Author |
Topic  |
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Snish
SS novice field agent
  
873 Posts |
Posted - 10/16/2009 : 18:02:17
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THE WILD WILD WEST
"NIGHT OF THE BURNING DIAMOND"
Revised First Draft 2/11/66
TEASER
FADE IN:
1. INT. SERBIAN EMBASSY - RECEPTION ROOM - FULL SHOT - DAY
CAMERA LOOKS toward a wide, paneled door as it opens and TWO GUARDS in dress uniform enter stiffly, followed by JAMES WEST, in formal diplomatic day wear, with swagger stick.
FIRST GUARD (announcing) Your Excellency...an emissary of the United States Government -- Mister James West.
The guards step aside, remaining at attention, and West advances down the reception room.
2. REVERSE ANGLE - SERBIAN AMBASSADOR
The AMBASSADOR is in his forties, imposing, bearded. He wears formal diplomatic costume, adorned by a sash bearing his decorations. He advances to meet West.
AMBASSADOR ... an honor.
West ENTERS SCENE, makes a slight formal bow of greeting.
WEST Mr. Ambassador...my deepest respects to you and your government.
AMBASSADOR To what do I owe the pleasure of meeting the redoubtable James West.
WEST We share a problem of great importance... and some delicacy.
West glances meaningfully at the Guards. The Ambassador raises his hands and claps once. The Guards march stiffly OUT, closing the door after them.
3. CLOSER ANGLE - TWO SHOT
AMBASSADOR A problem?
WEST Concerning the International Jewel Exhibit to be held next week.
AMBASSADOR (nods, smiling) A unique event -- and a diplomatic triumph for your young country to lure the official treasures of so many nations.
WEST We understand your government has decided to exhibit the Orloff Diamond.
AMBASSADOR (proudly) A most unusual gem, Mr. West -- a full eighty carats, flawless, in a regal setting.
WEST I know. My government would like to take certain measures to safeguard this priceless treasure.
The Ambassador frowns, considering a moment.
AMBASSADOR I am convinced my own safety measures are adequate.
WEST We mean no reflection on your judgement... But there have been several daring and mysterious diamond thefts in recent weeks, as you no doubt know. (brief pause) In Amsterdam the diamond-cutting house... in London a museum... in New York a famous jeweler... and here in San Francisco --
AMBASSADOR (interrupting) What is it you wish to do?
WEST The United States government wishes to take your diamond into protective custody until the International Exhibition opens.
The Ambassador hesitates a moment, then gives a small chuckle.
AMBASSADOR Mr. West, you must be joking... did you have an easy time getting into this room?
4. ANGLE FEATURING WEST
WEST (recalling it) I was challenged by armed guards at the front gate... the Embassy entrance... and the corridor to your private chambers. (brief pause) My credentials were checked three times... I was searched twice -- discreetly, of course. (pause: smiling) And I am now being observed from a peep-hole disguised by the portrait of your esteemed ruler.
5. TWO SHOT - FAVORING AMBASSADOR
He chuckles again, favoring West with a look of admiration.
AMBASSADOR You merit your reputation, Mr. West. (beat) If at any moment there had been a slightest doubt of your identity or intentions -- you could have been cut down instantly... That's why this room is a perfectly safe place for the Orloff Diamond.
WEST This room?
6. WIDER ANGLE
The Ambassador turns, gestures for West to follow, then walks to a long, heavy table which dominates the far end of the room. CAMERA FOLLOWS West and the Ambassador, who shoves aside a large bowl of flowers on the table. A center panel of the table folds down, and up into view rises a square case about two feet each way, covered with a heavy cloth.
AMBASSADOR Only for the most privileged guests ... a private showing.
The Ambassador takes hold of the cloth draping the case and whisks it off.
7. CLOSER ANGLE - FEATURING THE JEWEL CASE
The case is entirely of glass, save the base. Within, a huge diamond glitters brightly, catching and magnifying the light. A beauty... very impressive, and it impresses West.
WEST Give me two of those and I'd have such a set of cufflinks!
AMBASSADOR Eh? Oh. A joke. You Americans do like your jokes, don't you?
WEST We also like flawless, eighty-carat rocks. It's quite a stone.
AMBASSADOR One of the world's finest. That's why I don't wish it to leave the perfect protection we have provided for it.
WEST Every place that's been robbed lately has been perfectly protected... or at least people thought so.
AMBASSADOR Relax, Mr. West. Nothing can happen to the Orloff here, There is only one door to the room. The hall outside is patrolled twenty-four hours a day. And we Serbians are jealous of our national treasures. As for the windows...
The Ambassador and West move OFF to observe the windows. CAMERA HOLDS a moment on the diamond, the case left elevated above the table.
8. FULL SHOT OF ROOM
West and the Ambassador stand in the f.g. at one of the windows. Beyond them the table and jewel case are visible at one end of the scene, the only door at the otehr end.
AMBASSADOR (gesturing at window) You see -- the walls are sheer...the fence is high...the guards are ever vigilant, with orders to shoot if necessary. This room is as safe --
The Ambassador is cut off in mid-word by an astonishing occurrence. Simultaneously the door flies open and slams shut, all in less than a second; the glass jewel case on the table shatters, hurling glass in all directions; a rush of air. Before West and the Ambassador can even turn from the window, it's all over.
9. CLOSER ANGLE - TABLE AND JEWEL CASE West and the Ambassador spring for the table, West well in the lead. Newspaper pages are still spiraling gently to the floor. Fragments of glass are embedded in the table top. The glass portion of the jewel case has completely vanished -- and the base is glaringly empty.
AMBASSADOR The Orloff! It's gone!
CAMERA GOES IN FOR A TIGHT TWO, HOLDING their stunned reaction for just a second, then we
FADE OUT:
END TEASER
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
ACT ONE
FADE IN:
10. INT. SERBIAN EMBASSY - WEST AND AMBASSADOR - DAY
The scene as before, a few seconds later. West annd the Serbian Ambassador are still staring in disbelief at the empty base of the jewel case. West is the first to move -- he reaches out and attempts to pull loose one of the larger hunks of glass embedded in the table top.
WEST That glass exploded with tremendous force.
West's voice seems to jar the Ambassador from his shock. He manages a brief, forced chuckle.
AMBASSADOR All right, all right. You have made your point, Mr. West.
WEST It was made for me.
AMBASSADOR (grudging smile) Even before I arrived in this country I heard strange accounts of your talents... but I was not informed that you are a magician.
West looks at the Ambassador with growing concern and irritation.
WEST Magician?
AMBASSADOR I suggest that your trick was most effective -- though perhaps not in the best of taste.
11. TWO SHOT - FAVORING WEST
West is getting angry. He gets a grip on his temper, then makes one final effort at the polite language of diplomacy.
WEST Mr. Ambassador... this event is as mysterious to me as it is to you.
The Ambassador lifts his hands and lightly pantomimes a bit of audience applause.
AMBASSADOR A perfect performance, carried to logical conclusion... (loud; hard) Now tell me at once what you have done with our diamond!
WEST (pointing) I was standing over there at the window with you -- remember?
AMBASSADOR But that is the essence of magical performances -- to make it appear impossible for the conjurer --
WEST Look, I'm a government agent -- and my job was to warn you your diamond could be stolen. That's all!
12. NEW ANGLE - FEATURING AMBASSADOR
The Ambassador and West are both steamed up now. There's a momentary tableau in which it seems the Ambassador considers grabbing West by the throat -- then decides he'd better not.
AMBASSADOR (very cold) You will return the diamond at once -- this minute!
West sees he's dealing with a fixation which makes further argument useless.
WEST As long as you think that way, sir, you've got a lot of problems.
West turns abruptly and moves toward the door.
AMBASSADOR Within this Embassy you are on Serbian soil, Mr. West. I warn you -- unless we recover our diamond, you will not be allowed to leave here alive.
13. ANGLE FEATURING WEST
He turns. There's no doubt the Ambassador means the threat. West's eyes quickly check the terrain for an easy exit, finding none. Nothing for it but to try a quick fake and run.
WEST All right... look under the statue of your esteemed ruler.
14. FULL SHOT
The Ambassador hurries to a sculptured bust mounted prominently on a pedestal. While he searches under and around it. West moves cautiously for the door. But the Ambassador looks up too soon.
AMBASSADOR Guards! ... Guards!
The door bursts open and the two Guards rush in to confront West.
15. CLOSER ANGLE - FEATURING WEST
One of the Guards swings his rifle to fire point-blank at West, but West grabs the gun barrel, yanks the guard toward him and cools him with a sharp rap of the swagger stick. The other one gets off one wild SHOT before West seizes him and sends him sailing with a judo throw.
Then West charges for the door again, but is met by the ENTRY of two more armed Gurads -- and behind him two more. He's cut off -- forced to retreat.
16. CLOSE ON WEST
Desperate, he siezes his swagger stick in both hands and yanks the gold head off it. Dense smoke immediately pours from it.
17. FULL SHOT Waving the swagger stick, West quickly lays an impenetrable smoke screen. SOUND of one or two wild SHOTS, as the room is almost totally obscured. Chips of rock fly from the bust. SOUND of breaking glass, with just a glimpse through the smoke of West going out the window without the formality of opening it. COUGHING and CHOKING is heard from the Guards amid the smoke.
18. ANGLE ON AMBASSADOR
As he runs to the broken window, leans out, yells:
AMBASSADOR Stop him! Stop that man!
ZIP PAN TO:
19. EXT. MIDAS MANSION - FULL SHOT - DAY
The house is a large, ornate Victorian structure typical of old San Francisco wealth. A closed horse-carriage waits at the curb. Down the long flight of stone steps from the front door comes MORGAN MIDAS and CLIVE, the huge Negro major-domo of the household staff. Between them they bear a large steamer trunk, with Clive ahead, bearing most of the weight on his immense shoulders. The trunk appears to be very heavy.
MORGAN (guiding trunk) Easy now... Careful, Clive.
Together they ease the trunk into the carriage. At close range now, we see that Morgan Midas is a strong, handsome fellow of about 30, blonde, with an engaging smile. He gives the steamer trunk a casual slap and says, offhand:
MORGAN (CONT'D) Have a nice trip, old girl.
Then he vaults easily up beside Clive on the driver's seat. Clive flips the reins and they drive OFF. CAMERA HOLDS on the spot at the curb, as a horse-cab moves INTO SCENE and stops. Out of the cab jumps ARTEMUS GORDON.
20. NEW ANGLE - FEATURING ARTEMUS
He flips a coin to the driver, who smiles his thanks and then quickly drives OFF. Artemus stands a moment at the foot of the steps, sizing up the Midas house, then he moves quickly up the stairs, CAMERA PANNING.
21. ANGLE AT FRONT DOOR
Artemus RAPS briskly with the ornate metal knocker. In a moment the door is opened by RUDD, a squat, dwarfish anthropoid who gives an impression of inhuman strength and subhuman intelligence.
ARTEMUS (a brief take) Uh, good afternoon. I wish to see Lady Margaret Midas.
Rudd continues to stare silently at Artemus. It is apparent that he likes Artemus less with each passing second. His lips part in a grimace that reveals sharply pointed teeth. Quickly, in as many foreign languages as he can handle, Artemus tries:
ARTEMUS (CONT'D) Quiro ver la Senora de la casa.
And so on, in German, Chinese, and whatever. No luck. Just when it seems Rudd's open hostility is about to explode into attack, a startlingly beautiful woman appears in the doorway behind him. This is LUCRETIA IVRONIN. She speaks sharply to Rudd.
LUCRETIA Ikklat! Ga bretz dubanov.
Rudd makes a short, awkward bow to her, then backs off, obviously disappointed at not getting a chance to strangle Artemus.
ARTEMUS (relieved, cheerful) Thanks. I wasn't getting anywhere with your servant. I guess I don't speak his dialect.
LUCRETIA (coolly) Very few people do.
ARTEMUS You're too pretty to be Lady Margaret.
Lucretia glances past Artemus down the street, as though letting her gaze follow the recently departed carriage.
LUCRETIA Lady Margaret has recently departed.
ARTEMUS It's very important that I see her. When do you expect her?
LUCRETIA I think... not for some time.
22. NEW ANGLE - FEATURING ARTEMUS
He's getting nowhere. There's a momentary silence during which Lucretia studies Artemus coldly. She has long black hair and dark eyes. She speaks with a trace of indefinable accent, suggestive of the Near East.
ARTEMUS Have you any idea where I can contact her?
LUCRETIA That would be very difficult.
ARTEMUS (growing impatient) Look, Lady Midas was expecting me.
LUCRETIA She did not mention it.
ARTEMUS She asked for federal protection for the Queen Anne Triplet....the diamonds she plans to exhibit at the International Jewel Show. I'm here to give her that protection.
23. ANGLE FEATURING LUCRETIA
This last speech makes an impression on her, but it is shown only in a momentary widening of her large eyes and a brief flash of misgiving. Then she is impassive again.
LUCRETIA She said nothing of this.
ARTEMUS (giving up) Just tell me where I can find her.
LUCRETIA It is difficult to say.
ARTEMUS I don't mean to be impertinent... but just who are you?
Lucretia's answer is to look over her shoulder and make a brief signal. At once Rudd moves INTO SCENE, stepping between Lucretia and Artemus. He glares briefly at Artemus, then slams the door in his face. SOUND of locks being thrown.
24. CLOSE ON ARTEMUS
Reflecting his frustration.
ARTEMUS We must get together sometime for another cozy chat.
ZIP PAN TO:
25. INT. WEST'S RAILWAY CAR - ANGLE ON WEST - DAY
West still has on his formal pants, but his shirt is off, and he's dressing a few minor wounds. One arm already bears a narrow bandage, and he's working on a small cut on the opposite shoulder.
ARTEMUS'S VOICE (from O.S.) Didn't your mother ever tell you not to jump out of second-story windows?
WEST I don't recall that the subject ever came up.
ARTEMUS'S VOICE What a barren childhood you must have had.
West turns toward Artemus's voice, and CAMERA ANGLE WIDENS to show Artemus perched atop the billiard table in the inverted lotus yoga position. Propped a short distance from his face is an encyclopedia -- upside down to us, right side up to him.
WEST I don't mean to pry, but just what are you doing?
ARTEMUS Reading about diamonds. Did you know that in pure oxygen a diamond can be made to burn with a flame above four thousand degrees hot?
WEST That's very warm...Didn't your mother ever teach you to read right side up?
ARTEMUS Of course. If she told me once, she told me a hundred times...
WEST So why are you upside down?
ARTEMUS A Hindu friend taught me this position. It's good for your health and stamina.
WEST What has it done for you so far?
Artemus carefully lets himself down to a normal position before he answers.
ARTEMUS It's given me two big calluses on my elbows.
WEST I'd be more interested in calluses on your thinking equipment. What about these diamond disappearances?
26. TWO SHOT - FAVORING ARTEMUS
Artemus thoughtfully ticks off the points on his finger, as:
ARTEMUS I've been brooding about those. And I've got an idea. You'll love it. First the facts. The diamonds always disappear in broad daylight, without anyone ever seeing a thief. (beat) Nothing is ever missing except diamonds. Other valuable gems in the same case are left untouched. (beat) There's always an indication of some tremendous force having been present...like shattered glass.
WEST Intriguing, but not especially illuminating.
ARTEMUS One thing at a time. Maybe the diamonds aren't being stolen at all. Maybe...through the application of some force...they're being made to...will you believe this?..... explode. From inside.
WEST Well, it's a thought. Do you believe it?
SOUND of a firm, heavy knock on the door, bringing a quick reaction from both men.
27. NEW ANGLE - TOWARD DOOR
West quickly pulls on a shirt and buttons it, as Artemus moves cautiously to the door. With his derringer close at hand, Artemus opens the door part way, revealing THADDEUS BAINES.
BAINES I want to see James West.
ARTEMUS West?...West...the name is vaguely familiar...
BAINES I'm Thaddeus Baines, special envoy from Washington.
He shows Artemus a card, and Artemus steps aside to let Baines enter. Baines is about 45, a ramrod-stiff, no-nonsense career diplomat, heavy-set and forceful. West advances to meet him. Baines regards both of them rather coldly.
BAINES (CONT'D) West and Gordon. The unconquerable duo. I wish I could say I was pleased. I am not. I've just come from the Serbian Embassy.
WEST That must have been jolly.
BAINES I don't know you, West, so perhaps I should not be surprised that you have caused an international incident. The Ambassador has lodged an official protest. Our government has been placed in a most embarassing position. To say that you failed in your assignment is an outrageous understatement.
Unperturbed, West picks up a billiard cue and chalks it.
WEST Where do you fit into this picture, Mr. Baines?
BAINES I'm the President's special envoy, charged with seeing that this International Jewel Exhibit reflects credit on our government.
West bends over the table, lines up his shot, strokes the cue.
28. ANGLE ON TABLE
West makes a three cushion shot.
29. BACK TO SCENE
BAINES Very nice. Too bad you don't demonstrate the same efficiency in your work.
West lines up another shot while he talks.
WEST What happened at the Serbian Embassy today follows the pattern of the other diamond thefts... There was nothing I could do to prevent it.
BAINES Mr. West, do you realize the diplomatic effort which went into this project? And the effect it could have on us?
WEST Yes. It could prove we've come of age as a country...or it could become the most costly fiasco in our diplomatic history.
BAINES Right! So do you have any clues so far?...Any theories?
ARTEMUS Well... I thought -- just possibly the diamonds might have been... somehow...exploded.
Baines snorts with disdain. He grabs up the billiard ball which West is about to shoot and shakes it at Artemus.
BAINES Exploding diamonds -- nonsense! Inert objects do not explode! A diamond could no more explode than this could!
30. ANGLE FEATURING BAINES
ARTEMUS (alarmed) Don't shake that!
West moves quickly, reaching Baines, yanking the billiard ball from his hand and hurling it through a window. SOUND of a muffled grenade EXPLOSION from outside. Big reaction from Baines.
ARTEMUS (CONT'D) You never know about inert objects.
ZIP PAN TO:
31. EXT. NARROW STREET - HORSE CARRIAGE - NIGHT - (STOCK)
A closed carriage rattles down the cobblestoned street behind a briskly CLIPCLOPPING horse. A gas streetlamp throws Gothic shadows. MUSIC suggests an air of mystery and suspense.
32. INT. CARRIAGE - WEST AND ARTEMUS
SOUND of the rattle carriage and hoofs in b.g.
ARTEMUS You should come to the exhibit hall with me. I'll be able to use all the ideas I can get.
WEST I'd better take a crack at the Midas house. Something smells. The old girl's too methodical to play free and easy with her jewels.
ARTEMUS Believe me, they're safe. It would take an army to get past that gorilla at the door.
WEST That gorilla's another point. Lady Margaret was never interested in zoology.
ARTEMUS Lots of luck, pal. You'll need it.
WEST I've got winning ways. (glances out window) Here's her place. See you later.
The carriage stops. West quickly gets out
33. EXT. MIDAS MANSION - ESTABLISHING
West pauses a moment to look up at the juge old Victorian mansion silhouetted against the night sky. SOUND of the horse carriage moving off into the distance. Lights show in the first and second story windows of the house. West moves quickly up the stairs to the front door.
34. ANGLE ON FRONT DOOR
West RAPS the knocker. In a moment the door is opened by Clive, the huge, powerfully built Negro. His clothing reflects his status as general manager of the household, not a mere butler or servant.
WEST Lady Margaret Midas, please... James West calling.
Clive stares hard at West for a moment, then steps aside and beckons him in.
35. INT. MAIN ROOM - FULL SHOT
The principal downstairs room is of imposing dimensions, decorated to reflect old-line wealth and taste. At the far end of the room a stairway leads upward to a balcony, off which are seen doors to second-floor rooms. Clive leads West to a long couch, indicates it briefly with a gesture.
CLIVE Please be seated. I shall announce your presence.
Clive EXITS through a door at one side of the room. Instead of sitting, West wanders about the room, looking things over.
36. CLOSER ANGLE ON WEST
On a brocade cushion West finds a large Persian cat, regarding him intently, ready to spring up and run away.
WEST Hello, Sultan. You're looking fat these days.
West gently pets the cat, who settles back, reassured.
MIDAS' VOICE Good evening, Mr. West.
West turns quickly toward the voice.
37. MEDIUM SHOT - WEST, MIDAS AND LUCRETIA
Coming forward to meet West are Morgan Midas and Lucretia, who make a very handsome couple. In contrast to the hostility he had expected, their charm puts West on his guard.
WEST Good evening. Is Lady Margaret at home?
MIDAS Unfortunately, my Aunt departed recently on a long voyage. I am Morgan Midas -- and this is my fiancee, Lucretia Ivronin.
WEST Your Aunt must have altered her plans rather suddenly.
MIDAS She had a recurrance of her old ailment, the gout. The only remedy is the mineral waters of Germany.
LUCRETIA She asked us to care for her house until she returns.
West considers this briefly. It seems possible.
WEST Then I presume she informed you of her promise to show her diamonds in the International Exhibit next week.
Morgan looks puzzled and disturbed.
MIDAS No...she didn't mention it...
WEST My partner, Mr. Gordon, was here to discuss the matter this afternoon. He got a very cold reception.
Morgan exchanges a look with Lucretia, then forces a brief laugh.
MIDAS That must have been the caller she mentioned to me... (beat) I was out at the time -- and my fiancee has not been long in this country. In the part of Europe she comes from, it's the custom to be very cautious of strangers.
LUCRETIA I am sorry I did not understand. ...I apologize.
38. NEW ANGLE - THREE SHOT - FEATURNING WEST
WEST All right...But that still leaves the problem of the three large diamonds she was going to show -- the Queen Anne Triplet.
MIDAS I'm sure you realize, Mr. West, that I couldn't allow the gems to leave this house without the specific consent of my Aunt -- and it will be most difficult to reach her...
WEST We already have it -- in writing.
Midas looks more and more worried as West gets out a letter from his coat pocket and hands it over. Midas quickly unfolds the letter and scans it.
WEST (CONT'D) You'll recognize your Aunt's handwriting...She sent this letter to Thaddeus Baines, our envoy from Washington.
MIDAS (reading) Yes...yes, I know Mr. Baines slightly...through my Aunt... (looking up) I can't imagine why she forgot to tell me of this. It must have been her illness.
39. ANGLE FEATURING MIDAS AND LUCRETIA They are clearly under pressure now. They look at one another as though each hoping the other will come up with something.
LUCRETIA But her entire collection is in the safe, is it not?
MIDAS Yes -- that's right. And I don't even know the combination.
WEST I'll open it for you.
MIDAS Really, Mr. West, I can hardly --
WEST (relentless) It's my job to locate and protect those jewels until the exhibition. ...I intend to do my job.
Midas can see that West means it. He might even go looking for Auntie, and Midas can't have that.
MIDAS Very well. You can try, I suppose. But it's a very good safe.
WEST I'm a very good safecracker.
MIDAS Show him the safe, Lucretia. (beat) I'll be back in a moment.
There is something significant in the way he says it. Lucretia nods, leads West over toward the ornate, gilt- framed mirror, as Midas quickly turns and disappears up the staircase. CAMERA MOVES IN ON MIRROR as Lucretia pulls it away from the wall, revealing the wall safe. West moves to the safe, puts his ear to it, begins to turn the dial.
40. FAVORING LUCRETIA
A little nervous, she stands by and waits. CAMERA PULLS BACK FOR A TWO SHOT as the tumblers drop into place, and West opens the safe. He looks inside, feels inside, turns back to Lucretia with a smile on his face.
WEST Imagine that. There's nothing inside.
LUCRETIA I...I don't understand.
WEST Neither do I. But I'd like to. I'm afraid you and your fiance will have to come with me.
She suddenly moves very close to him.
LUCRETIA Surely that's not necessary. Can't we...discuss it?
WEST What kind of discussion did you have in mind?
Her eyes flit quickly in the direction of the staircase, and then her arms go around Jim's neck.
LUCRETIA This kind?
WEST Well... it's a starting place.
They kiss. And then, SUDDENLY, they seem to explode apart. West's head flies back, and he is slammed across the room by some incredible force. He lands, completely unconscious. Lucretia recovers herself, stares at West, smiles.
LUCRETIA I'll bet you've never been kissed like that before. Has he, Midas?
And suddenly, out of nowhere, the figure of Midas MATERIALIZES, standing over the body of West, looking down at him, and smiling.
41. OMIT FADE OUT
END ACT ONE
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|
Snish
SS novice field agent
  
873 Posts |
Posted - 10/16/2009 : 18:04:01
|
ACT TWO
FADE IN:
42. INT. JEWEL EXHIBITION ROOM FULL SHOT DAY
WORKMEN are carrying in display cases, CARPENTERS are building support tables and railings to guide traffic the place is in a flurry of preparation.
43. ANGLE ON ARTEMUS AND BAINES
Artemus is working on an enclosed wooden lighting box above a display case. Baines is kibitzing.
BAINES I have heard so much about your ingenious devices, Mr. Gordon. I hope you can contrive some effective burglar alarms here.
Artemus withdraws himself from his work, repressing a weary sign of irritation. Baines has been continually bugging him.
ARTEMUS Touch the display case... (pause) Go ahead, just touch the outside of the case.
Baines stands behind the spectator railing. Since the case is beyond easy reach, he uses his swagger stick to reach over and tap the glass case. Instantly ALARM BELLS clang loudly and there's a bright FLASH with a puff of smoke rising above the lighting box. Baines recoils, startled. Artemus reaches inside the ligting box to shut off the alarm. SOUND ceases.
BAINES (flustered) Well...what was that flash?
ARTEMUS You just had your picture taken, at one hundredth of a second... If you like I can send you a copy.
BAINES (recovering poise) I'm afraid my expression would not be typical of me.
44. NEW ANGLE PANNING
Artemus walks over to another nearby display case, isolated by a spectator railing, with Baines close after him.
ARTEMUS Satisfied?
BAINES Not entirely. Alarms are well and good but we need some more positive sort of protection.
ARTEMUS The place will be surrounded by soldiers, won't it?
BAINES Of course. But humans are all too fallible.
ARTEMUS (indicating) This case will hold the most precious gems in the exhibit. ...believe me, it's protected.
BAINES Oh, really?
Before Artemus can protest, Baines reaches out with his swagger stick and lightly taps the glass. From the lighting box above the case a guillotine blade drops suddenly, chopping Baines' stick into two neat pieces as easily as if it were a straw.
45. TWO SHOT FAVORING BAINES
He draws back the stub of his stick, staring at it.
BAINES I see what you mean.
ARTEMUS (sweetly) I'm so glad...Now if you'll let me get back to work, I'll have this place ready for them to bring in the jewels tomorrow.
BAINES Very well...But tell me, what is that odd apparatus by the front entrance?
ARTEMUS That will be the ultimate in burglar traps if you give me time to finish it.
BAINES All right...But I want to impress upon you that our government is assuming full responsibility for the safety of this exhibition. (beat) And if there are any thefts from it, heads will roll. Yours.
ARTEMUS I'll try to prevent that.
Artemus lifts the guillotine blade back up into the lighting box and secures it during the conversation.
BAINES By the way where's West today? I was informed that you always work together.
ARTEMUS We work together separately.
BAINES Considering the importance of this job, I'd like to be able to get in touch with either of you at all times....Where is West?
ARTEMUS I don't know for sure...But wherever he is, he's all right.
Baines gives a curt nod, turns and walks OFF.
46. CLOSE ON ARTEMUS
ARTEMUS (to himself) I wish I believed that.
FLIP TO:
47. INT. MIDAS' LAB ANGLE ON WEST DAY
West is hung up literally. He's dangling by his knees from a metal bar between two upright supports. His hands are pulled back behind him, with his wrists tied to his ankles so that his body forms an arc in midair. Midas strolls INTO SCENE, speaking gently and politely to West.
MIDAS Sorry to place you in this uncomfortable position, Mr. West ...But it's quite essential to insulate you from surrounding objects.
West arches his back and cranes his neck to look around.
WEST Quite a set up.
48. FULL SHOT
The lab is a converted study, with a long table running clear across one end of the room. On the table are flasks, beakers, retorts, etc. A distilling apparatus of some complexity is the central feature of the table. West dangles not far from the lab table and an electrical control panel.
MIDAS Yes, isn't it...You see, I'm somewhat of a scientist, and I have a small experiment in progress. (pauses; probing) But I presume you know something about that.....
WEST Why should I?
MIDAS I thought perhaps that's why you were so insistent on seeing my Aunt's diamonds.
WEST I told you it was my job to protect the gems for the exhibition. ...Apparently I'm too late.
49. CLOSE ANGLE FEATURING DISTILLING APPARATUS
Midas smiles, moves to the lab table, beside the apparatus. At the heart of it is a small, intense blue white flame.
MIDAS Time, sir, is relative. But I'm afraid you're right. You are too late. (indicating flame) Bright, isn't it? Burning at four thousand degrees. You see, my project requires a great, direct heat.
WEST Four thous... diamonds burn at 4000 degrees.
MIDAS Quite right. They do. Then you do know something about my work. But how much?
50. ANOTHER ANGLE FEATURING CONTROL BOARD Midas moves to the electrical control panel, throws a switch, then turns a handle. SOUND of crackling static. West twitches and jerks on the bar from muscular spasms induced by the current. Midas cuts the switch off, smiles benignly at West.
MIDAS That was only a gentle reminder, Mr. West. The truth is your only protection against unbearable shocks.
WEST Is that what you did to your Aunt? Electrocute her?
MIDAS (scowling) I told you my Aunt is travelling to Europe for her health.
WEST Everyone knows she takes her cat with her, wherever she goes.
Annoyed, Midas flips the switch again, and again the current hits West.
51. MED. TWO SHOT FAVORING WEST
The current fades off. West struggles to regain his composure.
WEST All right, you win. She's travelling to Europe.
MIDAS I see you're a practical man. Now, to avoid further discomfort, tell me exactly why you came here.
WEST I told you....
Midas gives him another jolt. West contorts. Midas turns it off.
MIDAS I know what you told me. I want the truth.
WEST All right. The diamond thefts.
MIDAS You think I had something to do with them?
If it's possible to shrug hanging upside down, West does. Midas throws the switch again. Then he turns it off.
MIDAS (CONT'D) You were saying? WEST I....I don't remember.
MIDAS I musn't give you too much. The current has the effect of sometimes interferring with memory. Perhaps ...on the other hand, if I gave you more...you might forget all about my little experiment.
Midas turns the current far up. West contorts, and then goes limp, swaying gently.
52. FULL SHOT
As Lucretia ENTERS, crossing toward Midas. She glances at the limp, dangling form of West.
LUCRETIA (alarmed) You're not going to kill him?
MIDAS (tolerantly) You're too soft hearted, Lucretia. It was you who insisted I spare the cat. That was a mistake. (beat) However, I may not have to kill him. I may just destroy his memory. A bit tough on him, perhaps...but this is a game for high stakes. (leaving) Watch him. I'll be back.
He turns and EXITS. Lucretia hesitates, picks up a beaker of water from the lab table, crosses to West.
53. TWO SHOT WEST AND LUCRETIA
She pours a little of the water on her fingers and gently bathes West's face. Slowly he regains consciousness. Then she holds the water up and supports his head so that he can drink a few drops.
LUCRETIA I just saved your life, Mr. West.
WEST Thanks....I'll never forget you.
LUCRETIA Oh yes you will. Very soon.
WIPE TO:
54. EXT. MIDAS MANSION FULL SHOT DAY
A distinguished, gray haired European nobleman, a Prussian count, is climbing the steps to the front door of the Midas mansion.
55. ANGLE ON FRONT DOOR
The Prussian count raps briskly with the knocker. The most astute observer will detect that this vintage nobleman is the faithful Artemus Gordon, suspicious about his missing pal. The doors open to reveal Clive, the giant Negro major domo.
ARTEMUS Count Felix von Schlesweig und Holtzbergen to see Lady Midas.
Clive gives Artemus the usual scrutiny, then opens the door for him. Artemus enters, adjusting his monocle.
56. INT. MAIN ROOM FULL SHOT
Midas is crossing, just about to go up the stairs as Clive enters from the front hall, with Artemus following.
CLIVE Count Felix von Schlesweig und Holtzbergen to see Lady Margaret, sir.
Midas stops, turns from the chairs and crosses, barely concealing his irritation with this interruption.
MIDAS Count Felix...I'm afraid Lady Margaret isn't in at the moment.
ARTEMUS Of course she is. I told her I vas coming. I will vait.
MIDAS But she isn't here!
ARTEMUS She vill be. We are the oldest of friends.
MIDAS You've seen her...recently?
ARTEMUS No, no, no...but ve have her correspondence. We meet a long time ago, in Heidelberg.
MIDAS I wasn't aware that my aunt was ever in Heidelberg.
ARTEMUS Und I vas not avare zat your aunt has the nephew. She is a great one for secrets, no. I vill vait.
MIDAS But...but....
ARTEMUS Go about your business, sir. I vill be perfectly comfortable here.
57. MED. THREE SHOT
Midas sees that he can't easily shake this caller.
MIDAS If you'll excuse me, Count Felix, I have some urgent work in progress. I'll send my fiancee down to entertain you in a moment...... (turns to Clive) Get the count a glass of brandy, Clive.
Clive nods curtly and EXITS via the side door. Midas heads for the stairs again.
ARTEMUS Go ahead, do your vork... I vait right here.
Artemus seats himself on the couch, as Midas goes quickly up the stairs and through the door to the lab. As soon as he's out of sight, Artemus is up, examining the place carefully.
58. INT. MIDAS' LAB MEDIUM
West is still dangling by his knees, ankles tied to wrists. Lucretia is at the lab table, looking at the distilling set up. Midas crosses quickly to the table.
MIDAS There's some old fool downstairs who claimes he's a friend of my aunt. He wants to wait for her.
LUCRETIA That may take a while.
MIDAS Go down and butter him up, then get rid of him. I've got to tend to the process here.
LUCRETIA It's almost to the critical point. There's another drop forming.
Midas busies himself at the lab table, measuring fluids, adjusting balances, etc. Lucretia moves toward the door.
LUCRETIA West was conscious, but only for a moment.
MIDAS (working away) I'll take care of him later.
Lucrteia EXITS, closing the door after her. Midas continues to make adjustments to the distillation process at the lab table. (note: the brilliant flame is always visible in the apparatus.)
59. ANGLE ON WEST
West is conscious. He arches his back for a look over at Midas, then he begins to carefully maneuver his tied hands, loosening the rope at the wrists enough to enable him to reach the top of his left boot.
60. CLOSE ON WEST'S ANKLE
As his hand slips inside the boot, coming out with a slim knife. It pops open and a short, sharp blade flicks out.
61. BACK TO WEST
West now maneuvers his hands to bring the rope against the blade, sawing his wrists back and forth to cut the rope. One strand pops, then another.
62. INT. MAIN ROOM MEDIUM ARTEMUS AND LUCRETIA
A decanter and glasses have been set out, and Lucretia is pouring a small snifter for Artemus. She hands it to him.
LUCRETIA I have the strangest feeling ... that you somehow seem familiar...
ARTEMUS I have ze same feeling about you, my dear.
LUCRETIA I'm afraid Lady Margaret may be very late in returning today.
ARTEMUS I do not mind. It is most urgent zat I talk to her... about a friend of mine. I fear he may be in some slight difficulty.
63. INT. MIDAS' LAB ANGLE ON WEST
Sure enough. West is having some slight difficulty cutting the ropes without *****ing his wrists. But he's making it. Only one thick strand to go now. Sweat beads his forehead. He's a bit tired of hanging upside down.
64. ANGLE AT LAB TABLE MIDAS
Midas about has his work under control. He sets down some test tubes, then turns to check on West with a glance.
65. CLOSE ON WEST
Out of the corner of his eye he sees Midas turning. With that fraction of a second warning, he forces the final strand of rope across the blade, hard. It snaps, and West's arms swing free. His ankles remain tied together.
66. MEDIUM SHOT PAST MIDAS TO WEST
Midas sees West break free, and immediately lunges toward him. West, dangling by his hooked knees, seems helpless. But as Midas rushes him, West seizes the bar with his hands, pulls his torso up even with the bar, then suddenly straightens his body and lets go with his hands, swinging in an arc by his knees, bringing his locked hands up just in time to catch the onrushing Midas a smashing blow under the chin. Then West finishes his arc by hooking his knees and dropping to a standing position on the floor. (A simple trick known on Muscle Beach as a "Giant Drop".)
67. ANOTHER ANGLE FEATURING WEST Midas staggers back from the blow, crashing against the lab table then falling to the floor, momentarily stunned. West drops down, and starts cutting at his ankle ropes. Midas shakes his head and starts groggily to get to his feet.
68. INT. MAIN ROOM FULL SHOT
SHOOTING PAST Artemus and Lucretia in the f.g. toward the stairs. SOUND of a heavy thump and crash from upstairs brings Artemus to his feet.
ARTEMUS What is zat?
LUCRETIA Oh... the servants are moving some furniture. They're so clumsy.
SOUNDS of another rumbling crash the unmistakable clatter of a fight from upstairs. Artemus starts to move, but Lucretia blocks his way with the decanter.
LUCRETIA More brandy?
ARTEMUS No thanks I'd better go help the movers.
LUCRETIA Your accent what? (sudden recognition) You!
She swings the decanter at him, but Artemus ducks the blow, brushes her aside, then heads for the stairs. Lucretia turns and yanks the bell cord for the servants, calling:
LUCRETIA Clive! ... Rudd!
69. ANGLE NEAR STAIRWAY
Clive, the huge Negro, comes bursting into the room to block Artemus' path to the steps. From another door Rudd, the squat anthropoid type, also comes running. They converge on Artemus from opposite sides. Clive launches a crushing blow with a ham sized fist, but Artemus ducks and the punch catches Rudd, knocking him clean off his feet. He gets up again immediately.
70. FULL SHOT
Artemus grabs up an antique wooden chair (breakaway Chippendale) and smashes it over Clive's head and shoulders, but it doesn't faze him. He continues to close on Artemus and Rudd attacks from the other direction. Artemus goes down struggling.
ARTEMUS What a way to treat an old man!
71. INT. MIDAS' LAB MEDIUM SHOT
West and Midas are slugging it out, on equal terms for a moment, then West gets in a one two that sends Midas staggering back into the wall beside the door. Midas has had enough he wrenches the door open and goes OUT. West runs after him.
72. INT. MAIN ROOM FULL SHOT
Midas lurches across the balcony and starts down the stairs. West comes running out after him but stops short as he looks down and sees Artemus getting the worst of the battle with Clive and the two Henchmen. West vaults the balcony rail and drops smack into the group beating on Artemus, scattering bodies in all directions.
73. ANGLE ON STAIRS FEATURING MIDAS
Midas pauses near the head of the stairs, getting his breath now that West is off his back for a moment. He looks down and sees that West and Artemus are more than holding their own in the brawl with the household staff. Then Midas turns, hurries back up the stairs and re enters his lab, slamming the door.
74. MEDIUM FULL THE BRAWL
Clive gets knocked back against a chest by West. He wrenches open a drawer and comes up with a gun which he levels at West. But Artemus rips down a drape and tosses it over Clive's head as he fires. The shot goes wild. West karate chops him through the material, left right, and down he goes in a pile of fabric. Artemus cools one groggy henchman and West drops the other.
WEST Let's go!
75. FULL SHOT TOWARD STAIRS
They move rapidly toward the stairs, West in the lead. Just as he starts up the stairs, the door to the lab bursts open so rapidly it nearly flies off the hinges but no one is seen coming out. Abruptly West is hit by some invisible force which hurls him over the stair railing, crashing to the floor below. Almost simultaneously, Artemus is hit and dropped, hard.
76. CLOSER ANGLE WEST AND ARTEMUS
They're both knocked out. Suddenly the absolutely motionless form of Midas materializes, standing over them, smiling.
FADE OUT:
END ACT TWO
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Snish
SS novice field agent
  
873 Posts |
Posted - 10/16/2009 : 18:10:16
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ACT THREE
FADE IN:
77. INT. MIDAS' LAB - MEDIUM SHOT - DAY
At the end of the lab opposite the workbench and distillation set-up, we see West and Artemus chained to the wall. They are semi-conscious, dozing, and they show many scars and bruises from their recent battle. The door opens and Lucretia ENTERS, bringing some water for them to drink.
78. CLOSER ANGLE - THREE SHOT
Lucretia crosses first to West, who rouses himself and lifts his head to drink the water. Artemus also wakes.
WEST Thanks.
LUCRETIA Feeling better?
She gives water to Artemus. He drinks.
ARTEMUS Miss...would you mind telling us... what hit us?
LUCRETIA You wouldn't believe me if I told you.
WEST Try us.
LUCRETIA All right. It was Morgan.
WEST That's impossible. I'd have seen him.
LUCRETIA No one could have seen him. He was moving too fast to be seen.
West and Artemus stare incredulously at her, but she is not putting them on.
LUCRETIA I told you you wouldn't believe me.
ARTEMUS Moving too fast? Look, lady...
LUCRETIA He distills a fluid...using the burning diamonds. It does something to the metabolism. He explained it to me, but I don't understand it. All I know is, what seems like a second to you is an hour to him. No one can possibly fight him. No one can stop him.
WEST Moving too fast to be seen? Look, Lucretia, that's pretty farfetched.
LUCRETIA Who do you think hit you both on the head?
ARTEMUS That's a very good question, Jim.
WEST All right. I don't have any other explanation. (to Lucretia) How about you? How do you fit in?
LUCRETIA I'm a very practical girl. I want a lot of things. And Midas is invulnerable after he's taken the fluid. He can do anything...
WEST You mean he's a good provider?
LUCRETIA Can you imagine a better one? The whole world is spread out for his taking. Money...power...anything. You might as well stop fighting him, Mr. West. You can't win. Besides.....
WEST Besides?
LUCRETIA I rather like you. You are very.... attractive.
WEST But not as attractive as Midas.
LUCRETIA I told you I was very practical.
WEST You could help us.
LUCRETIA Midas wouldn't like that... No, thank you. I'd rather live..... and enjoy the finer things in life.
She bends and kisses Jim quickly on the lips.
LUCRETIA Goodbye. I do wish you were going to live a little longer.
She moves off quickly. SOUND of the door OPENING AND CLOSING. CAMERA MOVES IN for TIGHT TWO SHOT of West and Artemus.
ARTEMUS You know, I wish the same thing she does. ZIP PAN TO:
79. INT. JEWEL EXHIBITION ROOM - FULL SHOT - NIGHT
It's opening night of the International Jewel Exhibit, a a special showing for distinguished citizens and visitors. The display cases glitter with remarkable gems. We see whatever the budget can stand in the way of society folk in rich costume of the period.
80. CLOSE ON DISPLAY CASE
Within the case are the largest and most expensive pieces of the exhibit -- a dazzling display. CAMERA ANGLES SLIGHTLY to INCLUDE the face of Morgan Midas peering intently into the case.
MIDAS (softly) Most interesting...
81. TWO SHOT - MIDAS AND LUCRETIA
Lucretia stands beside Midas, also gazing at the jewels. She's wearing an expensive and beautiful dress, and looks great.
LUCRETIA Will it be...enough? MIDAS Over a thousand carats in all, I should say. And at a hundred carats a drop ----
LUCRETIA Enough to distill ten drops.
MIDAS Enough to give me the power...to take whatever I please...to remove whoever I please. (brief pause) Enough to set up the organization that will make me invincible.
LUCRETIA But this place... all these people... if something goes wrong.....
MIDAS Nothing will go wrong. I have enough of the fluid left to do what must be done. And even a little extra. Relax girl. The diamonds are as good as ours.
82. ANOTHER ANGLE - MEDIUM FULL
A short distance from Midas and Lucretia is Baines, in formal regalia, looking around watchfully at the spectators. Midas takes Lucretia's arm and leads her over to Baines.
MIDAS Mr. Baines?......I'm Morgan Midas -- Lady Margaret's nephew.
BAINES (cordially) Ah, yes....I believe we met once a few years back.
MIDAS Indeed. May I present my fiancee, Lucretia Ivronin. Lucretia, Mr. Baines is a most distinguished diplomat.
A polite AD LIB exchange of greetings between Baines and Lucretia.
BAINES You were in Europe last I heard, Morgan...studying with some obscure German scientist.
MIDAS Who died, unfortunately...so I returned home..... (brief pause) I trust you received my Aunt's letter about why she could not show her diamonds....
BAINES Yes. A shame she had to alter her plans so suddenly....But I believe we have an outstanding exhibit anyway -- the finest jewels of many great countries.
MIDAS And I understand the entire affair is your responsibility.
BAINES Yes...it's been a considerable burden. But it looks like a smashing success if we just.... LUCRETIA If what, Mr. Baines?
BAINES If we can avoid that epidemic of diamond thefts sweeping the world. ...You know about it?
MIDAS (nods) Oddly enough, I was in Amsterdam when the diamond house there was cleaned out.
BAINES Shocking....But I must say, I feel we are thoroughly and ingeniously protected here...I have two of Washington's finest special agents on this job.
LUCRETIA Really?... Who are they?
BAINES James West and Artemus Gordon.... And believe me, Gordon has rigged up some fantastic burglar alarms and traps here.
83. THREE SHOT - FEATURING MIDAS
He controls his reaction, but it's clear he's very interested.
MIDAS Has he, indeed?
BAINES You would not believe some of the devices. Brilliant...Only Gordon could think of them.
MIDAS How interesting. I do wish I could talk with him sometime.
FLIP TO:
84. INT. MIDAS' LAB - ANGLE ON WEST AND ARTEMUS - NIGHT
Still chained to the wall, their faces are drawn and stubbled, showing the effects of their confinement. A single light burns in the lab, casting long shadows. CAMERA PULLS BACK as the door OPENS and Midas ENTERS, wearing the same outfit he had on at the Jewel Exhibition, from which he has just returned. He smiles broadly as he comes in.
MIDAS Well, gentlemen, comfy?
WEST Just fine. We always sleep standing up.
MIDAS I admire a man who keeps his sense of humor under even such...serious... circumstances.
He crosses, takes down a brandy decanter, pours himself a snifter, lights a cigar, exhales with pleasure, pulls up a chair and puts it down before them. He sits, stretches out.
MIDAS I have a little proposition to make you.
ARTEMUS (quickly) I accept.
MIDAS Perhaps you may. You would be wise to. (beat) I am an ambitious man, gentlemen, but not a greedy one...nor particularly selfish. What would you say if I offered you totally unlimited power...and all that goes with it. Wealth, luxury, influence...
WEST And a great, big catch.
MIDAS A small catch, Mr. West. You see, you are ingenious men. Capable, resourceful ...formidable. To an ordinary man, your opposition would probably be too much to overcome.
WEST But you are not an ordinary young man.
MIDAS You noticed. No, sir, I am not. I am most extraordinary.
WEST Well, you've at least got extraordinary reflexes. (beat) About your proposition?
MIDAS Come to work for me. With me. I assure you, the pay will be much better.
WEST I don't know...we work for an old, established company...
ARTEMUS With marvelous retirement benefits.
MIDAS But my company is young -- with a great growth potential...it will grow. And if you're smart, you can grow along with it.
WEST Why do you need us?
MIDAS I don't actually need you. But you've shown considerable skill and daring. Such men are valuable. (beat) Think carefully. I'm offering you a chance to become my partner...and I think you have some idea of what that could mean.
WEST Be more specific. Just what would we do?
85. MEDIUM THREE SHOT
MIDAS You can start by helping me acquire all the diamonds from the International Exhibit. I know Mr. Gordon has arranged a few booby traps there, and it would be simpler to avoid them.
West and Artemus twist themselves to exchange a look -- a look which implies they might play along and see what happens.
ARTEMUS Just for the record -- what if we refuse?
MIDAS I'll probably kill you. Or, as a special favor to Lucretia, I might just destroy your minds and turn you loose.
WEST You're all heart. (pause) I think I'd rather accept your offer.
86. ANGLE FEATURING MIDAS
He rises from the chair, smiling.
MIDAS Good....I know what you're thinking, of course -- that you'll go along with me only until you see a chance to trip me up.
ARTEMUS He reads minds, too.
MIDAS But I have a way to insure your future loyalty....I'm going to give you a taste of the diamond elixir -- so you can see for yourselves the power it confers.
ZIP PAN TO:
87. EXT. EXHIBITION HALL - ESTABLISHING - NIGHT (STOCK)
It looks like opening night at the Opera -- blazing lights, a crowd of elegant carriages, people in formal wear of the period. The best the film library has to offer.
88. INT. CARRIAGE - WEST, ARTEMUS, MIDAS, AND LUCRETIA
SOUND of hoofs and carriage wheels on cobblestones. Midas and Lucretia sit on one side, West and Artemus on the other. Lucretia holds a gun pointed firmly at them. Midas pulls back the curtains and looks out the window.
MIDAS Almost there. Let's check those restraints once more.
West and Artemus extend their adjoining arms and legs to reveal that they are handcuffed together at the wrist and ankle, on one side only. Midas checks that the cuffs are securely fastened, then he gets out a small flask of water and a tiny metal vial of the diamond liquid.
89. EXT. ALLEY - MEDIUM - CARRIAGE
Clive turns into the alley near the Exhibition Hall entrance, reins in the horses and brings the carriage to a stop.
90. INT. CARRIAGE
Midas indicates that West and Artemus should get out first.
MIDAS After you, gentlemen. I need hardly warn you not to run away.
ARTEMUS I was never much good at the three-legged race.
Rather awkwardly, West and Artemus manage to get out. Then Midas follows, telling Lucretia:
MIDAS We'll be back before you know it, my dear.
91. EXT. ALLEY - ON CARRIAGE
Midas closes the carriage door, then speaks to his coachman.
MIDAS Clive -- turn the horses around and be ready to leave again in ten seconds.
CLIVE Yes, Mr. Midas.
Clive maneuvers the horses around, turning the carriage in the narrow alley. Meanwhile, Midas empties the tiny vial into the cap of his flask -- two drops only -- then fills the cap up with water. He lifts it in a mock toast.
MIDAS It takes just a few seconds to take effect. There will be a small sip for each of you....But twice as much for me.
Midas tilts up the cap and drinks, then hands it to West, who takes a sip then passes it on to Artemus. It appears that Midas gets more -- a couple of good swallows. West and Artemus immediately react to strong internal sensations.
MIDAS You feel a burning - a dizziness. It's a normal sensation -- it will pass quickly.
92. TIGHT THREE SHOT - WEST, ARTEMUS, MIDAS
SPECIAL EFFECT ELECTRONIC SHIMMER of the image and a SOUND EFFECT, high vibrating whine, rising quickly to a crescendo and fading quickly as the picture stabilizes to normal.
MIDAS There.... feeling better?
ARTEMUS Everything's normal, so far as -- (breaks off; reacts) Jim! Look!
West is also staring at the thing that stuns Artemus, namely:
93. ANGLE ON HORSES AND CARRIAGE - FREEZE FRAME SHOT
There's Clive, still turning the horses and carriage, with everything motionless: the whip straight out in the air, the horses' hoofs poised off the pavement -- all motion stopped.
94. BACK TO THREE SHOT
MIDAS Interesting, isn't it?
Midas lets go the water flask and pulls his hand away from it. The flask hangs motionless in the air.
WEST But it must be falling...
MIDAS Oh, yes -- at sixteen feet per second. But in the quarter of a second that (it) would take to reach the ground, we'll be halfway through our jobs. Come, gentlemen.
Midas retrieves his flask.
CAMERA PANS with them as they turn and walk out of the alley. (NOTE: In the entire sequence following, these three will seem to move at a very normal pace; their intense speed will be shown by the relative slowness or immobility of things around them.) West and Artemus move awkwardly, of course, having to synchronize their footsteps.
95. INT. JEWEL EXHIBIT ROOM - FULL SHOT - FREEZE FRAME
The exhibition room is comfortably filled, but not crowded, with spectaters, all frozen in mid-stride, mouths open in mid-word. There is an odd, arrhythmic clicking SOUND, not loud.
96. ANGLE NEAR FRONT DOOR - PANNING SHOT
As West, Artemus, and Midas enter and move toward the display cases. They pass a few motionless couples on their way, and West and Artemus can't help staring in amazement.
ARTEMUS Absolutely incredible...
MIDAS Yes, isn't it.... I have only one warning -- don't remain still in any one spot for long, or they may get a glimpse of you -- but you'd have to remain motionless so long you'd get bored for that to happen.
WEST What's that odd sound? Like a lot of clicking...
MIDAS (brief smile) These people with their mouths so comically open are talking. What you hear are the separate vibrations of the sound wave.
WEST And they can't hear us...
MIDAS Right. Because our longest sentence is far briefer than the tick of a watch.
ARTEMUS But how can our bodies stand this?
MIDAS Simply because our reflexes are so incredibly fast. We react before we allow our momentum to injure us.
97. NEW ANGLE - BY DISPLAY CASES
WEST Then we're invulnerable? There's no danger in this state?
MIDAS There is one -- air friction. On my first successful experiment I got carried away with enthusiasm, and badly scorched my clothes. One must not move too rapidly.
A low WHISTLE from Artemus the scientist at the remarkable powers and hazards of this drug. Now our threesome has reached the display case on which we saw Artemus working in an earlier scene. Midas suddenly produces a dagger from a sheath under his coat and puts it to West's throat.
ARTEMUS Hey -- what's this?
MIDAS Sorry to be so primative, but I must insure your cooperation -- and bullets are far too slow for us. (beat) Now, Mr. Gordon, tell me of any devices protecting this display, or your friend dies. And he would be quite a burden to you.
ARTEMUS (swiftly) Don't worry, I'll cooperate. There's an alarm and a flash camera to be set off if the case is touched.
MIDAS Disconnect them, please.
Artemus crawls under the railing, then reaches in under the wooden supports of the display case. In a moment he finds and pulls loose a wire, letting it dangle.
ARTEMUS There -- it's safe.
Midas steps inside the railing and very gently takes hold of the glass case covering the jewels. It's about a foot wide and three feet long.
MIDAS At first I enjoyed breaking the cases with a flick of my finger -- but I found I wasted time sorting the diamonds from the broken glass. So...
Midas gives the glass case a gentle upward lift. It leaves his hands and sails slowly upward.
MIDAS There. We'll be out and away before it comes down.
West and Artemus watch helplessly as Midas quickly picks all the diamonds from among the jewels in the exhibit and pockets them. He keeps the knife in one hand, discouraging mutiny. The glass case continues to sail slowly up and OFF.
MIDAS Come along. Let's get the really good ones next.
They move off down the line of display cases.
98. ANOTHER ANGLE - RICHEST DISPLAY CASE
This case holds the largest and brightest stones. Nearby, Baines stands frozen, hand upraised and mouth open, caught in the second of talking with a dignified middle-aged couple. Midas, West and Artemus ENTER SCENE, approaching the case.
MIDAS Well, well -- our noted envoy from Washington, Mr. Baines.... It might be amusing to...no, there's no time. (beat) Well, Mr. Gordon -- what did you devise for this case?
ARTEMUS There are guillotine blades in the lighting box above it. Simpler to trigger them off than to disconnect.
MIDAS Very well, then.
Midas grabs the swagger stick, a new one, from Baines' hand and reaches in with it to gently touch the glass of the case.
99. CLOSE ANGLE - CASE AND LIGHTING BOX
From the lighting box above, the guillotine blade slowly, slowly begins its downward descent.
100. MEDIUM THREE SHOT - MIDAS, WEST, ARTEMUS
Midas looks at Artemus and shakes his head critically.
MIDAS For shame, Mr. Gordon -- is that the best you could do?
ARTEMUS I powered it with the strongest springs I could find.
Midas laughs. He lets go the swagger stick, which hangs motionless horizontally in the path of the slowly descending blade. Then Midas reaches in, removes the glass case as before and gently sends it floating upward. Then he begins rapidly picking the choice diamonds from among the other gems in the exhibit. While he is engrossed in this, West and Artemus back off just a little to try to exchange a word.
101. TIGHT TWO - WEST AND ARTEMUS
WEST (tense whisper) We've got to stop this!
ARTEMUS (whisper) I'll set off the floor trap by the door. There's a sunken cage...
WEST (whisper) Too slow...unless we can get hold of him and throw him into it.... Worth a try.
102. NEW ANGLE - MEDIUM FULL
Midas finishes cleaning out the display case and pockets the diamonds. He steps clear while the swagger stick begins a barely perceptible downward motion, and the guillotine blade is about half way down, still falling slowly. Midas looks around, sizing up the other display cases.
MIDAS I don't believe the other displays are worth bothering with, gentlemen. I examined them last night.... So, shall we go?
He turns and moves toward the front door, with West and Artemus following. But Artemus detours, reaching in under a display case to press a button, then hurrying on. West looks the question, and Artemus nods briefly.
103. THREE SHOT - PANNING
As they walk along toward the front door, Artemus suddenly clutches his chest.
ARTEMUS Oh....sharp pains...
WEST Me too. Just now...
MIDAS That means the drug is wearing off...for you. I took more, of course. You'd better hurry along, the effect ceases quite rapidly once it starts.
Midas quickens his pace, but West and Artemus have trouble keeping up with him. They are laboring like men running through molassas. Sweat stands out on their faces with the effort, but they move more and more slowly.
104. ANGLE BY FRONT DOOR
Midas has almost reached the door, several feet ahead of West and Artemus. He turns to urge them on.
MIDAS Come on, come on!
As they near him, the floor beneath Midas' feet begins to open -- a double trapdoor which folds downward. He reacts quickly. Before it can open more than a few inches, he steps off, onto the solid floor. West and Artemus are not so lucky. They are on the other end of the trapdoor, nearly immobilized now, sinking like dinosaurs in the tar pits as the opening widens beneath them. Midas gives a burst of wicked laughter.
MIDAS For shame, gentlemen. You didn't really think it would work, did you?
He watches as West and Artemus, like bugs trapped in molassas, slowly begin to fall into the pit. Then he scowls, snarls at them.
MIDAS I gave you your chance. I offered you the world. Now, since you've made your own bed you can lie in it....I only wish I could be around when you try to explain all this! (beat) I may see you...in about twenty years when you get out of prison.
Midas turns and quickly EXITS. CAMERA HOLDS ON West and Artemus, now virtually motionless...dropping, slowly, oh so slowly, into the pit.
105. CLOSE SHOT - DISPLAY CASE
As the guillotine blade chops the swagger stick in two. SOUND of a loud alarm bell suddenly fills the air.
106. MEDIUM FULL - SPECTATORS
A well-dressed MAN looks up, then thrusts the two WOMEN with him aside to safety as a glass display cover crashes down into the aisle next to them, shattering. SOUND of SCREAMS mingle with the ALARM BELL.
107. ANGLE AROUND RIFLED CASE
People pointing at the scattered display and SHOUTING.
108. FULL SHOT
As much pandemonium as we can show in one shot -- everybody in the exhibit hall confused and panicked.
109. ANGLE BY FRONT DOOR - DOWN INTO TRAP
There in the cage built below the floor are West and Artemus, fully revealed by the retracted doors. An angry group is already gathering around them. Up to the edge of the trap stalks Baines, livid with rage. He stares down at them, shaking the stump of his swagger stick.
BAINES You two! ... Thieves! ... You'll suffer for this! Oh, how you'll suffer!
West and Artemus exchange an eloquent look. How to explain?
WEST Well... it was fun while it lasted.
FADE OUT:
END ACT THREE
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