Post by California gal on Mar 15, 2009 8:16:37 GMT -8
THE WILD WILD WEST
“The Night of the Pistoleros”
by Robert C. Dennis and Earl Barret
REV. FINAL DRAFT
May 8, 1968
#0605
PRODUCER:
BRUCE LANSBURY
ASSOCIATE PRODUCER:
LEONARD KATZMAN
STORY CONSULTANT:
HENRY SHARP
WRITTEN BY:
ROBERT C. DENNIS & EARL BARRET
SETS:
EXT. DESERT COUNTRY
EXT. RANCHYARD
EXT. FORT CHALLENGE
INT. C.O.’S OFFICE
INT. GUARD HOUSE
EXT. PARADE GROUND
EXT. TOHACHI STREET
INT. PHOTOGRAPHY SHOP
INT. HACIENDA BEDROOM
EXT. GUARD HOUSE
EXT. HOTEL
INT. HOTEL LOBBY
EXT. CEMETERY
EXT. ADOBE HUT
EXT. SAN PACO STREET
INT. CANTINA
INT. COL. VEGA’S HDQTS.
INT. KNIFE SHOP
EXT. ALLEY
INT. CELL
INT. HACIENDA LIVING ROOM
EXT. U.S. TROOPS (STOCK)
EXT. MEXICAN TROOPS (STOCK)
INT. TENT.
CAST:
JAMES WEST – ROBERT CONRAD
ARTEMUS GORDON – ROSS MARTIN
SANCHOS
LT. MURRAY
DR. WINTERICH
COL. ROPER
COL. ROPER #2
ARMANDO GALIANO
BERNAL
CHARLIE TOBIN
DUTY SERGEANT
AIDE
MARIANA
VEGA
LOPEZ
MAJOR
BARMAN
ASSISTANT
TROOPER
PISTOLERO
TEASER
FADE IN
1. EXT. DESERT COUNTRY – DAY
In f.g. is the sun-bleached skull of a steer. CAMERA PANS a broad sweet of desert revealing sand and sage, a distant line of hills, and nothing else. Then, from over a small rise, come two riders. As they come closer we see they are WEST and ARTEMUS. Reaching CAMERA they rein up and West takes out a map, studying it. Artemus looks at the terrain.
ARTEMUS
By the look of the terrain, we must be half a day’s ride from the Mexican border.
WEST
Which puts us an hour away from Fort Challenge.
ARTEMUS
We haven’t seen man or beast in over a day. I swear I don't know who would be plotting to take over this Territory.
WEST
We’ll find out when we get to the Fort and talk to Sergeant Tobin.
ARTEMUS
I think I understand now why an old soldier like Charlie Tobin would break the chain of command by writing directly to the President.
WEST
You do? Why?
ARTEMUS
He wants to get transferred out of this --
1. CONTINUED
He’s interrupted buy the CLANGING of an o.s. iron triangle used to summon cowhands for dinner.
WEST
Artie, I think we’ve just been invited for dinner.
They angle off to follow the SOUND which comes from beyond another rise. As they near the crest the SOUND STOPS.
2. ANOTHER ANGLE
West and Artemus stop at the crest and look ahead.
3. FULL SHOT – RANCH
A small house, two or three even smaller outbuildings, a corral and a windmill. Now there’s no sound except the CREAKING of the windmill and no sign of life. Puzzled, they ride on toward the ranch.
4. EXT. RANCH YARD – DAY
On closer inspection the place appears totally deserted, though not neglected. The buildings are sun struck but in good repair. Hanging from the roof of the small porch of the house is an iron triangle. West and Artemus ride into SCENE.
ARTEMUS & WEST
(ad lib, calling)
Hello, there … anybody home?
ARTEMUS
Somebody rang the dinner bell.
(calls)
Hello there!
4. CONTINUED
No response. The windmill CREAKS wearily in the hot wind. The boys dismount and go toward the house. The horses, freed, head for the water trough under the windmill.
5. MED. SHOT
Artemus stands on the porch facing out while West enters the house. The HORSES WHINNY.
ARTEMUS
(over his shoulder)
Jim --
WEST’S VOICE
Nobody here.
ARTEMUS
Must be something wrong with the water.
West reappears from the house.
WEST
What?
6. ANOTHER ANGLE
The horses are shying away from the water trough and NICKERING uneasily.
ARTEMUS
The horses won’t drink it.
West and Artemus leave the porch and come to the trough.
7. CLOSE SHOT – TROUGH
The HOMESTEADER floats face down. Pinned to his back with a knife is a note containing large hand printed Spanish words. West retrieves the note.
7. CONTINUED
WEST
(reading)
Death to the gringos. It’s signed: Los Pistoleros…
ARTEMUS
Aren’t they the ones who are plotting to take over the Territory?
WEST
(looks off)
Why don’t we ask them?
Artemus looks off.
9. MED. SHOT – PISTOLERO
Stepping into SCENE from behind an outbuilding. A SECOND ONE emerges from the other corner. They are grinning and covering the Boys with guns.
9. ANOTHER ANGLE
THREE MORE PISTOLEROS appear behind the Boys from beyond the ranch house.
10. CLOSE SHOT – WAGON
A FIFTH PISTOLERO raises up from the bed of the wagon and rests his gun on the side.
11. MED. SHOT
A PISTOLERO stands up on top of a building and commands the whole ranch yard. This is SANCHOS, a villainous mustachioed man.
ARTEMUS
Jim, it looks like we were expected.
FADE OUT:
END OF TEASER
ACT ONE
12. EXT. RANCH YARD – HIGH ANGLE – SANCHOS POV – DAY
A ring of Pistoleros encircle West and Artemus at the trough in which the Homesteader floats.
SANCHOS VOICE
(in Spanish)
Take the gringo in the blue and hang him.
13. MED. CLOSE – SANCHOS
on roof
SANCHOS
(in Spanish)
We’ll take the other one with us. Move!... Faster!...
14. TWO SHOT
West looks at Artemus.
WEST
Did I hear big mouth right?
ARTEMUS
Yep. No hard feelings, Jim, but they’re going to hang you… and take me with them.
WEST
I resent that. Wonder what they’ve got planned for you, Artie.
ARTEMUS
Don’t think I’ll wait to find out. If I put my hand in my pocket very -- very slowly -- like this -- and take out --
PISTOLERO
(in Spanish)
Stop that!
Artemus quickly takes his hand out of his pocket. He holds a small metal orb.
ARTEMUS
Sorry, amigo.
PISTOLEROS
(in Spanish)
Drop it!
WEST
You heard him. He wants you to drop it --
ARTEMUS
Then I’d better do it.
Artemus tosses the orb to the ground. It EXPLODES loudly into a blossom of smoke and sound that blankets the whole scene.
15. SANCHOS POV
Everyone below is hidden by the smoke-cloud. Then West and Artemus burst out in the clear running for cover of the ranch house.
16. MED. SHOT – SANCHOS
He FIRES down at them.
17. WIDER ANGLE
West puts a bullet past Sanchos making him dive to the roof. The Boys vanish around the corner of the ranch house.
18. INT. BARN – WEST AND ARTEMUS
BULLETS are smashing the windows and ripping into the walls forcing West and Artemus to hit the ground. They take up positions at the front and rear doors and RETURN THE FIRE. Finally:
ARTEMUS
This could go on all day.
WEST
Let’s not play with them anymore.
18A. ANGLE – WEST
He’s taken out a grenade launcher, loads it and FIRES through the nearest window.
19. EXT. RANCH YARD – DAY
The grenade lands in the lean-to and demolishes it. As the dust settles there’s a long moment of shocked silence.
SANCHOS
(in Spanish)
Let’s get back to the camp. Move!
Then the Pistoleros stream away, crowding each other in their haste to get out of range. Sanchos comes off the roof in one leap, picks himself up and joins the flight.
20. ANOTHER ANGLE
West and Artemus come on the porch and watch them go. Now we see that one Pistolero lies unconscious in the ranch yard. West comes to him and turns him over, as:
WEST
Artie… Why do you suppose they wanted to kill me and capture you?
ARTEMUS
Maybe I’m more valuable…
21. CLOSE SHOT – PISTOLERO
His name is LOPEZ. Part of the photograph protrudes from his shirt pocket. West leans into SCENE and takes the picture.
22. WIDER ANGLE
As Artemus comes over to West.
WEST
Whoever thought that, gave them your picture…
He passes over the photo.
WEST (CONT’D)
If there was a leak about our trip down here, it would have to be at Fort Challenge.
23. CLOSE SHOT – PHOTO
Of Artemus, taken in some undefined location at some unspecified time.
ARTEMUS’ VOICE
Doesn’t really do me justice.
24. BACK TO SCENE
Artemus turns photo over revealing a name stamped on the back.
ARTEMUS
Bernal’s – Tochachi, Arizona.
WEST
Know him?
ARTEMUS
Nope. But I’m going to make a point of getting acquainted.
Lopez stirs with returning consciousness. West moves over to pick up the Pistolero’s fallen gun and heave it out into the sagebrush.
WEST
Do that. I’ll take Senor Pistolero on to the fort. Somebody’s got some explaining to do.
He hauls Lopez to his feet.
CUT TO:
25. EXT. FORT CHALLENGE – DAY
ESTABLISHING IT.
25A. EXT. FORT CEMETERY
West is riding toward the fort chousing the mounted Lopez ahead of him.
26. MED. SHOT – WATCH TOWER
A Trooper on sentry duty is sighting across the approaches to the fort.
27. INT. FORT – DAY
As West signals duty officer and turns his prisoner over to the military. West dismounts and moves toward headquarters scene.
DISSOLVE:
28. INT. C.O.’S OFFICE – DAY
LIEUTENANT MURRAY, lean and young, stands back of a desk, just a bit self-conscious, as if out of place here. He is now dismissing a Private with some papers.
MURRAY
Just have these duty rosters posted, Private… I’ll check with you later… Good afternoon --
WEST
I want to see Colonel Roper.
MURRAY
He’s on patrol, Sir.
WEST
When will he return, Lieutenant?
MURRAY
Don't know, sir. He’s down on the border. The Pistoleros have stepped up their raids in the past few days.
WEST
Who’s his second in command?
MURRAY
Major Robinson, sir. But he’s patrolling too.
WEST
All right -- Who’s in charge here?
MURRAY
I am, sir, Lieutenant Murray. I’d like to welcome you to Fort Challenge.
WEST
Thanks. My name is James West.
MURRAY
Yes sir, I know. We’ve been expecting you.
WEST
Where did you get your information, Lieutenant?
MURRAY
(taken aback)
Sir?
WEST
This was supposed to be a secret mission, known only to Colonel Roper. Is he in the habit of confiding in Junior officers?
MURRAY
(floundering)
No sir. I didn’t get it from the Colonel. It’s common knowledge -- everybody in the fort knows.
(he stiffens)
After all, Sergeant Tobin never kept it a secret he’d written to President Grant. He even gave a copy to the Colonel -- after he’d mailed the letter.
WEST
In that case I’d better talk to Sergeant Tobin. Unless he’s out on patrol too.
MURRAY
No so. He’s in the guardhouse.
WEST
Why?
MURRAY
For making wild charges, assaulting an officer and conducting himself in an unmilitary manner.
WEST
That doesn’t sound like my old sergeant major.
MURRAY
He went berserk.
WEST
I’d like to see him.
MURRAY
Sir… Unless you can show me a written order giving you access to the prisoner you’ll have to wait until Colonel Roper returns.
WEST
(a beat -- he smiles)
And you don't know when that will be?
MURRAY
(he smiles too)
No sir.
DISSOLVE
29. INT. GUARD HOUSE OFFICE – DAY
A small room containing a table and chair for the Duty Sergeant and a built-in wooden bench for visitors. The cells are in the rear of the building reached through a barred door. The Duty Sergeant is a large brutal man who regards West as he enters, with no favor.
On the wall behind the Duty Sergeant is a large keyring with two keys.
DUTY SERGEANT
Sorry, mister, no civilians allowed in the guardhouse.
WEST
I’d like to question the Pistolero I brought in.
DUTY SERGEANT
Not a chance, mister. You just want to see Sergeant Tobin. I’ve had orders to keep you out.
West takes out a cheroot, takes it out of its wrapper. He balls the wrapper and puts it in an ashtray.
WEST
From Lieutenant Murray?
DUTY SERGEANT
(he shrugs)
He’s command right now. You’ll have to get out.
West scratches a wooden match and lights his cheroot. He puts the match in the ashtray igniting the wrapper.
WEST
I understand Tobin went berserk and struck an officer.
30. CLOSE SHOT – ASHTRAY
The wrapper flares up.
DUTY SERGEANT’S VOICE
Who told you that?
WEST’S VOICE
Lieutenant Murray --
The wrapper erupts in a cloud of orange smoke.
31. WINDER ANGLE
Duty Sergeant’s face is obscured by the smoke. West has stepped smartly back out of range. As the smoke clears Duty Sergeant’s head falls with a thump on the table. West moves around the table and gets the keys. He unlocks the barred door.
32. INT. GUARDHOUSE – DAY
West comes to the first cell. Lopez sits on the bunk, head in his hands. He looks up as West passes. Wet moves on to the next cell. This one contains CHARLIE TOBIN, a grizzled old campaigner. He reaches through the bars and squeezes West’s shoulders.
TOBIN
Jim, Jim boy. I got the word you’d come but I didn’t believe it.
WEST
Came as fast as we could, Charlie.
TOBIN
Where’s Artemus?
WEST
In Tohachi. He’ll be along.
TOBIN
Good -- good. I knew General Grant wouldn’t desert me. Let’s have a look at you, boy. It is Jim West, isn’t it?
WEST
You can see for yourself.
TOBIN
Seeing ain’t enough these days. That’s one thing I learned -- but not in time.
WEST
What do you mean, Charlie?
TOBIN
In starts below the border -- with the Pistoleros… and up here there’s a plot brewin’. We’re surrounded by spies and traitors. Right in the fort.
WEST
(troubled)
Charlie --
TOBIN
I’ve got to get out of here. They can’t leave me alive. I know too much.
WEST
I’ll talk to Colonel Roper about that, when he comes back. But give me something to go on. And hurry up before Murray finds out I’m in here.
TOBIN
How do you know he’s Murray?
WEST
What do you mean?
TOBIN
I said, how do you know he’s Lieutenant Murray?
WEST
Well… Because Colonel Roper left him in command of the fort. That’s enough for me.
TOBIN
Maybe you’re too easily satisfied, Jim. Or maybe you ain’t Jim at all. How do I know?
WEST
What’s the matter with you, Charlie?
TOBIN
Eyes ain’t enough anymore. I need proof. You prove to me you’re Jim West --
WEST
Charlie…
TOBIN
Remember that farmhouse -- on the road to Shiloh there was a little white farmhouse with apple trees all in bloom the time we was there.
WEST
It was spring, Charlie.
TOBIN
That’s right. And the farmer’s two daughters. What were their names?
WEST
That was a long time ago --
TOBIN
Jim West would remember.
WEST
All right, let me think… the older one, the black-haired one, that was Zedra… I’ve forgotten the other one.
TOBIN
All right, Jim. I just had to be sure. Come closer… Lieutenant Murray is a ringer. The Pistoleros planted him here.
WEST
Oh, Charlie --
TOBIN
Artemus Gordon -- he’ll know. The real Murray was in his regiment. You say he’s in Tohachi?
WEST
He’ll be along soon…
TOBIN
I can’t wait… you’ve gotta get me out of here… now --
He has to shout the last line because the Duty Sergeant and a pair of Troopers are storming in.
DUTY SERGEANT
All right, mister, you wanted in so bad, now you can stay awhile.
(to Troopers)
Lock him up!
The Troopers grab West roughly and are flung aside as West reacts angrily. They leap back to strong arm him in the narrow area between the cells. One of the Troopers is knocked back against the bar’s of Charlie’s cell.
33. CLOSE SHOT – TROOPERS GUN
The butt actually projects through the bars so that Charlie twitches it out with a quick motion and hides it behind him.
34. WIDER ANGLE
Trooper #2 is flattened by West as the first one lunges back into battle. He gets pole-axed for his trouble. As he goes down West has his back to the Duty Sergeant who takes a step forward and crashes his gun butt down on West’s head. As West falls unconscious:
TOBIN
You got no more use for it, Mulligan.
DUTY SERGEANT
Tobin --
TOBIN
Lay it down and kick them keys over here.
35. EXT. PARADE GROUND – FORT CHALLENGE – DAY
Very little activity in the heat of the day. A TROOPER is about to mount his horse. Tobin charges out from behind a building and makes a flying leap which knocks the Mounted Trooper to the ground. Tobin leaps into the saddle and beats the frightened horse into a gallop.
TROOPER’S VOICE
Stop -- Stop him!
36. ANOTHER ANGLE
Tobin his galloping for the gate. A few BULLETS zing close above his head. Then he’s outside the wall and gone.
DISSOLVE:
37. EXT. TOHACHI STREET – DAY
CLOSE SHOT – HORSES HOOVES
Plodding along. CAMERA PANS up to reveal the rider is Artemus as he angles into the hitching rail in front of a shop. As Artemus swings down stiffly, still hot and dusty:
38. CLOSE SHOT – SHOP WINDOW
bearing the sign: BERNAL – PHOTOGRAPHER. In the window are several examples of Bernal’s work. Artemus comes into SCENE and ENTERS the shop.
39. INT. PHOTOGRAPHY SHOP – DAY
A bell over the door CLATTERS and summons BERNAL from the back room. He comes to the counter.
BERNAL
Good afternoon, Senor. You wish to have a photograph?
ARTEMUS
I’ve got one.
He shows the pic of himself taken from Lopez.
BERNAL
It fails to do you justice. The photographer was estupido.
ARTEMUS
The photographer was you.
BERNAL
Impossible.
(turns it over -- sees stamp)
I remember now. A customer brought to me a negative and asked for copies to be made.
ARTEMUS
How many?
BERNAL
A dozen…
ARTEMUS
And the name of the customer?
BERNAL
It was a long time ago -- maybe two weeks -- I remember faces, not names.
ARTEMUS
But you have records and you could look up the name.
BERNAL
My records are confidential. I don’t reveal such information to strangers.
ARTEMUS
But you could make an exception.
BERNAL
Never.
Artemus raises his gun into SCENE.
BERNAL (CONT’D)
If you insist.
ARTEMUS
I’m afraid I do.
Bernal goes through a curtained arch into a back room, Artemus following.
40. INT. PHOTOGRAPHY STUDIO – DAY
Posing for a portrait is a handsome and distinguished Spanish Don, ARMANDO GALIANO
BERNAL
My assistant --
ARTEMUS
Carry on.
The Assistant is behind the camera, his head under the cloth.
ASSISTANT’S VOICE
Gracias. A little more higher with the chin, Senor, please.
Bernal has opened a ledger on a small desk.
40. CONTINUED
BERNAL
Ah -- here it is.
As Artemus turns from watching Galiano, the CAMERA TURNS too, trained on his back.
BERNAL (CONT’D)
The customer was a man called Sanchos.
The Assistant holds the bulb in his hand.
ARTEMUS
Fine. Where do I find Sanchos?
ASSISTANT’S VOICE
Over here, Senor.
He squeezes the bulb. Artemus reacts.
41. CLOSE SHOT
A very thin dart is protruding from the back of Artemus's throat. He grabs for it.
42. CLOSE SHOT – ASSISTANT
As he brings his head out from under the cloth we see it is indeed Sanchos.
43. MED. SHOT
Artemus pivots to CAMERA, his eyes already glazing.
GALIANO
Sanchos’ aim has improved since this morning, don’t you agree?
ARTEMUS
I don’t believe we’ve met…
He pitches forward into Lens as we FREEZE FRAME
FADE OUT:
END OF ACT ONE
“The Night of the Pistoleros”
by Robert C. Dennis and Earl Barret
REV. FINAL DRAFT
May 8, 1968
#0605
PRODUCER:
BRUCE LANSBURY
ASSOCIATE PRODUCER:
LEONARD KATZMAN
STORY CONSULTANT:
HENRY SHARP
WRITTEN BY:
ROBERT C. DENNIS & EARL BARRET
SETS:
EXT. DESERT COUNTRY
EXT. RANCHYARD
EXT. FORT CHALLENGE
INT. C.O.’S OFFICE
INT. GUARD HOUSE
EXT. PARADE GROUND
EXT. TOHACHI STREET
INT. PHOTOGRAPHY SHOP
INT. HACIENDA BEDROOM
EXT. GUARD HOUSE
EXT. HOTEL
INT. HOTEL LOBBY
EXT. CEMETERY
EXT. ADOBE HUT
EXT. SAN PACO STREET
INT. CANTINA
INT. COL. VEGA’S HDQTS.
INT. KNIFE SHOP
EXT. ALLEY
INT. CELL
INT. HACIENDA LIVING ROOM
EXT. U.S. TROOPS (STOCK)
EXT. MEXICAN TROOPS (STOCK)
INT. TENT.
CAST:
JAMES WEST – ROBERT CONRAD
ARTEMUS GORDON – ROSS MARTIN
SANCHOS
LT. MURRAY
DR. WINTERICH
COL. ROPER
COL. ROPER #2
ARMANDO GALIANO
BERNAL
CHARLIE TOBIN
DUTY SERGEANT
AIDE
MARIANA
VEGA
LOPEZ
MAJOR
BARMAN
ASSISTANT
TROOPER
PISTOLERO
TEASER
FADE IN
1. EXT. DESERT COUNTRY – DAY
In f.g. is the sun-bleached skull of a steer. CAMERA PANS a broad sweet of desert revealing sand and sage, a distant line of hills, and nothing else. Then, from over a small rise, come two riders. As they come closer we see they are WEST and ARTEMUS. Reaching CAMERA they rein up and West takes out a map, studying it. Artemus looks at the terrain.
ARTEMUS
By the look of the terrain, we must be half a day’s ride from the Mexican border.
WEST
Which puts us an hour away from Fort Challenge.
ARTEMUS
We haven’t seen man or beast in over a day. I swear I don't know who would be plotting to take over this Territory.
WEST
We’ll find out when we get to the Fort and talk to Sergeant Tobin.
ARTEMUS
I think I understand now why an old soldier like Charlie Tobin would break the chain of command by writing directly to the President.
WEST
You do? Why?
ARTEMUS
He wants to get transferred out of this --
1. CONTINUED
He’s interrupted buy the CLANGING of an o.s. iron triangle used to summon cowhands for dinner.
WEST
Artie, I think we’ve just been invited for dinner.
They angle off to follow the SOUND which comes from beyond another rise. As they near the crest the SOUND STOPS.
2. ANOTHER ANGLE
West and Artemus stop at the crest and look ahead.
3. FULL SHOT – RANCH
A small house, two or three even smaller outbuildings, a corral and a windmill. Now there’s no sound except the CREAKING of the windmill and no sign of life. Puzzled, they ride on toward the ranch.
4. EXT. RANCH YARD – DAY
On closer inspection the place appears totally deserted, though not neglected. The buildings are sun struck but in good repair. Hanging from the roof of the small porch of the house is an iron triangle. West and Artemus ride into SCENE.
ARTEMUS & WEST
(ad lib, calling)
Hello, there … anybody home?
ARTEMUS
Somebody rang the dinner bell.
(calls)
Hello there!
4. CONTINUED
No response. The windmill CREAKS wearily in the hot wind. The boys dismount and go toward the house. The horses, freed, head for the water trough under the windmill.
5. MED. SHOT
Artemus stands on the porch facing out while West enters the house. The HORSES WHINNY.
ARTEMUS
(over his shoulder)
Jim --
WEST’S VOICE
Nobody here.
ARTEMUS
Must be something wrong with the water.
West reappears from the house.
WEST
What?
6. ANOTHER ANGLE
The horses are shying away from the water trough and NICKERING uneasily.
ARTEMUS
The horses won’t drink it.
West and Artemus leave the porch and come to the trough.
7. CLOSE SHOT – TROUGH
The HOMESTEADER floats face down. Pinned to his back with a knife is a note containing large hand printed Spanish words. West retrieves the note.
7. CONTINUED
WEST
(reading)
Death to the gringos. It’s signed: Los Pistoleros…
ARTEMUS
Aren’t they the ones who are plotting to take over the Territory?
WEST
(looks off)
Why don’t we ask them?
Artemus looks off.
9. MED. SHOT – PISTOLERO
Stepping into SCENE from behind an outbuilding. A SECOND ONE emerges from the other corner. They are grinning and covering the Boys with guns.
9. ANOTHER ANGLE
THREE MORE PISTOLEROS appear behind the Boys from beyond the ranch house.
10. CLOSE SHOT – WAGON
A FIFTH PISTOLERO raises up from the bed of the wagon and rests his gun on the side.
11. MED. SHOT
A PISTOLERO stands up on top of a building and commands the whole ranch yard. This is SANCHOS, a villainous mustachioed man.
ARTEMUS
Jim, it looks like we were expected.
FADE OUT:
END OF TEASER
ACT ONE
12. EXT. RANCH YARD – HIGH ANGLE – SANCHOS POV – DAY
A ring of Pistoleros encircle West and Artemus at the trough in which the Homesteader floats.
SANCHOS VOICE
(in Spanish)
Take the gringo in the blue and hang him.
13. MED. CLOSE – SANCHOS
on roof
SANCHOS
(in Spanish)
We’ll take the other one with us. Move!... Faster!...
14. TWO SHOT
West looks at Artemus.
WEST
Did I hear big mouth right?
ARTEMUS
Yep. No hard feelings, Jim, but they’re going to hang you… and take me with them.
WEST
I resent that. Wonder what they’ve got planned for you, Artie.
ARTEMUS
Don’t think I’ll wait to find out. If I put my hand in my pocket very -- very slowly -- like this -- and take out --
PISTOLERO
(in Spanish)
Stop that!
Artemus quickly takes his hand out of his pocket. He holds a small metal orb.
ARTEMUS
Sorry, amigo.
PISTOLEROS
(in Spanish)
Drop it!
WEST
You heard him. He wants you to drop it --
ARTEMUS
Then I’d better do it.
Artemus tosses the orb to the ground. It EXPLODES loudly into a blossom of smoke and sound that blankets the whole scene.
15. SANCHOS POV
Everyone below is hidden by the smoke-cloud. Then West and Artemus burst out in the clear running for cover of the ranch house.
16. MED. SHOT – SANCHOS
He FIRES down at them.
17. WIDER ANGLE
West puts a bullet past Sanchos making him dive to the roof. The Boys vanish around the corner of the ranch house.
18. INT. BARN – WEST AND ARTEMUS
BULLETS are smashing the windows and ripping into the walls forcing West and Artemus to hit the ground. They take up positions at the front and rear doors and RETURN THE FIRE. Finally:
ARTEMUS
This could go on all day.
WEST
Let’s not play with them anymore.
18A. ANGLE – WEST
He’s taken out a grenade launcher, loads it and FIRES through the nearest window.
19. EXT. RANCH YARD – DAY
The grenade lands in the lean-to and demolishes it. As the dust settles there’s a long moment of shocked silence.
SANCHOS
(in Spanish)
Let’s get back to the camp. Move!
Then the Pistoleros stream away, crowding each other in their haste to get out of range. Sanchos comes off the roof in one leap, picks himself up and joins the flight.
20. ANOTHER ANGLE
West and Artemus come on the porch and watch them go. Now we see that one Pistolero lies unconscious in the ranch yard. West comes to him and turns him over, as:
WEST
Artie… Why do you suppose they wanted to kill me and capture you?
ARTEMUS
Maybe I’m more valuable…
21. CLOSE SHOT – PISTOLERO
His name is LOPEZ. Part of the photograph protrudes from his shirt pocket. West leans into SCENE and takes the picture.
22. WIDER ANGLE
As Artemus comes over to West.
WEST
Whoever thought that, gave them your picture…
He passes over the photo.
WEST (CONT’D)
If there was a leak about our trip down here, it would have to be at Fort Challenge.
23. CLOSE SHOT – PHOTO
Of Artemus, taken in some undefined location at some unspecified time.
ARTEMUS’ VOICE
Doesn’t really do me justice.
24. BACK TO SCENE
Artemus turns photo over revealing a name stamped on the back.
ARTEMUS
Bernal’s – Tochachi, Arizona.
WEST
Know him?
ARTEMUS
Nope. But I’m going to make a point of getting acquainted.
Lopez stirs with returning consciousness. West moves over to pick up the Pistolero’s fallen gun and heave it out into the sagebrush.
WEST
Do that. I’ll take Senor Pistolero on to the fort. Somebody’s got some explaining to do.
He hauls Lopez to his feet.
CUT TO:
25. EXT. FORT CHALLENGE – DAY
ESTABLISHING IT.
25A. EXT. FORT CEMETERY
West is riding toward the fort chousing the mounted Lopez ahead of him.
26. MED. SHOT – WATCH TOWER
A Trooper on sentry duty is sighting across the approaches to the fort.
27. INT. FORT – DAY
As West signals duty officer and turns his prisoner over to the military. West dismounts and moves toward headquarters scene.
DISSOLVE:
28. INT. C.O.’S OFFICE – DAY
LIEUTENANT MURRAY, lean and young, stands back of a desk, just a bit self-conscious, as if out of place here. He is now dismissing a Private with some papers.
MURRAY
Just have these duty rosters posted, Private… I’ll check with you later… Good afternoon --
WEST
I want to see Colonel Roper.
MURRAY
He’s on patrol, Sir.
WEST
When will he return, Lieutenant?
MURRAY
Don't know, sir. He’s down on the border. The Pistoleros have stepped up their raids in the past few days.
WEST
Who’s his second in command?
MURRAY
Major Robinson, sir. But he’s patrolling too.
WEST
All right -- Who’s in charge here?
MURRAY
I am, sir, Lieutenant Murray. I’d like to welcome you to Fort Challenge.
WEST
Thanks. My name is James West.
MURRAY
Yes sir, I know. We’ve been expecting you.
WEST
Where did you get your information, Lieutenant?
MURRAY
(taken aback)
Sir?
WEST
This was supposed to be a secret mission, known only to Colonel Roper. Is he in the habit of confiding in Junior officers?
MURRAY
(floundering)
No sir. I didn’t get it from the Colonel. It’s common knowledge -- everybody in the fort knows.
(he stiffens)
After all, Sergeant Tobin never kept it a secret he’d written to President Grant. He even gave a copy to the Colonel -- after he’d mailed the letter.
WEST
In that case I’d better talk to Sergeant Tobin. Unless he’s out on patrol too.
MURRAY
No so. He’s in the guardhouse.
WEST
Why?
MURRAY
For making wild charges, assaulting an officer and conducting himself in an unmilitary manner.
WEST
That doesn’t sound like my old sergeant major.
MURRAY
He went berserk.
WEST
I’d like to see him.
MURRAY
Sir… Unless you can show me a written order giving you access to the prisoner you’ll have to wait until Colonel Roper returns.
WEST
(a beat -- he smiles)
And you don't know when that will be?
MURRAY
(he smiles too)
No sir.
DISSOLVE
29. INT. GUARD HOUSE OFFICE – DAY
A small room containing a table and chair for the Duty Sergeant and a built-in wooden bench for visitors. The cells are in the rear of the building reached through a barred door. The Duty Sergeant is a large brutal man who regards West as he enters, with no favor.
On the wall behind the Duty Sergeant is a large keyring with two keys.
DUTY SERGEANT
Sorry, mister, no civilians allowed in the guardhouse.
WEST
I’d like to question the Pistolero I brought in.
DUTY SERGEANT
Not a chance, mister. You just want to see Sergeant Tobin. I’ve had orders to keep you out.
West takes out a cheroot, takes it out of its wrapper. He balls the wrapper and puts it in an ashtray.
WEST
From Lieutenant Murray?
DUTY SERGEANT
(he shrugs)
He’s command right now. You’ll have to get out.
West scratches a wooden match and lights his cheroot. He puts the match in the ashtray igniting the wrapper.
WEST
I understand Tobin went berserk and struck an officer.
30. CLOSE SHOT – ASHTRAY
The wrapper flares up.
DUTY SERGEANT’S VOICE
Who told you that?
WEST’S VOICE
Lieutenant Murray --
The wrapper erupts in a cloud of orange smoke.
31. WINDER ANGLE
Duty Sergeant’s face is obscured by the smoke. West has stepped smartly back out of range. As the smoke clears Duty Sergeant’s head falls with a thump on the table. West moves around the table and gets the keys. He unlocks the barred door.
32. INT. GUARDHOUSE – DAY
West comes to the first cell. Lopez sits on the bunk, head in his hands. He looks up as West passes. Wet moves on to the next cell. This one contains CHARLIE TOBIN, a grizzled old campaigner. He reaches through the bars and squeezes West’s shoulders.
TOBIN
Jim, Jim boy. I got the word you’d come but I didn’t believe it.
WEST
Came as fast as we could, Charlie.
TOBIN
Where’s Artemus?
WEST
In Tohachi. He’ll be along.
TOBIN
Good -- good. I knew General Grant wouldn’t desert me. Let’s have a look at you, boy. It is Jim West, isn’t it?
WEST
You can see for yourself.
TOBIN
Seeing ain’t enough these days. That’s one thing I learned -- but not in time.
WEST
What do you mean, Charlie?
TOBIN
In starts below the border -- with the Pistoleros… and up here there’s a plot brewin’. We’re surrounded by spies and traitors. Right in the fort.
WEST
(troubled)
Charlie --
TOBIN
I’ve got to get out of here. They can’t leave me alive. I know too much.
WEST
I’ll talk to Colonel Roper about that, when he comes back. But give me something to go on. And hurry up before Murray finds out I’m in here.
TOBIN
How do you know he’s Murray?
WEST
What do you mean?
TOBIN
I said, how do you know he’s Lieutenant Murray?
WEST
Well… Because Colonel Roper left him in command of the fort. That’s enough for me.
TOBIN
Maybe you’re too easily satisfied, Jim. Or maybe you ain’t Jim at all. How do I know?
WEST
What’s the matter with you, Charlie?
TOBIN
Eyes ain’t enough anymore. I need proof. You prove to me you’re Jim West --
WEST
Charlie…
TOBIN
Remember that farmhouse -- on the road to Shiloh there was a little white farmhouse with apple trees all in bloom the time we was there.
WEST
It was spring, Charlie.
TOBIN
That’s right. And the farmer’s two daughters. What were their names?
WEST
That was a long time ago --
TOBIN
Jim West would remember.
WEST
All right, let me think… the older one, the black-haired one, that was Zedra… I’ve forgotten the other one.
TOBIN
All right, Jim. I just had to be sure. Come closer… Lieutenant Murray is a ringer. The Pistoleros planted him here.
WEST
Oh, Charlie --
TOBIN
Artemus Gordon -- he’ll know. The real Murray was in his regiment. You say he’s in Tohachi?
WEST
He’ll be along soon…
TOBIN
I can’t wait… you’ve gotta get me out of here… now --
He has to shout the last line because the Duty Sergeant and a pair of Troopers are storming in.
DUTY SERGEANT
All right, mister, you wanted in so bad, now you can stay awhile.
(to Troopers)
Lock him up!
The Troopers grab West roughly and are flung aside as West reacts angrily. They leap back to strong arm him in the narrow area between the cells. One of the Troopers is knocked back against the bar’s of Charlie’s cell.
33. CLOSE SHOT – TROOPERS GUN
The butt actually projects through the bars so that Charlie twitches it out with a quick motion and hides it behind him.
34. WIDER ANGLE
Trooper #2 is flattened by West as the first one lunges back into battle. He gets pole-axed for his trouble. As he goes down West has his back to the Duty Sergeant who takes a step forward and crashes his gun butt down on West’s head. As West falls unconscious:
TOBIN
You got no more use for it, Mulligan.
DUTY SERGEANT
Tobin --
TOBIN
Lay it down and kick them keys over here.
35. EXT. PARADE GROUND – FORT CHALLENGE – DAY
Very little activity in the heat of the day. A TROOPER is about to mount his horse. Tobin charges out from behind a building and makes a flying leap which knocks the Mounted Trooper to the ground. Tobin leaps into the saddle and beats the frightened horse into a gallop.
TROOPER’S VOICE
Stop -- Stop him!
36. ANOTHER ANGLE
Tobin his galloping for the gate. A few BULLETS zing close above his head. Then he’s outside the wall and gone.
DISSOLVE:
37. EXT. TOHACHI STREET – DAY
CLOSE SHOT – HORSES HOOVES
Plodding along. CAMERA PANS up to reveal the rider is Artemus as he angles into the hitching rail in front of a shop. As Artemus swings down stiffly, still hot and dusty:
38. CLOSE SHOT – SHOP WINDOW
bearing the sign: BERNAL – PHOTOGRAPHER. In the window are several examples of Bernal’s work. Artemus comes into SCENE and ENTERS the shop.
39. INT. PHOTOGRAPHY SHOP – DAY
A bell over the door CLATTERS and summons BERNAL from the back room. He comes to the counter.
BERNAL
Good afternoon, Senor. You wish to have a photograph?
ARTEMUS
I’ve got one.
He shows the pic of himself taken from Lopez.
BERNAL
It fails to do you justice. The photographer was estupido.
ARTEMUS
The photographer was you.
BERNAL
Impossible.
(turns it over -- sees stamp)
I remember now. A customer brought to me a negative and asked for copies to be made.
ARTEMUS
How many?
BERNAL
A dozen…
ARTEMUS
And the name of the customer?
BERNAL
It was a long time ago -- maybe two weeks -- I remember faces, not names.
ARTEMUS
But you have records and you could look up the name.
BERNAL
My records are confidential. I don’t reveal such information to strangers.
ARTEMUS
But you could make an exception.
BERNAL
Never.
Artemus raises his gun into SCENE.
BERNAL (CONT’D)
If you insist.
ARTEMUS
I’m afraid I do.
Bernal goes through a curtained arch into a back room, Artemus following.
40. INT. PHOTOGRAPHY STUDIO – DAY
Posing for a portrait is a handsome and distinguished Spanish Don, ARMANDO GALIANO
BERNAL
My assistant --
ARTEMUS
Carry on.
The Assistant is behind the camera, his head under the cloth.
ASSISTANT’S VOICE
Gracias. A little more higher with the chin, Senor, please.
Bernal has opened a ledger on a small desk.
40. CONTINUED
BERNAL
Ah -- here it is.
As Artemus turns from watching Galiano, the CAMERA TURNS too, trained on his back.
BERNAL (CONT’D)
The customer was a man called Sanchos.
The Assistant holds the bulb in his hand.
ARTEMUS
Fine. Where do I find Sanchos?
ASSISTANT’S VOICE
Over here, Senor.
He squeezes the bulb. Artemus reacts.
41. CLOSE SHOT
A very thin dart is protruding from the back of Artemus's throat. He grabs for it.
42. CLOSE SHOT – ASSISTANT
As he brings his head out from under the cloth we see it is indeed Sanchos.
43. MED. SHOT
Artemus pivots to CAMERA, his eyes already glazing.
GALIANO
Sanchos’ aim has improved since this morning, don’t you agree?
ARTEMUS
I don’t believe we’ve met…
He pitches forward into Lens as we FREEZE FRAME
FADE OUT:
END OF ACT ONE