Post by California gal on Jun 24, 2009 12:57:11 GMT -8
“The Night of the Red-Eyed Madmen”
TEASER
[Two openings are included in this copy of the script; the first obviously was not used. The first page is undated, but apparently is a version from 10/11/65]
1. INT. LOBBY SAN FRANCISCO HOTEL – TWO – WEST & RANCHER – NIGHT
The lobby is nearly deserted. WEST stands talking to a RANCHER, a gray, dignified man of about 60 with an apologetic though grave manner.
RANCHER
I’m sorry to involve you in this, Mr. West, but since the death of her folks, I’m all she’s got.
WEST
Well, since Senator Brookshire wants to be on good terms with his constituents, and my Department wants to be on good turns with Senator Brookshire, I’ll see what I can do.
RANCHER
I appreciate that, sir.
(a pause)
She’s—a strange girl. Hear her out, and… promise you look into it. In time, I hope, she’ll forget about the whole thing.
WEST
(nods, shakes hands, then)
Room 406?
RANCHER
She’s expecting you.
(gravely)
My niece is a lovely young woman. But her mind…
Their eyes meet. West is not pleased by the prospect of his “favor” he is about to do. GO WITH HIM. He walks to the alcoved elevator. (The elevator is the pulley-type invented c. 1850, provided with power from a steam-engine at the bottom of the shaft. It has a wrought-iron cage with a hatch at the ceiling to permit maintenance or repair of the cables.) The uniformed OPERATOR is completely bald and wears sinisterally thick glasses. West enters the cage and almost at once is joined by a HUGE MAN who appears as if from nowhere. The Huge Man wears a derby and a thick mustache. West pays him scant attention.
WEST
Four.
2. INT. ELEVATOR CAGE – THREE – WEST, OPERATOR, & HUGE MAN
The cage is closed and the elevator starts up.
HUGE MAN
Five.
West cocks an eye and muses aloud:
WEST
Nice trick for a four-story hotel.
HUGE MAN
It’ll be a nice trick, all right.
And with his final word the Operator slams the lift-handle to vertical, stopping the elevator between floors. In the same split-second the Huge Man seizes West from behind in a bear-hug. The Operator whips out a blackjack.
HUGE MAN (CONT’D)
Dooms day will come!
West lashes out with his feet, but misses and is knocked out by the blackjack. Now both assailants work quickly. The hatch atop the cage is opened and west is pushed onto the top of the elevator. The hatch is shut, padlocked. The Operator now lowers the elevator to the ground floor. The door is opened and they get out. After shutting the cage door, the Operator takes a forged iron loop from a pocket of his uniform. Reaching through the bars of the cage, he takes a breath to steady his timing, and then in almost one motion, secures the loop over the lift-handle and jerks his arms out. Locked in position, the elevator begins rising slowly. The assailants flee.
3. INT. ELEVATOR SHAFT – FULL – WEST – ANGLE DOWN
sprawled unconscious atop the rising cage.
4. REVERSE ANGLE
West will be crushed when the elevator reaches the top. Slowly, inexorably, it rises.
FADE OUT:
[End of first opening scene]
[The following is marked as page 1A, with some pen or pencil marks through portions of the first page; it is inserted in this script copy after page 1, continues with page 2 and is dated “Rev. 10/21/65”]
3. CONTINUED
WEST
I don’t mean to be impolite, Senator, but how does a broken love affair threaten the country?
RAWLS
For one thing, Lola won’t believe that Talbot has rejected her…
WEST
(eyes him obliquely)
Anything else, Senator?
Rawls eyes him in silence for a second, then nods.
RAWLS
Lola is going to tell you a bizarre tale… weird, if you will…
(a beat; seriously)
I wish I could say, that without being unkind to her – you could give her som eperspective on the truth of Talbot throwing her over, except…
He pauses, looks strange.
WEST
Except what?
RAWLS
(eyes him grimly]
Except I believe that what she will tell you is the frightening truth!
WEST
(the strange meaning sinking in, finally)
She’s in room 406?
Rawls nods. West turns to leave.
4. ANOTHER ANGLE
TO CARRY West toward the elevator.
5. ANGLE AT THE LOBBY ELEVATOR DOOR
A heavy-set man, OTTO, about to enter the elevator, stands aside momentarily, in apparent courtesy, to let West enter the elevator and then follows him. The elevator doors close. The elevator rises.
6. ANGLE AT SECOND FLOOR ELEVATOR DOOR
We see the shadow rising behind the glass pane of the door, indicating the elevator is ascending and stopping at the floor. A SECOND MAN is waiting. The elevator door opens; the Second Man gets in; the door closes. Again, the shadow rises as the elevator goes up.
7. ANGLE AT THIRD FLOOR ELEVATOR DOOR
The shadow rises behind the glass pane of the door. The elevator stops again. A THIRD MAN is waiting. After a beat, the door opens. The Third Man gets in. The door closes. Again the shadow rises as the elevator goes up.
8. ANGLE AT FOURTH FLOOR ELEVATOR DOOR
The shadow rises behind the glass pane of the door. The elevator stops again. There is no one waiting. After the same INTERVAL, the elevator doors FLY OPEN VIOLENTLY. The Second Man slams backwards out of the elevator to the floor of the corridor. West is flung out after him, locked in violent, deadly combat with the other two men.
9. ANGLE IN THE CORRIDOR
As the fight swirls down the corridor, away from the elevator. The three assailants are armed with a variety of deadly, silent weapons: blackjacks, knives, brass knuckles. West is giving a good account of himself, but is too busy to pause long enough to use any of his concealed weaponry.
10. ANOTHER ANGLE
As one of the men KNOCKS West’s feet out from under him, SLAMS him to the ground. Another of the men falls on West, immobilizing him momentarily. Otto raises a huge Bowie knife.
OTTO
Doomsday will come!
11. UP ANGLE ON OTTO – WEST’S POV
As he raises the knife, ready to thrust at West.
FREEZE FRAME
FIRST BREAK
ACT ONE
FADE IN:
12. INT. ANGLE ON CORRIDOR – DAY
There has been no lapse of time. West is still pinned to the floor by two of the men while Otto looms up over him, the knife poised. West twists and squirms frantically, giving Otto no chance for a clear blow. Suddenly West lashes out with both feed, slamming his heels into Otto’s knees. Otto flies backwards against the wall of the corridor, momentarily stunned. The two holding West are fleetingly distracted, giving West an opportunity to fling them clear and to roll to his feet. Rising, he chops one man down with a side-of-of the-hand blow and whirls to face the other who is lunging at him with a knife. West dances in front of the men for a moment and then, as the man dives forward to impale him, West grabs his knife arm, spins and sends the man flying with a hip-throw. West is turning to face the three men who are picking themselves up and turning to attack him again, when from o.s. we hear the piercing SCREAMS OF A WOMAN. The men glance o.s. quickly and then at each other in some consternation. Otto gestures quickly toward the end of the corridor. Quickly, but in good order, the three men turn and hurry off. West takes a step or two after them, then glances o.s. himself.
13. ANGLE ON LOLA BRACER, POV
LOLA BRACER, in her early twenties, blonde and thoroughly attractive, is standing in the partially opened door of her room. wee see on the door the numerals “406.”
14. ANOTHER ANGLE
As West crosses to her.
WEST
Miss Bracer -- ?
Lola nods, a trifle uncertainly, still upset after witnessing the fight.
WEST
(continuing)
I’m James West.
(beat; smile)
First time in my life it was a pleasure to hear a woman’s scream.
Lola smiles, her uncertainty gone. She gestures for him to enter the room.
DISSOLVE TO:
15. INT. HOTEL ROOM – CLOSE ON LETTER – RIGHT
The letter is in West’s hands. CAMERA DOLLIES BACK as West thoughtfully finishes the letter.
16. ANOTHER ANGLE
TO INCLUDE Lola Bracer who takes the letter as West hands it back to her.
LOLA
I ask you, Mr. West – is that the letter of a man trying to break his engagement.
WEST
(of the letter – an excerpt)
The elite class will rule… a world for the strong only… no place for the weak… the government is decadent… we shall form our own empire…
(beat)
I must say some of your fiancée’s political sentiments are peculiar.
West crosses to a small table, picks up an envelope and looks at it.
WEST (CONT’D)
From Mars, Nevada.
LOLA
I can’t find it on the map.
WEST
If this postmark’s genuine, we can locate it.
(beat)
How did Jack Talbot get involved with this General Grimm?
LOLA
Then – you believe me –
WEST
Those three gentlemen in the hall a few minutes ago were a very convincing argument in your favor.
(beat; nods)
Yes – I believe you.
16. CONTINUED
LOLA
Jack met this man who calls himself General Grimm about four months ago. He wouldn’t talk much about it but when he did he was excited, almost feverish. Once, I recall, he said that this Grimm was recruiting men who had the same ideas, the same purpose from all over the country.
(beat)
And then – he just disappeared. And except for that letter, I haven’t heard from him since.
WEST
I’ll do what I can, Miss Bracer.
LOLA
Please… find him! He’s either gone mad or is in the hands of madmen. I’m terrified for his safety.
WEST
If half the things in that letter are true – I’m even more concerned for the safety of the United States.
DISSOLVE TO:
17. EXT. WEST’S TRAIN – DAY (STOCK)
As it slows along the tracks… stops.
17A. INT. WEST’S TRAIN – DAY
West, dressed in western clothes, turns from peering out of one of the windows as the TRAIN WHISTLE BLOWS o.s. He pulls down a gun-rack, peruses it, makes his selection, holsters the gun, strapped behind his saddle as ARTEMUS GORDON enters. Artemus keeps tossing a leather pouch.
17A. CONTINUED
ARTEMUS
(a wave towards window)
Mars, Nevada, James… I have your horse waiting without…
West goes to window, peers out.
17B. POV THROUGH WINDOW
A SIGN:
It reads: MARS, NEVADA. Nothing is in sight anywhere.
WEST
That is Mars?
18. SCENE
ARTEMUS
Friendly little place, isn’t it? Rattlesnakes, gila monsters… sand, cactus… sun… Just the place for a honeymoon.
WEST
There’s no such girl.
Now turning to Artemus
WEST
The map shows the place about eight miles due north. There’s a siding up the line about six miles. Pull off there. I’ll get word to you somehow.
ARTEMUS
And if you don’t…?
WEST
You ought to do something about this gloomy outlook of yours.
ARTEMUS
Just being selfish. After a certain point, sitting on a siding loses its charm, and I might want to go up to San Francisco or Chicago or….
West slings his saddle bags over his shoulders and turns to leave.
WEST
Try reading a good book.
ARTEMUS
Oh, Jim…
West turns, Artemus tosses him the leather pouch.
ARTEMUS (CONT’D)
Without wine, women or song, where you’re going… you might want a smoke. A little tobacco I blended specially for you.
West nods his thanks, tucks pouch away, exits… while Artemus gloomily reaches for a book.
19 THRU 24 OMITTED
DISSOLVE:
25. EXT. COMPOUND AREA – DAY
FEATURING the Tank of water. TWO TROOPERS are there, flanking GENERAL GRIMM. This latter is powerfully built, flamboyantly uniformed. The Troopers carry rifles and wear odd uniforms. One of them is a girl, Jenny, a magnificent creature. The General pauses beside the tank… and now we feature JACK TALBOT, bearded, sweat-soaked, near collapse. The bright light makes him shut his eyes. Jenny momentarily reveals shock and dismay at his condition. We see that Talbot is roped (caution here: not brutally roped) to a crane with a windlass affixed to a large hook.
GRIMM
The rule, Private – what’s the rule?
TALBOT
Secrecy. Absolute – secrecy.
GRIMM
You’re learning, Talbot.
Rev. 10/20/65
25. CONTINUED
Grimm gives a thumbs-up gesture and the Trooper bends to the windlass. Jenny stands watching, trying to conceal her compassion. In very short order, Talbot is hanging by his arms, suspected in front of Grimm. Grimm gestures to the Trooper, who swings the arm of the crane to suspend Talbot over the tank of water, presumably the compound’s main supply. Grimm regards the arrangement for a moment judiciously and then gives a thumbs-down gesture. The trooper releases the pawls of the windlass and Talbot splashes into the tank of water.
26 & 27 OMIT
28. ANGLE ON THE TANK
Talbot, in his weakened condition, cannot struggle and simply vanishes beneath the surface. All we see is the rope.
Rev. 10/15/65
29. ANOTHER ANGLE
As the General waits in great calm during what seems like an interminable interval.
30. ANGLE ON Jenny
She is braced at attention but cannot restrain herself from biting her lips in her anxiety over Talbot.
31. ANOTHER ANGLE
GRIMM
Bring him up
The Trooper turns the windlass and Talbot is partially raised from the water.
GRIMM
I ask you again, Private Talbot – the names of the other to whom you wrote.
TALBOT
No one! Only her!
GRIMM
Down!
The Trooper trips the pawl, and Talbot again disappears under the water. With great composure, Grimm contemplates the toes of his boots, stamps a real or fancied fleck of dust from them.
GRIMM
(beat)
Bring him up.
Again the Trooper raises Talbot’s head above the surface.
GRIMM
The names of the others, Talbot.
TALBOT
She was the only one.
GRIMM
This time, I shall leave you under for twenty minutes. Death to all enemies of the cause!
(beat)
The truth, Talbot!
TALBOT
I only wrote one letter, General.
31. CONTINUED
Grimm begins to chuckle softly.
GRIMM
I believe you. And that’s all I wanted to hear.
Jenny, the ordeal over, closes her eyes, breathes a sigh of relief.
GRIMM
I’m going to make an example of you.
(beat)
For violating the rule of secrecy – one week on the hot-box!
Jenny’s relief vanishes. She gasps in shock and horror. The Trooper raises Talbot clear of the tank, swings him over the hot-box, prepares to drop him back into it again.
DISSOLVE TO:
32. EXT. MAIN GATE – DAY
As West rides INTO THE SHOT, reins in. He glances with some curiosity at the gate.
33. CLOSER ANGLE – WEST’S POV
The sign over the gate reads: “Mars Military Academy.” SENTRY, rifle at port, addresses West in a thoroughly no-nonsense tone of voice. The Sentry is thin, reedy, wears glasses and is in an odd uniform.
SENTRY
Dismount.
34. ANOTHER ANGLE
As West complies.
SENTRY
State your business, mister.
WEST
Can I join up?
SENTRY
That depends on who you are.
West is equal to the cold hostility.
Rev. 10/20/65
34. CONTINUED
WEST
But being only a sentry, you don’t decide that, do you?
SENTRY
I didn’t like that, mister. We’re all equal here. Not like out there where you’re dirt to some men. It’s why I enlisted.
West shrugs, then feigns an apologetic, friendly manner.
WEST
Look—I’d like to belong. If they let me, you and I’ll be on the same side, so why get off on the wrong foot, friend?
The Sentry is suspicious, but finally decides.
SENTRY
Main building straight ahead – ask for Sergeant Musk.
WEST
(starting in)
Thanks.
SENTRY
The main building…
(when West turns)
… and no place else. One step to either side and I’ll shoot you in the back of your head.
West begins walking, leading his horse.
35. ANGLE ON BUILDING – WEST’S POV
As he walks, taking in the cannon, the stacked rifles, the highly military, well-armed atmosphere of the place.
36. ANGLE ON WEST
As he walks, now faintly alarmed at what he is getting into.
37. ANOTHER ANGLE
As West crosses to the main building. He ties off his horse at the hitch-rail, starts to enter the building.
DISSOLVE TO:
38. INT. OFFICE – DAY
CLOSE ON SERGEANT MUSK, seated behind her desk. Musk is 25, powerful and gorgeous. She toys nervously with a riding crop. Her strange uniform is 50 years ahead of its time.
MUSK
Knowing Jack Talbot isn’t a point in your favor, mister.
CAMERA PULLS BACK, REVEALING West standing in front of her desk. He expresses momentary puzzlement and she holds up a sheet of paper.
MUSK
Our agent telegraphed us about you.
(beat)
We made a mistake with Talbot.
WEST
Mistake -- ?
MUSK
He’s weak and unreliable.
WEST
I don’t want to start off our relationship by arguing with you, my dear, but –
MUSK
(cutting in)
You will address me as “Sergeant Musk”!
WEST
AS long as I’m still a civilian – I’d a lot rather think of you as a woman than a superior officer.
MUSK
While I am on duty, you will not look on me as a woman, Mr. West.
WEST
(beat; regretful)
I’ll fight the impulse.
(beat)
Jack Talbot is my friend. And I would hardly call him unreliable.
Sgt. Musk rises and gestures to West to accompany her to the window. She points out through the o.s.
39. EXT. ANGLE OF MILITARY CEMETERY – POV – DAY
There are about two dozen crosses in a secluded area.
MUSK
Take a good look.
WEST
Who are they?
40. ANGLE ON WEST AND MUSK
MUSK
Men – like you – who said they wanted to belong.
(beat)
They failed.
WEST
Easier to get in than out. I see.
MUSK
So what is your reason for wanting to get in?
WEST
Join up? I like causes, good causes, strong ones. No room left in the world for the weak ones.
MUSK
The weak ones don’t survive here, civilian. And there is equality for women.
WEST
What I said. Only the strong can rule.
MUSK
You’d better believe that, civilian… for the next thousand years…
(a beat)
We’ll requisition your horse… and I’ll take your gun. Pick up a uniform and equipment from the Quartermaster and report to B barracks.
WEST
Thanks for accepting me – Sergeant.
MUSK
(mirthlessly)
You’re not accepted, you’re just –
(a beat)
in.
41. INT. BARRACKS – CLOSE ON WEST’S UNIFORM – NIGHT
CAMERA PULLS BACK as he buttons it up. It’s gaudiness makes him ill-at-ease. He looks around.
42. ANOTHER ANGLE – POV
The OTHER TROOPERS are seated on their bunks and to a man they are reading a small pamphlet. Like the Sentry at the gate, they do not necessarily seem like military types. All at once a voice is in West’s ear.
TROOPER (o.s.)
So you’re the new fish.
West turns.
43. ANOTHER ANGLE
The Trooper facing West is the one who had helped question Talbot. West nods amiably and indicates the other Troopers.
WEST
Seems I’ve joined a scholarly bunch –
TROOPER
The Blue Manual, fish.
WEST
What’s that?
TROOPER
You’ll find out when they decide to give you one.
SENTRY’S VOICE (o.s.)
Ten-shun!
44. WIDER ANGLE
As West, the Trooper and everyone in the room, snap to attention on the entrance of Sgt. Musk and Jenny.
MUSK
As you were.
Everyone relaxes.
MUSK
(beat)
This is Private West. He’s a friend of Jack Talbot’s.
44. CONTINUED
There is a deliberate, baiting quality to her voice and her statement. The other Troopers look toward West with speculative anticipation.
WEST
That’s right.
(a beat)
I’ve had an eye out for Jack. Where is he?
A beat. There is a blank silence.
WEST
I forgot. Secrecy.
MUSK
Our greatest weapon.
TROOPER
Talbot forgot. He’s a weakling. No room here for his kind.
The Trooper has moved close to West, his manner deliberately provocative.
TROOPER
(beat)
A yellow-bellied unreliable scum.
West understands, turns to Sgt. Musk.
WEST
Like that, huh?
MUSK
This is a fighting outfit, Private.
TROOPER
(deliberate)
Talbot was a lousy, no-good traitor—
West karate-chops the Trooper to the floor but is himself knocked down by the Sentry.
45. WIDER ANGLE
As if this has been rehearsed, the other troopers close their manuals and watch. Musk does not move to intervene; Jenny watches West with interest.
Rev. 10/15/65
46. VARIOUS ANGLES ON THE FIGHT
West is just rising when the Trooper lunges toward him. Seizing wrists and elbow, West falls backward and the Trooper sails over his head. The Sentry is back to the attack, this time swinging a rifle he has picked up. West ducks the blow and drives a judo-jab to the stomach, removing the Sentry from the fight. The Trooper has recovered and comes at West with a knife. West picks up a canvas cot in time to take the lunge. The Trooper’s whole arm goes through the cot after the knife and while he is thus entangled, West knocks him cold. West turns to the rest of the room.
WEST
Anybody else?
Sergeant Musk steps forward.
MUSK
Not bad. Not bad at all.
(up)
Get his place straightened; Mess call’s in ten minutes.
(to West)
Taps is twenty-one hundred. Anybody outside barracks after that is shot.
She turns to leave. Jenny, turning to follow, pauses to look back briefly at West.
DISSOLVE TO:
47. EXT. COMPOUND – DAY
West steps out of one of the buildings, apparently having just eaten. He tucks a knife and fork into his belt and swings his mess-tin, which is dripping water, to dry it. Several other Troopers, also having finished their meal, pass him. Jenny, also carrying a mess-tin, pauses beside him.
48. CLOSER ANGLE
JENNY
(sotto)
Are you really a friend of Jack’s?
WEST
(normal)
Yes. I am.
JENNY
(sotto)
Keep your voice down!
(beat)
You’ve got to help him!
West nods.
JENNY
He’s in the hot-box –
She gestures with her head. West looks in that direction.
49. ANGLE ON HOT-BOX – POV
50. ANGLE ON WEST AND JENNY
JENNY
(sotto)
He’s already been there two days! He’ll die if you don’t get him out!
WEST
(sotto)
I’ll do what I can.
JENNY
(sotto)
Please -- !
Without glancing further at him, she walks away.
CUT TO:
51. INT. GRIMM’S QUARTER’S – NIGHT
Grimm is seated at his desk. An overcoated figure, back TO CAMERA, stands examining a map on one wall. Sergeant Musk enters, marches to the desk at attention. She executes the academy salute: arm straight out, her hand a fist, arm brought back to strike over the heart, straight again, then down. Grimm returns the salute in more perfunctory fashion.
GRIMM
State your business, Sergeant.
MUSK
Sir – I wish to report that I am most favorably impressed with the new man.
Rev. 10/21/65
GRIMM
Good-good.
(beat)
At the moment, we have a more pressing problem.
(beat)
Talbot’s letter was delivered to Miss Lola Bracer in Room 406 of the Mission Hotel in San Francisco. She has an uncle – Senator Rawls, Chairman of the Senate Military Affairs Committee. Through Rawls, the girl contacted a member of the Secret Service.
Musk is impressed by the gravity of the news.
MUSK
Do we know who that might be, General?
GRIMM
Unfortunately, we don’t as yet.
The figure at the map turns for the first time. It is Otto, one of the three men who attacked West in the hotel.
ANGLE ON OTTO
OTTO
As I told you, General – I aw him once.
(beat)
But his face…I’ll never forget his face.
FREEZE FRAME
END OF ACT ONE
TEASER
[Two openings are included in this copy of the script; the first obviously was not used. The first page is undated, but apparently is a version from 10/11/65]
1. INT. LOBBY SAN FRANCISCO HOTEL – TWO – WEST & RANCHER – NIGHT
The lobby is nearly deserted. WEST stands talking to a RANCHER, a gray, dignified man of about 60 with an apologetic though grave manner.
RANCHER
I’m sorry to involve you in this, Mr. West, but since the death of her folks, I’m all she’s got.
WEST
Well, since Senator Brookshire wants to be on good terms with his constituents, and my Department wants to be on good turns with Senator Brookshire, I’ll see what I can do.
RANCHER
I appreciate that, sir.
(a pause)
She’s—a strange girl. Hear her out, and… promise you look into it. In time, I hope, she’ll forget about the whole thing.
WEST
(nods, shakes hands, then)
Room 406?
RANCHER
She’s expecting you.
(gravely)
My niece is a lovely young woman. But her mind…
Their eyes meet. West is not pleased by the prospect of his “favor” he is about to do. GO WITH HIM. He walks to the alcoved elevator. (The elevator is the pulley-type invented c. 1850, provided with power from a steam-engine at the bottom of the shaft. It has a wrought-iron cage with a hatch at the ceiling to permit maintenance or repair of the cables.) The uniformed OPERATOR is completely bald and wears sinisterally thick glasses. West enters the cage and almost at once is joined by a HUGE MAN who appears as if from nowhere. The Huge Man wears a derby and a thick mustache. West pays him scant attention.
WEST
Four.
2. INT. ELEVATOR CAGE – THREE – WEST, OPERATOR, & HUGE MAN
The cage is closed and the elevator starts up.
HUGE MAN
Five.
West cocks an eye and muses aloud:
WEST
Nice trick for a four-story hotel.
HUGE MAN
It’ll be a nice trick, all right.
And with his final word the Operator slams the lift-handle to vertical, stopping the elevator between floors. In the same split-second the Huge Man seizes West from behind in a bear-hug. The Operator whips out a blackjack.
HUGE MAN (CONT’D)
Dooms day will come!
West lashes out with his feet, but misses and is knocked out by the blackjack. Now both assailants work quickly. The hatch atop the cage is opened and west is pushed onto the top of the elevator. The hatch is shut, padlocked. The Operator now lowers the elevator to the ground floor. The door is opened and they get out. After shutting the cage door, the Operator takes a forged iron loop from a pocket of his uniform. Reaching through the bars of the cage, he takes a breath to steady his timing, and then in almost one motion, secures the loop over the lift-handle and jerks his arms out. Locked in position, the elevator begins rising slowly. The assailants flee.
3. INT. ELEVATOR SHAFT – FULL – WEST – ANGLE DOWN
sprawled unconscious atop the rising cage.
4. REVERSE ANGLE
West will be crushed when the elevator reaches the top. Slowly, inexorably, it rises.
FADE OUT:
[End of first opening scene]
[The following is marked as page 1A, with some pen or pencil marks through portions of the first page; it is inserted in this script copy after page 1, continues with page 2 and is dated “Rev. 10/21/65”]
3. CONTINUED
WEST
I don’t mean to be impolite, Senator, but how does a broken love affair threaten the country?
For one thing, Lola won’t believe that Talbot has rejected her…
WEST
(eyes him obliquely)
Anything else, Senator?
Rawls eyes him in silence for a second, then nods.
RAWLS
Lola is going to tell you a bizarre tale… weird, if you will…
(a beat; seriously)
I wish I could say, that without being unkind to her – you could give her som eperspective on the truth of Talbot throwing her over, except…
He pauses, looks strange.
WEST
Except what?
RAWLS
(eyes him grimly]
Except I believe that what she will tell you is the frightening truth!
WEST
(the strange meaning sinking in, finally)
She’s in room 406?
Rawls nods. West turns to leave.
4. ANOTHER ANGLE
TO CARRY West toward the elevator.
5. ANGLE AT THE LOBBY ELEVATOR DOOR
A heavy-set man, OTTO, about to enter the elevator, stands aside momentarily, in apparent courtesy, to let West enter the elevator and then follows him. The elevator doors close. The elevator rises.
6. ANGLE AT SECOND FLOOR ELEVATOR DOOR
We see the shadow rising behind the glass pane of the door, indicating the elevator is ascending and stopping at the floor. A SECOND MAN is waiting. The elevator door opens; the Second Man gets in; the door closes. Again, the shadow rises as the elevator goes up.
7. ANGLE AT THIRD FLOOR ELEVATOR DOOR
The shadow rises behind the glass pane of the door. The elevator stops again. A THIRD MAN is waiting. After a beat, the door opens. The Third Man gets in. The door closes. Again the shadow rises as the elevator goes up.
8. ANGLE AT FOURTH FLOOR ELEVATOR DOOR
The shadow rises behind the glass pane of the door. The elevator stops again. There is no one waiting. After the same INTERVAL, the elevator doors FLY OPEN VIOLENTLY. The Second Man slams backwards out of the elevator to the floor of the corridor. West is flung out after him, locked in violent, deadly combat with the other two men.
9. ANGLE IN THE CORRIDOR
As the fight swirls down the corridor, away from the elevator. The three assailants are armed with a variety of deadly, silent weapons: blackjacks, knives, brass knuckles. West is giving a good account of himself, but is too busy to pause long enough to use any of his concealed weaponry.
10. ANOTHER ANGLE
As one of the men KNOCKS West’s feet out from under him, SLAMS him to the ground. Another of the men falls on West, immobilizing him momentarily. Otto raises a huge Bowie knife.
OTTO
Doomsday will come!
11. UP ANGLE ON OTTO – WEST’S POV
As he raises the knife, ready to thrust at West.
FREEZE FRAME
FIRST BREAK
ACT ONE
FADE IN:
12. INT. ANGLE ON CORRIDOR – DAY
There has been no lapse of time. West is still pinned to the floor by two of the men while Otto looms up over him, the knife poised. West twists and squirms frantically, giving Otto no chance for a clear blow. Suddenly West lashes out with both feed, slamming his heels into Otto’s knees. Otto flies backwards against the wall of the corridor, momentarily stunned. The two holding West are fleetingly distracted, giving West an opportunity to fling them clear and to roll to his feet. Rising, he chops one man down with a side-of-of the-hand blow and whirls to face the other who is lunging at him with a knife. West dances in front of the men for a moment and then, as the man dives forward to impale him, West grabs his knife arm, spins and sends the man flying with a hip-throw. West is turning to face the three men who are picking themselves up and turning to attack him again, when from o.s. we hear the piercing SCREAMS OF A WOMAN. The men glance o.s. quickly and then at each other in some consternation. Otto gestures quickly toward the end of the corridor. Quickly, but in good order, the three men turn and hurry off. West takes a step or two after them, then glances o.s. himself.
13. ANGLE ON LOLA BRACER, POV
LOLA BRACER, in her early twenties, blonde and thoroughly attractive, is standing in the partially opened door of her room. wee see on the door the numerals “406.”
14. ANOTHER ANGLE
As West crosses to her.
WEST
Miss Bracer -- ?
Lola nods, a trifle uncertainly, still upset after witnessing the fight.
WEST
(continuing)
I’m James West.
(beat; smile)
First time in my life it was a pleasure to hear a woman’s scream.
Lola smiles, her uncertainty gone. She gestures for him to enter the room.
DISSOLVE TO:
15. INT. HOTEL ROOM – CLOSE ON LETTER – RIGHT
The letter is in West’s hands. CAMERA DOLLIES BACK as West thoughtfully finishes the letter.
16. ANOTHER ANGLE
TO INCLUDE Lola Bracer who takes the letter as West hands it back to her.
LOLA
I ask you, Mr. West – is that the letter of a man trying to break his engagement.
WEST
(of the letter – an excerpt)
The elite class will rule… a world for the strong only… no place for the weak… the government is decadent… we shall form our own empire…
(beat)
I must say some of your fiancée’s political sentiments are peculiar.
West crosses to a small table, picks up an envelope and looks at it.
WEST (CONT’D)
From Mars, Nevada.
LOLA
I can’t find it on the map.
WEST
If this postmark’s genuine, we can locate it.
(beat)
How did Jack Talbot get involved with this General Grimm?
LOLA
Then – you believe me –
WEST
Those three gentlemen in the hall a few minutes ago were a very convincing argument in your favor.
(beat; nods)
Yes – I believe you.
16. CONTINUED
LOLA
Jack met this man who calls himself General Grimm about four months ago. He wouldn’t talk much about it but when he did he was excited, almost feverish. Once, I recall, he said that this Grimm was recruiting men who had the same ideas, the same purpose from all over the country.
(beat)
And then – he just disappeared. And except for that letter, I haven’t heard from him since.
WEST
I’ll do what I can, Miss Bracer.
LOLA
Please… find him! He’s either gone mad or is in the hands of madmen. I’m terrified for his safety.
WEST
If half the things in that letter are true – I’m even more concerned for the safety of the United States.
DISSOLVE TO:
17. EXT. WEST’S TRAIN – DAY (STOCK)
As it slows along the tracks… stops.
17A. INT. WEST’S TRAIN – DAY
West, dressed in western clothes, turns from peering out of one of the windows as the TRAIN WHISTLE BLOWS o.s. He pulls down a gun-rack, peruses it, makes his selection, holsters the gun, strapped behind his saddle as ARTEMUS GORDON enters. Artemus keeps tossing a leather pouch.
17A. CONTINUED
ARTEMUS
(a wave towards window)
Mars, Nevada, James… I have your horse waiting without…
West goes to window, peers out.
17B. POV THROUGH WINDOW
A SIGN:
It reads: MARS, NEVADA. Nothing is in sight anywhere.
WEST
That is Mars?
18. SCENE
ARTEMUS
Friendly little place, isn’t it? Rattlesnakes, gila monsters… sand, cactus… sun… Just the place for a honeymoon.
WEST
There’s no such girl.
Now turning to Artemus
WEST
The map shows the place about eight miles due north. There’s a siding up the line about six miles. Pull off there. I’ll get word to you somehow.
ARTEMUS
And if you don’t…?
WEST
You ought to do something about this gloomy outlook of yours.
ARTEMUS
Just being selfish. After a certain point, sitting on a siding loses its charm, and I might want to go up to San Francisco or Chicago or….
West slings his saddle bags over his shoulders and turns to leave.
WEST
Try reading a good book.
ARTEMUS
Oh, Jim…
West turns, Artemus tosses him the leather pouch.
ARTEMUS (CONT’D)
Without wine, women or song, where you’re going… you might want a smoke. A little tobacco I blended specially for you.
West nods his thanks, tucks pouch away, exits… while Artemus gloomily reaches for a book.
19 THRU 24 OMITTED
DISSOLVE:
25. EXT. COMPOUND AREA – DAY
FEATURING the Tank of water. TWO TROOPERS are there, flanking GENERAL GRIMM. This latter is powerfully built, flamboyantly uniformed. The Troopers carry rifles and wear odd uniforms. One of them is a girl, Jenny, a magnificent creature. The General pauses beside the tank… and now we feature JACK TALBOT, bearded, sweat-soaked, near collapse. The bright light makes him shut his eyes. Jenny momentarily reveals shock and dismay at his condition. We see that Talbot is roped (caution here: not brutally roped) to a crane with a windlass affixed to a large hook.
GRIMM
The rule, Private – what’s the rule?
TALBOT
Secrecy. Absolute – secrecy.
GRIMM
You’re learning, Talbot.
Rev. 10/20/65
25. CONTINUED
Grimm gives a thumbs-up gesture and the Trooper bends to the windlass. Jenny stands watching, trying to conceal her compassion. In very short order, Talbot is hanging by his arms, suspected in front of Grimm. Grimm gestures to the Trooper, who swings the arm of the crane to suspend Talbot over the tank of water, presumably the compound’s main supply. Grimm regards the arrangement for a moment judiciously and then gives a thumbs-down gesture. The trooper releases the pawls of the windlass and Talbot splashes into the tank of water.
26 & 27 OMIT
28. ANGLE ON THE TANK
Talbot, in his weakened condition, cannot struggle and simply vanishes beneath the surface. All we see is the rope.
Rev. 10/15/65
29. ANOTHER ANGLE
As the General waits in great calm during what seems like an interminable interval.
30. ANGLE ON Jenny
She is braced at attention but cannot restrain herself from biting her lips in her anxiety over Talbot.
31. ANOTHER ANGLE
GRIMM
Bring him up
The Trooper turns the windlass and Talbot is partially raised from the water.
GRIMM
I ask you again, Private Talbot – the names of the other to whom you wrote.
TALBOT
No one! Only her!
GRIMM
Down!
The Trooper trips the pawl, and Talbot again disappears under the water. With great composure, Grimm contemplates the toes of his boots, stamps a real or fancied fleck of dust from them.
GRIMM
(beat)
Bring him up.
Again the Trooper raises Talbot’s head above the surface.
GRIMM
The names of the others, Talbot.
TALBOT
She was the only one.
GRIMM
This time, I shall leave you under for twenty minutes. Death to all enemies of the cause!
(beat)
The truth, Talbot!
TALBOT
I only wrote one letter, General.
31. CONTINUED
Grimm begins to chuckle softly.
GRIMM
I believe you. And that’s all I wanted to hear.
Jenny, the ordeal over, closes her eyes, breathes a sigh of relief.
GRIMM
I’m going to make an example of you.
(beat)
For violating the rule of secrecy – one week on the hot-box!
Jenny’s relief vanishes. She gasps in shock and horror. The Trooper raises Talbot clear of the tank, swings him over the hot-box, prepares to drop him back into it again.
DISSOLVE TO:
32. EXT. MAIN GATE – DAY
As West rides INTO THE SHOT, reins in. He glances with some curiosity at the gate.
33. CLOSER ANGLE – WEST’S POV
The sign over the gate reads: “Mars Military Academy.” SENTRY, rifle at port, addresses West in a thoroughly no-nonsense tone of voice. The Sentry is thin, reedy, wears glasses and is in an odd uniform.
SENTRY
Dismount.
34. ANOTHER ANGLE
As West complies.
SENTRY
State your business, mister.
WEST
Can I join up?
SENTRY
That depends on who you are.
West is equal to the cold hostility.
Rev. 10/20/65
34. CONTINUED
WEST
But being only a sentry, you don’t decide that, do you?
SENTRY
I didn’t like that, mister. We’re all equal here. Not like out there where you’re dirt to some men. It’s why I enlisted.
West shrugs, then feigns an apologetic, friendly manner.
WEST
Look—I’d like to belong. If they let me, you and I’ll be on the same side, so why get off on the wrong foot, friend?
The Sentry is suspicious, but finally decides.
SENTRY
Main building straight ahead – ask for Sergeant Musk.
WEST
(starting in)
Thanks.
SENTRY
The main building…
(when West turns)
… and no place else. One step to either side and I’ll shoot you in the back of your head.
West begins walking, leading his horse.
35. ANGLE ON BUILDING – WEST’S POV
As he walks, taking in the cannon, the stacked rifles, the highly military, well-armed atmosphere of the place.
36. ANGLE ON WEST
As he walks, now faintly alarmed at what he is getting into.
37. ANOTHER ANGLE
As West crosses to the main building. He ties off his horse at the hitch-rail, starts to enter the building.
DISSOLVE TO:
38. INT. OFFICE – DAY
CLOSE ON SERGEANT MUSK, seated behind her desk. Musk is 25, powerful and gorgeous. She toys nervously with a riding crop. Her strange uniform is 50 years ahead of its time.
MUSK
Knowing Jack Talbot isn’t a point in your favor, mister.
CAMERA PULLS BACK, REVEALING West standing in front of her desk. He expresses momentary puzzlement and she holds up a sheet of paper.
MUSK
Our agent telegraphed us about you.
(beat)
We made a mistake with Talbot.
WEST
Mistake -- ?
MUSK
He’s weak and unreliable.
WEST
I don’t want to start off our relationship by arguing with you, my dear, but –
MUSK
(cutting in)
You will address me as “Sergeant Musk”!
WEST
AS long as I’m still a civilian – I’d a lot rather think of you as a woman than a superior officer.
MUSK
While I am on duty, you will not look on me as a woman, Mr. West.
WEST
(beat; regretful)
I’ll fight the impulse.
(beat)
Jack Talbot is my friend. And I would hardly call him unreliable.
Sgt. Musk rises and gestures to West to accompany her to the window. She points out through the o.s.
39. EXT. ANGLE OF MILITARY CEMETERY – POV – DAY
There are about two dozen crosses in a secluded area.
MUSK
Take a good look.
WEST
Who are they?
40. ANGLE ON WEST AND MUSK
MUSK
Men – like you – who said they wanted to belong.
(beat)
They failed.
WEST
Easier to get in than out. I see.
MUSK
So what is your reason for wanting to get in?
WEST
Join up? I like causes, good causes, strong ones. No room left in the world for the weak ones.
MUSK
The weak ones don’t survive here, civilian. And there is equality for women.
WEST
What I said. Only the strong can rule.
MUSK
You’d better believe that, civilian… for the next thousand years…
(a beat)
We’ll requisition your horse… and I’ll take your gun. Pick up a uniform and equipment from the Quartermaster and report to B barracks.
WEST
Thanks for accepting me – Sergeant.
MUSK
(mirthlessly)
You’re not accepted, you’re just –
(a beat)
in.
41. INT. BARRACKS – CLOSE ON WEST’S UNIFORM – NIGHT
CAMERA PULLS BACK as he buttons it up. It’s gaudiness makes him ill-at-ease. He looks around.
42. ANOTHER ANGLE – POV
The OTHER TROOPERS are seated on their bunks and to a man they are reading a small pamphlet. Like the Sentry at the gate, they do not necessarily seem like military types. All at once a voice is in West’s ear.
TROOPER (o.s.)
So you’re the new fish.
West turns.
43. ANOTHER ANGLE
The Trooper facing West is the one who had helped question Talbot. West nods amiably and indicates the other Troopers.
WEST
Seems I’ve joined a scholarly bunch –
TROOPER
The Blue Manual, fish.
WEST
What’s that?
TROOPER
You’ll find out when they decide to give you one.
SENTRY’S VOICE (o.s.)
Ten-shun!
44. WIDER ANGLE
As West, the Trooper and everyone in the room, snap to attention on the entrance of Sgt. Musk and Jenny.
MUSK
As you were.
Everyone relaxes.
MUSK
(beat)
This is Private West. He’s a friend of Jack Talbot’s.
44. CONTINUED
There is a deliberate, baiting quality to her voice and her statement. The other Troopers look toward West with speculative anticipation.
WEST
That’s right.
(a beat)
I’ve had an eye out for Jack. Where is he?
A beat. There is a blank silence.
WEST
I forgot. Secrecy.
MUSK
Our greatest weapon.
TROOPER
Talbot forgot. He’s a weakling. No room here for his kind.
The Trooper has moved close to West, his manner deliberately provocative.
TROOPER
(beat)
A yellow-bellied unreliable scum.
West understands, turns to Sgt. Musk.
WEST
Like that, huh?
MUSK
This is a fighting outfit, Private.
TROOPER
(deliberate)
Talbot was a lousy, no-good traitor—
West karate-chops the Trooper to the floor but is himself knocked down by the Sentry.
45. WIDER ANGLE
As if this has been rehearsed, the other troopers close their manuals and watch. Musk does not move to intervene; Jenny watches West with interest.
Rev. 10/15/65
46. VARIOUS ANGLES ON THE FIGHT
West is just rising when the Trooper lunges toward him. Seizing wrists and elbow, West falls backward and the Trooper sails over his head. The Sentry is back to the attack, this time swinging a rifle he has picked up. West ducks the blow and drives a judo-jab to the stomach, removing the Sentry from the fight. The Trooper has recovered and comes at West with a knife. West picks up a canvas cot in time to take the lunge. The Trooper’s whole arm goes through the cot after the knife and while he is thus entangled, West knocks him cold. West turns to the rest of the room.
WEST
Anybody else?
Sergeant Musk steps forward.
MUSK
Not bad. Not bad at all.
(up)
Get his place straightened; Mess call’s in ten minutes.
(to West)
Taps is twenty-one hundred. Anybody outside barracks after that is shot.
She turns to leave. Jenny, turning to follow, pauses to look back briefly at West.
DISSOLVE TO:
47. EXT. COMPOUND – DAY
West steps out of one of the buildings, apparently having just eaten. He tucks a knife and fork into his belt and swings his mess-tin, which is dripping water, to dry it. Several other Troopers, also having finished their meal, pass him. Jenny, also carrying a mess-tin, pauses beside him.
48. CLOSER ANGLE
JENNY
(sotto)
Are you really a friend of Jack’s?
WEST
(normal)
Yes. I am.
JENNY
(sotto)
Keep your voice down!
(beat)
You’ve got to help him!
West nods.
JENNY
He’s in the hot-box –
She gestures with her head. West looks in that direction.
49. ANGLE ON HOT-BOX – POV
50. ANGLE ON WEST AND JENNY
JENNY
(sotto)
He’s already been there two days! He’ll die if you don’t get him out!
WEST
(sotto)
I’ll do what I can.
JENNY
(sotto)
Please -- !
Without glancing further at him, she walks away.
CUT TO:
51. INT. GRIMM’S QUARTER’S – NIGHT
Grimm is seated at his desk. An overcoated figure, back TO CAMERA, stands examining a map on one wall. Sergeant Musk enters, marches to the desk at attention. She executes the academy salute: arm straight out, her hand a fist, arm brought back to strike over the heart, straight again, then down. Grimm returns the salute in more perfunctory fashion.
GRIMM
State your business, Sergeant.
MUSK
Sir – I wish to report that I am most favorably impressed with the new man.
Rev. 10/21/65
GRIMM
Good-good.
(beat)
At the moment, we have a more pressing problem.
(beat)
Talbot’s letter was delivered to Miss Lola Bracer in Room 406 of the Mission Hotel in San Francisco. She has an uncle – Senator Rawls, Chairman of the Senate Military Affairs Committee. Through Rawls, the girl contacted a member of the Secret Service.
Musk is impressed by the gravity of the news.
MUSK
Do we know who that might be, General?
GRIMM
Unfortunately, we don’t as yet.
The figure at the map turns for the first time. It is Otto, one of the three men who attacked West in the hotel.
ANGLE ON OTTO
OTTO
As I told you, General – I aw him once.
(beat)
But his face…I’ll never forget his face.
FREEZE FRAME
END OF ACT ONE