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California gal
SS senior field agent
USA
8544 Posts |
 Posted - 09/01/2009 : 18:20:38
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Garrison Productions
CBS-TV
THE WILD WILD WEST
“The Night That Terror Stalked the Town”
0123
Story by Richard Landau
And
John Kneubuhl
---
Teleplay by
John Kneubuhl
Producer:
Fred FREIBERGER
REVISED FIRST DRAFT
6 October 1965
THE WILD WILD WEST
“Night that Terror Stalked the Town”
#3224/0123 – Rev. 10/5/65
THE NIGHT THAT TERROR STALKED THE TOWN
John Kneubuhl
TEASER
FADE IN:
1. EXT. STREET (DENVER) – NIGHT
We are CLOSE on a MAN, against a wall, in shadows. A wild face, a fanatic’s face. He hears footsteps approaching, and, drawing a knife from behind his coat (he is rather elegantly dressed), he looks in the direction of the footsteps.
2. HIS ANGLE – WEST
He is approaching, alone. From nearby, we HEAR MUSIC – a party is in progress, somewhere.
3. CLOSE MOVING SHOT
West keeps moving in the direction of the MAN, whom he pretends to be unaware of. He goes right past the Man, curbside. Then he stops and deliberately turns his back on the man. He pretends that his shoelace is untied. He leans down to tie it…
4. ANOTHER ANGLE
As West ties his shoestring, the man approaches him from behind, knife drawn. The knife flashes down, but at that moment, West’s elbow goes back, hard, catching the Man in the stomach; the Man doubles forward, and West rises up in a turning motion and throws the Man, hard, against the wall… The Man is hit, hard, before he even recovers from the impact with the wall, and he goes down in a heap, lies still… West moves to the unconscious figure, stands there looking down at him… FOOTSTEPS approach FROM CAMERA, and West pays no attention… A moment, and it is Artemus, who moves in; he goes to West’s side, also looks down at the unconscious man.
ARTEMUS
Did you have to turn your back on him?
WEST
I had to bait him into making a move…
ARTEMUS
Know who he is?
West keeps looking down at the Man. Three POLICEMEN have also moved in, wait respectfully a few feet away.
WEST
Remember the gang we rounded up in the Alaska Territory gold swindle?
(indicates Man)
That’s the one that got away.
ARTEMUS
No wonder he had it in for you!
West turns to the Police.
WEST
He’s all yours, officer…
(turns to Artemus)
Well, Artemus – will you pour?
He gestures to the restaurant, from which the music comes.
ARTEMUS
They say they have the best wine list in all of Denver…
And, as the Officers “collect” the Man, we PAN away with Artemus and West, as they approach the front of the restaurant.
5. ARTEMUS, WEST – AT RESTAURANT ENTRANCE
as they go in:
ARTEMUS
One of the charms of being with you is that you attract the most interesting company…
And they have gone inside.
6. ANOTHER ANGLE – MARIE PINCHER, JANUS
Marie is a very beautiful woman, gorgeously gowned; Janus is a man whose physical size is exactly West’s; his face is something of a broken mess. They have been watching Artemus and West go into the restaurant.
MARIE
Well, it seems someone almost spoiled things for us, Janus… I must say, he’s strong!
(a coy look at Janus)
We’ll see just how strong…
And she heads for the restaurant entrance.
7. INT. THE ELEGANT RESTAURANT – NIGHT
We are WITH Marie as she comes in. The MAITRE D moves immediately to her; he bows, ushers her to a table. As she sits, she casts a languorous look about the velvet-and-crystal restaurant. There are not many customers – and all are very sedate, very proper.
8. CLOSE SHOT – WEST, ARTEMUS
At their table, over brandy, West has seen Marie enter, keeps watching her. Artemus's back is to Marie’s table.
ARTEMUS
All work and no play, Jim. It isn’t good for any men.
He raises his glass to West, who still stares off.
ARTEMUS (CONT’D)
So drink and be merry – for tomorrow –
As he speaks, he turns idly to see what West is looking at; the words trail off.
ARTEMUS (CONT’D_
- you may die!
9. THEIR ANGLE – MARIE
A WAITER has approached her with a menu, but with an imperious gesture, she waves him away. She fans herself looking over at West’s and Artemus's table.
10. BACK TO ARTEMUS, WEST
They both like what they see; Artemus is very impressed.
ARTEMUS
(fervently)
But what a wonderful way to go!
(shakes his head appreciatively)
Whoever she’s waiting for, he’s a lucky man.
West returns his attention to his brandy glass.
WEST
She isn’t waiting for anyone, Artemus. She’s alone.
ARTEMUS
How do you know?
WEST
The way she sits there. Like a beacon, guiding all ships home.
ARTEMUS
(delighted)
Land ho!
He rises. West smiles, mildly amused, watches Artemus go.
11. WEST’S ANGLE – ARTEMUS, MARIE
Artemus approaches the woman. He becomes very Continental, affecting a French manner and accent, bowing.
ARTEMUS
Pardonnez moi, mademoiselle… but I could have not help noticing. I am six months in this country, and never – mais non, never – have I seen such beauty… Not in Paris, not in London, not in Rome, nowhere! But, certainement, I know you from somewhere?
Marie looks at him, quite steadily. Then she turns away, continues fanning herself.
MARIE
No.
ARTEMUS
Ah, but I never forget a beautiful woman… I am a lover of Beauty. Beautiful castles, a beautiful yacht, beautiful wines, beautiful women –
(he remembers)
Madrid! Ah, senora, of course! The beautiful women of Span, and you the most beautiful…
MARIE
I have never been in Spain. And if you don’t stop, I shall call the proprietor!
Artemus bows, crushed. He is suddenly Italian.
ARTEMUS
(in Italian)
A thousand pardons, signorina!
He goes. Marie casts another look over at West. The fan moves seductively all the time.
12. WEST, ARTEMUS
West watches her, laying money out for their bill. Artemus comes in.
WEST
Come on Artemus – let’s go! “Don’t I know you from somewhere,” wow!
ARTEMUS
(a Frenchman)
It has never failed before, mon vieux!
(A German - a Krauthead)
I suppose, Herr West, you could have managed it better?
West grins, looks over at Marie. He goes, Artemus following, PANNING, and they head for the front door past Marie’s table.
13. CLOSE SHOT – MARIE
Noticing that they are leaving, she is immediately tense, dismayed.
14. ANOTHER ANGLE – WEST, ARTEMUS, MARIE
West and Artemus are in the f.g., near the front door. In the b.g., Marie suddenly rises.
MARIE
Why – Mr. Jordan!
In the f.g., Artemus and West stop, turn; Marie is moving toward them.
15. MEDIUM SHOT
Marie advances with:
MARIE
How nice to see you ag - !
She stops, embarrassed, realizing she has made a mistake.
MARIE (CONT’D)
Oh, excuse me… I thought you were someone I knew…
Artemus looks exclamation points at West, who smiles fleetingly at him, sizing Marie up, at close range, with growing appreciation.
WEST
Well… as it happens, my name [i]is Jordan!
Artemus reacts.
Then suddenly he remembers. He points at her face – “recognizing.”
WEST (CONT’D)
Don’t tell me! New Orleans!
Marie is flustered, laughs nervously, braves it through.
MARIE
Why – why, yes! New Orleans - ?
Shaking his head, Artemus moves away, leaning against a wall, folding his arms.
WEST
(forcing the memory)
Miss Ellen – No, no, Eleanor…
MARIE
Marie… Marie Pincher… You know, like this.
And she pinches his cheek.
WEST
(natch!)
Marie Pincher… well, well! … What are you doing here all by yourself?
Marie looks pointedly at Artemus, turns backs to West.
MARIE
I might ask the same question of you…!
Eyes meet meaningfully. Hold. Communicate. West finally turns to Artemus.
WEST
Goodnight, Artemus!
He offers his arm to the lady. She takes it. They go out, leaving Artemus standing there, in dismay.
16. EXT. STREET FRONTING RESTAURANT – NIGHT
Arm in arm, they move for the curb. West looks around, looks down the street where, a short distance away, carriage stands. West raises his hand, gestures for the carriage, which moves toward them.
17. CLOSE SHOT – THE DRIVE
It is Janus.
18. BACK TO MARIE, WEST
The carriage draws up. West opens the door, bows. A coy look from her. She enters the carriage. West follows. The door closes; the windows are up, the blinds drawn.
19. INT. THE CARRIAGE – NIGHT
West settles back beside Marie, an arm going around her.
MARIE
Where are you taking me, you naughty man?
WEST
Anywhere your little heart –
And he stops. For there’s a HISSING SOUND from one of the walls. Puzzled, West looks. The carriage has started.
20. WEST’S CLOSE ANGLE – TO SIDE
In the wall is a vent, and a gaseous stuff, like white smoke, swirls out of it.
21. MARIE, WEST
He immediately reaches for a door, tries to open it. It is locked. The other; that is locked, too.
MARIE
(scared)
What is it? What’s happening?
WEST
We’ve been locked in!
The smoke pours out. West bangs his weight against one of the doors, hard. He and Marie are already beginning to cough violently.
MARIE
(crying)
I’m frightened! Let me out of here.
22. CLOSE SHOT – WEST
Coughing, he keeps banging against the door. The gas overwhelms him. He slumps.
23. CLOSE UP – WEST
Just before passing out, he looks up from the floor.
24. HIS CLOSE ANGLE – MARIE
She is still seated, looking down at him through the swirling gas. She has on a primitive gas-mask.
25. WEST
He tries to reach for her, can’t. He is unconscious.
ACT ONE
FADE IN:
26. EXT. GHOST TOWN – THE CARRIAGE – DAY
We are ANGLED into the carriage, CLOSE on West, who is coming too. He sits up, very groggy and badly hung-over from the gas. He looks around, gets out, and we WIDEN with him. He looks around in growing mystification, as the WHINNY of a horse comes over.
27. MED. FULL SHOT
West moves out into the street more. All around, the empty ghost town, abandoned, dilapidated. Dead silence. There is no sign of any horse, anywhere, nor of any life.
28. WEST
The WHINNY comes again. Silence. Woozy, blinking, weak, West keeps looking around. Now, from a little distance, there comes the SOUND of a dog, BARKING. West looks.
29. HIS ANGLE – TO A BUILDING
The BARKING comes from there.
30. WEST
He crosses the street, heads for the building from which the BARKING comes, LOUDER as West approaches.
31. WEST – AT THE BUILDING
The BARKING comes from just around the corner of the building. West moves toward it, looks.
32. HIS ANGLE – SIDE OF BUILDING
At the moment West looks in, there’s SILENCE.
33. WEST
Puzzled, he moves to a window, looks in.
34. WEST’S POV – INTO BUILDING
The interior of this building is, again, remarkably accurate in its furnishings: this time Western – a vignette of a western family in repose.
35. WEST
He taps on the window. Nothing. He taps harder, harder.
36. WEST’S POV – INTO BUILDING
He goes on taping, harder and harder. The family remains stock-still.
37. WEST
Mystified, he steps away from the window, a hand running across his aching forehead. Now, from down the street, a horse is HEARD, GALLOPING. West looks.
38. WEST’S PANNING POV – INTO STREET
The galloping comes closer – but there is no horse in sight. It gets very LOUD, as it passes the building where West stands, and then fades away into silence as the “invisible horse” goes by and farther away.
39. WEST
West’s hand again comes to his eyes. He shakes his head, trying to clear it. He stumbles away.
40. ANOTHER SHOT – WEST – AT ANOTHER BUILDING
He stops at the window, looks in. He taps on the window.
41. WEST’S POV – INSIDE
As before, the interior of this building is also beautifully furnished. And, as before, there’s a family inside, seated at a table for breakfast. The tapping continues, but nobody makes the least motion.
42. WEST
He moves for the front door, tries it. It is locked. PANNING, he moves across the street – and HOLD as he approaches the swinging doors of a saloon.
43. CLOSER SHOT- WEST – NEAR THE SALOON
Near the swinging doors, he stops, for he HEARS a SCREAM from down the street – a WOMAN’S VOICE. He looks.
44. HIS ANGLE – UP TO LIVERY STABLE
The SCREAM – it is a long wail of woe – actually – trails off into silence. But then, almost immediately and from the Livery Stables, there comes the long, mournful BAYING of a dog, eerily floating over the silence.
45. WEST
He begins to move toward the livery stables.
46. MOVING SHOT – TO LIVERY STABLES
As West approaches, the mournful BAYING gets LOUDER.
47. WEST
Keeps moving toward the livery stables, the BAYING louder and louder.
48. ANOTHER SHOT – AT LIVERY STABLES
West goes by the stables, for the BAYING comes from an empty lot at the other side of the stables. West moves around the stables for the lot.
49. WEST – IN EMPTY LOT
Just as he gets there, the BAYING stops. West looks around the lot. At the other end of the lot, there’s a high wire fence – say, ten to twelve feet high. Now West sees that just outside the stables’ side entrance there are stone tombstones, piled against the wall without any particular order. He moves to them, looks. And then, from inside the livery stables, there comes yet another SOUND – the woman again, but this time SOBBING in profoundest grief… Slowly, West goes into the livery stables.
50. INT. LIVERY STABLES – DAY
It is a large, spacious building – of course, utterly devoid of horses. And all around, in the greatest profusion, there are tombstones. The stables, in effect, have been converted into a stonecutter’s workshop. And from somewhere in the gloom, from somewhere out of that clutter, the woman’s soft, heartbroken SOBBING keeps coming.
51. ANGLE TO ONE SIDE
Stonecutting tools lie beside a just-finished tombstone. It is from the clutter and gloom beyond that the SOBBING COMES.
52. CLOSE SHOT – WEST
He looks in the direction of the SOBBING, which has now become very soft. He picks up a chisel – the only weapon available – and moves slowly, past tombstone and stone figure, for the “clutter” from which the SOBBING domes.
53. ANOTHER SHOT –WEST
The SOBBING stops just as he gets there. Whoever was there could not possibly have gotten out – for West finds himself in a corner of the building… and there is no one. West turns this way, that way – and no one. Finally he sits – his head in his hands – the effects of the gas still upon him, weak, sick, confused.
54. CLOSER SHOT – WEST
He remains very still, seated, head in hands, for quite a while. Absolutely no sound, except West’s own heavy, constricted breathing. And then:
DR. LOVELESS (O.S.)
(quietly, quite pleasant)
Mister West…
With a gasp, West is on his feet, whirling around, the chisel once more in his hand, poised.
55. WEST’S ANGLE – DR. LOVELESS
He is quite near, and he is seated on top of a stone, like an elf, smiling nicely toward West.
DR. LOVELESS
Don’t alarm yourself, Mr. West… No harm will come to you!
56. MEDIUM SHOT
West is understandably overwhelmed by the sight of the dwarf… but his cool self:
WEST
Well… Doctor Loveless… You’ve lost weight.
DR. LOVELESS
Dr. Miguelito Loveless, your humble servant, sir…
(a mock bow, no more than a nod)
You remember Voltaire, of course?
He gestures. From behind a large stone, Voltaire steps out into view. He remains there, just looking over at West. Nearby, Janus steps into view, also just looks at West.
DR. LOVELESS (CONT’D)
But you’ve never met Janus… Janus, this is Mr. James West of the Secret Service in Washington…
Loveless smiles over at Janus, whose dour expression doesn’t change in the slightest.
DR. LOVELESS (CONT’D)
You should be very impressed, Janus. As you know from our past experience, Mr. West is the most trusted secret service agent in the country… He takes his orders directly from President Grant.
Janus, like Voltaire, just goes on glowering at West, who is quickly sizing up the layout.
WEST
(to Loveless)
I didn’t expect to see you – ever again.
He furtively darts a look at the side door.
DR. LOVELESS
Oh, it was a nice enough jail you had me put in, Mr. West… I didn’t mind. It gave me a lot of time to think… But poor Voltaire was just wasting away in that cheerless cell… We simply had to leave.
WEST
I heard you were shot, escaping across a river… both of you…
DR. LOVELESS
(pooh-pooh, but very nicely)
Well, they never found the bodies, did they?
He lets it go with a self-effacing little shrug.
DR. LOVELESS (CONT’D)
People assume so much!
(beaming)
But I must say I’m delighted to see you again!... I’ve thought of you daily…
He jumps down from the tombstone and moves over to a stone that has only recently been cut.
57. ANOTHER ANGLE – LOVELESS
He leans against the tombstone, indicates the inscription, smiling at West.
DR. LOVELESS
For the past few months, you’ve become almost an obsession with me.
58. EXTREME CLOSE SHOT – THE STONE
The inscription reads: James West… Born: July 2, 1842 – Died:
59. WEST
reacts. A moment. Then:
WEST
When do you intend to fill in the rest?
60. BACK TO LOVELESS
He smiles.
DR. LOVELESS
If all goes well, in two weeks.
He sighs, pats the tombstone fondly.
DR. LOVELESS (CONT’D)
Ah, but that can wait… that can wait!
61. MEDIUM SHOT
And West, quite suddenly, makes his move. He hurls the chisel at Voltaire, as he breaks into a run.
62. ANGLE – VOLTAIRE
Voltaire ducks behind a stone figure. The chisel comes flying in; its point hits the figure, flies off.
63. WEST
He is running out the side door.
64. SHOT – DR. LOVELESS
Shaking his head, he moves to a wall. There’s a box there. He opens it quickly, pulls something.
65. INSERT – IN WALL BOX
It is an electrical switch. Loveless’s hand pulls it.
66. EXT. EMPTY LOT – DAY
West is running to the back of the lot and the fence there. One of the stones outside the livery stable lies near the fence. West uses it for a jumping off place. He vaults up to the fence, catches hold three quarters of the way up.
67. CLOSE SHOT – WEST ON THE FENCE
His hands grab the wide-mesh – and instantly a cry of pain comes from him. A spasm goes through his body. He just hangs there. The whole fence seems to HUM and CRACKLE.
68. INT. LIVERY STABLES – DAY
Loveless, quite casually, reaches for the switch. Voltaire and Janus have moved near him; they all seem quite casual.
DR. LOVELESS
Did you notice his quick his move was, Janus…. Remarkable coordination.
And the switch is thrown, back up.
69. EXT. EMPTY LOT – DAY
We are CLOSE on West, still “glued” there to the fence. The HUMMING and CRACKLING stops abruptly. West’s hands release their unnaturally tight grip on the mesh. CAMERA ANGLING with him, he falls to the base of the fence. He lies there very still.
70. ANOTHER CLOSE ANGLE
West is out cold. A moment passes, and then Loveless moves in beside him. He kneels down, reaches for West’s head, turns the face to him for a good, critical look.
DR. LOVELESS
(relieved)
Oh, good… not a mark… Not even singed!
Pleased, he steps back and we WIDEN to REVEAL Voltaire and Janus moving in with a coffin. They place the coffin down beside West, then lift West’s unconscious body into the coffin.
DR. LOVELESS (CONT’D)
Carefully Voltaire… Janus, not so roughly. I don’t want a single hair on his head harmed… yet!
Now, PANNING, he goes back into the livery stables, followed by Janus and Voltaire with the coffin. They enter.
71. INT. THE LIVERY STABLES – DAY
They cross over to a side wall that we see for the first time. There’s a door there, and over the door a sign.
72. CLOSER SHOT
Loveless opens the door for Voltaire and Janus, who go through with the coffin. The glimpse we get is of a kind of large alcove beyond, and a stair banister which angles down toward the ground. Then Loveless steps in, closing the door after himself. A moment, and then CAMERA LIFTS and MOVES CLOSE to the sign over the door, and at CLOSE, we HOLD on the sign. Two words, large, bold, somewhat smeared over with dust. The words are: EMBALMING ROOM.
FADE OUT:
END ACT ONE[/u]
|
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
8544 Posts |
Posted - 09/01/2009 : 18:21:44
|
ACT TWO
73. INT. DR. LOVELESS’ LAB-WORKSHOP – DAY
We OPEN VERY CLOSE on West’s face. Calipers move in, measure the face. We MOVE AWAY with the calipers as they are withdrawn, and WIDEN. Dr. Loveless is holding the calipers which now he compares with a life-size clay model of West’s head on a sculptor’s stand, nearby. Loveless has changed to an artist’s smock. West, still out, lies on a gurney. Voltaire sits nearby watching. A lady, Antoinette, is seated to one side with a ZITHER, accompanying herself as she SINGS. Loveless puts the calipers aside, looks at West with the critical eye of an artist, then starts to work on the clay model. He joins in the song as he works.
74. CLOSE SHOT – WEST
He comes to, slowly; the SONG continues. Lying very still, his eyes take in the opposite wall.
75. WEST’S PANNING POV
On the opposite wall, there are the stuffed birds, animal heads, etc. Against the wall is a large sarcophagus. The SONG continues.
76. WEST
He sits up, slowly, looking around. Behind him he sees the wall of electric wires, switches, gadgets. The SONG continues.
77. MEDIUM SHOT
Seeing him, Loveless immediately stops singing, stops working. He moves to West with a smile.
DR. LOVELESS
Ah! Feeling better? You received a nasty jolt.
WEST
Where am I?
DR. LOVELESS
Underground. In my studio… because of all the stuffed animals and birds, Antoinette calls it my Embalming Room.
It is their private joke; he and Antoinette enjoy it.
78. EXTREME CLOSE SHOT – DR. LOVELESS’ HAND
It moves under a table, presses a button… CAMERA ANGLES to another place under the table; we see a wax cylinder, a primitive recording head. The wax cylinder is revolving; the needle moves into place.
79. BACK TO SCENE
Loveless regards him with a smile always.
DR. LOVELESS
It was very foolhardy of you, bolting like that. I might have sent a lethal electrical current through that fence – and you…
(always pleasantly)
Do you have any interest in electrical science, Mr. West?
West furtively keeps looking around, studying the room.
WEST
I don't know much about it.
DR. LOVELESS
(the patient teacher)
Ah, but you must, you must! So much has been discovered during the past decade… Even a self-exciting dynamo! A man named Graham discovered…
(modestly enough)
Of course, I would’ve – had jail not interrupted my work…
He has moved to the wall of wires, switches, etc.
80. ANOTHER ANGLE
Loveless looks at the wall fondly.
DR. LOVELESS
But I have perfected it… And you know, I’m working on a candle – an electrical candle, if you will. A light…
(he clasps his hands; a prayer-like vision)
All over the world, in all homes… Light from electricity…
(his “teasing” joke to West)
Are you going to steal that, too, from me, Mr. West? And give it to the government?
(his face falls)
Am I boring you?
For West is looking quite grimly at him.
WEST
What do you want with me? Revenge for sending you to jail? You were going to kill five thousand people with your explosive. You had to be stopped. Jail was where you belonged.
DR. LOVELESS
(offended; but nice about it)
Revenge!?... Mr. West, mean-hearted people might accuse me of many failures. But pettiness is not one of them!
WEST
What then?
DR. LOVELESS
I want to preserve you in art. Ars longa, vita brevis, as they say. Art is long, though life is short.
He returns to the clay model, is busily working at it, quite happy. West’s eyes keep darting from one art object to another.
WEST
Did you make all those wax models up in the town?
DR. LOVELESS
Yes.
(then relishing it)
But they’re not wax!
(chuckles as he returns to his modeling)
West can’t help the almost involuntary reaction that comes; he looks at the taxidermy-wall.
81. WEST’S ANGLE – THE STUFFED “TROPHIES”
They return West’s look with their mute implication.
82. BACK TO SCENE
Loveless goes on working; West indicates the stuffed trophies.
WEST
Did you – preserve – all those yourself, too?
DR. LOVELESS
Oh yes… Trapped them all myself as well.
WEST
Like you trapped me.
DR. LOVELESS
I hope you enjoyed Marie. She’s charming. But she has this little problem. Whenever she feels attracted to a man and the man rejects her, why, she gets quite out of hand. Utterly.
And West, never too sturdy throughout the scene, has been feigning increasing weakness. He seems suddenly to slump, a little, just enough. Dr. Loveless turns from his modeling, concerned.
DR. LOVELESS
Something the matter?
He moves in real concern to West.
WEST
No – I – still feel a little weak.
DR. LOVELESS
Of course, how thoughtless of me! The gas, then the electric current! … You haven’t had a proper rest… And some lunch. Voltaire! Voltaire, show Mr. West to his room…
83. ANOTHER ANGLE
From his corner, Voltaire moves forward to West, who seems to have “wilted” completely. Dr. Loveless has turned away, Voltaire is unaware of what is going to happen next. Suddenly, West goes into action. He lets fly three solid right hands, hard, killing, at Voltaire’s midsection. The blows have absolutely no effect on Voltaire, except to make him angry. He grabs West by the shirt front, pulls him close; his ham-like right fist is about to smash into West’s face, when:
84. CLOSE SHOT – DR. LOVELESS
Seeing, he is instantly terror-struck.
DR. LOVELESS
(a shrill cry)
No, Voltaire, no!
85. CLOSE ANGLE – VOLTAIRE, WEST
Voltaire stays his fist at the last moment.
86. DR. LOVELESS
He sighs with relief.
DR. LOVELESS
(breathes heavily; it’s been a close shave)
I need his face…
(calm in returning)
When I’m through with it, you may have your fun…
87. ANGLE – VOLTAIRE, WEST
Voltaire releases West. He steps aside, bows, sweeps an arm out to West, indicating the way. West goes, and Voltaire follows. They head for the short flight of steps that lead to the upper-level of the laboratory. They go up to that level.
88. MEDIUM SHOT – VOLTAIRE, WEST – ON UPPER LEVEL
Halfway across, West stops to look around. For he finds himself in what is unmistakably an operating room.
89. HIS ANGLE
A gurney is in the center of the room. Beside it, a primitive gas inhalator, and, prominently on a tray, a wide variety of forceps, scalpels, scissors, needles, etc. The CAMERA KEEPS MOVING with West’s look: in the b.g., pinned against a wall, are all sorts of large charcoal drawings of West’s head… Medical drawings; this one of West as he is; the next one with West’s skin missing, exposing his muscle structure; the one after that with the muscle structure missing, exposing his head’s bone structure… and then, finally, as if it belonged with the series of drawings, a stuffed animal on the wall.
90. WEST
He reacts grimly, looks back in the direction of Dr. Loveless.
91. HIS ANGLE – DOWN TO LOVELESS
The good doctor is still looking to him. He waves.
DR. LOVELESS
(pleasantly)
Whatever you need, Mr. West… Your wish is our command.
92. WEST, VOLTAIRE
West turns away. Voltaire moves to a side door, opens it, bows, and again, with his arm, indicates that West is to enter. West does, Voltaire follows. The door is closed.
93. CLOSE SHOT – LOVELESS
He moves (PAN) over toward Antoinette, sitting. He has become tired, depressed, and the preceding “indignities” have rather shocked him. He looks with all of the shocked sensibilities of a gentle man:
DR. LOVELESS
(in hurt wonder)
Antoinette … he struck Voltaire with his fist… in Voltaire’s tummy!
He shakes his head slowly.
DR. LOVELESS (CONT’D)
How can people be so cruel?
DISSOLVE TO:
94. INT. OBSERVATION ROOM
It is a small room: a table, two or three chairs, and that is all. We are on a vase of flowers as:
WEST (O.S.)
What do you want with me? Revenge for sending you to jail?
And we are PANNING AWAY to a table on which a wax cylinder revolves in an early gramophone. MEANWHILE:
WEST (O.S.)
You were going to kill five thousand people with your explosive.
We are CLOSE to the cylinder:
WEST’S VOICE
(coming out of the cylinder)
You had to be stopped. Jail was where you belonged.
95. ANOTHER ANGLE
We REVEAL Dr. Loveless beside the gramophone. With him is Janus, who is seated before the gramophone, all attention. Loveless switches the gramophone off.
DR. LOVELESS
Note, Janus: his voice is more vibrant than you think it is… like this:
(and astonishingly, out of his mouth comes West’s voice!)
“What do you want with me? Revenge for sending you to jail?”
(then, his own voice)
Do you see what I mean?
Janus nods.
DR. LOVELESS (CONT’D)
Everything’s coming along beautifully. Just beautifully…
96. ANOTHER ANGLE – DR. LOVELESS, JANUS
Now, Loveless turns to a switch in the wall.
DR. LOVELESS
Now! Watch him carefully, Janus!
Janus moves beside Loveless, as the doctor pulls the switch down slowly (like a light dimmer)
97. ANOTHER ANGLE – PAST LOVELESS, JANUS TO THE WALL
As Loveless pulls the switch down, the wall “dissolves” into a sort of viewing wall, such as we would find in psychiatric and psychological clinics. With Loveless and Janus, we are looking into West’s bedroom, quite a sumptuous room. West is at the door, trying it; it is heavy, and it is firmly locked.
DR. LOVELESS
Notice how aggressive he is! He never seems to give up! … and look – see how he moves.
98. INT. WEST’S BEDROOM – DAY
West leaves the door, moving along the wall, patting it, testing it; his is working his way to the viewing wall.
99. INT. OBSERVATION ROOM – DAY
Loveless turns from his look, delighted, to Janus.
DR. LOVELESS
He’s coming this way… Watch his face closely.
100. INT. WEST’S BEDROOM – DAY
He tests along the wall, and he comes to the viewing wall. On it hangs a large, ornately framed painting. He inspects the painting, a modernistic oil.
101. INT. OBSERVATION ROOM – DAY
We are SHOOTING PAST Janus and Loveless as, only inches away from their heads, West comes into view, studying the painting – with distaste.
DR. LOVELESS
Oh – he doesn’t like my painting… Well, it is a bit ahead of its time… I can’t blame him.
And with them, we see that West moves away from the painting.
102. INT. WEST’S BEDROOM – DAY
West goes back to his bed, sits. Then he hears the door being unlocked. He gets up, facing the door. Voltaire opens it to admit Marie Pincher, who comes in with a tray. Voltaire steps outside again, closing the door.
103. INT. OBSERVATIO ROOM – DAY
With Loveless and Janus, we see West remain standing by his bed, looking at Marie. She goes to a table, sets down the tray, as if she didn’t want to face him directly. MEANWHILE:
DR. LOVELESS
(delighted)
Now, unless I miss my guess, he’s going to woo Marie… Hoping she’ll help him escape…
And with them, we see West move to Marie, who is turning to go. He grabs her wrist.
DR. LOVELESS (CONT’D)
He thinks, he thinks all the time!
104. INT. WEST’S BEDROOM – DAY
West turns her around; she won’t look at him.
WEST
Well, if it isn’t Marie Pincher!
He pinches her cheek.
WEST (CONT’D)
Remember me? Mr. Jordan…? New Orleans?
Still without looking at him, Marie tries to free her arm, to go.
MARIE
Please let me go…
But he pulls her close. He kisses her, a purposeful kiss. She breaks, and rather coyly backs away.
MARIE (CONT’D)
You shouldn’t have done that.
WEST
Why not? I wanted to!
Marie is back to the lunch tray.
MARIE
And that’s all you want. To kiss a girl and then, afterwards, toss her aside…
WEST
(moving up)
Try me…
Marie backs right up to the tray. Behind her back, her hand takes up the knife.
105. INT. OBSERVATION ROOM – DAY
Janus is wide-eyed, tense.
DR. LOVELESS
Watch how he’ll master her, Janus… with a kiss!
106. INT. WEST’S BEDROOM – DAY
The knife in her hand, behind her, Marie circles West.
MARIE
I know men like you… it makes you feel so big to handle a woman as if she were –
But West has stepped in, both arms going around her waist, stopping the flow of words with a kiss.
107. CLOSE SHOT
Behind West’s back, Marie’s hand raises the knife. The kiss goes on. And on. Slowly, the knife is lowered. Then it is dropped. Marie’s hands go behind West’s head. A momentary break.
MARIE
(a sigh)
Terrible men… selfish…
And she kisses him again, selfishly.
108. INT. OBSERVATION ROOM – DAY
Loveless is very serious as he turns to Janus.
DR. LOVELESS
Watch carefully, Janus – and learn!
Through the observation wall, we see the kiss go on. Loveless chuckles.
DR. LOVELESS (CONT’D)
I wonder whether Marie would be so free, if she knew she was being watched!
He keeps watching with Janus, as the kiss goes on.
DR. LOVELESS (CONT’D)
I must say she puts her back into her work! She’s so loyal…
He reaches for the switch, pulls it. The wall materializes, blocking out any further view.
DR. LOVELESS (CONT’D)
Now for our stroll… We’ve got to think of his health, Janus!
He moves away from the wall.
109. EXT. THE GHOST TOWN – FULL SHOT – DAY
We are FEATURING the Saloon, from which comes the SOUND of raucous voices and a piano playing rinky-tink music, loud. We PAN AWAY to HOLD on the livery stables, down the street.
110. SHOT AT STABLES – DR. LOVELESS, WEST, VOLTAIRE
They are moving from the stables out into the street.
DR. LOVELESS
You would not believe this, but when I first came here, months ago, this was a thriving little community… They had so much to live for… But they weren’t content… They destroyed themselves. All in a few months.
111. THEIR ANGLE – UP THE STREET – TO THE SALOON
Where the raucous VOICES and the RINKY-THINK PIANO SOUNDS come.
112. MOVING SHOT – LOVELESS, WEST, VOLTAIRE
They begin to move up the main street.
DR. LOVELESS
Oh, the avarice… The Greed. The Lust. The Selfishness… Won’t people ever learn?
They stop, for from the saloon, there come GUNSHOTS.
113. THEIR ANGLE – TO THE SALOON
The GUNSHOTS go on for a few moments. Then, silence. The VOICES return, the PIANO PLAYS once again.
114. BACK TO WEST, DR. LOVELESS, VOLTAIRE
Loveless shakes his head.
DR. LOVELESS
… liquor, woman, and cards… sometimes I despair of this poor old world, Mr. West…. Well, well: one simply must cling to hope!
They are headed for the saloon.
115. AT THE SALOON
Loveless moves in ahead of West, who is followed by Voltaire.
116. INT. THE SALOON – DAY
They come into a haze of cigar-smoke. There are dummies in Western garb seated at a poker table. Dummies at the bar. To one side, a dummy Hostess with a seated line of her dummy “girls.” West looks around with Loveless, who gestures to Voltaire. Voltaire goes over to one side.
117. WEST’S ANGLE – VOLTAIRE
He has moved beside a large contraption – a super-gramophone with a great amplifier horn. A long wax cylinder revolves. This is, of course, the source of the sound effect we have heard. Voltaire switches it off. Instant silence.
118. BACK TO SCENE
In the silence, Dr. Loveless sighs with relief.
DR. LOVELESS
Ah, blessed silence!
He moves to the bar with:
DR. LOVELESS (CONT’D)
Let me poor you a libation, Mr. West… Don’t worry! It’s only tea… I abhor spirits! They make a man less than human.
West follows him to the bar, touching one of the dummies at the poker table as they go.
119. AT THE BAR – DR. LOVELESS – WEST
There’s a little steps and platform arrangement for Dr. Loveless at the bar. He mounts it, pours two glasses from a waiting bottle. West doesn’t touch his; he’s looking back at Voltaire and the gramophone contraption.
WEST
That machine Voltaire turned off… What is it?
DR. LOVELESS
My speaking machine… I can make music, voices, sounds come out of it… a toy…
He slides West his glass.
WEST
I see… Then all the sounds I heard – a baying dog, a sobbing woman, a horse galloping down the street -- ?
DR. LOVELESS
(cutting in; smiling)
Oh, those!... I have speaking machines hidden everywhere…
Loveless has become very quiet, moody, staring into the tea in his glass.
DR. LOVELESS (CONT’D)
And with my sculpturing, I’ve peopled my little town…
WEST
Those dummies – they’re made of rubber.
DR. LOVELESS
(surprised)
What did you think they were made of?
WEST
For a while, seeing those stuffed animals in your workshop, I –
DR. LOVELESS
(amazed)
No! You mean, you thought that these were - ?
(amused)
-- That I would do a thing like that?
(laughs)
Why, you’re positively ghoulish!
WEST
Then what are you going to do with me?
Dr. Loveless regards him a moment, a little smile:
DR. LOVELESS
(simply)
Preserve you… A walking, talking, breathing, thinking James West who will do my bidding…
WEST
But then – why the tombstone, with my name on it?
DR. LOVELESS
(always simply)
Because you will be dead. You will walk among the living and, all the time, you will be under that tombstone, quite dead.
And suddenly West has smashed a bottle, using it as a weapon.
120. ANGLE – VOLTAIRE
He sees, moves menacingly toward West and Loveless.
121. WEST, LOVELESS
West has the jagged bottle at the back of Loveless’s head.
WEST
Stay where you are, Voltaire!
122. VOLTAIRE
He backs away, against a side wall.
125. MOVING SHOT – WEST, LOVELESS
Dr. Loveless sighs.
DR. LOVELESS
Oh, Mr. West…. Neither Voltaire nor I would harm you for the world! It would spoil my plans!
WEST
The only plan you’ve got now, my friend, is to kill the electric current in that fence… Then you’re walking out of here, with me. Back to jail… Now, start moving.
They head for the swinging door, Loveless ahead of West, who keeps the bottle at his head. But now, Loveless opens his vest, and we see a small box wired to his left breast. He pushes a button. Then he stops. West reaches to shove him forward with:
WEST
Keep going…
And the instant West’s hand touches his shoulder, there is a WILD CRACKLE from Loveless, and, as if yanked away by invisible wires, West goes flying, the bottle falling from his hand.
124. ANOTHER ANGLE – WEST, LOVELESS, VOLTAIRE
West goes down in a heap. Loveless and Voltaire move to him, look down at him. West is not “out,” but is in a kind of dazed shock.
DR. LOVELESS
You see, there are certain things electricity cannot pass through… Glass is one of them… Rubber is another…
As if embarrassed, he looks over to the dummy “ladies.”
125. HIS ANGLE – THE HOSTESS, THE GIRLS
The dummies are within earshot.
126. BACK TO SCENE
Loveless leans closer to West, whispers so that the “ladies” don’t hear.
DR. LOVELESS
My – underwear – is solid rubber –
(turns away with a sigh)
Well, Voltaire, I hadn’t wanted to rush things, but I’m afraid we must… Mr. West is really too impulsive. He might hurt himself, before we’re through with him.
(back to West)
Tonight, then, my friend – all your questions will be answered.
And CAMERA MOVES IN FAST to a CU of the dazed West.
DISSOLVE TO:
127. INT. LOVELESS’S LAB-WORKSHOP – UPPER LEVEL – NIGHT
We OPEN CLOSE on the clay model of West’s head, PULL BACK and ANGLE DOWN to HOLD on West himself. He is strapped to a gurney. A moment, then Marie and Antoinette, as nurses enter, masked for surgery. They busy themselves laying out scalpels, etc. Nearby is a strange contraption, a small crane with a bucket seat. A moment, then Voltaire enters, pushing a gurney on which there is a sheet-covered figure. He stops the gurney beside West’s, then moves to bring the crane closer.
128. WEST
He turns his head, looks at the second gurney, as Marie pulls the sheets back.
129. WEST’S CLOSE ANGLE
Lying on the second gurney, unconscious, is Janus.
130. MEDIUM SHOT
Voltaire moves the crane beside Janus’s gurney. Now, dressed for surgery, Dr. Loveless himself enters the room. He goes immediately to Antoinette, who assists him with the rubber gloves.
DR. LOVELESS
Patient ready, Nurse?
ANTOINETTE
Yes, Doctor.
DR. LOVELESS
Good…
The gloves on, he moves to the bucket seat on the crane. He gets in it. Voltaire cranks. The seat rises up with Loveless to “operating level.” He smiles at West.
DR. LOVELESS (CONT’D)
Oh now, now, don’t frown, Mr. West… We don’t want any ugly wrinkles, do we? … Scalpel.
Still smiling at West, he lays out his palm. Marie places a scalpel in it. Do you know how an artist will sometimes hold up a brush vertically, “against” an object to check its size and shape? Well, Loveless does that now with the scalpel.
DR. LOVELESS (CONT’D)
A little further back, please, Voltaire…
Voltaire cranks, and the bucket seat swoops backwards and up, Loveless always “measuring” with his scalpel.
DR. LOVELESS (CONT’D)
Yes, yes, thank you, Voltaire… Now forward… I think I have it.
131. ANGLE – LOVELESS
He moves down slowly toward the gurneys and CAMERA.
DR. LOVELESS
Well, Mr. West… Tonight marks my first step back to the glory that is rightfully mine… With your help, we are going to destroy the Secret Service… And the next time I ask for half of the State of California, they are going to give it to me…
He has been sung down into a CU.
DR. LOVELESS (CONT’D)
(simply)
After all, once it belonged to my Spanish forebears; what’s mine is mine – and you’re going to help me get it back.
132. FULL SHOT – THE OPERATING ARENA
Now the bucket seat arcs slowly away from West, up and over Janus’s unconscious form, and it rests on the other side, by Janus’s head. Happy at his work, dr. Loveless is humming the Battle Hymn of the Republic.
FADE OUT:
END 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 |
 |
|
|
California gal
SS senior field agent
USA
8544 Posts |
Posted - 09/01/2009 : 18:22:42
|
ACT THREE
FADE IN:
133. INT. LOVELESS’S WORKROOM – LAB
We are CLOSE on Dr. Loveless, who is humming and working at a table. Voltaire stands by, watching him.
134. ANOTHER ANGLE – DOOR
Very silently, the door opens. And “West” steps in (It is, of course, Janus, who has been transformed into a mirror-image of West.) He looks:
135. HIS ANGLE – LOVELESS, VOLTAIRE
Their backs are to him. FROM CAMERA, moving stealthily, Janus approaches Voltaire. But at the last, he makes a noise, scraping against a chair. Voltaire immediately whirls around.
136. MED. SHOT
Before Voltaire makes a move, Janus hits him. Loveless hops up on the work-table, bright-eyed.
LOVELESS
Watch out, Voltaire!
The fight that ensues is rough, and what advantage Janus had by getting the drop on Voltaire grows as, in perfect imitation of West, Janus swings, chops – and, finally, clobbers Voltaire with a karate blow at the back of the neck. Voltaire falls, half-out… Janus turns now, and looks at Dr. Loveless, a malevolent gleam in his eyes. He takes two or three steps toward the doctor. There’s a plank laid across sawhorses, beside him, and, as if in an explosion of exultation, Janus’s hand comes down in a karate blow. The plank is smashed. Janus steps nearer the doctor… and then, suddenly, Loveless laughs and begins to applaud.
137. SHOT – VOLTAIRE
He is rising, half-dazed, and dumbfounded at what he sees.
138. HIS ANGLE – LOVELESS, JANUS
Loveless and Janus are looking over at Voltaire, smiling.
LOVELESS
We fooled you, Voltaire! Fooled you completely… This isn’t West; this is Janus!... The operation has been a triumph… Everything, everything working beautifully, and right on schedule!
We have MOVED IN CLOSE on Janus, who is smiling over at Voltaire.
139. INT. WEST’S BEDROOM
We OPEN CLOSE on a large hourglass, the sand all but run out, then WIDEN to REVEAL West pacing the room, tense, harried. In a moment, his door opens. It is Marie, bringing in tea.
MARIE
I’ve brought you some nice tea…
She places it. West moves to her.
WEST
What time is it, Marie?
MARIE
I don't know. Dr. Loveless hates clocks. He won’t have them around… it’s something to do with you, from his past…
WEST
I know… Once, he invented the most powerful explosive in the world. He planted some of it in a clock tower; he was going to blow up five thousand people – men, women, and children… I stopped him… Is that the kind of man you want to remain loyal to?
Marie is a little moody; she shrugs.
MARIE
When he found me, I was starving and sick… he took me in, fed me, gave life back… Loyalty is the very least I owe him…
West paces. Then he indicates the hourglass.
WEST
Can you at least tell me what day it is? How long have I been locked in here?
MARIE
Well – I’ve visited you every day since the operation… And every day turned this over –
(meaning the hourglass)
- fourteen times.
She moves to him, puts an arm around his neck.
MARIE (CONT’D)
Fourteen wonderful times.
Impatient, he moves away from her advances, goes to the tea urn, pours tea. She smiles at him.
MARIE
Do you know, I’m not angry anymore… You reject me like that, and I’m not angry… I think I’m cured, thanks to you…
She again moves in on him, an arm encircling him.
MARIE
I’m going to miss you, Jim.
WEST
Beginning when…?
MARIE
Miguelito wants to see you… there may be very little time left for us, Jim…
WEST
We could make it last, if you’ll help me get out of here…
Marie shakes her head, turning away.
MARIE
Miguelito is much too clever for us… It would be too much of a risk…
He moves in, turns her around.
WEST
Isn’t any risk worth this?
He kisses her. They break from the kiss. Marie moves away.
WEST
Well…?
MARIE
(sadly)
No, Jim… It’s been wonderful, but – Miguelito has been very good to me. I can’t be disloyal.
And the door opens. Voltaire steps in.
MARIE (CONT’D)
He’s come to take you to Miguelito…
Voltaire gestures. West moves to the door, is stopped there by:
MARIE (CONT’D)
(sadly)
Goodbye, Jim….
A look from West, a shrug, and then he goes out with Voltaire.
DISSOLVE TO:
140. INT. LOVELESS’S LAB-WORKWORK – LOWER LEVEL – DAY
Voltaire brings West in, gestures him to a seat before Loveless’s desk. West sits, looking around. A moment. Then there’s the SOUND of sliding wood behind him. West turns in his chair and looks.
141. WEST’S ANGLE
A panel in the wall behind him is sliding open. Loveless is moving out. As he approaches, the panel slides back into place.
DR. LOVELESS
Ah, Mr. West… So nice to see you again… How long has it been? Two weeks?... I do apologize for neglecting you, but I’ve been frightfully busy.
142. MEDIUM SHOT
Prattling, Loveless goes to his desk, sits there, smiling at West.
DR. LOVELESS
You’ve lost some of your tan!
West rises, moves to the desk, facing Loveless.
WEST
You didn’t have me brought here to talk about my tan!
DR. LOVELESS
No, no. Of course not… I thought you might be curious about the details of my plan. After all, you’ve made an invaluable contribution to it…
143. WIDER ANGLED
We are ANGLED so that West, at the desk, has his back to us, facing Loveless. Now, FROM CAMERA, CLOSE, Janus moves into SCENE and stops.
JANUS
(the voice is West’s)
A most invaluable contribution, Mr. West.
At the desk, West turns, facing CAMERA and Janus, astonished.
144. REVERSE – CLOSE ON JANUS
JANUS
We’re very grateful.
145. MEDIUM SHOT
West is absolutely flabbergasted. Loveless beams with joy.
DR. LOVELESS
Delightful, Janus! Don’t you think so, Mr. West?... Janus, take off your coat. I don’t want to mix the two of you up!
He comes around the desk, for Janus, who removes his coat.
DR. LOVELESS (CONT’D)
Now sit. Let Mr. West feast his astonished eyes on our handiwork.
Janus sits. Loveless turns to West with a nervous smile.
146. CLOSE SHOT – WEST
He resumes his seat, eyes glued on Janus.
147. JANUS
JANUS
What are you doing in my body, Mr. West?
148. MEDIUM SHOT
(The scene is, of course, INTERCUT.) Delighted, Loveless can’t keep down his giggles of delight, as he jumps up on the desk, sits on the edge, halfway between Janus and West.
WEST
You’ll be spotted immediately! Too many people know me, intimately.
JANUS
Ask me a question, Mr. West.
WEST
What was my father’s brother’s name?
JANUS
James. You were named after him.
WEST
I had an accident when I was a boy of ten. What was it?
JANUS
Your sled ran into a tree. You broke you left arm –
(indicates)
- here, near the wrist.
Throughout the above exchange, Janus mimics perfectly every move that West makes.
WEST
The doctor who treated me had a little daughter. What was her name?
Loveless hoots with laughter.
DR. LOVELESS
Betsy!... Oh, Mr. West, this will get you nowhere. We’ve gone to great pains to learn everything about you! Absolutely everything! Nobody can trip us up. Nobody!
(intensely)
But just to be sure, we’re going to try a little test. Janus is going to pay a little visit to your friend Artemus, at your train…
Another delighted laugh, and he jumps up on the desk, stands there facing Janus.
DR. LOVELESS
Alright, Janus… You know what to do…
149. JANUS
Janus rises, goes to a door. He is stopped by:
DR. LOVELESS (O.S.)
Janus!
Janus turns, looks back.
150. HIS ANGLE – LOVELESS, WEST
On the desktop, beaming.
DR. LOVELESS
Make sure he gets a good close look at your face. Very close!
151. BACK TO JANUS
He makes a so-long gesture, goes.
152. ANGLE – LOVELESS, WEST
They watch him go. Then, very pleased, Loveless turns back to West.
DR. LOVELESS
Well, what do you think?
WEST
You’re insane.
DR. LOVELESS
Oh? I think it’s the soul of simplicity… Janus becomes you, infiltrates the Secret Service, methodically destroys it, gets back the formula for my explosive, and blows up the arsenal of bombs those people in Washington have made from my formula…
WEST
(aghast)
Do you know how many bombs there are? Have you any idea what an explosion like that could do?
DR. LOVELESS
(Christmas!)
Half of Washington, D.C.
(chuckles)
All those politicians, all those generals – poof!
He moves excitedly up and down the desktop.
DR. LOVELESS (CONT’D)
I will have my formula back! Once again, only I will know the secret! And I will use it unless they give me back my half of California!
WEST
Janus won’t get by Artemus. He’ll spot him.
DR. LOVELESS
In that event, Janus and Voltaire have orders to kill him! Instantly!... And we’ll just have to work harder to correct the flaws. You’ll help.
WEST
(grimly)
I see… And if Artemus doesn’t see through him - ?
153. CLOSE SHOT – LOVELESS
He beams at West.
DR. LOVELESS
Then – we won’t have any further need of you, my dear West…
He goes on smiling at West.
DISSOLVE TO:
154. INT. WEST TRAIN – DAY
We OPEN CLOSE on the telegraph receiver. It is whining out the dot-dash message, and we WIDEN to REVEAL Artemus writing it down. Finally, the receiver is silent. Artemus works on decoding the message for a few moments longer.
155. EXT. COUNTRYSIDE – DAY – (STOCK)
Janus (West) rides into scene, stops, looks.
156. HIS POV – WEST’S TRAIN (STOCK)
157. INT. WEST TRAIN – DAY [seems to be a duplication of #154]
We OPEN CLOSE on the telegraph receiver. It is whining out the dot-dash message, and we WIDEN to REVEAL Artemus writing it down. Finally, the receiver is silent. Artemus works on decoding the message for a few moments longer.
ARTEMUS
(reading softly)
“Have heard no word from West for two weeks… Is anything wrong? … Request immediate answer….
Artemus stops, for he hears a horse WHINNY outside. He rises, is about to go to an opposite window to look, when the door opens and Janus steps in.
ARTEMUS
Jim!
He hurries to Janus. Handshakes, enthusiasm.
ARTEMUS
Where have you been? I’ve looked everywhere! … Two weeks, Jim! That’s not like you!
But instead of answering, Janus makes a little aspirate sound, lowers his head quickly, as if something had flow into his eye. His hand comes up.
ARTEMUS
What is it?
JANUS
Something in my eye….
ARTEMUS
Let me see…
He steps in very close; they are practically cheek-by-jowl. He takes Janus’s in either hand, and with the fingertips of one hand opens the offended eye wider. This is the real close look Loveless requested.
ARTEMUS
Hold still… look up… down… to the right… up again…
Artemus looks, their faces practically brushing for a moment longer.
ARTEMUS
I don’t see anything.
Janus steps back, batting the eye, touching it gingerly.
JANUS
I thought it was a speck… seems to have gone away.
He turns away.
158. CLOSE SHOT – ARTEMUS
Something puzzles him; something odd is in the air.
159. ARTEMUS, JANUS
Janus moves to a chair, near the telegraph table. He unbuttons his coat, takes out his revolver, idly toys with it.
ARTEMUS
Now, would you mind telling me where you’ve been…
JANUS
Nothing much to tell.
He seems preoccupied, idly, with the revolver. He rubs it, then bemusedly sights it at this object, that.
ARTEMUS
You can skip about Marie Pincher… I’m not interested.
JANUS
You have no gallantry, Artemus.
ARTEMUS
Quit stalling!
JANUS
The next day, I went over to the Governor’s office. Asked to. There was a message for me, from Washington.
ARTEMUS
That was – thirteen days ago!
Janus aims the gun at a lamp, near Artemus’ head.
JANUS
That’s right… They gave me a new assignment…
Janus sights the gun – aiming the gun right at Artemus.
ARTEMUS
But Jim, that’s ridiculous… Washington couldn’t have given you a new assignment…
He stops, looking over at the telegraph set… and the message. The gun is still aimed right at him.
JANUS (CONT’D)
You know, this gun isn’t balanced right…
ARTEMUS
Why didn’t Washington tell me?
JANUS
Wasn’t time.
He keeps aiming.
JANUS (CONT’D)
… I had orders to move immediately.
And he puts the gun down on his lap. He notices the piece of paper on which the message is written. He picks it up.
ARTEMUS
(tense now)
On what?
JANUS
Remember Doctor Miguelito Loveless…?
Artemus puts the egg down; Janus is all but looking at the message, turning it around and around in his hands. Artemus is moving to him.
ARTEMUS
The little wizard? How could I forget?
JANUS
Well, he escaped from jail – with Voltaire… Months ago.
ARTEMUS
I know… but I thought they were both shot, while escaping…
Janus has unfolded the message; he is about to read it.
JANUS
They weren’t killed… They got away!
He looks once again at Artemus, who is staring at him, puzzled. Janus returns the message to the table.
ARTEMUS
And so, within the last two weeks, Washington ordered you to track Loveless down again…?
JANUS
That’s right.
ARTEMUS
And - ?
JANUS
I’ve done all I can… The only thing that remains is for me to go into the city, tell the officials where he is hiding… They won’t have any trouble picking him up.
Janus rises, his gun casually in his hand.
JANUS
No… I want you to stay here! Get things ready… I’ll be back before night… We’ll shove off then.
ARTEMUS
All right…
JANUS
… See you later, Artemus.
ARTEMUS
Sure, Jim… sure…
Janus goes out.
160. SHOT – ARTEMUS
He is very disturbed. He picks up the message, reads it again, shaking his head. Then he moves to the door, opens it a little, looks out.
DISSOLVE TO:
161. EXT. THE GHOST TOWN – LONG SHOT – DAY
Just inside the gate – which is open – Antoinette stands with Loveless. Janus rides in FROM CAMERA, enters the ghost town, stops, dismounts.
162. CLOSER ANGLE – LOVELESS, Antoinette, THE CARRIAGE
Wearing huge rubber gloves, Loveless closes and locks the gate.
163. REVERSE – ARTEMUS
Behind rock-cover, he dismounts, hurries forward, shocked by what he sees.
164. HIS LONG POV
Loveless, Janus, and Antoinette are moving away, down the main street of the town.
165. CLOSE SHOT – THE GATE LOCK
We HOLD on the huge lock for a moment, then ANGLE UP as Artemus moves in, looking at the lock. Then he looks up at the top of the gate.
166. ARTEMUS’ ANGLE – TOP OF GATE
The contact wire stretches from one gate-pole to the other (so that even when the gate is opened, the circuit is not broken). The gate HUMS and CRACKLES.
167. ARTEMUS
He knows what it is. Then he kneels, looks at the grass beneath the fence.
168. HIS ANGLE – THE GRASS
All along the bottom of the fence, the grass is burnt.
169. ARTEMUS
He backs away in helplessness and astonishment.
170. INT. WEST’S BEDROOM – DAY
West turns from his bed, seeing:
171. HIS ANGLE
The bedroom door swings open. Loveless, Voltaire, and Janus move into the room. Voltaire and Janus remain at the door, but Loveless moves forward to West.
172. WEST – LOVELESS
Before West, Loveless stops, smiling at him; a cruel smile.
DR. LOVELESS
Well, Mr. West – it’s been a complete success… Your services are no longer needed.
CAMERA IS MOVING IN SLOWLY to a CU of West.
DR. LOVELESS (CONT’D)
Do you know, it’s always puzzled me why prisoners are executed at sunrise… It seems a dreadful way to start a new day!
The CAMERA IS HELD on West.
DR. LOVELESS (O.S.)
See you before sundown, Mr. West.
FADE
END OF ACT THREE
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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
8544 Posts |
Posted - 09/01/2009 : 18:23:35
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ACT FOUR
FADE IN:
173. EXT. GHOST TOWN – AT THE GATE – DAY
Artemus is by his horse, taking two bottles out of a saddle bag. Ruefully, he uncorks them, upends them, spilling out the contents.
ARTEMUS
(to himself)
What a terrible waste!
Then he cracks one of the bottles against a rock. He takes a stone, chips at a large glass fragment. Finally he picks up the results of his work: a finger-long sliver of glass. He gets a stick off the ground, string from his pocket, and he moves to the locked gate, tying the finger of glass to the end of the stick.
174. CLOSE ANGLE –ARTEMUS
At the gate, he pokes the glass-tipped stick through the mesh, for the lock.
175. EXTREME CLOSE SHOT – THE LOCK
The finger of glass is being used to pick the lock.
176. CLOSE SHOT – ARTEMUS
working… working… in frustration, he looks away.
177. HIS LONG POV – STOCK
In the distance, the sun is low.
178. BACK TO ARTEMUS
working.
179. THE LOCK
It pops open… The stick lifts it off, drops it.
180. ARTEMUS
Now, he takes the second bottle, and, with it, he shoves the gate open… He enters… Then he uses the bottle, wedged between the bottom of the gate and the ground, to keep the gate from swinging shut… He draws his gun, goes down the street.
181. EXT. GHOST TOWN – MAIN STREET – DAY
Artemus hugs the side of the street as he goes. He is headed toward the saloon, out of which light spills.
182. ARTEMUS
He moves closer to the swinging doors of the saloon. He is there. He looks in. West’s carriage is outside the saloon.
183. ARTEMUS’S POV – INTO SALOON
The dummies are still in their places. FROM CAMERA, Artemus moves inside, stops in the middle of the saloon, looking around. He examines a dummy, then he comes back.
184. ARTEMUS – OUTSIDE SALOON
He moves out and to the carriage. He looks inside it, around it. And then he stops. For, from somewhere, there’s an owl, HOOTING. He looks around. The Owl HOOTS again.
185. CLOSER SHOT – SOME BUSHES
In the bushes, only partly concealed, there’s an old horn-amplifier. From it, the owl HOOT comes again.
DIRECT CUT:
186. INT. WEST’S BEDROOM – NIGHT
West sits up in his bed, fully dressed, all nerves, for his door is opening.
187. HIS ANGLE – HIS DOOR – JANUS
He steps in. He is sadistically quiet-spoken, assured. He wears no coat, no vest.
JANUS
Well, West… it’s almost sundown…
He moves forward a little way, sits at a table, smiling at West, a smug, cruel, smile.
188. WEST
He gets up from the bed, moves to the opposite side of the room. There’s coffee service there. He pours.
WEST
Care for some coffee?
189. ANGLE TO JANUS
The offer surprises him.
JANUS
Don’t bluff me with that fake calm, West… Maybe you don't know what Dr. Loveless is going to do to you.
190. WEST
He pours another cup.
WEST
He’s going to kill me. What does it matter, how?
191. ANGLE TO JANUS
He rises.
JANUS
All right. I’d like some coffee… and I’ll tell you how… with pleasure.
He moves directly toward CAMERA and OFF.
192. INT. CORRIDOR TO WEST’S BEDROOM – NIGHT
LOVELESS and Voltaire are moving to West’s bedroom door.
DR. LOVELESS
(he’s quite chipper)
You see, Voltaire, the thing that I detest about violence is the noise that goes with it. It spoils conversation.
They have come to West’s bedroom door, HOLD. Before he opens the door, Loveless turns once more to Voltaire.
193. INT. WEST’S BEDROOM – NIGHT
We are CLOSE on Loveless and Voltaire as they step in.
DR. LOVELESS
Well, are we ready, Janus?
194. HIS ANGLE – TO ONE WEST
Who is standing by the foot of the bed, coffee cup in hand.
THE ONE WEST
Yes, Dr. Loveless.
195. LOVELESS, VOLTAIRE
He looks over to the side, to the OTHER WEST. Both Wests are now coatless, vestless.
196. HIS ANGLE – THE OTHER WEST
He, too, has a coffee cup in hand. He throws a look to the ONE WEST, looks back at Loveless.
THE OTHER WEST
Yes, I’m ready.
197. LOVELESS, VOLTAIRE
Dr. Loveless is taken aback! He hadn’t expected this. He points to the coat and vest which are on a chair.
DR. LOVELESS
(sore)
I won’t be played tricks with! … Whose coat is that?
198. THE ONE WEST
In all innocence; points at the OTHER WEST.
THE ONE WEST
His!
199. THE OTHER WEST
Mystified, the enraged. He, too, acts as if he’s seen the other coat-less for the first time.
THE OTHER WEST
He’s lying! He’s West! That’s his coat!
200. THE ONE WEST
He gets sore.
THE ONE WEST
Don’t let him pull this on you, Doctor! I’m Janus!
201. LOVELESS, VOLTAIRE
Loveless is enraged. He may hate noise, but he now shrieks an ear-splitting tantrum of his own.
DR. LOVELESS
This isn’t fair, West! You’re cheating! You’re up to your old tricks! Oh, how I hate you!
202. THE ONE WEST
He sets his coffee cup aside.
THE ONE WEST
I don’t blame you, Doctor.
203. THE OTHER WEST
Furiously slams his coffee cup down.
THE OTHER WEST
I tell you, I’m Janus!
204. LOVELESS, VOLTAIRE
Red-faced from anger, Loveless is hopping up and down with clenched fist.
DR. LOVELESS
Stop it! Stop playing games with me! Both of you!
MARIE (O.S.)
Miguelito…
The calm sing-song voice breaks Loveless’ rage. He looks.
205. HIS ANGLE – MARIE
She has just entered, and she stands by the open door, smiling at him.
MARIE
You must be so upset… It is very simple… Haven’t I kissed the real West?
206. LOVELESS
He clasps his hands, closes his eyes, in fervent relief.
DR. LOVELESS
Oh, Marie… What would I ever do without you?
207. ANGLE – MARIE
She smiles nicely at him.
MARIE
I can tell which is which. A woman knows about these things.
And she moves, CAMERA PANNING her, to the ONE WEST. She presses up close. Her hands take his head.
MARIE
(Theda Bara)
Kiss me…
The One West kisses her.
208. LOVELESS, VOLTAIRE
They stare.
DR. LOVELESS
(under his breath)
Good heavens!
209. HIS ANGLE – THE OTHR WEST
She moves in to him, takes his head in her hands.
MARIE
Kiss me…
And he does.
210. LOVELESS, VOLTAIRE
Loveless turns his face against the wall; Voltaire covers his shocked eyes.
DR. LOVELESS
Well, Marie - ?
211. ANGLE – MARIE
She thinks it over. Then she points to the ONE WEST.
MARIE
That man is West!
212. THE ONE WEST
He explodes in rage.
THE ONE WEST
No. She’s wrong! I tell you she’s wrong.
213. LOVELESS, VOLTAIRE
Loveless turns to Voltaire, relieved.
THE ONE WEST (O.S.)
I’m Janus! That one is West!
DR. LOVELESS
Voltaire.
And Voltaire goes off, headed for the ONE WEST.
THE ONE WEST (O.S.)
You’re making a terrible mistake… Don’t, Voltaire; I really am –
There’s an awful thud! And silence. Loveless sighs, then as we PAN with him, he goes to the OTHER WEST and Marie.
DR. LOVELESS
Thank you, Marie… No, hurry! … See Janus off.
Marie and THE OTHER WEST hurry out the door.
214. ANOTHER ANGLE
Loveless moves to Voltaire, the One West; Voltaire has him doubled up on a chair by the table on which the coffee urn stands.
DR. LOVELESS
I’m afraid he’s going to be noisy, Voltaire. Do it quickly.
Voltaire nods, with a grunt. From his pocket, he produces a long silk handkerchief. A garrote. He moves for The One West. And in that instant, The One West grabs the steaming coffee urn, hurls the contents in Voltaire’s face. Voltaire’s hands come to his face and, PANNING, the One West dashes for the door, going past Loveless, knocking him aside.
215. CLOSE SHOT – LOVELESS
He staggers aside.
DR. LOVELESS
(screeching)
Drat you!
(then:)
After him, Voltaire! After him!
216. SHOT – VOLTAIRE
He dashes, half-blind, for the door.
217. INT. LOVELESS’ LAB-WORKSHOP – NIGHT
West and Marie enter, slamming the door after them.
WEST
Thanks… but I thought you were going to stay loyal to Dr. Loveless!
MARIE
He’s been kind – but I’d rather be kissed!
CAMERA WITH THEM, they move quickly for the wall on which all the electrical switches, gadgets, are.
WEST
Do you know which one of these stops the current through the fence?
MARIE
No! But I remember Miguelito saying: Pull them all down too far and everything would explode.
WEST
I hope that includes the fence!
He steps to the wall, pulls down one gadget and switch after the other.
218. ANOTHER SHOT – WEST, MARIE
All around the room, things start to explode. A flash of “lightning” rips across the room. West grab Marie’s hand.
WEST
Come on.
And they dash for the sarcophagus. There, West feels around quickly. Things keep exploding. Smoke begins to pour. The sarcophagus lid swings open. West and Marie go into it, pulling the lid shut after them.
219. ANOTHER ANGLE – THE DOOR – JANUS
The door flies open, and Janus rushes into the room. Smoke assaults him. He bolts for the door. He dashes for a table, pulls open a drawer, takes out a gun. Then he, too, hurries for the sarcophagus. He is quickly into it and out of sight.
220. ANGLE BACK TO BOLTED DOOR
POUNDING on the other side. The thud of a body crashing over and over against it.
DR. LOVELESS (O.S.)
West! Open this door. Open this door, West!
221. EXT. THE LIVERY STABLES – DAY
West and Marie come hurrying out, headed for the street.
222. EXT STREET – IN FRONT OF SALOON – DAY
We are CLOSE on Artemus. He has been searching, is weary and perplexed. He is leaning against the West carriage. Now, hearing running, he looks.
223. HIS ANGLE – WEST, MARIE
They are bearing down on him.
224. SHOT – ARTEMUS, MARIE, WEST
They meet.
WEST
Artemus – how did you get here?
ARTEMUS
Never mind. Get in!
They are about to get into the carriage when a SHOT rings out. The bullet nicks the corner of the carriage. West ducks, rushes over for the saloon, as another bullet comes over.
225. ARTEMUS, MARIE
He pushes Marie to the side of the carriage away from the saloon. He draws his gun, looks.
226. HIS ANGLE – JANUS
who is bearing down on the saloon.
227. ARTEMUS, MARIE
He is completely mystified. Another James West! But now, which one does he shoot? Does he dare shoot this one? No. He ducks around the carriage more.
228. HIS ANGLE – JANUS
He goes right by and barges into the saloon. We HOLD on the swinging doors for a moment, and then suddenly they fly open—for One West comes flying out and sprawls—The Other West darts out, grabs the sprawled one, hits him.
229. CLOSE SHOT – ARTEMUS
Artemus reacts, mystified, not knowing which one to shoot.
230. HIS ANGLE – THE TWO WESTS
One of them has his back to us, swinging a haymaker; it connects. The other West goes flying backwards.
231. SAME ANGLE – CLOSER – WEST
He slams against a rail, breaking it; the front of his shirt is badly torn.
232. ARTEMUS, MARIE
He aims his gun at one West, at the other West. He doesn’t know which one to shoot. Marie rushes to him.
ARTEMUS
Which one is which?
MARIE
(A wail)
I don't know!
And there’s a CRASH from o.s.
233. ANGLE – THE WEST
who threw the haymaker. A section of the rail has just hit him. He goes down.
234. CLOSER ANGLE – THAT WEST
On the ground. The other West MOVES IN, from the knees down. One booted foot kicks at the head of the West-on-the-ground. He rolls away; the booted foot misses the head by inches. He grabs at the other West’s knees, pulls. (Caution – kicking here.)
235. SHOT – THE TWO WESTS
One “covers” the other as they crash behind a watering trough. The West-with-the-torn-shirt lets go a vicious punch.
236. ANGLE
The “untorn” West crashes against a wall. He drops, out.
237. MEDIUM SHOT – ARTEMUS, MARIE, THE STANDING WEST
Artemus and Marie are, of course, paralyzed with consternation. The standing West moves toward them.
THAT WEST
Come on, Artemus. Let’s –
But Artemus swings his gun on him.
ARTEMUS
Stay where you are!
THAT WEST
(exasperated)
Artemus, we can all be killed! This is no time to - !
ARTEMUS
I said stay where you are! How do I know you’re you?
That West grabs Marie. Unsure, scared, she screams. But West kisses her, hard.
238. ARTEMUS
!
239. MARIE, WEST
Marie is relaxing with the kiss. Relaxing more. Then she breaks, all “business.”
MARIE
(to Artemus)
It’s alright. It’s him.
240. THE THREE OF THEM
West grabs Marie, hurrying them to the swinging doors.
WEST
Come on…
They dash outside.
241. EXT. MAIN STREET – IN FRONT OF SALOON – DAY
They hurry out to West’s carriage. Marie and West get in quickly, Artemus vaults up to the driver’s seat. He yells at the horse. The carriage lurches forward. PAN. They race down the main street, headed for the gate.
242. INT. LOVELESS’S LAB-WORKSHOP
The door crashes open, and Voltaire comes hurtling into the room, followed by Loveless. Smoke is pouring everywhere; things pop and explode everywhere; arcs of lightning criss-cross the room.
243. ANGLE – THE WALL OF SWITCHES AND GADGETS
Voltaire rushes in. Confused, in a panic, he doesn’t know which gadget to pull. It’s all popping and burning and flashing, anyway. Bravely, he is about to grab one switch, any old switch, is stopped by:
DR. LOVELESS (O.S.)
(screeching)
No, Voltaire! You’ll be killed!
244. BACK TO LOVELESS
He is hopping up and down with terror and excitement. Near him is a great glass jar.
DR. LOVELESS
(screaming)
It’s too late, Voltaire!
And he darts to the glass jar; he scrambles to get in it.
245. ANGLE – VOLTAIRE
He dives away, OUT OF CAMERA, as the gadget wall behind him explodes in a blinding light.
246. ANOTHER ANGLE
Lightning flashes across, and we are MOVING to the glass jar, VERY SLOWLY. Loveless is standing in it, screaming.
DR. LOVELESS
The lid, Voltaire! The lid!
Voltaire dashes in, takes up a large glass lid from the floor. Loveless quickly sits inside the glass jar. Voltaire places the lid on it. There’s a flash of light; Voltaire is hit; he falls in a heap. We KEEP MOVING in on Loveless in the glass jar. The flashing light and the din are unbearable. Loveless, as we know, can’t stand noises. He closes his eyes, his face a mask of pain against the noise; his two index-fingers are jammed into either ear, in a frantic attempt to block out the terrible noise. On the CU, we
DISSOLVE TO:
247. INT. WEST’S TRAIN – NIGHT
West, Artemus, and Marie enter.
ARTEMUS
Can you imagine it? That Voltaire was struck by enough electricity to kill an elephant! And all he got was a slight sunburn!
WEST
It’ll take more than electricity to kill Voltaire…
It’s said offhandedly, but there’s an odd edge. Artemus looks at West, fleetingly puzzled. Was West’s tone just a shade too admiring – or is it Artemus's imagination.
ARTEMUS
Well, anyway, they’re back in jail – and this time under double guard…
West just looks at him, an odd smile on his mouth; Marie has moved to one side. Something about West’s smile again fleetingly disturbs Artemus (he doesn’t know why), and he affects a joviality as he turns to the telegraph set.
ARTEMUS (CONT’D)
So! As soon as I get a message off to Washington, we’ll shove off… Maybe Marie would like a drink?
He sits at the telegraph, taking pad and pencil.
248. SHOT – WEST
He looks at Artemus, slowly draws his gun.
249. CLOSE SHOT – ARTEMUS
He is writing a message.
ARTEMUS
(mumbling, as he writes)
Have located West – Will –
WEST (O.S.)
Have you, Artemus - ?
Artemus turns, and is shocked to see:
250. HIS ANGLE – WEST
He is aiming the gun directly at Artemus.
WEST
Get up!
251. ARTEMUS
He rises, stunned by the realization.
ARTEMUS
You’re – not – West!
He turns to Marie, horror-struck.
252. MARIE
She stares in amazement, herself, at “West.”
253. MED. SHOT
West’s gun is on Artemus.
WEST
All right – against the wall! … and keep your hands up! Face it!
Artemus obeys, face against the wall, hands over his head.
254. CLOSE SHOT – ARTEMUS
and MOVING IN CLOSER, slowly. He waits, tensely, for the shot that might come at any moment… and he waits… and waits. Finally, braving it, he sneaks a look.
255. HIS ANGLE – MARIE, WEST
The gun has been set aside. And West and Marie are in a tight, long embrace.
256. ARTEMUS
A sigh of relief.
ARTEMUS
You are the real James West…
257. WEST, MARIE
West gives Artemus a knowing wink.
WEST
Who else??
And as he is about to resume his kiss –
FADE OUT
THE END
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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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TNOT Terror Stalked the Town - rev. 10/65
Topic Locked
