Post by California gal on Dec 21, 2009 6:36:25 GMT -8
THE WILD WILD WEST
“THE NIGHT OF THE KILLING EYE”
By
PAUL PLAYDON
SECOND DRAFT
April 3, 1968
#0604
THE WILD WILD WEST
“The Night of the Killing Eye”
PRODUCER
BRUCE LANSBURY
ASSOCIATE PRODUCER
LEONARD KATZMAN
STORY CONSULTANT
HENRY SHARP
WRITTEN BY
PAUL PLAYDON
SETS:
INT. SAN FRANCISCO MUSEUM
INT. MUSEUM HALLWAY
INT. TOMB OF KINGS
INT. RR CAR
EXT. WATERFRONT
INT. WATERFRONT BAR
EXT. WATERFRONT DISTRICT
EXT. ICE HOUSE
EXT. STREET AND ALLEYWAY
EXT. WATERFRONT BAR
INT. ROSIE’S ROOM
EXT. ARABIC QUARTER
INT. PORT SAID BAR
EXT. PORT SAID BAR
INT. AMALEK’S HEADQUARTERS
EXT. WAREHOUSE
INT. BAGGAGE COMPARTMENT
EXT. RR CAR
INT. ICE HOUSE
INT. FREEZER ROOM
CAST:
JAMES WEST – ROBERT CONRAD
ARTEMUS GORDON – ROSS MARTIN
HEISEL
FINLEY
JASON
ROSIE
ABDUL
AMALEK
PROPRIETOR
CURATOR
WORKMAN #1
GUARD
MAN #1
“The Night of the Killing Eye”
TEASER
FADE IN:
1. INT. SAN FRANCISCO MUSEUM – THE TOMB OF THE KINGS – ANGLE – RUBY – NIGHT
A gigantic ruby fills the frame, flooding it with a red glow. It appears larger than it’s normal size because we are viewing it through a magnifying glass. The magnifying glass moves in a circular fashion as WE PULL BACK to reveal Artemus, atop a ladder, examining the ruby, which is embedded in the forehead of a large, Egyptian sun god statue.
As WE CONTINUE TO PULL BACK FARTHER most of the room becomes visible. The light in the room is subdued, with portions of the walls and corners falling into blackness. Egyptian artifacts, pieces of furniture, mummy cases and sculptured objects give the room the atmosphere of the deep past. Dominating the center is an ornately carved sarcophagus. Inside lie the remains of HO TEM RA, once a mighty pharaoh of Egypt. This is his tomb… his resting place for all eternity. The walls are lined with hieroglyphs. By entranceway stand two, huge cat figures… silent sentinels, watching.
Observing Artemus’ examination of the eye is the CURATOR of the museum. Elderly, spectacled and learned in appearance. He stands at the foot of the ladder. Artemus finishes his examination and begins to descend.
CURATOR
All is in order I trust, Mr. Gordon?
ARTEMUS
(nods)
Quite.
Artemus steps off the ladder.
CURATOR
(as though remembering)
Oh before I forget, you may inform the government that the room will be ready for shipment to Egypt no later than the end of this month.
ARTEMUS
Thank you. I will do that.
The Curator looks around the room. There is a disturbing sadness in his wandering eyes—Artemus catches this.
ARTEMUS
Is something the matter?
CURATOR
(snapping out of his thoughts)
What?...
(waves his hand)
Ohh no… it’s… it’s just that I shall be sorry to see the room go.
(half a beat)
Even though the United States government has compensated us handsomely—
(looks around)
—it was by far our most popular exhibit. I shall miss it.
ARTEMUS
(looking around, agreeing)
Yes—it is fascinating.
(half a beat—to Curator)
CURATOR
(emphatic)
Oh definitely so—definitely so. Everything in the room is the original. Plus it is laid down to the exact specifications of the original tomb.
(a beat—to himself)
Yes, I shall be sorry to see it go. Morbid as it may sound, I loved this room.
(collects himself)
Still in a way it is being returned to its rightful owners.
(half a beat)
When will the official ceremonies take place?
ARTEMUS
The Princess Miasmin and her entourage are arriving by boat tonight. But the ceremony won’t be for another two days.
(looks at his watch)
However a Mr. West and a Mr. Heisel, an Egyptian diplomat, will be coming to inspect the room tonight.
A KNOCK is HEARD at the door.
ARTEMUS (CONT'D)
That must be Jim now.
2. ANOTHER ANGLE – ARTEMUS AND CURATOR
As Artemus moves to the door, unbolts it. SOUNDS of a LOCK BEING OPENED on the other side of the door is HEARD. The door opens. However, it is not Jim, it is two Museum guards. One stands by a large, oblong crate which is on casters. The Curator moves towards the doorway as the two guards push the crate into the room.
3. CLOSER ANGLE – THE SCENE
CURATOR
(looking at the crate)
What is this?
GUARD
Late night shipment for you, Mr. Richmond—it’s marked rush.
CURATOR
(he now examines the crate)
Yes… yes, that’s correct… that’s what it says.
(thinks to himself)
But I don’t remember ordering any shipment.
(a beat—then waves guards away)
Fine—thank you. I’ll open it up later.
The two guards leave. Artemus waits by the door to re-bolt it. The Curator moves toward him, speaking as he advances:
CURATOR
I must admit that of late I have been getting absent-minded. Age. It comes to us all.
(surveys the room)
… all except the very old.
(a beat)
Now where were we… oh yes… the ceremony.
4. ANGLE - Crate and Barrel
Under the Curator’s ramblings the crate begins to open in three sections allow three strange forms to emerge. All wear odd-looking masks—brightly painted—terrifyingly unreal. They begin to move toward Artemus and the Curator who have their backs to the strange-looking figures.
CUT TO:
5. INT. MUSEUM HALLWAY – ANGLE – WEST AND HEISEL – NIGHT
Heisel is an Egyptian diplomat—tall—in his late thirties—deep-set eyes. He moves down the hallway with West. As they come up to the first guard.
GUARD
Mr. West and Mr. Heisel?
Jim nods—possibly shows credentials for both he and Heisel. The guard lets them through and nods to the second guard who starts to unlock the door to the TOMB OF KINGS.
6. ANGLE – WEST AND HEISEL
As they come up to the door. West opens it. He and Heisel go into the room.
7. INT. TOMB OF KINGS – ANGLE – WEST AND HEISEL
As they enter. A look of shock greets both of their faces.
8. ANGLE – ARTEMUS AND CURATOR
Both lying on the floor.
9. WIDER ANGLE – THE SCENE
As the three men with masks suddenly appear. They hold gas sticks in their hands.
10. WEST AND HEISEL
As sticks are pointed at them and as a red gas juts out. Heisel is immediately overpowered. He slumps. West tries to guard his face against the fume.
11. ANGLE – WEST AND THREE MEN
As he makes a grab for one and partly pulls off his gas mask.
12. ANGLE – JASON
The partly removed mask reveals Jason’s face. Young, thirtyish, a small scar on his cheek.
13. ANGLE – THE SCENE
As the other two masked men fling West backwards. Jason puts his mask back on. The other men fend off West’s now drunken-like attack. The jet more gas at him and he begins to succumb. He swings punches as though in a stupor. He starts to fall.
14. ANGLE – WEST
As he falls to the ground—face up. He looks at the room.
15. ANGLE – WEST’S POV
The room is starting to go hazy. The status of the sun go Ra is IN FRAME. WE ZOOM to its forehead. The ruby is gone—only an empty socket is visible. This starts to go hazy as we…
FADE OUT:
END OF TEASER
ACT ONE
FADE IN:
16. INT. RAILROAD CAR – ANGLE – EGYPTIAN PRINCESS – NIGHT
Her name is Miasmin, a beautiful but unhappy young woman. Her face wears a veil of stoic composure. If it were to slip she would be crying. However, she sits, holding back her tears with iron determination. FULL BACK to show an angry Heisel standing by her chair. West and Artemus are off to one side. FINLEY, a state department autocrat moves around the room trying to placate Heisel’s anger, apologize for the loss of the ruby, and at the same time give vent to his own anger by casting quick, withering glances at West and Artemus.
FINLEY
(to Miasmin)
Let me re-state your highness the deep apologies of the government over this most unfortunate incident.
HEISEL
Apologies are a poor substitute for the loss of the ruby, Mr. Finley.
Finley mops his sweating brow – he looks “bullets” over to West and Artemus.
FINLEY
(treading softly)
You must understand, Mr. Heisel, that it will take a… little time… to recover the gem…
HEISEL
And time, like my patience, is running short!!! Results are called for now – not words.
(Miasmin places her hand on his arm – he looks at the princess)
As you can see, gentlemen, the Princess is extremely tired.
17. ANGLE – MIASMIN, WEST AND HEISEL
West moves to the compartment door. Miasmin rises. She moves to the door – Heisel half a beat behind her. West opens the door. As the Princess comes by Jim she stops. Heisel does also. She turns to the Egyptian diplomat.
MIASMIN
You may go ahead. I will join you shortly.
Heisel gives a brief glance over to West – then back to Miasmin. He nods and then moves out of the compartment.
18. ANGLE – MIASMIN AND WEST
Miasmin composes herself for a beat. Her face is troubled. She does not speak for a beat.
WEST
(softly)
Your highness?
MIASMIN
You must not judge Mr. Heisel too harshly – sometimes he speaks faster than he thinks; and he is quick to temper.
(a beat – she briefly glances over Artemus and Finley)
I know this must be a very difficult time for all of you. And I do not wish to burden you with more trouble -- -- but I think you should know Mr. West that before I left Egypt a wedding date was set between myself and the Arab prince, Ali Cadiph.
(a beat – she fights back the tears before continuing)
However, unless my dowry contains… the ruby, the Arab prince’s father… the Khan… he…
She finds it too difficult to continue.
WEST
… he won’t allow the wedding?
She nods – holds back the tears.
MIASMIN
(sincere – with fear as an undertone becoming strong in the speech)
And it is more than just a wedding. It will bring peace where there has always been war.
(a beat – almost to herself)
Both the Prince and I know the great benefits that a lasting peach can bring.
(a beat)
He is a very kind… very gentle young man… and… and…
WEST
And you happen to love each other.
She turns and faces him – nods.
WEST (CONT'D)
Believe me, your highness, we will do everything we can to recover the ruby.
MIASMIN
(smiles)
I know you will, Mr. West. Good night.
She exits. A beat as West watches her go and then turns and move back into the compartment.
19. WIDER ANGLE – THE SCENE
As West moves back to Finley and Artemus. Finley moves back and forth – mops his sweating brow and generally fumbles for words to express himself.
FINLEY
Ohh… this is… this is terrible… catastrophic…
(looks at West and Artemus)
WEST
We’ll find the ruby, Mr. Finley.
FINLEY
Yes, but when… how???
Artemus moves towards a window.
ARTEMUS
Why don’t you let us worry about that.
FINLEY
I will have to make a full report to the…
At this point Artemus opens the window.
20. ANGLE – FINLEY
As he stands near a cuckoo clock. A bird comes out and gives a single BEEP, cutting off Finley’s line. The bird comes right up to Finley’s ear. Finley spins around. The bird retreats inside his house. Finley burns.
ARTEMUS
(embarrassed)
Sorry, sir. A warning device I forgot to turn off. You see, when you open any of the windows –
FINLEY
(on top, picking up his hat)
Just… just find that ruby… and within twenty-four hours.
Artemus opens the door. Finley presses his hat firmly on his head and exits.
21. ANGLE – ARTEMUS
He is about to close the door, but stops as he notices something.
22. ANGLE – PARCEL
Small – plain wrapped – and sitting on the stoop. Artemus comes down INTO FRAME and picks it up.
23. WIDER ANGLE – ARTEMUS AND WEST
As Artemus brings the package into the car and places it on the desk. West quickly cuts the string with a letter opener. The wrapping paper removed we see a gas mask and a note. The mask is the same as those used in the Teaser. Artemus picks up the mask – spreads it in his hand.
ARTEMUS
Look familiar.
WEST
We passed the night.
(sees the piece of paper)
A note.
ARTEMUS
A thank you note probably.
West reads the note – shakes his head.
WEST
They stole the ruby for ransom.
ARTEMUS
How much do they want?
WEST
Fifty thousand dollars.
ARTEMUS
When?
WEST
Tonight. The White Whale Bar on the old waterfront.
CUT TO:
24. EXT. WHITE WHALE BAR - WATERFRONT DISTRICT – NIGHT
A seedy looking place. The ripple of raucous LAUGHTER floats out into the night air. We PAN AWAY AND OVER TO West as he stands observing the place from across the street.
25. CLOSER ANGLE – WEST
As he moves toward the bar. WE PAN AWAY FROM him and over to an alleyway. Just visible and lurking in the shadows is a sailor. This is AMALEK, who we will come to know later. He watches West move towards the bar. His hand clutches an ornately carved dagger, which we shall also come to know later.
CUT TO:
26. INT. WATERFRONT BAR – ANGLE – ENTRANCE
West comes in – looks over the place.
27. ANGLE – WEST’S P.O.V. – THE BAR
We PAN the bar. The customers like the place appear seedy and untrustworthy. A group of men dressed in western attire dominate the scene. Girls with shrill GIGGLES are scattered everywhere. Cheap ale flows from behind the bar where we pick on the proprietor who looks our way and begins to move toward us. WE CONTINUE the PAN over to a drunken old sea captain whose grubby beard is surpassed only by his grubby clothes and drunken attitude. WE ZOOM IN to his face as he looks up and gives a slight nod. It is of course Artemus.
28. ANGLE - WEST
As he catches the look and knows that it is all right to go ahead with the meeting. WIDEN ANGLE as the Proprietor comes up to West. The man, like his manners, leaves a lot to be desired.
PROPRIETOR
Your name West?
Jim nods.
PROPRIETOR (CONT'D)
This way.
The Proprietor indicates for West to follow him over to a table by the wall. West sits – looks over to Artemus.
29. ANGLE – ARTEMUS
Acting the part of a drunken sailor. A beer mug in one hand – a girl in the other. He glances over to Jim then back to his other business.
30. ANGLE - WEST & STATUE
Standing erect by a wall and close to Jim is a gargoyle-like statue—with an open, leering mouth, from which a voice emits. It is the voice of Jason, leader of the gang that stole the ruby. The voice lacks any of the coarseness of its surroundings. It’s cultured.
JASON’S VOICE
Good evening, Mr. West.
Jim remains silent.
JASON’S VOICE (CONT'D)
So good of you to come – and on such short notice.
WEST
(deadpan)
Well I had nothing else planned.
JASON’S VOICE
Now if you will kindly pull the slat back on the wall.
West pulls the slat back – looks into the opening.
31. ANGLE – WEST’S P.O.V. – THE BACK ROOM OF THE BAR
Tied to a chair and gagged is Heisel. His eyes speak volumes of indignation. Standing close by is a mountain of a man with a gun in his hand.
32. ANGLE – WEST AND STATUE
West is concerned. Heisel is not the only one who has his hands tied. Jason’s voice comes through the statue.
JASON’S VOICE
A most regrettable insurance policy.
(a beat)
I put his life entirely in your hands.
West turns and now faces the bar and Ferret, a small wiry looking man who now sits facing Jim… expressionless.
JASON’S VOICE (CONT'D)
Meet Mr. Ferret. A business associate who has two main talents. One, he’s mute and two he can spot a phony bill blindfolded. Which brings us to object of this meeting – the money. I trust you’ve brought it.
West puts a briefcase on the table. (NOTE: West has had this small briefcase throughout the entire scene.)
WEST
I have – but first I’d like to see the ruby.
33. ANGLE – FERRET AND BRIEFCASE
A knife flashes in Ferret’s hand. It deftly slices through the thin layer of leather. Ferret’s hand searches inside. It’s empty.
34. ANGLE – WEST, STATUE AND FERRET
JASON’S VOICE
Really, how stupid.
WEST
I didn’t say I had the money. It’s in the bar somewhere. On a… business associate.
JASON’S VOICE
Move, counter-move. Excellent. You may see the ruby. However, any more tricks will cost Mr. Heisel his life.
(beat)
Observe, if you will, the prettiest thing in the room.
West turns to see:
35. ANGLE – ROSIE
A young woman – pretty – with long red hair that swirls as she dances on a table top.
36. ANGLE – WEST, FERRET AND STATUE
West looks at the girl.
JASON’S VOICE
Charming, isn’t she? Her name is Rosie…
Suddenly West’s eyes flash down to the girl’s feet.
37. ANGLE – ROSIE’S FEET
As they dance on the table top. Fastened to one of her toes is the ruby.
JASON’S VOICE
Dazzling, wouldn’t you say?
38. ANGLE – WEST
As he looks over to Artemus.
39. ANGLE – ARTEMUS AND ROSIE
As she dances from table top to table top. She comes by Artemus’ table. He drunkenly admires her and her footwork. He looks over to Jim and nods. It’s authentic.
40. ANGLE – ROSIE
As a terrible SCREAM comes from her mouth.
41. ANGLE – WEST AND FERRET
As Ferret pitches forward onto the table – his mouth trying to emit a silent scream – a curved, ornate dagger imbedded deep in his back.
42. ANGLE – AMALEK & GROUP
Amalek and a group of similarly dressed sailors invade the bar. Their target – Rosie. Their opposition, Jason’s men, dressed as cowboys, who quickly move to counter the attack.
43. ANGLE – WEST AND STATUE
JASON’S VOICE
I warned you, Mr. West.
West quickly looks through the slat on the wall.
44. ANGLE – HEISEL AND THUG
The huge thug cocks his pistol and prepares to aim at Heisel.
45. ANGLE – WEST
His gun is out and he aims it through the slat.
46. ANGLE – HEISEL AND THUG
West’s BULLET hits the thug’s hand causing him to drop the gun. However, two more thugs ENTER the SCENE.
47. ANGLE – WEST
As he moves back from the wall – takes a flying run and crashes through the wall and into the back room where he immediately comes to grips with the two thugs.
48. ANGLE – ARTEMUS AND ROSIE
Artemus is trying to get to Rosie, making his way thru the fighting bodies.
49. ANGLE – ROSIE & SAILOR
One of Amalek’s men has got Rosie. Suddenly Artemus hits him over the head with a beer tray.
50. CLOSER ANGLE –ARTEMUS
As he turns to grab Rosie one of Jason’s thugs is upon him.
51. ANGLE – ROSIE
As she moves to the back of the bar and out through another exit.
52. ANGLE – ARTEMUS AND THUGS
Artemus manages to exit quickly after Rosie.
53. ANGLE – WEST AND TWO THUGS
(INTERCUT WITH ARTEMUS AND ROSIE SEQUENCE)
West with a barrage of punches disposes of the two men and moves quickly to rescue Heisel.
CUT TO:
54. EXT. WATERFRONT DISTRICT – ANGLE – ROSIE – NIGHT
Frightened – on the verge of panic – she runs blindly down the street.
55. ANGLE – ROSIE
As she takes off down a sidestreet. The SOUND of running feet pursuing her are coming closer.
56. CLOSE ANGLE – ROSIE
Exhausted she pushes on. The SOUND of approaching running feet grow ominously louder.
57. ANGLE – TWO SAILORS
One of which is Amalek. They run quickly after Rose.
58. EXT. STREET – ANGLE – ARTEMUS – NIGHT
As he moves swiftly down the street in pursuit of Rosie.
CUT TO:
59. EXT. ICE HOUSE – ANGLE – ROSIE – NIGHT
She runs and practically collapses near the doorway which opens easily under the force of her collapsed body. The pounding FOOTSTEPS are coming closer. Rosie sees a chance to escape in the opened door. She quickly slips inside the ice house and swiftly closes the door behind her.
60. ANGLE – SIDE STREET – NIGHT
As Amalek and another sailor comes down the street and move past the ice house.
61. EXT. STREET & ALLEYWAY – ANGLE – ARTEMUS – NIGHT
He comes to a halt at the intersection. He looks all around and realizes that he has lost the girl. He begins to move back to the bar.
CUT TO:
62. INT. WATERFRONT BAR – ANGLE – WEST AND HEISEL – NIGHT
The bar is in shambles. Jason and his men have left – so have Amalek’s thugs. A policeman moves around the bar while two others carry Ferret’s body out. We MOVE IN on Heisel, who is straightening his coat, looking very relieved, and West, who is by the Egyptian’s side.
HEISEL
They were going to kill me. They would have had it not been for your intervention. I am very grateful. I am in your debt.
(thought crosses his mind)
Ohh but the ruby – you were able to get it?
WEST
I’m afraid not.
HEISEL
(grateful tone beginning to change)
I see.
(half a beat)
You seem to be in need of some competent assistance, Mr. West. I shall give you my help in this matter.
WEST
If you want to be helpful, I suggest you go back to your hotel and…
HEISEL
(cutting in)
But I….
WEST
(overrides)
… and stay there.
(Indicates for a policeman to come over. One does so)
This policeman will escort you.
Heisel goes to say something in retaliation—stops and begins to walk out of the bar, the policeman following. Artemus enters and crosses to West.
63. OMIT
64. ANOTHER ANGLE
ARTEMUS
(surveying the wreckage)
Quite a party.
WEST
Did you catch the girl?
Artemus shakes his head. He picks up the dagger that was in Ferret’s back and which is now on the table.
ARTEMUS
It appears we’re not the only ones interested in getting the ruby.
WEST
You recognize it?
ARTEMUS
(examining it)
It’s decidedly Arabic. Very ancient markings.
West has a key in his hand—he shows it to Artemus.
WEST
This mean anything to you?
65. ANGLE – KEY
Simply shaped. Its only markings is an engraved star.
66. ANGLE – WEST AND ARTEMUS
Artemus shakes his head.
ARTEMUS
Where’d you get it?
WEST
Off Ferret’s body.
ARTEMUS
(a beat—thinks—looks at the knife)
Find the owner of this knife and you’ll find some very interesting people. Shouldn’t be too difficult to trace.
WEST
All right. I’m going after the girl.
(indicates proprietor)
I’ve found out where she lives from him. There’s just a chance she might drop home before continuing her travels.
CUT TO:
67. INT. ROSIE’S ROOM – ANGLE – DOOR – NIGHT
As it is suddenly flung open and a panting Rosie comes in. She shuts the door, leans against it for a beat to catch her breath. She begins to move into the room. She hurriedly picks up a small valise, opens a drawer and begins to throw a few clothes into the bag.
68. CLOSER ANGLE – ROSIE
As she hurriedly packs. In front of her is a small wall mirror. It reveals the rest of the room, now in darkness. Suddenly a match is struck and we see the face of Jason in the mirror. The match is held down. The light it casts off makes Jason’s face appear almost ghoulish. Rosie instantly sees Jason’s face—she lets out a gasp.
ROSIE
(Terrified)
Jason!
She drops her bag and instantly dashes for the door which she swings wide open.
69. ANGLE – ROSIE AND TWO THUGS
Rosie’s exit is blocked by two of Jason’s thugs. One of them instantly grabs Rosie.
70. WIDER ANGLE – THE SCENE
Jason has used the match to light an oil lamp. The room is now lit. We see that Jason is around thirty—impeccably dressed, and now without a certain suavity—cruel though it may be. Rosie struggles. The thug who holds her should be a huge brute of a man—lacking in brains but abounding in muscles.
JASON
(looking at the thug and Rosie)
Now, now, Samson… there’s no need to be rough with the—lady. You can let her go.
The thug releases Rosie who runs to the wall and flattens against it.
71. ANGLE – JASON
As he moves slowly towards her.
JASON
(slowly; deliberately)
Now where is the ruby?
Jason advances toward her.
72. ANGLE – ROSIE
Too frightened to speak. She watches Jason move toward her. And on this we…
FADE OUT.
END OF ACT ONE
“THE NIGHT OF THE KILLING EYE”
By
PAUL PLAYDON
SECOND DRAFT
April 3, 1968
#0604
THE WILD WILD WEST
“The Night of the Killing Eye”
PRODUCER
BRUCE LANSBURY
ASSOCIATE PRODUCER
LEONARD KATZMAN
STORY CONSULTANT
HENRY SHARP
WRITTEN BY
PAUL PLAYDON
SETS:
INT. SAN FRANCISCO MUSEUM
INT. MUSEUM HALLWAY
INT. TOMB OF KINGS
INT. RR CAR
EXT. WATERFRONT
INT. WATERFRONT BAR
EXT. WATERFRONT DISTRICT
EXT. ICE HOUSE
EXT. STREET AND ALLEYWAY
EXT. WATERFRONT BAR
INT. ROSIE’S ROOM
EXT. ARABIC QUARTER
INT. PORT SAID BAR
EXT. PORT SAID BAR
INT. AMALEK’S HEADQUARTERS
EXT. WAREHOUSE
INT. BAGGAGE COMPARTMENT
EXT. RR CAR
INT. ICE HOUSE
INT. FREEZER ROOM
CAST:
JAMES WEST – ROBERT CONRAD
ARTEMUS GORDON – ROSS MARTIN
HEISEL
FINLEY
JASON
ROSIE
ABDUL
AMALEK
PROPRIETOR
CURATOR
WORKMAN #1
GUARD
MAN #1
“The Night of the Killing Eye”
TEASER
FADE IN:
1. INT. SAN FRANCISCO MUSEUM – THE TOMB OF THE KINGS – ANGLE – RUBY – NIGHT
A gigantic ruby fills the frame, flooding it with a red glow. It appears larger than it’s normal size because we are viewing it through a magnifying glass. The magnifying glass moves in a circular fashion as WE PULL BACK to reveal Artemus, atop a ladder, examining the ruby, which is embedded in the forehead of a large, Egyptian sun god statue.
As WE CONTINUE TO PULL BACK FARTHER most of the room becomes visible. The light in the room is subdued, with portions of the walls and corners falling into blackness. Egyptian artifacts, pieces of furniture, mummy cases and sculptured objects give the room the atmosphere of the deep past. Dominating the center is an ornately carved sarcophagus. Inside lie the remains of HO TEM RA, once a mighty pharaoh of Egypt. This is his tomb… his resting place for all eternity. The walls are lined with hieroglyphs. By entranceway stand two, huge cat figures… silent sentinels, watching.
Observing Artemus’ examination of the eye is the CURATOR of the museum. Elderly, spectacled and learned in appearance. He stands at the foot of the ladder. Artemus finishes his examination and begins to descend.
CURATOR
All is in order I trust, Mr. Gordon?
ARTEMUS
(nods)
Quite.
Artemus steps off the ladder.
CURATOR
(as though remembering)
Oh before I forget, you may inform the government that the room will be ready for shipment to Egypt no later than the end of this month.
ARTEMUS
Thank you. I will do that.
The Curator looks around the room. There is a disturbing sadness in his wandering eyes—Artemus catches this.
ARTEMUS
Is something the matter?
CURATOR
(snapping out of his thoughts)
What?...
(waves his hand)
Ohh no… it’s… it’s just that I shall be sorry to see the room go.
(half a beat)
Even though the United States government has compensated us handsomely—
(looks around)
—it was by far our most popular exhibit. I shall miss it.
ARTEMUS
(looking around, agreeing)
Yes—it is fascinating.
(half a beat—to Curator)
CURATOR
(emphatic)
Oh definitely so—definitely so. Everything in the room is the original. Plus it is laid down to the exact specifications of the original tomb.
(a beat—to himself)
Yes, I shall be sorry to see it go. Morbid as it may sound, I loved this room.
(collects himself)
Still in a way it is being returned to its rightful owners.
(half a beat)
When will the official ceremonies take place?
ARTEMUS
The Princess Miasmin and her entourage are arriving by boat tonight. But the ceremony won’t be for another two days.
(looks at his watch)
However a Mr. West and a Mr. Heisel, an Egyptian diplomat, will be coming to inspect the room tonight.
A KNOCK is HEARD at the door.
ARTEMUS (CONT'D)
That must be Jim now.
2. ANOTHER ANGLE – ARTEMUS AND CURATOR
As Artemus moves to the door, unbolts it. SOUNDS of a LOCK BEING OPENED on the other side of the door is HEARD. The door opens. However, it is not Jim, it is two Museum guards. One stands by a large, oblong crate which is on casters. The Curator moves towards the doorway as the two guards push the crate into the room.
3. CLOSER ANGLE – THE SCENE
CURATOR
(looking at the crate)
What is this?
GUARD
Late night shipment for you, Mr. Richmond—it’s marked rush.
CURATOR
(he now examines the crate)
Yes… yes, that’s correct… that’s what it says.
(thinks to himself)
But I don’t remember ordering any shipment.
(a beat—then waves guards away)
Fine—thank you. I’ll open it up later.
The two guards leave. Artemus waits by the door to re-bolt it. The Curator moves toward him, speaking as he advances:
CURATOR
I must admit that of late I have been getting absent-minded. Age. It comes to us all.
(surveys the room)
… all except the very old.
(a beat)
Now where were we… oh yes… the ceremony.
4. ANGLE - Crate and Barrel
Under the Curator’s ramblings the crate begins to open in three sections allow three strange forms to emerge. All wear odd-looking masks—brightly painted—terrifyingly unreal. They begin to move toward Artemus and the Curator who have their backs to the strange-looking figures.
CUT TO:
5. INT. MUSEUM HALLWAY – ANGLE – WEST AND HEISEL – NIGHT
Heisel is an Egyptian diplomat—tall—in his late thirties—deep-set eyes. He moves down the hallway with West. As they come up to the first guard.
GUARD
Mr. West and Mr. Heisel?
Jim nods—possibly shows credentials for both he and Heisel. The guard lets them through and nods to the second guard who starts to unlock the door to the TOMB OF KINGS.
6. ANGLE – WEST AND HEISEL
As they come up to the door. West opens it. He and Heisel go into the room.
7. INT. TOMB OF KINGS – ANGLE – WEST AND HEISEL
As they enter. A look of shock greets both of their faces.
8. ANGLE – ARTEMUS AND CURATOR
Both lying on the floor.
9. WIDER ANGLE – THE SCENE
As the three men with masks suddenly appear. They hold gas sticks in their hands.
10. WEST AND HEISEL
As sticks are pointed at them and as a red gas juts out. Heisel is immediately overpowered. He slumps. West tries to guard his face against the fume.
11. ANGLE – WEST AND THREE MEN
As he makes a grab for one and partly pulls off his gas mask.
12. ANGLE – JASON
The partly removed mask reveals Jason’s face. Young, thirtyish, a small scar on his cheek.
13. ANGLE – THE SCENE
As the other two masked men fling West backwards. Jason puts his mask back on. The other men fend off West’s now drunken-like attack. The jet more gas at him and he begins to succumb. He swings punches as though in a stupor. He starts to fall.
14. ANGLE – WEST
As he falls to the ground—face up. He looks at the room.
15. ANGLE – WEST’S POV
The room is starting to go hazy. The status of the sun go Ra is IN FRAME. WE ZOOM to its forehead. The ruby is gone—only an empty socket is visible. This starts to go hazy as we…
FADE OUT:
END OF TEASER
ACT ONE
FADE IN:
16. INT. RAILROAD CAR – ANGLE – EGYPTIAN PRINCESS – NIGHT
Her name is Miasmin, a beautiful but unhappy young woman. Her face wears a veil of stoic composure. If it were to slip she would be crying. However, she sits, holding back her tears with iron determination. FULL BACK to show an angry Heisel standing by her chair. West and Artemus are off to one side. FINLEY, a state department autocrat moves around the room trying to placate Heisel’s anger, apologize for the loss of the ruby, and at the same time give vent to his own anger by casting quick, withering glances at West and Artemus.
FINLEY
(to Miasmin)
Let me re-state your highness the deep apologies of the government over this most unfortunate incident.
HEISEL
Apologies are a poor substitute for the loss of the ruby, Mr. Finley.
Finley mops his sweating brow – he looks “bullets” over to West and Artemus.
FINLEY
(treading softly)
You must understand, Mr. Heisel, that it will take a… little time… to recover the gem…
HEISEL
And time, like my patience, is running short!!! Results are called for now – not words.
(Miasmin places her hand on his arm – he looks at the princess)
As you can see, gentlemen, the Princess is extremely tired.
17. ANGLE – MIASMIN, WEST AND HEISEL
West moves to the compartment door. Miasmin rises. She moves to the door – Heisel half a beat behind her. West opens the door. As the Princess comes by Jim she stops. Heisel does also. She turns to the Egyptian diplomat.
MIASMIN
You may go ahead. I will join you shortly.
Heisel gives a brief glance over to West – then back to Miasmin. He nods and then moves out of the compartment.
18. ANGLE – MIASMIN AND WEST
Miasmin composes herself for a beat. Her face is troubled. She does not speak for a beat.
WEST
(softly)
Your highness?
MIASMIN
You must not judge Mr. Heisel too harshly – sometimes he speaks faster than he thinks; and he is quick to temper.
(a beat – she briefly glances over Artemus and Finley)
I know this must be a very difficult time for all of you. And I do not wish to burden you with more trouble -- -- but I think you should know Mr. West that before I left Egypt a wedding date was set between myself and the Arab prince, Ali Cadiph.
(a beat – she fights back the tears before continuing)
However, unless my dowry contains… the ruby, the Arab prince’s father… the Khan… he…
She finds it too difficult to continue.
WEST
… he won’t allow the wedding?
She nods – holds back the tears.
MIASMIN
(sincere – with fear as an undertone becoming strong in the speech)
And it is more than just a wedding. It will bring peace where there has always been war.
(a beat – almost to herself)
Both the Prince and I know the great benefits that a lasting peach can bring.
(a beat)
He is a very kind… very gentle young man… and… and…
WEST
And you happen to love each other.
She turns and faces him – nods.
WEST (CONT'D)
Believe me, your highness, we will do everything we can to recover the ruby.
MIASMIN
(smiles)
I know you will, Mr. West. Good night.
She exits. A beat as West watches her go and then turns and move back into the compartment.
19. WIDER ANGLE – THE SCENE
As West moves back to Finley and Artemus. Finley moves back and forth – mops his sweating brow and generally fumbles for words to express himself.
FINLEY
Ohh… this is… this is terrible… catastrophic…
(looks at West and Artemus)
WEST
We’ll find the ruby, Mr. Finley.
FINLEY
Yes, but when… how???
Artemus moves towards a window.
ARTEMUS
Why don’t you let us worry about that.
FINLEY
I will have to make a full report to the…
At this point Artemus opens the window.
20. ANGLE – FINLEY
As he stands near a cuckoo clock. A bird comes out and gives a single BEEP, cutting off Finley’s line. The bird comes right up to Finley’s ear. Finley spins around. The bird retreats inside his house. Finley burns.
ARTEMUS
(embarrassed)
Sorry, sir. A warning device I forgot to turn off. You see, when you open any of the windows –
FINLEY
(on top, picking up his hat)
Just… just find that ruby… and within twenty-four hours.
Artemus opens the door. Finley presses his hat firmly on his head and exits.
21. ANGLE – ARTEMUS
He is about to close the door, but stops as he notices something.
22. ANGLE – PARCEL
Small – plain wrapped – and sitting on the stoop. Artemus comes down INTO FRAME and picks it up.
23. WIDER ANGLE – ARTEMUS AND WEST
As Artemus brings the package into the car and places it on the desk. West quickly cuts the string with a letter opener. The wrapping paper removed we see a gas mask and a note. The mask is the same as those used in the Teaser. Artemus picks up the mask – spreads it in his hand.
ARTEMUS
Look familiar.
WEST
We passed the night.
(sees the piece of paper)
A note.
ARTEMUS
A thank you note probably.
West reads the note – shakes his head.
WEST
They stole the ruby for ransom.
ARTEMUS
How much do they want?
WEST
Fifty thousand dollars.
ARTEMUS
When?
WEST
Tonight. The White Whale Bar on the old waterfront.
CUT TO:
24. EXT. WHITE WHALE BAR - WATERFRONT DISTRICT – NIGHT
A seedy looking place. The ripple of raucous LAUGHTER floats out into the night air. We PAN AWAY AND OVER TO West as he stands observing the place from across the street.
25. CLOSER ANGLE – WEST
As he moves toward the bar. WE PAN AWAY FROM him and over to an alleyway. Just visible and lurking in the shadows is a sailor. This is AMALEK, who we will come to know later. He watches West move towards the bar. His hand clutches an ornately carved dagger, which we shall also come to know later.
CUT TO:
26. INT. WATERFRONT BAR – ANGLE – ENTRANCE
West comes in – looks over the place.
27. ANGLE – WEST’S P.O.V. – THE BAR
We PAN the bar. The customers like the place appear seedy and untrustworthy. A group of men dressed in western attire dominate the scene. Girls with shrill GIGGLES are scattered everywhere. Cheap ale flows from behind the bar where we pick on the proprietor who looks our way and begins to move toward us. WE CONTINUE the PAN over to a drunken old sea captain whose grubby beard is surpassed only by his grubby clothes and drunken attitude. WE ZOOM IN to his face as he looks up and gives a slight nod. It is of course Artemus.
28. ANGLE - WEST
As he catches the look and knows that it is all right to go ahead with the meeting. WIDEN ANGLE as the Proprietor comes up to West. The man, like his manners, leaves a lot to be desired.
PROPRIETOR
Your name West?
Jim nods.
PROPRIETOR (CONT'D)
This way.
The Proprietor indicates for West to follow him over to a table by the wall. West sits – looks over to Artemus.
29. ANGLE – ARTEMUS
Acting the part of a drunken sailor. A beer mug in one hand – a girl in the other. He glances over to Jim then back to his other business.
30. ANGLE - WEST & STATUE
Standing erect by a wall and close to Jim is a gargoyle-like statue—with an open, leering mouth, from which a voice emits. It is the voice of Jason, leader of the gang that stole the ruby. The voice lacks any of the coarseness of its surroundings. It’s cultured.
JASON’S VOICE
Good evening, Mr. West.
Jim remains silent.
JASON’S VOICE (CONT'D)
So good of you to come – and on such short notice.
WEST
(deadpan)
Well I had nothing else planned.
JASON’S VOICE
Now if you will kindly pull the slat back on the wall.
West pulls the slat back – looks into the opening.
31. ANGLE – WEST’S P.O.V. – THE BACK ROOM OF THE BAR
Tied to a chair and gagged is Heisel. His eyes speak volumes of indignation. Standing close by is a mountain of a man with a gun in his hand.
32. ANGLE – WEST AND STATUE
West is concerned. Heisel is not the only one who has his hands tied. Jason’s voice comes through the statue.
JASON’S VOICE
A most regrettable insurance policy.
(a beat)
I put his life entirely in your hands.
West turns and now faces the bar and Ferret, a small wiry looking man who now sits facing Jim… expressionless.
JASON’S VOICE (CONT'D)
Meet Mr. Ferret. A business associate who has two main talents. One, he’s mute and two he can spot a phony bill blindfolded. Which brings us to object of this meeting – the money. I trust you’ve brought it.
West puts a briefcase on the table. (NOTE: West has had this small briefcase throughout the entire scene.)
WEST
I have – but first I’d like to see the ruby.
33. ANGLE – FERRET AND BRIEFCASE
A knife flashes in Ferret’s hand. It deftly slices through the thin layer of leather. Ferret’s hand searches inside. It’s empty.
34. ANGLE – WEST, STATUE AND FERRET
JASON’S VOICE
Really, how stupid.
WEST
I didn’t say I had the money. It’s in the bar somewhere. On a… business associate.
JASON’S VOICE
Move, counter-move. Excellent. You may see the ruby. However, any more tricks will cost Mr. Heisel his life.
(beat)
Observe, if you will, the prettiest thing in the room.
West turns to see:
35. ANGLE – ROSIE
A young woman – pretty – with long red hair that swirls as she dances on a table top.
36. ANGLE – WEST, FERRET AND STATUE
West looks at the girl.
JASON’S VOICE
Charming, isn’t she? Her name is Rosie…
Suddenly West’s eyes flash down to the girl’s feet.
37. ANGLE – ROSIE’S FEET
As they dance on the table top. Fastened to one of her toes is the ruby.
JASON’S VOICE
Dazzling, wouldn’t you say?
38. ANGLE – WEST
As he looks over to Artemus.
39. ANGLE – ARTEMUS AND ROSIE
As she dances from table top to table top. She comes by Artemus’ table. He drunkenly admires her and her footwork. He looks over to Jim and nods. It’s authentic.
40. ANGLE – ROSIE
As a terrible SCREAM comes from her mouth.
41. ANGLE – WEST AND FERRET
As Ferret pitches forward onto the table – his mouth trying to emit a silent scream – a curved, ornate dagger imbedded deep in his back.
42. ANGLE – AMALEK & GROUP
Amalek and a group of similarly dressed sailors invade the bar. Their target – Rosie. Their opposition, Jason’s men, dressed as cowboys, who quickly move to counter the attack.
43. ANGLE – WEST AND STATUE
JASON’S VOICE
I warned you, Mr. West.
West quickly looks through the slat on the wall.
44. ANGLE – HEISEL AND THUG
The huge thug cocks his pistol and prepares to aim at Heisel.
45. ANGLE – WEST
His gun is out and he aims it through the slat.
46. ANGLE – HEISEL AND THUG
West’s BULLET hits the thug’s hand causing him to drop the gun. However, two more thugs ENTER the SCENE.
47. ANGLE – WEST
As he moves back from the wall – takes a flying run and crashes through the wall and into the back room where he immediately comes to grips with the two thugs.
48. ANGLE – ARTEMUS AND ROSIE
Artemus is trying to get to Rosie, making his way thru the fighting bodies.
49. ANGLE – ROSIE & SAILOR
One of Amalek’s men has got Rosie. Suddenly Artemus hits him over the head with a beer tray.
50. CLOSER ANGLE –ARTEMUS
As he turns to grab Rosie one of Jason’s thugs is upon him.
51. ANGLE – ROSIE
As she moves to the back of the bar and out through another exit.
52. ANGLE – ARTEMUS AND THUGS
Artemus manages to exit quickly after Rosie.
53. ANGLE – WEST AND TWO THUGS
(INTERCUT WITH ARTEMUS AND ROSIE SEQUENCE)
West with a barrage of punches disposes of the two men and moves quickly to rescue Heisel.
CUT TO:
54. EXT. WATERFRONT DISTRICT – ANGLE – ROSIE – NIGHT
Frightened – on the verge of panic – she runs blindly down the street.
55. ANGLE – ROSIE
As she takes off down a sidestreet. The SOUND of running feet pursuing her are coming closer.
56. CLOSE ANGLE – ROSIE
Exhausted she pushes on. The SOUND of approaching running feet grow ominously louder.
57. ANGLE – TWO SAILORS
One of which is Amalek. They run quickly after Rose.
58. EXT. STREET – ANGLE – ARTEMUS – NIGHT
As he moves swiftly down the street in pursuit of Rosie.
CUT TO:
59. EXT. ICE HOUSE – ANGLE – ROSIE – NIGHT
She runs and practically collapses near the doorway which opens easily under the force of her collapsed body. The pounding FOOTSTEPS are coming closer. Rosie sees a chance to escape in the opened door. She quickly slips inside the ice house and swiftly closes the door behind her.
60. ANGLE – SIDE STREET – NIGHT
As Amalek and another sailor comes down the street and move past the ice house.
61. EXT. STREET & ALLEYWAY – ANGLE – ARTEMUS – NIGHT
He comes to a halt at the intersection. He looks all around and realizes that he has lost the girl. He begins to move back to the bar.
CUT TO:
62. INT. WATERFRONT BAR – ANGLE – WEST AND HEISEL – NIGHT
The bar is in shambles. Jason and his men have left – so have Amalek’s thugs. A policeman moves around the bar while two others carry Ferret’s body out. We MOVE IN on Heisel, who is straightening his coat, looking very relieved, and West, who is by the Egyptian’s side.
HEISEL
They were going to kill me. They would have had it not been for your intervention. I am very grateful. I am in your debt.
(thought crosses his mind)
Ohh but the ruby – you were able to get it?
WEST
I’m afraid not.
HEISEL
(grateful tone beginning to change)
I see.
(half a beat)
You seem to be in need of some competent assistance, Mr. West. I shall give you my help in this matter.
WEST
If you want to be helpful, I suggest you go back to your hotel and…
HEISEL
(cutting in)
But I….
WEST
(overrides)
… and stay there.
(Indicates for a policeman to come over. One does so)
This policeman will escort you.
Heisel goes to say something in retaliation—stops and begins to walk out of the bar, the policeman following. Artemus enters and crosses to West.
63. OMIT
64. ANOTHER ANGLE
ARTEMUS
(surveying the wreckage)
Quite a party.
WEST
Did you catch the girl?
Artemus shakes his head. He picks up the dagger that was in Ferret’s back and which is now on the table.
ARTEMUS
It appears we’re not the only ones interested in getting the ruby.
WEST
You recognize it?
ARTEMUS
(examining it)
It’s decidedly Arabic. Very ancient markings.
West has a key in his hand—he shows it to Artemus.
WEST
This mean anything to you?
65. ANGLE – KEY
Simply shaped. Its only markings is an engraved star.
66. ANGLE – WEST AND ARTEMUS
Artemus shakes his head.
ARTEMUS
Where’d you get it?
WEST
Off Ferret’s body.
ARTEMUS
(a beat—thinks—looks at the knife)
Find the owner of this knife and you’ll find some very interesting people. Shouldn’t be too difficult to trace.
WEST
All right. I’m going after the girl.
(indicates proprietor)
I’ve found out where she lives from him. There’s just a chance she might drop home before continuing her travels.
CUT TO:
67. INT. ROSIE’S ROOM – ANGLE – DOOR – NIGHT
As it is suddenly flung open and a panting Rosie comes in. She shuts the door, leans against it for a beat to catch her breath. She begins to move into the room. She hurriedly picks up a small valise, opens a drawer and begins to throw a few clothes into the bag.
68. CLOSER ANGLE – ROSIE
As she hurriedly packs. In front of her is a small wall mirror. It reveals the rest of the room, now in darkness. Suddenly a match is struck and we see the face of Jason in the mirror. The match is held down. The light it casts off makes Jason’s face appear almost ghoulish. Rosie instantly sees Jason’s face—she lets out a gasp.
ROSIE
(Terrified)
Jason!
She drops her bag and instantly dashes for the door which she swings wide open.
69. ANGLE – ROSIE AND TWO THUGS
Rosie’s exit is blocked by two of Jason’s thugs. One of them instantly grabs Rosie.
70. WIDER ANGLE – THE SCENE
Jason has used the match to light an oil lamp. The room is now lit. We see that Jason is around thirty—impeccably dressed, and now without a certain suavity—cruel though it may be. Rosie struggles. The thug who holds her should be a huge brute of a man—lacking in brains but abounding in muscles.
JASON
(looking at the thug and Rosie)
Now, now, Samson… there’s no need to be rough with the—lady. You can let her go.
The thug releases Rosie who runs to the wall and flattens against it.
71. ANGLE – JASON
As he moves slowly towards her.
JASON
(slowly; deliberately)
Now where is the ruby?
Jason advances toward her.
72. ANGLE – ROSIE
Too frightened to speak. She watches Jason move toward her. And on this we…
FADE OUT.
END OF ACT ONE