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nittanyapple
SS senior field agent
   
USA
8632 Posts |
Posted - 11/16/2009 : 17:22:02
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The Wild Wild West
“The Night of the Assassin”
PRODUCED BY
Bruce Lansbury
WRITTEN BY
Robert C. Dennis And Earl Barret
DIRECTED BY
Alan Crosland, Jr.
GUEST STAR
Robert Loggia as Colonel Barbossa
Donald Woods as Greswold
Nina Roman as Lupita
Nate Esformes as Perrico
Carlos Romero as The Lieutenant
WITH
Frank Sorrello as Juarez Phyllis Davis as Lt. Ramirez Juan Talavera as Soldier 1
AND Ramon Novarro as Don Tomas
CREATED BY
Michael Garrison
ASSOCIATE PRODUCER
Leonard Katzman
STORY CONSULTANT
Henry Sharp
MUSIC COMPOSED AND CONDUCTED BY
Walter Scharf
DIRECTOR OF PHOTOGRAPHY
Richard L. Rawlings
ASSISTANT TO THE PRODUCER
Joe Kirby
UNIT PRODUCTION MANAGER
Mike Moder
ART DIRECTOR
CRAIG SMITH
SET DECORATION
Raymond Molyneaux
ASSISTANT DIRECTOR
Charles Scott, Jr.
FILM EDITOR
BYRON CHUDNOW, A.C.E.
© MCMLXVII Columbia Broadcasting System, Inc. All Rights Reserved Production # 3224-0352 IATSE (bug) (Seal of Good Practice)
A MICHAEL GARRISON PRODUCTION
In Association with the CBS Television Network Filmed at CBS STUDIO CENTER Studio City, California
TEASER
FADE IN:
1. EXT. Bell TOWER – DAY
The bell tips and begins a steady TOLLING.
1A. EXT. MEXICAN FIESTA DAY SCENE (DAY) (STOCK)
2. EXT. ALLEY – DAY
SOUND OF BELL COMES OVER from a distance. The alley is a narrow, shadowed street between walls with only an occasional doorway breaking the blankness. One of these doors in f.g. opens and a PADRE emerges. Projecting from over the door is a sign shaped like an olla. We don’t see the Padre’s face. CAMERA FOLLOWS him until he turns the corner OUT OF SCENE and then HOLDS on a sign on the building corner: CALLE DE ARTESANO.
3. EXT. PLAZA – DAY
A DETACHMENT OF Mexican soldiers are drawn in formation. They come to attention on a SHOUTED order from a burly LIEUTENANT. SOUND OF CHURCH BELL is closer here.
LIEUTENANT (commands in Spanish)
4. WIDER ANGLE
The Padre in f.g. his back to CAMERA has paused to look at the soldiers. Now COLONEL ARSENIO BARBOSSA strides into SCENE to inspect the troops.
5. CLOSER – THE COLONEL
A trim, strikingly handsome man with a cruel, patrician face. We sense the soldiers are petrified by him.
6. EXT. CASA CALDERON – DAY
A walled town house overlooking the plaza. The Padre moves along in front of the high wall at a measured pace. We are too far away to tell anything about him except that he’s the same Padre. The CHURCHBELL CONTINUES OVER.
7. INT. CASA STUDY – DAY
This is a large, handsomely furnished second story room with several French windows opening on to a balcony or upper verandah extending across the front of the house. There’s a big grandfather clock and a huge fireplace. A small party is in progress. The host is DON TOMAS, a wealthy Mexican landowner. The guest of honor is PHILIP GRISWOLD, a grayhaired distinguished American diplomat. Also present: TWO YOUNG MEXICAN WOMEN, A DUENNA, JAMES WEST and ARTEMUS GORDON. A servant is circulating with champagne.
7A. CLOSER
as Don Tomas signals for attention.
DON TOMAS Senores, senoras – and in honor of our distinguished visitors, ladies and gentlemen – very shortly now our President will make his address in the plaza. Before we adjourn to the balcony I should like to propose a dual toast – to Benito Juarez, el presidente de la republic de Mexico, and to the ambassador of our friends from the North – Senor Griswold!
ALL (appropriate responses)
Griswold, the gray haired distinguished type, bows in acknowledgement as everyone drinks; then West and Artemus rise and turn gravely to the ladies.
ARTEMUS It has been our pleasure to join in Many toasts, one more fitting than the other – but now, at last, the time has come to exclude the ladies…
The faces of the ladies fall – the others look perplexed.
WEST …so gentlemen, if we may be permitted a toast to the greatest of Mexico’s treasures:
ARTEMUS Her lovely Senoritas.
The ladies TITTER and cover their faces with their fans to conceal their blushes—the others beam, make the appropriate responses and drink.
8. EXT. CHURCH – DAY
The PADRE is now approaching the church, A PEON in a big sombrero and serape moves out from the shade of the church and offers a folded Mexican blanket to the Padre. He accepts it, nods benevolently at the other and goes on into the church. The Peon saunters away into a passage between the church and the casa wall.
9. INT. CHURCH ROOM – DAY
The door into this small room opens to reveal a SEXTON hauling on the rope to ring the bell. His back is to the door. The Sexton glances around and reacts at what he sees…
9A. HIS POV
The ‘Padre’ is slipping a set of lethal-looking brass knuckles onto his right hand—then, with murderous swiftness he lashes out at the CAMERA.
9B. BACK TO SEXTON
being hurled back by the impact—but as he is flung back the convulsive action of his hand on the bell rope cuases the BELL TO CLANG OUT DISCORDANTLY, during which the ‘PADRE’ has leaped for a spiral staircase leading up (apparently) to the belltower.
9C. EXT. BALCONY – DAY
The CLANGOR of the BELL is STILL REVERBERATING when Don Tomas emerges, followed by West and Griswold. All look off curiously at the (unseen, of course) belltower…
10. EXT. BALCONY – DAY
Don Tomas emerges, followed by West and Griswold.
11. EXT. PLAZA - DAY A crowd, awaiting Juarez’s arrival, is being held back by the troops.
12. EXT. BELL TOWER – DAY
Close ON THE Padre is crouched beside the bell tower, unrolling the serape and disclosing a series of rifle sections, which he swiftly assembles into an ominous-looking sniper rifle, complete with telescopic; We still don’tsee his face.
13. EXT. PLAZA – DAY
An open carriage rolls into the plaza and halts. Seated in it are JUAREZ and his Minister of the Interior, RAMIREZ. GREAT CHEERING from the crowd. Juarez stands in the carriage.
14. EXT. BALCONY - DAY
The people here APPLAUD too but with more restraint. West reacts to a glint of light which catches the corner of his eye. He turns to look off and up. Puzzled, he takes a small tube from his picket and elongates it so that we realize it’s a telescope. He looks toward belltower through this.
14A. EXT. BELL TOWER – MATTE SHOT – DAY
The Padre’s face is partially concealed by the telescopic sight in his rifle. The part we see is badley scarred. There’s no doubt he’s lined up on Juarez below.
15. EXT. BALCONY - DAY
CLOSE on West—his face set in grim lines as he reacts—then CAMERA PULLS BACK to show his hand leaping instinctively for a holster that isn’t there; a frustrated beat, then he whirls around toward the Casa study.
WEST Artie! A bottle of beer for Mr. Dooley!
15A. INT.CASA STUDY – DAY
Artemus has just offered his arm to one of the ladies and is moving off toward the balcony when he HEARS the above---his reaction is so instantaneous that is should suggest beyond any doubt that this is a Standard Operation Procedure bit that he and West have used before—he lunges out at the wine bucket nearby, scoops up a bottle and flings it toward West like a ninepin…
15B. BACK TO WEST
as he deftly snares the bottle hurtling toward him, whirls and flings it down, with all his might.
16. EXT. PLAZA – CLOSE SHOT – HORSE’S HOOVES - DAY
The bottle SMASHES on the cobbles right at the horse’s feet. The horses promptly shy.
17. MED. SHOT - JUAREZ He’s jerked off-balance and sits down abruptly. Simultaneously a RIFLE SHOT rings out. Ramirez is hit. Pandemonium breaks out in the plaza. The crowd scatters – the soldiers try to spot for the sniper.
18. EXT. BELL TOWER - DAY
The Padre is trying to track his target below for a second shot. He FIRES again.
West leaps onto the railing, balancing himself precariously as:
WEST Off to intercept, Artie!
ARTEMUS I’ll cover you from below!
Simultaneously, West nods, leaps up and latches on to the roof beam, hangs there for a beat as Artemus turns and races for the stairs—then West draws himself up and onto the roof.
19. SHOT – ON ROOF At Director’s discretion, a series of SHOTS showing West racing along the tiled roof, heading for the parapet where the sniper still crouches.
20. ANOTHER ANGLE
to include the Peon on top of the wall guarding a six foot ladder extending to the church roof – obviously the assassin’s escape route. West comes into view and charges, the Peon grabs the ladder and swings it to wipe West off the wall. West ducks. They feint at each other.
21. EXT. PLAZA - DAY
The soldiers have zeroed in on the sniper’s location and are FIRING up at the Bell Tower. The Colonel is calmly directing the operation. The carriage is gone.
22. EXT. CHURCH ROOF - DAY
The Padre, chased out of the bell tower, comes sliding over the sloping tiled roof to his escape route. There’s no ladder. He looks down at the wall. West, distracted by possible attack by the Padre, glances away from the Peon who backswings the ladder. It catches West across the shoulders, causing him to lose his balance. He falls. The Padre runs away across the rooftop.
23. ANOTHER ANGLE - WEST
He’s grabbed the top of the wall and hangs from it by his fingertips. The Peon’s feet come INTO SCENE. One heavy boot rises to stamp down on West’s fingers as we (X)
FADE OUT.
ACT 1
FADE IN:
24. EXT. WALL – DAY
Just as the Peon’s boot smashes down, West lets go with one hand and, hanging on by the other, grabs the Peon’s ankle—jerks, and the Peon is carwheeled off the wall on the side West hangs from—
--then West reaches into his inside pocket and comes up with a ping-pong-ball-sized metal sphere that he mashes against the wall (NOTE: this is the chemical leech, last seen in THE GLOWING CORPSE – see Fig. 37), to which it adheres tenaciously, then gripping the handle connected to the sphere by a fine wire, West reels himself downward at a breathtaking rate…
24A. EXT. CASA GARDEN - DAY
…and contacts the ground smartly, his knees buckling from the impact, just as Artie coms running INTO THE SCENE. Artemus nods appreciatively at the long line of wire extending from the chemical leech still adhering to the wall above.
24B. ANOTHER ANGLE
West and Artemus come into view, staring down at the Peon, face down in the shallow fountain, his body draped awkwardly over the low, stone retaining wall in the attitude that is the distinctive property of death alone. Artemus bends down, picks up the Peon’s wrist, obviously testing for a pulse.
ARTEMUS Poor fellow couldn’t swim –
WEST (grimly) --and the phony Padre got away, too. Nothing left to do but inform the police. ARTEMUS I’m not so sure. Take a look at his face.
West stoops, peers closely at the dead man’s face.
WEST (reacting thoughtfully) An American…Calico Jack!
WILD WILD WEST #0352 – Assassin Rev. 5/31/67
24C. CLOSE IN ON ARTEMUS
He is bending over the dead man’s leg. He takes a snap-blade pen knife from his pocket, along with a small sample envelope, and proceeds to scrape a red, clay-like substance from the trouser, which is covered with a pink dust.
ARTEMUS Not the tidiest of men, either!
24D. AS BEFORE
WEST Why is an American helping to assassinate the president of Mexico?
25. INT. STUDY – CLOSE SHOT – GRISWOLD – DAY
GRISWOLD All the shots missed President Juarez. His Minister of the Interior wasn’t so lucky. He’s dead.
26. WIDER ANGLE
to include West and Artie.
GRISWOLD Jim, did you get a good look at the sniper? Was he an American too?
WEST I don’t know. He could’ve been. All I saw was a man in a priest’s cassock. GRISWOLD Then for the moment we must accept that he was an American. And that, gentlemen, means we have a critical problem.
WEST I don’t see why, sir.
GRISWOLD Perhaps you’ll understand when I tell you that my mission here has been a total failure. Juarez refused even to appoint a commission to study the border problem. Two hours later he’s almost assassinated.
#0352 – Assassin I-8 Rev. 5/31/67
26. CONTINUED
ARTIE But there’s no connection.
GRISWOLD We know that. Now how do we convince the Mexican Government?
ARTIE Find out who hired the gunmen.
WEST There’s one man who knows that.
ARTIE The sniper, yes. We’ve got to find him before the police do.
WEST The first movie is to keep the police from finding Calico Jack’s body.
ARTIE I’ll take care of that, Jim.
WEST Then, I’ll try to get a line on the sniper…
GRISWOLD For you to engage in any activity on Mexican soil violates all the diplomatic rules in the book! I can’t permit a mission like this –
27. & OMIT 28.
29. NEW ANGLE
DON TOMAS hurries gravely through the door.
DON TOMAS Martial law has been declared. No one may enter or leave town until further notice.
West That could be inconvenient. #0352 – Assassin I-9 Rev. 5/31/67
29. CONTINUED
DON TOMAS Consider my house your house until the emergency is over.
GRISWOLD You are very gracious. But we have Mr. West’s private car on the siding –
DON TOMAS (embarrassed) Unfortunately, Senor, curfew has been invoked.Anyone found on the streets after dark will be arrested – or shot. There are no exceptions.
GRISWOLD (he bows) In that case your generous hospitality is deeply appreciated. DON TOMAS We shall dine at ten. Until then –
He bows and exits. Griswold swings around to West and Artemus.
GRISWOLD That settles it! Those soldiers are trigger-happy now. When it gets dark they’ll be shooting at everyting that moves—I will not allow you to risk your lives by leaving this house!
He turns and stalks from the room. Artemus turns to West with an elaborately straight face.
ARTEMUS Well, that’s as direct an order as I’ve ever heard. WEST What is?
ARTEMUS What Griswold said—about not allowing us--- (trailing off) Isn’t that funny? I can’t remember the point he was making.
CONTINUED #0352 – Assassin I-10 Rev. 5/31/67
29. CONTINUED
WEST Neither can I. Artie…What was that powder you took off Calico’s overalls?
ARTEMUS Turned out to be potter’s clay, Jim
WEST (moving to the door) Well, maybe that’s a beginning…
30. EXT. STREET - NIGHT A squad of four or five soldiers move ominously along the narrow dark steet. They are spread out, rifles at the ready, checking every doorway, every niche, sweeping the street toward a corner.
31. EXT SIDE STREET - NIGHT For a moment it’s empty and unmoving. Then West materializes from a dark recess and darts silently to another shadowy-niche further along the street. He’s heading toward the corner too.
32. MED. SHOT - PATROL
Nearing the corner.
33. MED. SHOT - WEST repeating his maneuver which brings him closer to a meeting with the patrol. As he vanishes into a doorway we HEAR the APPROACHING PATROL.
34. CLOSE SHOT - WEST
flattened in his shallow doorway, which is barely deep enough to curtain him. CAMERAL PULLS BACK sharply to include the corner thirty feet away. The patrol comes around the corner toward West’s hiding place.
34A. CLOSE – WEST’S DERRINGER
as it SNAPS from his sleeve.
35. CLOSE SHOT - WEST He comes up with an odd, elongated bullet, which is striped red, white, and blue, that he places in the business end of the barrel, aims his gun at a forty-five degree angle and FIRES…
#0352 – Assassin I-11 Rev. 5/31/67
36. MED. SHOT - SOLDIER at the only doorway between the corner and West. He jams his rifle butt into the dark inset and rolls it around, establishing it’s empty.
37. WIDER ANGLE
we see West’s projectile strike the ground; it detonates with WHISTLES AND BANGS. Every member of the patrol reacts, wheeling and FIRING instinctively.
38. OMIT.
39. REVERSE ANGLE
The soldiers, still not aware of the cause of the disturbance, are closing in. West emerges from his doorway and, moving behind the troops, silently makes it to the corner and is gone.
40. EXT. ALLEY - NIGHT
West moves cautiously toward a street at the distant end. As he’s almost to the mouth of the alley he HEARS GALLOPING horses and pins himself against the side of the building. TWO MOUNTED SOLDIERS gallop past, and are gone. West runs to the corner of the building.
41. MED. SHOT – ALONG STREET
The horsemen are disappearing in the distance. West’s head comes INTO SCENE as he peers after them. A beat and then from another alley or doorway beyond West another head sticks out. This is Perrico. As he turns to look in the opposite direction West pulls his head back just in time.
42. ANOTHER ANGLE
Satisfied no one has spotted him Perrico comes out of his nest and hurries across the street to vanish into the continuation of the alley. After a moment West follows the same route. AS he disappears CAMERA PANS up to the sign on the corner of the building. It reads: Called de Artesano.
43. INT. POTTERY WORKSHOP - NIGHT
Shelves of unfinished pottery, work tables, potters wheels, and, over in a corner, a bunk on which is the dark form of a man. Tossed carelessly over a wooden chair is the Padre’s discarded cassock. SOUND OF KNOCKING. The man on the bunk sits up into moonlight streaming through the window. This is HALVORSEN, the scar-faced Texas gunfighter – when he isn’t posing as a priest. He crosses to the door.
HALVORSEN Who’s there?
PERRICO’S VOICE Perrico – quickly.
Halvorsen admits Perrico, grabbing him angrily.
HALVORSEN What are you doing here?!? You might have been followed!
PERRICO Followed? By whom? Not even cats and dogs are out tonight. Only soldiers –
HALVORSEN All the more reason to stay clear.
Perrico But they’re only one street away – and they’re searching from house to house. You must leave.
HALVORSEN Leave? There’s no place in this town I can go!
Perrico That’s not my concern, Senor. If you’re caught here I’ll be shot too.
HALVORSEN What do you want – more blood money?
PERRICO No, I want to live to spend what I have. Get out, quickly.
HALVORSEN You double-crossing hyena –
He starts at Perrico who stops him by hastily drawing a gun.
PERRICO Please, gringo, no names. Just go before I remember you tried to assassinate El Presidente.
HALVORSEN All right – all right, amigo. But If I get out of this alive, I’ll be back for you.
He goes to the door and out.
44. EXT. ALLEY - NIGHT
The door from which Halvorsen emerges is the same one we saw him leave earlier as the Padre. It’s marked by the olla- shaped sign above.
WEST’S VOICE Buenos noches – Padre.
Halvorsen wheels to face West who moves in to SHOT.
HALVORSEN What are you talking about? I’m no padre.
WEST You were for a little while this afternoon -- Halvorsen throws a punch with no warning, spinning West into the side of the buiding. Then the sniper runs. West pursues him.
45. ANOTHER ANGLE
West brings Halvorsen down with a flying tackle. The momentum rolls both them [sic] clear of the alley.
46. EXT. STREET - NIGHT
West gets an armlock on Halvorsen who continues to struggle.
WEST (low) It’s either me or the soldiers. And all you’ll get from them is a bullet.
HALVORSEN Yeah and what do I get from you?
WEST First some questions.
HALVORSEN And then?
WEST That depends on the answers.
HALVORSEN All right –
47. WIDER ANGLE
to include a lighted window as a WOMAN looks out and SCREAMS to wake the dead. O.S. SHOUTS AND RUNNING ARMY BOOTS.
WEST Into the alley – fast!
They run for the alley as soldiers careen around the corner of the first street over. A couple of SHOTS miss as West and Halvorsen vanish into the alley.
48. EXT. ALLEY - NIGHT
They run at full speed along the twisting alley.
49. MED. SHOT - SOLDIERS
racing by in full pursuit. This patrol is commanded by the burly Lieutenant.
50. CLOSE SHOT - HALVORSEN
running. SOUND OF SHOT.
51. CLOSE SHOT - HALVORSEN
He’s hit by the shot, stumbles and goes down.
52. WIDER ANGLE
Halvorsen sprawls headlong on the alley floor. West is going too fast to stop before he’s around a bend and out of sight. A second later the soldiers pounce on Halvorsen. The Lieutenant charges up.
LIEUTENANT (bawling) There were two of them – find the other one.
Two soldiers push on past and around the turn of the alley.
53. MED. SHOT - WEST
He races up to the CAMERA and stops abruptly, staring ahead.
54. REVERSE ANGLE
showing the alley is a deadend. There’s no place to go. The FOOTSTEPS of the soldiers POUND CLOSER. West leaps for a doorway on the side of the alley. The door is firmly locked. He flattens himself against it and waits to be discovered.
55. MED. SHOT. - SOLDIERS
They approach more slowly now that they see the dead-end ahead.
56. CLOSE SHOT - WEST
The door behind him opens suddenly and he falls back into pitch darkness. The door closes again a moment before a soldier comes INTO SCENE. He checks the door. It’s locked.
57. WIDER ANGLE
The soldiers are joined by the Lieutenant, now carrying a lantern.
LIEUTENANT Where is he?
SOLDIER He got away.
LIEUTENANT You fool. He couldn’t get away – there’s no place to go. (points) Did you look in there?
SOLDIER No, sir. It’s locked.
LIEUTENANT Smash it.
One of the soldiers smashes his rifle butt against the door. Once more and it gives way.
58. INT. STOREROOM - NIGHT as the Lieutenant’s lantern lights up a small dusty room full of empty crates and boxes. The Lieutenant stares around as we
FREEZE FRAME |
~Apple~ The Apple of Artemus Gordon's eye  |
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nittanyapple
SS senior field agent
   
USA
8632 Posts |
Posted - 11/16/2009 : 17:33:08
|
ACT II FADE IN:
59. TWO SHOT – WEST AND LUPITA
They are pressed flat against the wall, behind a pile of crates. LUPITA is an extremely pretty Mexican girl. West has her pinned to the wall, one arm under her shoulders, his free hand holding her free arm. Lantern light spills over on them but the crates conceal them. Lupita takes a sudden breath preparatory to a scream. Being out of free hands, West stops the scream by kissing her.
60. CLOSE SHOT - LIEUNTENANT
Disappointed he turns and exits, slamming the door.
LIEUTENANT’S VOICE
Search the whole street!
SOUNDS OF FOOTSTEPS going away, then everthing is silent again.
61. TWO SHOT
West breaks off the kiss.
West
You’re a good neighbor and it’s Been great, but I really have to go. (a little low) Gracias, senorita.
He turns toward the door.
LUPITA
Senor—
He turns back and she nails him with a full arm slap that rings his skull.
LUPITA (CONT’D) For nade.
WEST I guess this means it’s all over
He grins at her and goes to the door. CUT TO: #0352 – Assassin II-18 Rev. 5/31/67
62. OMIT
63. EXT. PLAZA - NIGHT
The command post is quiet, expectant. Everyone is standing up, silently staring across the plaza. The Colonel takes out a sheroot[sic], lights it.
A detail comes into view. It’s the Lieutenant leading four soldiers, who carry a stretcher on which lies Halvorsen. The detail comes on across the plaza until it reaches the command post. The detail lowers the stretcher to the ground.
COLONEL Is he dead?
LIEUTENANT No. There’s a bullet in his right hip, but he’ll live.
COLONEL
He may live to regret he didn’t die. Form a detachment of thirty men. Escort the assassin to the prison at Abalos. And, Lieutenant –
LIEUTENANT
Yes, sir?
COLONEL
If for any reason…any reason at all…he is not delivered to Abalos, you will be.
LIEUTENANT
Yes, sir! (ad libs order)
The detail bends to the stretcher again, CAMERA MOVING IN on one of the soldiers so that when he straightens up we see it’s Artie in a Mexican army private’s uniform. DISSOLVE:
64. INT. WEST’S VARNISH - DAY Griswold is doing his pacing act again, and putting on a very mediocre performance of pretending to be outraged at West disobeying him in sallying forth – but obviously tremendously gratified that he did. Neither he, nor West, engaged in changing his shirt nearby, looks as if they had partaken of the benediction of sleep.
GRISWOLD
Did you talk to him, Jim? Did he say anything at all?
WEST
We didn’t get that far, sir.
GRISWOLD It’s – it’s a terrible thing to be asking -- but – is there any chance the bullet killed him…?
WEST
No, sir. He was hit in the leg; the soldiers carried him away on a stretcher --there was nothing I could do.
Griswold paces even more athletically than before, all the while slamming his fist into the palm of his other hand.
GRISWOLD
Time is running out—we’ve got to talk to him…
MEXICAN VOICE
Eet weel be mos’ deeficult, Senors…
65. CAMERA ANGLES to show Artemus entering in Mexican Soldier garb, which he removes in following scene.
ARTEMUS (his own voice, now) The only talking Halvorsen will do Is to Colonel Arsenic.
WEST Halvorsen?
ARTEMUS (nods) The local constabulary has a pretty fair dossier on undesirables, Jim. The boy we’re looking for is Frank Halvorsen, hard case gunman out of Abilene.
GRISWOLD
And Colonel – Arsenic?
ARTEMUS Arsenio Barbossa; he’s the gentleman directing all the proceedings around here; and from what I hear in the plaza nobody refuses to talk to him. At least not for long.
WEST
Where did they take Halvorsen?
ARTEMUS
Maximum security prison at Abalos. Incommunicado – not even a lawyer can see him?
GRISWOLD
I’ll make an official protest to President Juarez.
WEST
If you see Juarez ask him for a prison pass.
GRISWOLD
For you?
WEST
No – it’s for Halvorsen’s father – a fine old Texas gentleman who doesn’t have long to live.
GRISWOLD
I didn’t know he had a father.
Artie immediately assumes his new characterization (without Disguise yet0 as Paw Halvorsen.
ARTEMUS
By Godfrey, sir, I resent that. Certainly my son has a Daddy!
GRISWOLD (a beat, then, admiringly) Mr. Halvorsen, my apologies, sir. DISSOLVE:
66. THRU OMIT 69.
70. UPPER CORRIDOR – HALVORSEN’S CELL - DAY
Halvorsen is looking through the window, haggard. We HEAR MUFFLED SCREAMS and Halvorsen reacts. CAMERAL ANGLES DOWN to reveal rotunda below where the Lieotenant is seated at a chair and desk beside a heavy, metal strapped door. His hat is tilted over his eyes and he’s catching a nap. From beyond the door comes a MUFFLED SCREAM. It rouses the Lieutenant. He pushes back his hat and stretches then comes quickly to his feet and attention as the lock RATTLES. The door opens to reveal the Colonel, minus his tunic, and having recently exerted himself.
LIEUTENANT
Did the prisoner confess, sir?
COLONEL (lighting a well-earned cheroot) Oh yes. He was very cooperative. he freely admitted giving shelter and sanctuary to the American assassin. We have all the evidence we’ll need for his execution. Bring down Halvorsen.
He moves into the room. Two men to carry out the limp form of Perrico. He’s unconscious.
71. INT. COLNEL’S OFFICE – COLONEL BARBOSSA
CAMERA PULLS BACK and we see a strange mixture of office Claptrap salted with a large variety of instruments like the Iron Boot, the Iron Maiden, thumb screws, a blacksmith’s forge (glowing), with a collection of intricately designed irons and instruments nearby, etc…
There is a bowl of nuts and fruit in evidence…and a fishbowl with a lone “OSCAR”…
…and now the door opens and Halvorsen is brought in. The pleasantly smiling Colonel seats himself on a chair delicately upholstered in petit point; Halvorsen is shoved into a plain wooden armchair, and as he makes contact with it, manacles and leg irons SNAP into place.
COLONEL (puffing at long, thin cigar) Senor Halvorsen, you and I are going to have a nice, long, heart-to-heart talk.
Halvorsen’s mouth opens a couple of times, as if he’s trying to summon enough energy to say something, but the Colonel silences him with an immaculately manicured, upraised hand.
COLONEL (CONT’D)
No, please, Senor, first I will talk, then you will talk. (a beat, as he picks up a walnut) Let us examine the possibility, to begin with, that when it comes to your turn, you will not be in a mood for conversation…
Here the Colonel picks up a thumbscrew-like instrument lying on the table nearby—with Halvorsen’s eyes fearfully following every detail of the other’s movements—places the walnut in the device and starts turning the threaded handle.
COLONEL (CONT’D)
That happens from time to time, of course—but in your case, Senor— (here the walnut CRA-A-ACKS under the instrument’s pressure) --it would be most unfortunate.
72. CLOSE – ON HALVORSEN
we see that he is sweating freely as he reacts.
73. BACK TO SCENE
The Colonel takes time out to munch on the nutmeat that his instrument has made available. Now, as he takes a peach from the fruit bowl and runs a set of sensuous fingertips over its skin, almost human in its fine texture.
COLONEL
But let us say, that, in spite of all our urgings, you still would prefer not to engage in a friendly dialogue…
During the above, the Colnel has picked up a scalpel lying close at hand, and, lovingly, and obviously with the skill of much practice, has proceeded to delicately flay and remove large sections of the peach’s skin…
74. REACTION SHOT - HALVORSEN
Eyes bugging out at what he is witnessing, shaking his head as if to say, “look,all that isn’t necessary, I’ll talk!”
75. BACK TO SCENE
The Colonel is still working away with his scalpel, as the door opens and the Lieutenant enters hesitantly.
COLONEL In which case, against all my humane instincts, I would be most reluctantly forced to…
LIEUTENANT
(blurting it out) A thousand pardons, Mi Colonel…!
COLONEL
(reacting-harshly) What is it now?
LIEUTENANT
It is Senor West, Commandant—he is waiting to see you, with an older man, also a gringo!
WEST
Mr. West? Show him down here, Lieutenant.
The Lieutenant exits.
COLONEL (CONT’D)
Now I find that curious… (to guard) Take this one back to his cell.
He takes his cigar and stabs the glowing tip into the flayed peach.
COLONEL
(to Halvorsen) Forgive me if I keep you waiting a little longer.
The guard exits with a badly frightened Halvorsen.
75A. INT. ROTUNDA – STAIRS
The guard leads Halvorsen up the stairs and toward the cell. At the top of the stairs the Lieutenant reappears with West and a fine old Texas gentleman with long white hair and a spade beard (Artemus). The three of them proceed downstairs, West and Artie giving Halvorsen nary a sign of recognition.
76. INT. COLONEL’S OFFICE -- DAY
West, Artie, and the Lieutenant enter. Artie swings around to the Colonel, the picture of an indignant Texas father.
ARTEMUS Now you see her, Cap’n…!
COLONEL (to West- ignoring Artemus) Welcome, Mr. West; I’m Colonel Arsenio Barbossa.
WEST (nodding) I’ve heard of you, Colonel.
COLONEL
I’m flattered. May I return the compliment? — I have a large dossier on you. By no means thorough. You’re a very elusive man; isn’t he, Lieutenant?
The Lieutenant scowls
ARTEMUS (exploding) If I c’n kindly bust through all this polite chit-chat!
WEST
Colonel, this is Mister Leroy Halvorsen from Texas.
COLONEL
Halvorsen? Any relation to -- ?
ARTEMUS (as “Paw Halvorsen”) His Daddy! I’ve come to fetch My boy!
COLONEL
Pity; quite impossible.
ARTEMUS
What do you mean, impossible! I’m here, my boy’s here, and I’m not walkin’ out of here without him.
COLONEL
Senor Halvorsen, somewhere, somehow, you have become confused; you are no longer in Texas. No one is permitted to visit the prisoner without a direct order from the President of Mexico.
West produces a document and extends it to the Colonel.
WEST
As it happens, I brought one along.
The Colonel slowly reaches out for the letter, keeping a volcanic temper under control only with supreme effort. Presently he looks up from his reading and smiles coldly.
COLONEL
It seems to be quite in order. (to Lieutenant) Mr. Halvorsen may spend fifteen minutes with his assassin son.
ARTEMUS
Fifteen minutes! You’re a generous man, Colonel! Someday you must visit Texas: We’ll give you a whole hour – to get out again!
The Lieutenant jerks his head toward the door. He starts out with Artie, as the Colonel turns to West.
COLONEL
Mr. West, it appears my dossier On the assassin Halvorsen is not thorough either. It states here that his father was trapped in a mine cave-in near Las Cruses, New Mexico on May 3rd, 1857 – and is presumed dead.
WEST
Not dead, Colonel, just missing.
COLONEL
And they haven’t seen each other in all those years? It should be a touching reunion. Now then, how can I amuse you for fifteen minutes?
WEST
I’m sure you have more important Things to do.
COLONEL
More pressing perhaps. Let’s see, Would you care to read your own Dossier?
WEST
No thanks. I’ve already lived it.
VOICE (O.S. shouted order in Spanish)
COLONEL
Ah, I have it. Step over here, Please.
He escorts West to the big window.
77. OMIT THRU 78.
79. EXT. PRISON YEARD – ANGLING DOWN - DAY
A squad escorts Perrico across the yard.
COLONEL’S VOICE That is the man who provided a refuge for the Mr. Halvorsen’s fun-loving son.
80. INT. COLONEL’S OFFICE - DAY
COLONEL
His name is Perrico – a misguided man but in the end he saw the error of his ways and confessed.
WEST
They all do, don’t they, Colonel?
COLONEL
You may observe sentence being carried out. Yes, you’ll have an excellent view from here.
WEST
You’re very kind. But I think I’d rather feed the gold fish.
COLONEL Really? Well, every man to his own taste. You’ll excuse me, I know.
He crosses to the door and exits.
81. INT. CELL - DAY
Artie is ushered in. Halvorsen is stretched out on a bunk, his wounded leg heavily bandaged.
ARTEMUS (emotionally, in spite of himself) Son, what’ve they done t’yuh!?
Halvorsen stares blankly up at Artemus, and we see Artemus covertly winking at him.
HALVORSEN (stammering—finally ‘with it’) Paw!
ARTEMUS That’s right, boy. And I’m here to help you, any way I can. You know that, don’t you? Now I’m jest gonna set these ol’ bones down…
Artemus is easing himself down on the bunk beside Halvorsen as the Lieutenant exits from SCENE—and immediately Artemus segues into:
ARTEMUS (his real voice) …and we’ll get down to brass tacks, Halvorsen.
HALVORSEN (lowers voice) All right, old man, who in blueblazes are you?
ARTEMUS I came to make a deal with you.
81A. EXT. PRISON YARD – DAY
Perrico is tied to a stake facing the firing squad. An OFFICER puts a blindfold on him.
82. INT. CELL - DAY
HALVORSEN Maybe you’re new in theses parts, Mister. Maybe you never head of Colonel Barbossa.
ARTEMUS I’ve heard of him, all right.
HALVORSEN Yeah, but you should have seen what he did to Perrico! (he shudders)
SOUND OF VOLLEY from FIRING SQUAD O.S.
HALVORSEN A man’s better off dead – (deep breath) You want to know who hired me?
ARTEMUS That’s right.
HALVORSEN All right. I’ll tell you – in Texas. Or I’ll tell Colonel Barbossa in the torture chamber, whichever comes first.
ARTEMUS I can promise you the best lawyer in Mexico – HALVORSEN (nearly hysterical) I don’t want a lawyer! A lawyer can’t do me no good in here. I want out. I don’t care how it’s done but you get me out before that butcher goes to work on me.
ARTEMUS Keep your voice down!
HALVORSEN (low, intense) Because I’m going to tallk – to somebody. And when I start saying names you’ll wish it was to you.
ARTEMUS What makes you think they’ll believe You, without proof?
HALVORSEN I’ve got that too. A letter from the Big Man himself – someone wayUp, mister!
ARTEMUS Who?
HALVORSEN I’ll tell you – in Texas!
ARTEMUS And in the matter of the letter…
HALVORSEN I’ll tell you that – in Texas, too!
The Lieutenant comes into SCENE and outside the bars.
LIEUTENANT Is time.
Artemus takes a white capsule from his hat band and give it to Halvorsen.
ARTEMUS Take this. It’ll put you to sleep for eight hours. Even Barbossa can’t torture a sleeping man…
LIEUTENANT (o.s.) Senor…
WILD WILD WEST “Assassin” #0352 Rev. 6/1/67
82. CONTINUED
Artemus is instantly his assumed texas-belligerent self again: as he rises and straightens up his old man’s frame.
ARTEMUS …and don’t you worry none, boy – I’ll have you outta here if I hafta make a return trip with a passel of our Rangers!
Glaring at the sardonically amused Lieutenant, Artemus moves off to the door…
FLIP TO:
83. EXT. PRISON GATE - DAY
West and Artemus both emerge into freedome and head for their horses hitched nearby, CAMERA FOLLOWING—then, as they prepare to mount:
ARTEMUS …so there it is, Jim; we’ve got to get Halvorsen out of [sic] pokey— and fast…
WEST (thoughtfully) Yeah; this letter Halvorsen keeps talking about, that would clean up the whole deal…
ARTEMUS (wearily) He certainly doesn’t have it on him; where could it be?
WEST (still thoughtful) Why not start at the most obvious place…
Artemus looks West over narrowly. They mount up and ride out. FLIP TO:
84. EXT. ALLEY – CLOSE SHOT – OLLA SIGN - DAY
On building corner: CALLE DE ARTESANO. SOUND OF HOOFBEATS, then West’s and Artemus [sic] heave into sight as they canter up to the front of the Pottery shop in the deserted street. They dismount, secure horses, then quietly move to the entrance of the shop.
84A. ECU – WEST’S HAND
He inserts a key and breaks it off.
85. INT. POTTERY SHOP - DAY
SHOOTING toward the door. We see a spurt of flame surging through the keyhole of the door—then the door opens, disclosing West and Artemus.
86. ANOTHER ANGLE
as West and Artemus start circulating through the shop, examining all the pottery that comes to hand, CAMERA ANGLES to a very large pot nearby—and we SEE a gun come into view then the hand holding it, then the head of the gun’s owner, a peon rises cautiously from the inside of the jar…
87. ANOTHER ANGLE
Another jar—another gun comes into view, followed by the hand, and then the owner’s face rising from the jar—then, nearby, the scene is enacted again as the occupant of another jar comes into view.
88. ANOTHER ANGLE West and Artemus are still unaware that they are being ringed by peons holding guns unwaveringly trained on them, as we
FADE OUT:
|
~Apple~ The Apple of Artemus Gordon's eye  |
 |
|
nittanyapple
SS senior field agent
   
USA
8632 Posts |
Posted - 11/16/2009 : 17:35:01
|
ACT THREE
FADE IN:
89. INT. POTTERY SHOP - DAY
SAME SCENE as before—only, as we watch, West and Artemus, almost simultaneously, become aware that they are being observed…
…and slowly, turning in opposite directions, West and Artemus look up into a collection of gun barrels aimed at them.
ARTEMUS (to West-confidentially) Ever get that nagging feeling that you were being observed from afar? From around a corner Lupita comes into view, holding a knife, her eyes flickering angrily at the sight of West.
WEST Fate keeps throwing us together, Senorita. (nodding at the peons) Don’t your friends know that it isn’t polite to point?
LUPITA Senor, let me assure you of three things; one, the gun [sic] that are being pointed at you are loaded— two, my men will not hesitate to shoot them if you give them cause…
WEST I can’t wait for number three.
LUPITA …and three, I find myself less and less amused at your insolence! Now stand back—it is the old one I want to talk to.
ARTEMUS (bristling) Now you see here, punkins, I’ll have a lot more respect outta you, and darned little of that!
LUPITA Quiet, Papacita; reply only to my Questions!
She raises the knife until it is a few inches away from Artemus neck.
ARTEMUS So far I ain’t heard none.
LUPITA I want to know what your sone said to you.
ARTEMUS Oh, that – well, he was real anxious to know about how the new heard was makin’ out with the grazin’ on the West forty— (confidentially) We got us as fine a bunch of prize cattle as you’d ever want o…
Lupita flicks the knife down until the blade is pressed against Artemus’ throat. LUPITA Old man, you are very close to death. We both know why you are here: tell me where your son hid the letter!
ARTEMUS (hastily) Careful with that toadsticker, little lady. Here Artemus throws a fast look at West, as he continues.
ARTEMUS (CONT’D) ...there ain’t no call for you to go getting’ yourself all upset...
90. ANOTHER ANGLE
West has come to the end of the series of large jars lining both sides of the aisle, from which Lupita’s gunsels still maintain their guns-trained-on-West-and-Artemus position.
WEST ...’cause when you get upset, why we get upset, and there’s no telling what else might wind up getting upset...
Even before the words are out, West has made a lightning lunge at the large jar, upsetting it, decanting its anthropoid contents.
90A. DIRECTOR’S SEQUENCE
...There is a fight...
...and then hard on the heels of that fracas, there is a the SOUND OF A WHISTLE, and the silence descends upon the place. The gunsels have fled.
91. ANOTHER ANGLE
As West and Artemus, amid the dust and haze of battle, with exaggerated caution, emerge from their improvised bunkers and look over the scene of shattered chaos that meets their eyes – with never a sign of Lupita and her gunsel brigade to mar the scene.
ARTEMUS (as if quoting military dispatch) In the face of vastly superior numbers, the enemy withdrew. (brightly) A smashing victory for us, Jim.
WEST Sure; but just what was it we came here for in the first place?
ARTEMUS (soberly, now) Hmm? Oh, yes, the letter--- (shrugging) Well, one can’t have everything, can one?
West kicks out at the debris piled up at every hand, as he moves down the aisle of what was once the setting for masses of immaculate pottery.
WEST Look at all this—if the letter ever was hidden somewhere around here, how the devil are we ever going to find it now, with the place a complete...
He stops, staring OFF; Artemus becomes aware, his eyes seek out what West is looking at, and we see that he, too, is alertly interested.
92. ANOTHER ANGLE
As West and Artemus both come up to a framed picture on the wall.
ARTEMUS El Presidente Benito Juarez— (pointing) recently shifted, wouldn’t you say?
93. CLOSE – ON PICTURE
We see the unsullied section of the wall that was once covered by the picture—exposed, because now the picture has obviously been moved over a couple of inches, West and Artemus both come into view as they stare speculatively at the picture.
WEST (touching frame) Also, someone has gone to the trouble of nailing the frame to the wall—I wonder why?
West and Artemus both have knifes [sic] out and are working away To pry the frame loose from the wall before West has come to the end of his speech...
...then the frame is pried free—and a sheet of paper, concealed in the back, flutters to the ground. Artemus stoops to retrieve it, straightens up, scans the letter, and we see a look of triumph take over. ARTEMUS Tim-m-mber! It’s the letter Halvorsen, Jim!
FLIP TO: 94. INT. WEST’S VARNISH – DAY
Griswold is now seen to be holding the letter and reading it aloud—with West and Artemus looking on nearby—and, strangely enough, West’s and Artemus’ faces are reflecting gloom during the reading.
GRISWOLD (reading aloud) “...and for security reasons I have changed the lock—which is the reason I enclose the new key. The meeting will still be this Thursday, midnight, at which time we will finalize plans to eliminate Juarez.” (turning letter over) That’s all?
WEST No signature, you’ll notice.
GRISWOLD But the key the letter mentions...?
ARTEMUS It wasn’t enclosed.
Now it’s a set—Griswold’s gloomy expression matches West’s and Artemus’.
GRISWOLD (despairingly) No name on the letter—no key—and who was is [sic] this preposterous female and her gunmen? What’s her connection with this affair?
WEST (shrugging) Outside of the fact that she uses tangerine lipstick...
ARTEMUS ...and handles a knife with style...
WEST ...we don’t know a thing about her.
Griswold tosses the letter onto the desk.
GRISWOLD The letter is worthless! We must get Halvorsen’s testimony!
ARTEMUS You know his terms, sir—he’ll open up when he’s assisted out of Colonel Arsenic’s pokey, and back onto American soil.
Griswold sinks down into a chair, covering his face with hands.
GRISWOLD (muffled-through his hands) Well, that is obviously impossible.
WEST Oh, I wouldn’t say that sir.
Griswold slowly removes his hands from his face and stares tight-lipped up at West and Artemus.
95. and OMIT 96.
97. EXT. ROAD – NIGHT
It’s nearly dusk. A wagon plods past headed toward the prison. Driving the team of ancient horses is a man in priestly garb. In the wagon bed behind a tarp covers a coffin the end of which protrudes slightly. The PRIEST looks ahead and reins up.
98. EXT. PRISON (STOCK) – NIGHT
looming ominously ahead, a gaunt, sinister structure.
99. EXT. ROAD – NIGHT
West crawls out from under the tarp and drops to the road.
WEST Thanks for the lift, Padre.
PRIEST Vaya con Dios, gringo.
West grins and trots off into the sagebrush. The Priest, who is Artie, watches him go then clucks his nags on. DISSOLVE:
100. EXT. PRISON WALLS – NIGHT
West comes up to the wall – he’s outside – and points a gadget at the top. He squeezes and a line is shot upwards. 101. CLOSE SHOT – SPIKE
on top of the wall. At intervals are these deadly-sharp points designed to discourage wall climbing. The line snags on the spike.
102. MED. SHOT – WEST
He tests the line and starts to climb the wall. He goes up out of SCENE.
103. REVERSE ANGLE
As West appears coming over the wall. He stops on top and recoils the line.
104. EXT. PRISON YARD – NIGHT
An armed sentry comes along the wall, patrolling this area and not going out of SCENE.
105. CLOSE SHOT – WEST
peering down at Sentry. Then he looks off.
106. MED. SHOT – BUILDING
A corner looms out of the darkness, not too distant from the walk and a bit lower.
107. CLOSE SHOT – WEST
He has the line ready again and aims it for the building; FIRES, and the line silently reels out, tautly stretched between West and the new point on the wall where the piton is buried.
108. ANOTHER ANGLE
TO INCLUDE the Sentry. West goes trolleying across the open space to the building over the Sentry’s head. The man reacts to the SLIGHT NOISE, bringing the rifle around to ready, but by the time he’s checked all other directions and looked up it’s too late.
109. EXT. ROOFTOP – NIGHT
West drops off his line to the roof and slips silently away.
110. EXT. PRISON GATE – NIGHT
Artie has driven up and is waiting for the Chief of the gate guards to come out of the little office.
ARTEMUS I’ve come for the mortal remains of Perrico Mendoza. He pulls a sheaf of permits from his prayer book and hands it down. The Chief glances at the forms and gestures to his men.
111. ANOTHER ANGLE
A guard climbs into the wagon and tosses aside the tarp to fully expose the coffin. He throws back the lid.
112. CLOSE SHOT – COFFIN
It’s empty.
113. TWO SHOT
Artie gives the Chief a weary look. The lid crashes shut again. The Chief signs the passes and returns them to Artie. Then h e waves the wagon on. The gates open to admit it.
CUT TO: 114. EXT. PRISON YARD – NIGHT West eases along the main building until he reaches a heavy inset door. He tried it but it’s locked so he stuffs a plastic explosive substance into the large keyhole. Then he steps back quickly – right into a gun barrel.
115. WIDER ANGLE
It’s held by the same sentry who was patrolling the wall. West slowly raises his hands.
WEST Tell me, Amigo, which way to the fiesta?
With that he flops on his stomach just as the plastic goes off with a silent magnesium flare that totally blinds the sentry. He covers his eyes belatedly; West rises, waits, then, as the guard finally removes his hands, with clinical deftness tinged with regret, West wings over a hard right to the other’s jaw—the guard collapses in a heap.
115A. ANOTHER ANGLE – AT DOOR
The lock has burned away, we see; West cautiously swings the door open, lifts the unconscious guard, hauls him in, and both are swallowed up in the darkness that lies beyond—
--as CAMERA ANGLES to pick up the Artemus driven wagon as it RUMBLES along and OUT of SCENE.
116. EXT. PRISON CORRIDOR – NIGHT
West, now in the Guard’s uniform, comes along the cold, stone corridor to the barred gate. He’s admitted.
117. ROTUNDA – NIGHT
Considerable activity here – guards coming and going. West works his way across to the stairs and goes up.
118. TOP OF THE STAIRS – NIGHT
West pauses here for a quick check of a handdrawn [sic] map.
119. INSERT: MAP
It’s a plan of the prison, or at least the section through which Artie passed when he was taken to Halvorsen’s cell yesterday. The cell is thus identified.
120. BACK TO SCENE
Oriented, West exits from scene.
121. CELL BLOCK – NIGHT
A row of cells, all pitch black inside and each one identical. West moves from one to another trying to determine which one contains Halvorsen. No clues. He consults the map but this doesn’t seem to help.
COLONEL’S VOICE You – guard! What are you doing?
122. ANOTHER ANGLE
TO INCLUDE the Colonel, gun in hand, approaching from behind West who keeps his back turned.
COLONEL (CONT’D) I asked you a question – what are you doing here? And turn around when you commanding officer is...
West turns around. The Colonel stares, and then we see delighted admiration flood his face.
COLONEL (CONT’D) Why, it’s Mr. West. You’ve broken into Abalos – to rescue your compatriot.
WEST Visiting hours are over?
COLONEL Incredible! You’ve performed a feat of unparalleled brilliance. It’s quite impossible and yet – there you are. I will be proud to light your cigarette – as the final courtesy before the firing squad.
WEST But I haven’t even confessed yet.
COLONEL Oh, that comes later, Mr. West. In any event, after a few sessions in my private confessional you will beg to confess. Turn around – march.
West shrugs, starts to turn, then wheels back and *****es at the Colonel’s gun arm. He misses. The Colonel leaps back out of range against the bars of the cell.
COLONEL (CONT’D) I could easily have killed you. But why should I be kind to you? First, the torture chamber –
WEST Halvorsen -- !
An arm snakes out between the bars and hooks the Colonel around the neck. West slips in close and deftly relieves him of his gun. The Colonel is throttled into unconsciousness and allowed to crumple to the floor, revealing Halvorsen.
WEST I’m glad to see you weren’t sleeping – now let’s see about the key to your cell...
As West bends to search the Colonel:
123. EXT. BLOCKHOUSE – NIGHT
A small stone or adobe structure which serves as a mortuary and may be so marked. Artemus has backed the wagon up to the nearest entrance and is supervising two Guards who are about the carry the coffin into the blockhouse. Artemus reacts to the approach of soldiers.
124. WIDER ANGLE
A detachment of soldiers are following the Lieutenant and the Sentry who is in his underwear – having lost his uniform to West. As they pass the wagon, the Lieutenant gestures to the two guards.
LIEUTENANT You men – fall in!
The Two hastily leave the coffin teetering half off the wagon and hurry after the detachment. Artemus supports the free end. It’s heavy. While he’s straining with it West comes around the corner of the blockhouse, supporting Halvorsen whose wounded leg is useless.
ARTEMUS Jim – lend a hand! This thing’s heavy.
West lets Halvorsen support himself on the blockhouse and hurries to assist Artemus.
WEST It’ll be heavier going out.
125. INT. BLOCKHOUSE – NIGHT
A door on two sawhorses contains the blanket-covered remains of Perrico. West and Artemus get the coffin in. Halvorsen struggles in behind them.
HALVORSEN (looking around fearfully) I don’t know why I’m going along with this—we’ll never be able to pull it off!
ARTEMUS Come, come, Halvorsen, faint heart ne’er won fair lady...
HALVORSEN And the wall – with my leg, how’m I gonna climb it?
WEST (opens coffin) You just get in—I’ll do the climbing.
HALVORSEN What?
ARTEMUS Get in the box.
HALVORSEN Oh, no! That cell was small enough; I’m not getting into no box!
WEST Which do you want—the box or the Colonel’s confessional?
HALVORSEN I’ll suffocate! If you wanta know who hired me, get me out some other way –
WEST Behind you!
Halvorsen starts to turn around as West’s fist smacks Halvorsen on the jaw knocking him cold. West catches Halvorsen and steers his fall into the coffin. Artemus closes the lid and screws down a clamp to hold it.
ARTEMUS I’ll off-load it in that dry was and lay a false trail with the horse and wagon. You’d better get there as soon as you can to let him out.
WEST How long do you think he can live in there?
ARTEMUS (looks coffin over appraisingly) Half and [sic] hour, anyway – if he doesn’t panic. Will you be a pall-bearer?
They lug the heavy coffin outside.
FLIP TO:
126. EXT. PRISON YARD – NIGHT
Artemus with sorrowful mien, clucks his horses toward the gates looming up ahead—the wagon passes along, and we see that the loaded coffin is aboard, and covered with a tarp.
127. INT. CELL BLOCK – NIGHT
The Colonel stirs and comes to. He has to grab the bars of the cell to pull himself to his feet, then he staggers away, clutching at his throat.
128. EXT. PRISON COURTYARD-NIGHT The Colonel staggers into view from a door, breathing heavily, drinking in the fresh air, when he starts, transfixed as CAMERA ANGLES to show West raising himself on a rope. The Colonel instinctively reaches for his holster—and realizes that he has been relieved of it— then he opens his mouth to yell for a guard…
…and West, swaying helplessly from a rope, a sitting duck for all the rifles and guns that can be brought to bear on him, tenses for an extraordinary effort to get out of his fix…
…then realizes that Colonel Barbossa’s voice has deserted him, as a result of Halvorsen’s throttling; the Colonel is trying to shout up a storm, but a WHISPERED RATTLE is all that emerges; abeat, then West flips off a Salute at the Colonel and continues his climb to freedom. HOLD ON the convulsed Colonel, impotently trying to be Heard, as we:
FADE OUT:
|
~Apple~ The Apple of Artemus Gordon's eye  |
 |
|
nittanyapple
SS senior field agent
   
USA
8632 Posts |
Posted - 11/16/2009 : 17:36:09
|
ACT IV
FADE IN:
131. & OMIT 132.
133. EXT. TRACK – CLOSE SHOT – COFFIN – NIGHT on the wagon as it bumps slowly along a rough dirt track and into a dry wash. There it stops and Artemus (most of the priest’s disguise is gone) comes back into SCENE and starts muscling the box off, then Artie reacts by letting the coffin fall with a bone-jarring THUD to the dust ground as he HEARS:
133A. SHOT – STEAM WHISTLE –(STOCK) – NIGHT
furiously SOUNDING OFF.
133B. SHOT – PRISON COURTYARD – (STOCK) – NIGHT
showing prison personnel galvanized into activity, while the WHISTLE CONTINUES to SOUND OFF.
FLIP TO:
134. EXT. OPEN COUNTRY - NIGHT
For a moment, nothing except scrub, and the wailing o.s. STEAM WHISTLE. Then out of the darkness comes West at full tilt, now dressed in his own wardrobe. When he reaches foreground he pauses briefly to catch his breath and look back. Then he runs out of SCENE.
135. EXT. DRY WASH - NIGHT
The coffin lies on the ground. Ruts show where the wagon had been but it’s gone now. West appears in b.g. and reaces up to the coffin. He sits on it for a moment, to get his breath. The whistle continues to inform the countryside of the escape. Now West begins to unfasten the clamps holding the lid of the coffin.
136. REVERSE ANGLE - WEST
from coffin as the lid opens to reveal him looking down. He reacts as if perhaps Halvorsen had suffocated there. 137. CLOSE SHOT - ARTEMUS
in the box, bound and gagged. He makes strangled NOISES until West starts to remove the gag.
WEST Artie, how the devil did you get in there?
West cuts him loose during:
ARTEMUS Lupita and her powerful peons!
WEST Not again.
ARTIE Again. I hate to say it, but I’m working up a violent dislike of that hot tamale.
WEST Did Halvorsen go with her?
ARTEMUS Not willingly; he had no choice. But I’m sure he’d never seen her before.
Artie is free and out now.
WEST And we’ll never see him again.
ARTEMUS Doesn’t matter much. After all this--he doesn’t know who hired him.
WEST Come on, Artie!
ARTEMUS He was looking down my gun barrel when he swore the man who hired him sat in the shadows and never once showed his face. Incidentally, the fee for killing Juarez was ten thousand dollars.
WEST Not in advance?
ARTEMUS No. Halvorsen was to go to the place where he was hired.
WEST Where’s that?
ARTEMUS We hadn’t gotten that far.
WEST Did you get the key?
ARTEMUS (shakes his head) But I know where it is. He was just telling me when Lupita and her pushy peons bushwacked me.
WEST Come on. He’ll tell her the same thing so let’s get to the key first. CUT TO:
138. EXT. ALLEY - CLOSE SHOT - STREET SIGN - NIGHT
ON building: Calle de Artesanos. CAMERA PANS DOWN to Lupita entering the alley. She goes down to the olla- shaped sign and enters. She’s changed from her peasant woman’s rags to a riding costume.
139. INT. POTTERY SHOP - NIGHT
Shards of broken pots still lie around evidence of the battle there. Lupita lights a lamp, and then goes to the work table.
140. CLOSE SHOT - CLAY
A lump of potters clay: Lupipta picks it up and breaks it in her fingers until it’s thoroughly crumbled.
141. WIDER ANGLE
Lupita shows annoyance and suspicion. She searches the table for another lump of clay and finds one. As she starts to demolish this one a hand reaches over her shoulder dangling the key in front of her. WEST’S VOICE This what you’re looking for?
ANGLE WIDENS to include West. The key is a plain two-inch long door key.
LUPITA (coolly)[sic] Yes, that’s it. May I have it, please?
She turns as she speaks and has a derringer pointed at West’s navel.
WEST In that case, I’m prepared to bargain. What are you offering?
LUPITA The whereabouts of your friend, Mr. Artemus Gordon. ARTEMUS’ VOICE He’s over here.
WEST And pointing a gun at you.
She peeks over her shoulder.
142. ANOTHER ANGLE
Artemus has the drop on her. Lupita shrugs and pockets her gun.
LUPITA Looks like a Yankee standoff.
ARTEMUS Yes, it does, doesn’t it--would you care to start the conversation, Senorita?
LUPITA I’m Colonel Lupita Quesada--of the Guardia Federal, the Mexican secret service…I must insist you turn that key over to me.
WEST Why don’t we bargain?
LUPITA What do you want?
WEST The name of the man who plotted the assassination.
LUPITA (a beat) Halvorsen didn’t know. The meeting took place in the house of a third party. The conspirator remained always in the shadows. He never revealed his identity to Halvorsen.
WEST That’s what Halvorsen says.
“Assassin” #0352 Rev. 6/1/67
142. CONTINUED
LUPITA (coldly) I made certain he told the truth.
WEST I’ll bet you did.
ARTEMUS Where have you got him?
LUPITA My men have him?
WEST Halvorsen told you what lock this fits, didn’t he?
LUPITA Yes.
WEST Then tell us.
LUPITA No. I’ll show you.
West and Artemus exchange glances, then:
WEST You’ve got a bargain.
They exit.
143. EXT. WALL - NIGHT
The street is deserted and silent. West, Artemus and Lupita come along a high stuccoed wall until they reach an unobtrusive door set into the wall. West looks at Lupita who nods briefly. He tried the key. The door opens. ARTEMUS Go on in, Jim--the Colonel and I will cover your flanks.
LUPITA We’ll give you five minutes, Senor…
West slips quietly through the door.
143A. SUBTERRANEAN TUNNEL (STOCK - “DEADLY BUBBLE”)
West makes his way with caution to a grated door and enters therein.
144. INT. SECRET STAIRS - NIGHT
It spirals up into darkness. West vanishes up it.
145. MED. SHOT
West is confronted by a small door. MUFFLED O.S. CHIMING OF CLOCK. He pushes on door.
146. INT. CASA STUDY - CLOSE SHOT - GRANDFATHER’S CLOCK - NIGHT
It’s chiming midnight. Now it swings away from wall revealing a narrow opening behind it, and West in the opening. He comes into the room.
147. WIDER ANGLE to include Don Tomas seated calmly, glass in hand, an open book on his lap.
DON TOMAS You know, Mr. West, that secret staircase dates back to the Conquistadores.
WEST Is that so? I had no idea the house was that old.
DON TOMAS Oh yes. It was built over two hundred fifty years ago. I’ve tried to keep it in it’s original form.
WEST I can see how an escape route might be useful - in your line of work.
DON TOMAS My line --? WEST Assassinations. You did hire Halvorsen to kill Juarez, didn’t you?
DON TOMAS No, no, Mr. West. I am not ambitious nor active enough for that role. My only contribution to the conspiracy was to bring certain people together. Halvorsen for one.
WEST And the man who stayed in the shadows? Who is he, Don Tomas? DON TOMAS I’d rather not divulge that. If he chooses to reveal himself that’s a different matter.
He’s staring toward the balcony. West turns his head for a look.
148. CLOSE SHOTE - HAND
protruding through the open window. It’s holding a gun. The rest of the man is totally concealed in the darkness of the balcony.
149. BACK TO SCENE
West turns back to face to Don Tomas.
WEST I’d like to meet your friend.
DON TOMAS (amused) I’m quite sure you have, more than once. The question now is what will come of this meeting?
WEST One of us isn’t going to live to tell about it? (over his shoulder) Am I right?
150. CLOSE SHOT - HAND The gun raises slightly.
MAN’S VOICE (a hoarse whisper) Dead right, Mr. West. The man comes into the lighted room. It’s Colonel Barbossa. His vocal cords haven’t recovered; he talks with a rasping effort.
WEST Colonel Arsenic. (as the Colonel reacts, affronted) Sorry, Colonel. I thought you knew what your friends and admirers called you.
COLONEL I should have shot you in the back. But I couldn’t resist the urge to watch the look of astonishment on your face. And now you’ve disappointed me.
WEST You’ll get over it.
COLONEL Your nerves really are very good. It must be that. I won’t believe you knew it was I.
DON TOMAS I shouldn’t underestimate him, Colonel. Remember he rescued a man from your maximum security prison tonight. COLONEL Where is he? Where’s Halvorsen?
WEST Couldn’t tell you. He got away from me too.
COLONEL You’ll tell me, Mr. West. Long before I’m done with you, you’ll tell me things even I don’t want to know.
WEST I’ll tell you something for your own good. Mexican security men have this house surrounded. Front door, back door and secret door.
DON TOMAS (a beat, then--worried) Can this be true, Colonel?
COLONEL Impossible. No one suspects me.
WEST Why everybody knows you want to be president. But you only get one shot at the job, and you’ve had that--
West suddenly kicks at the Colonel’s wrist, knocking the gun flying.
COLONEL Lieutenant--!
The Lieutenant and two men step in from the balcony.
151. ANOTHER ANGLE - Three more soldiers enter through the door.
COLONEL (CONT’D) These are my security me. Where are yours?
ARTEMUS’ VOICE Right here, Colonel Arsenic.
CAMERA WHIPS over to the clock which is swung out again to reveal Artemus. West dives at the Colonel. The Lieutenant goes to his aid and is blindsided by Artemus. The soldiers pitch in to assist both officers and they are in turn attacked by Lupita with flying object [sic}.
152. ANOTHER ANGLE -
The Colonel withdraws from combat and watches his men try to subdue the threesome. They aren’t doing very well. It’s soon obvious that a retreat is in order and the Colonel executes one -- through the window onto the balcony.
153. TWO SHOT - WEST AND LIEUTENANT
West sees the Colonel’s exit and executes a violent move to flatten the lieutenant. Then he runs to the window.
154. EXT. BALCONY - NIGHT The Colonel swings off the balcony and out of SCENE. A beat later West charges out. A SHOT zings past his head.
155. EXT. BALCONY - NIGHT
The Colonel is on the wall, FIRING at West.
156. EXT. BALCONY - NIGHT West is preparing to go onto the wall after him when a SHOT is heard and the Colonel crumples and falls to the garden below. West turns to see…
157. TWO SHOT - INCLUDING LUPITA
Her gun is smoking.
LUPITA We do our own housecleaning, Mr. West.
She smiles and takes his arm. As they exit into library.
FADE OUT:
WILD WILD WEST “ASSASSIN” - #0352 6/1/67
FADE IN:
158. INT. WEST’S VARNISH - NIGHT
West, Artemus and Lupita are all elegantly dressed in dinner clothes; at the moment West and Artemus are vying with each other to overwhelm Lupita with attention; Artemus bows deeply as he presents her with one perfect rose…
…West extends a wine glass with a flouris… …Artemus fills it from a long thin wine bottle with an equally elegant flourish; then, as all raise glasses high: ARTEMUS A toast!
WEST Good idea, Artie. (to Lupita) To the memory of our first meeting when I kissed you.
LUPITA (smilingly sips, then: ) As I recall. I followed that up by slapping you.
WEST True; but the memory of the first overwhelms the second.
ARTEMUS (wistfully) No memories for old Artie…
Lupita beckons to him--Artemus bends down and exchanges a kiss with her--then, as they separate, she follows this up by slapping him smartly.
ARTEMUS (CONT’D) (briskly) I feel much better. Now let’s go on to dinner, shall we? (as Lupita rises) You don’t mind our party being just a threesome, do you?
LUPITA Of course not--since my bodyguard will make it a foursome.
West and Artemus exchange dismayed glances.
WEST Your bodyguard? Here?
LUPITA (placidly) Waiting outside. Lieutenant Ramirez attends me everywhere I go.
ARTEMUS But sure [sic], on this festive occasion, you can break that rule?
LUPITA Dear Artemus, I wouldn’t dream of it. (calling out) Lieutenant…
West and Artemus exchange resignedly unhappy looks, then, as their attention is attracted off, they both react… …as LIEUTENANT RAMIREZ, a stunningly beautiful young lady enters and salutes Lupita smartly. A stunned beat, then Artemus extends his arm to Lupita, and an admiring West salutes Lieutenant Ramirez and extends his arm to her. Then as both couples move off to the door:
WEST After all, Artie, what’s wrong with taking a lonesome soldier to dinner, eh?
On the party moving happily off. FADE OUT:
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