compartment is filled with a mass of steam and oil lines, gauges, throttles, levers, valves of every description. Artemus figures out the combination by manipulating this and that, listening to the varying SOUNDS of the engine, is most impressed. Artemus advances some of the throttles, checks a gauge, advances again. The MACHINE NOISES GROW LOUDER with the manipulation. Artemus nods affirmatively. West now lowers Lonie down into the machine.

175. ANGLE IN THE FOUNDRY ROOM

West descends into the Juggernaut when Jimbo is seen to shake himself conscious, run from the room.

176. EXT. COURTYARD – DAY

A frantic GONGING IS HEARD. All hands who have not gone with Bock are emerging to see what the alarm is about.

177. ANGLE AT GONG

Jimbo is slamming the gong (a suspended iron wagon wheel rim) frantically to alert the compound. A number of men have already arrived at the gong when a CRASHING NOISE IS HEARD and they look to:

178. ANGLE TO THE BARN

The Juggernaut now crashes through the front barn doors.

179. ANGLE AT THE GONG

With a good deal of incensed and confused yells the armed men start for weapons and concealment.

180. WITHIN THE JUGGERNAUT

Artemus maneuvers the machine with some difficulty as West comforts Lonie.

181. ANGLE IN THE COURTYARD

FAVORING A COUPLE OF GUNSELS who futilely RAPID FIRE rifles at the Juggernaut.

182. OMIT

183. ANGLE AT AN EXPLOSIVES SHACK

Where one man EXITS, his arms full of dynamite sticks, a lighted cigar in his mouth. He tosses a couple of sticks to two other men here. They run toward:

184. THE JUGGERNAUT

Rumbling through the courtyard. Suddenly a hail of dynamite blasts holes in the ground around the machine. Artemus maneuvers the Juggernaut evasively.

185. WITHIN THE JUGGERNAUT

All are being rocked by the dynamite charges as Artemus maneuvers the machine. West peers through the port to see:

186. ANGLE TO MAN CARRYING DYNAMITE – WEST’S POV

SHOOTING THROUGH THE PORT OF THE JUGGERNAUT to see a man running toward this area, now stopping to light a dynamite stick, would throw, but:

187. WEST

draws the gun he has taken from Jimbo, FIRES through the port.

188. ON SCENE

The man carrying the dynamite falls before he can throw the stick. The stick he had lighted and those he was carrying EXPLODE simultaneously, giving the Juggernaut a smoke screen.

189. ANGLE AT A SECTION OF ADOBE WALL

where Jimbo sees the battle is going badly against the invulnerable Juggernaut. In a frustrated last effort, eh runs upstairs leading to the top of the adobe wall, then to:

190. ANGLE AT GATLING GUN EMPLACEMENT

Placed atop the adobe wall and covering the compound is a Gatling gun emplacement. Jimbo mans the gun, sights in on:

191. ANGLE ON THE JUGGERNAUT – JIMBO’S POV

SHOOTING OVER THE BARREL OF THE GATLING GUN TO THE JUGGERNAUT now coming this way.

192. BACK TO JIMBO

now FIRING the Gatling gun.

193. WITHIN THE JUGGERNAUT

The NOISE is unbearable as a steady stream of bullets slams into the steel hull of the Juggernaut. No real damage is done, however, though Lonie is terrified and clings to West.

WEST
Straight ahead, Artie, if you ask me…

ARTEMUS
My thoughts exactly!

Artemus turns his attention to the port through which he sees:

194. ANGLE TO THE GATLING GUN EMPLACEMENT – ARTEMUS’ POV

SHOOTING THROUGH THE PORT OF THE JUGGERNAUT to Jimbo FIRING.

195. JIMBO

FIRING, then ceasing as he sees:

196. THE JUGGERNAUT – JIMBO’S POV

heading straight for the wall atop which is the Gatling gun emplacement.

197. JIMBO

evidencing fear, FIRING futilely again in his panic and indecision, then stopping, starting to run, but it is too late as:

198. ON SCENE

The Juggernaut crashes right through the wall, sending Jimbo toppling to the ground.

199. OUTSIDE THE ADOBE WALL

The Juggernaut moves past the opening it created, leaving a gap in the wall, Jimbo and the Gatling gun among the rubble.

200. EXT. KNOLL – DAY

Lining this knoll overlooking the Dixon farm is the force of men Bock has brought with him for this final showdown with the farmers, the men brandishing their weapons and displaying obvious impatience and readiness to do battle. Bock now shouts down to the farmhouse.

BOCK
I’m not bluffing, Dixon!

201. INT. DIXON BARN – DAY

The farmers assembled in Dixon’s house are at the windows, frightened, all looking to Dixon for direction. The man identified earlier as Farmer voices their concern.

FARMER #2
Lyle! What will we do? There are so many of them!

Dixon rouses them out of their fear.

DIXON
Let’s give ‘em a taste of what’s comin’!

Dixon takes a rifle from the wall, aims out the window, FIRES.

202. ANGLE AT THE KNOLL

FAVORING BOCK as he is threatened by the bullet. He turns, livid with rage, as his men take cover.

BOCK
Burn ‘em out! Drive ‘em into the open! When the machine gets here, we’ll crush them like June bugs!

203. EXT. COUNTRYSIDE – TREEFALL AREA – DAY

The Juggernaut CRUNCHES past a fallen tree, knocking the timbers asunder as it makes its way toward the Dixon farms.

204. WITHIN THE JUGGERNAUT

As Artemus maneuvers, West grows impatient.

WEST
Can’t you get any more out of her, Artie?

Artemus looks at his gauges.

205. INSERT: THE GAUGES

going wild, way past the red danger zone.

206. BACK TO SCENE

Artemus shakes his head while adjusting pressure valves, manipulating the machinery as best he can.

ARTEMUS
She wasn’t meant to take this kind of pressure, Jim. If I keep her this high much longer, she’ll blow sky-high!

Suddenly West reacts to O.S. shooting.

WEST
We may be too late already.

207. OMIT

208. BACK TO SCENE

As Artemus manipulates the controls with renewed resolve.

ARTEMUS
Hold tight and keep your fingers crossed.

Artemus throws the main throttle forward all the way. A steam line instantly bursts. West grabs it. Artemus closes a shut-off valve with great difficulty and the steam flow stops. They continue on.

209. EXT. ROCK GROUPING – DAY

As the Juggernaut, chugging furiously now, goes up and over this obstacle.

210. EXT. KNOLL – DAY

As Bock and his men look down upon the Klinger farmhouse.

211. OMIT

212. INT. DIXON FARMHOUSE – DAY

Suddenly all are frozen as the SOUND of the Juggernaut is heard… and grows LOUDER, deafening.

FARMER #2
You say fight, Lyle? So we fight. What now?

DIXON
Keep on fightin’! No matter what!

213. EXT. KNOLL – DAY

Bock and his men hear the Juggernaut. A great cheer goes up.

214. INT. FARMHOUSE – DAY

The Farmer sees something through the window.

FARMER #2
Look! Lyle!

Dixon hurries to the window to see:

215. ANGLE TO THE JUGGERNAUT – DIXON’S POV

The hatch of the Juggernaut is open and West is lowering Lonie to the ground. She now hurries toward the farmhouse.

216. DIXON

is startled to see Lonie emerging from the machine. He moves quickly to the door, throws this open to admit her.

217. ANGLE ON THE KNOLL

Bock and his men exchange puzzled glances as:

218. THE JUGGERNAUT

now moves up the knoll toward them.

219. BOCK

is shocked, his men in a state of panic, some of the horses spooked.

220. THE JUGGERNAUT

RUMBLES closer now, then fills FRAME, its sound terrifying it intensity.

221. BOCK’S MEN

scatter in the face of the Juggernaut.

222. INT. DIXON FARMHOUSE – DAY

The farmers are jubilant, patting each other on the back, whooping at their salvation.

DIXON
Now—let’s mop ‘em up!

With this, Dixon bursts out the door, begins FIRING his rifle. The others follow.

223. EXT. FARMHOUSE – DAY

The farmers FIRE as they run toward their opponents.

224. BOCK AND HIS MEN

The men are bolted in fear. Bock grabs one man, hurls him to the ground. Bock’s voice can barely be heard above the confusion.

BOCK

Coward! Get back there!!

225. ANOTHER OF BOCK’S MEN

goes for his horse, which spooks and run off.

226 THRU 228. OMIT

229. WITHIN THE JUGGERNAUT

Artemus is concerned with the machine as one oil line snaps.

ARTEMUS
Jim, it’s going to blow! No stopping it!

West looks through the port, then:

WEST
That’s a shame – Bock and his boys are straight ahead…

ARTEMUS
Get ready. I’m turning the pressure all the way up!

Artemus turns all valves up to full. The machine begins trembling, strange noises are HEARD.

230. ANGLE TO BOCK

FIRING in desperation at the O.S. farmers, a few men left with him. BOCK sees and FIRES at:

231. ANGLE TO THE JUGGERNAUT

West, then Artemus jump out of the Juggernaut and take cover as the Juggernaut moves this way.

232. BACK TO BOCK

Calling to his men:

BOCK
Take the Juggernaut!

His men scramble out of various places of concealment and follow as Bock charges toward the Juggernaut, oblivious to all else.

233. ANGLE AT THE JUGGERNAUT

rumbling along, Bock and his men swarming toward the machine. Suddenly a tremendous EXPLOSION rips the Juggernaut. Bock and the men nearest the Juggernaut are thrown to the ground, stunned with the impact of the explosion.

234. WEST AND ARTEMUS

rise from their place of cover, start to:

235. BOCK

and his men, pulling themselves up off the ground, now surrounded by the farmers, who have them well covered.

236. FAVORING DIXON

As Lonie runs INTO SCENE, Dixon puts a protective arm around her shoulders. She stares with mixed emotions at:

237. BOCK

who returns her glance with grim hatred as West and Artemus move to stand with Dixon, Lonie, and the farmers.

238. ANGLE TO THE JUGGERNAUT

Another ROCKING EXPLOSION rips the machine, billowing smoke, spelling destruction of this mechanical monster.

239. FAVORING WEST

As all watch the Juggernaut burn, we –

DISSOLVE TO:

END OF ACT FOUR

TAG


240. INT. WEST RAILROAD CAR – NIGHT

West is examining a number of contracts as Lonie looks on. Artemus is at his worktable, attempting to make a model of the Juggernaut.

WEST
Lonie, it looks like you’re a well-to-do young lady.

LONIE
But we’ve sent dispatches to all the farmers Bock bought out, offering them their land back.

WEST
Bock had land of his own. With oil, you don’t need as much acreage as depth.

ARTEMUS
Most of the farmers will come back… once they learn what they’ve got to come back to.

A KNOCK IS HEARD at the door and Dixon’s voice O.S. calls:

DIXON’S VOICE O.S.
Hello to you, Jim.

West answers the door, admits Dixon.

WEST
Come on in, Lyle.

DIXON
I’m a delegation of one – the boys asked me to give you and Mr. Gordon our thanks, ‘fore you leave.

WEST
No thanks necessary.

ARTEMUS
Actually, it was kinda fun, while it lasted.

Dixon silently—but gratefully—shakes hand with West and Artemus, during which his eyes fall on Lonie’s bags—and he reacts quickly with:

DIXON
Lonie—you ain’t leavin’?

LONIE
(elaborately casual)
‘Course I am; no reason why I should stay, is there?

DIXON
( a beat, then)
No, I guess not…

LONIE
(concealing her disappointment badly)
Goodbye, Mr. Dixon.

The two shake awkwardly, then Lonie turns and starts to walk away—and now that she’s facing the CAMERA, we can see all the unhappiness showing, until…

DIXON
… except for one thing!

LONIE
(halting—face still averted)
What would that me, Mr. Dixon?

DIXON
I want you to stay!

241. ANOTHER ANGLE
West and Artemus smile.

242. TWO SHOT – DIXON AND LONIE

LONIE
I guess that’s reason enough.

And on their happy faces, we

FREEZE:

END OF TAG

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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