Post by California gal on Jul 14, 2009 16:46:49 GMT -8
Rev. 8/9/66
THE WILD WILD WEST
“THE NIGHT OF THE READY-MADE CORPSE”
EXECUTIVE PRODUCER
BRUCE LANSBURY
ASSOCIATE PRODUCER
LEONARD KATZMAN
STORY CONSULTANT
HENRY SHARP
WRITTEN BY
KEN KOLB
SETS: (X)
EXT. WESTERN STREET
INT. PHOTOGRAPHER’S STUDIO
INT. WORKSHOP
INT. WEST’S RAILROAD CAR
EXT. FUNERAL PARLOR
INT. CHAPEL
INT. EMBALMING ROOM
INT. IRISH BAR
EXT. GRAVEYARD
INT. ANTILLE’S CRYPT
EXT. ANTILLE’S CRYPT
EXT. IRISH BAR
INT. LEDA’S APARTMENT
INT. FUNERAL PARLOR – RECEPTION ROOM
INT. CLOSED CARRIAGE
EXT. ALLEY
INT. FUNERAL ALCOVE
EXT. PHOTOGRAPHER’S STUDIO
EXT. STREET
CAST (X)
JAMES WEST – ROBERT CONRAD
ARTEMUS GORDON – ROSS MARTIN
PELLARGO #1
PELLARGO #2
CLAUDIO ANTILLE
FABIAN LAVENOR
FINLEY
LEDA PELLARDO
ROSE MURPHY
BARMAID
SILENT (X)
GOLO
GUARDS
TOBY MURPHY
Rev. 8/8/66
TEASER
FADE IN:
2. EXT. WESTERN STREEET – DAY
A horse and rider canters up the street, past the CAMERA, then to a railing, where the rider dismounts and secures his horse, during which time we will recognize him as WEST…
… then CAMERA ANGLES, picks up a GROUP OF FIVE MEN walking along sidewalk, approaching West—same sidewalk, but with a jog in it that hides West from view; we see that the group of five men is dominated by the figure in the middle; dazzling, a colorful, over-uniformed figure – a swarthy, strutting bantam cock (he is PELLARGO and should put us in mind of a youthful Trujillo) surrounded by four obvious BODYGUARDS – tough, hard-looking men in the period equivalent of our modern trench coats, each with his hands jammed in his coat pockets.
2. ANOTHER ANGLE
as West turns the corner and sees the approaching group.
WEST
(to Pellargo)
Oh, good morning, your Excellency. May I…
That’s as far as he gets; with a speed and deadly coordination that speaks volumes for their training, three of the four bodyguards manhandle West off to the side, slam him against the wall, and proceed to frisk him – for all of five seconds…
… until West explodes into a furious surge of counteraction that consists of…
A… piston-like contraction of his arm that drives an elbow deep into the solar-plexus of bodyguard #1, dropping him like a sack of grain—then…
B… a sizzling right across to the chin of bodyguard #2, whirling him around and into a slack-jawed, wobbly-kneed state—and finally…
C… a fast duck to avoid a roundhouse swing leveled at him by bodyguard #3—a swing that smashed against the plaster wall, with highly painful results—whereupon West yanks the bodyguard’s buttoned coat down hard around his elbows, effectively pinioning him as if he had been leisurely tied up…
… just as ARTEMUS rides up in a lather, flips off his horse, then puts on an elaborately casual manner as he sees that the action is all over. West, of course, is equally calm and unruffled.
ARTEMUS
Hi, Jim. What’s cooking?
WEST
Same old soup, Artie—just heating it over.
(turning to Pellargo)
As I was saying before I was interrupted, welcome to Wickenburg, Col. Pellargo.
Pellargo nods, looking West over appraisingly.
PELLARGO
You’re very capable; your name?
WEST
James West.
(indicating Artemus)
My partner, Artemus Gordon.
PELLARGO
Assigned to me by your government?
(at West’s nod)
I approve.
(to the three bodyguards, contemptuously)
I don’t want to see you comic-opera characters for the rest of the day.
As the three bodyguards slink out of view, Pellargo takes West’s elbow and steers him up a flight of stairs – (followed by Guard #4 who has never stirred from Pellargo’s side, remember) – a flight of stairs that terminated on a second floor landing – on which we see a sign reading, “Hugo Kastner, Photographer.”
(NOTE: before he allows himself to be led up the stairs, West tosses a meaningful glance at Artemus – which Artemus acknowledges with a nod – after which he takes up his station at the food of the stairs.)
3. INT. PHOTOGRAPHER’S STUDIO – NIGHT
West and Pellargo emerge into the starkly functional photo studio typical of the era—a large, inclined skylight floods the room with moonlight, supplemented by ornate kerosene lamps—and before the dais with its prop potted palm and Roman column, a massive studio camera is readied on a wheeled platform.
PELLARGO
(continuing speech)
… I can only trust you will forgive their over-zealousness… they were trying to keep me from being murdered.
WET
If that was what was on my mind, I could easily have murdered you.
VOICE
And if you had, Mr. West? There’d be no harm done, would there?
4. CAMERA ANGLES as West turns to disclose that the voice belongs to bodyguard #4, as he unbuttons his coat and allows it to fall to the floor—and now we see underneath the coat he wears a magnificent, be-medaled uniform.
… similar to the one worn by “Pellargo”—as West turns back to him, we see that he has snapped to attention like a buck private, then lunged forward, striking a match that he holds to the cigar that the other has put to his lips. West looks from one to the other, and we see an understanding light dawn in his eyes.
WEST
(to 2nd Pellargo, indicating 1st Pellargo)
Of course—a double.
(a beat)
Or should I say—a lightning rod?
PELLARGO
(shrugging)
If you prefer—but a lightning rod who is paid handsomely for the risks he runs.
WEST
Very ingenious; you had me fooled.
PELLARGO
(tapping his chest)
Pellargo has many people fooled. Mr. West—
(turns on mirthless smile)
--which is why Pellargo is still listed among the living, eh?
He throws back his head and laughs uproariously as a MOUSY PHOTOGRAPHER wearing a shaggy mop of hair and thick-lensed glasses approaches timorously.
PHOTOGRAPHER
(stammering)
Sir—your Excellency…
He retreats and buries his head in the photographer’s cloth as he fusses with the camera’s innards…
… while Pellargo mounts the dais and takes up a pose reminiscent of Napoleon, during which he turns his glittering smile on West.
PELLARGO
An old custom in my country—a portrait of its ruler, to be distributed among the people.
WEST
(ironically)
As a substitute for bread?
Pellargo’s smile is suddenly erased and replaced by tightly compressed lips as he stares at West—then his smile breaks out again.
PELLARGO
I like you, Mr. West, you say what you think.
(a beat – mock-mournfully)
My country—alas, is poor—we cannot afford portraits and bread.
WEST
So the people end up with portraits.
PELLARGO
(contemptuously)
Why not? My people are completely dedicated to two basic objectives; the first, eking out a wretched hand-to-mouth existence; and the second…
WEST
Trying to assassinate you.
PELLARGO
(nodding smilingly)
From time to time, yes.
(spreading his arms)
I’m a reasonable man; I’m willing to grant them the first—but never the second.
He throws back his head and roars with laughter, until:
PHOTOGRAPHER
(muffled—from under cloth)
Sir—your Excellency—you mustn’t move…
Pellargo turns off his laughter and holds his arrogant pose, his lips still twitching with laughter, as CAMERA PULLS BACK to show the photographer’s head buried in his cloth, one handholding the bulb, the other a photo flash tray extended overhead.
PHOTOGRAPHER (CONT’D)
Hold it, sir, hold it…
Then it happens; the flash goes off—but instead of the standard flash of light, an immense cloud of crimson smoke boils up, enveloping the room in an instant…
… and following almost immediately, we see Pellargo lashing out convulsively as his hands to to his throat, then he topples inertly to the floor in a welter over overturned Roman column and potted plant…
… Bodyguard #4 lunges forward, frantically trying to draw his pistol from its holster—but he never makes it; he, too, topples to the floor…
… but West, with a desperate urgency has ripped a section of his shirt away and, holding it to his face, he plunges toward camera, just as the photographer emerges from under his cloth, and we see that he is now wearing a gas mask…
… the photographer counters by sending the big, wheeled camera rocketing toward West, delaying him just long enough for the photographer to snatch open the door through which all entered, and slams it shut behind him…
5. EXT. LANDING OUTSIDE PHOTOGRAPHER’S STUDIO – NIGHT
… and now, outside, he slams a massive pivoted bar down, securely locking the door, then whirls and smashes the flash tray he still holds against Artemus, who has come running up the stairs, then plunging past the stunned Artemus, he dashes down the stairs.
6. INT. PHOTOGRAPHER’S STUDIO – NIGHT
… while inside, West wastes a few precious, non-breathing seconds tugging at the barred door, then turns and flings himself in a desperate dive right through the front window, as we
FADE OUT:
END TEASER
ACT ONE
FADE IN:
7. EXT. PHOTOGRAPHER’S STUDIO – NIGHT
SHOOTING UP FROM STREET – (NOTE: the following action is a direct continuation of the action Teaser ended on) – West crashes through the front window in an explosion of glass and framing – lands on the roof of the verandah below, and continues his plummeting flight from there…
… during which we see the photographer, discarding his wig and spectacles as he goes, racing down the stairs from the studio (Artemus is slumped over stair rail, stunned from the blow he took from the photographer’s flash tray) and into the street…
… in a tie with West, who, even as he hits the ground has drawn his gun; as the photographer races past West into the alley across the street, West snaps off a shot—we see the photographer stagger briefly, clutching his arm.
8. CLOSE SHOT – THE PHOTOGRAPHER
… and now for the first time we see what the photographer really looks like as he turns his hunted, hate-filled face to West—(now we can tell you he is CLAUDIO ANTILLE)—then whips around and dashes into the alley—we see him reach the end where the alley takes a job, disappear around the corner…
9. ANOTHER ANGLE
Still clutching his arm, Antille emerges around the corner of the alley, dashes toward a frame that holds a small bill-poster, steps within the frame of the bill-poster, supporting himself by grasping the frame with his uninjured hand…
… and smoothly and silently the frame revolves on hidden pivots, causing him to disappear (see Fig. 37) and replacing the poster that has revolved out with an another identical one…
… just before West rounds the corner, prepared for bear – and stops short; CAMERA PULLS BACK to show him walking slowly and bewilderedly toward the end of the blind, completely empty alley…
10. ANOTHER ANGLE
As Artemus rounds the corner (his forehead lacerated where the flash tray made violent contact) and looks around, breathing hard:
[page missing]
Rev. 8/9/66
Rev. 8/9/66
13. CONTINUED
LAVENDOR
Ah, good evening, Mr. Antille… You are a few moments late.
(turning)
Will you follow me, please?
14. MOVING – TWO SHOT
As Antille follows Lavendor past a few rows of folding chairs toward the doors to the chapel.
ANTILLE
My arm is hurting…
LAVENDOR
I noticed you had a slight wound. I’ll see to it…. Do try not to bleed on the carpet. It gives the mourners a bad impression.
15. INT. EMBALMING ROOM – FULL SHOT
Antille and Lavendor ENTER from a door in the far wall and advance to the MEDIUM F.G. The room is furnished with the necessary props and tools of the mortician’s craft. A flat wooden table is the central feature, surrounded by large jars of formaldehyde, makeup equipment, and so on.
LAVENDOR
Just lie down there on the table, please…. It’s not very comfortable, I’m afraid….
(thin smile)
But few of my clients complain.
Antille looks around, plainly disliking the environment, but he sits on the edge of the work table, then lies out flat.
16. MEDIUM TWO SHOT
Lavendor approaches Antille, quickly and efficiently snips away the soaked cloth around the wound, then swabs it with a liquid antiseptic as Antille winces:
LAVENDOR
Hurt? You’re fortunate – it’s a clean flesh-wound…. I trust you accomplished your mission tonight.
ANTILLE
I always do; why should this job be an exception?
LAVENDOR
Congratulations. Then the rest is up to me, to provide the little services you contracted for.
Lavendor binds up the wound with a wraparound gauze bandage, then Antille sits up, swinging his legs over the side.
ANTILLE
An agent guarding Pellargo came after me. I suppose they’ll be searching the whole area.
LAVENDOR
I considered that possibility… so you have accommodations here. I’ll show you.
17. NEW ANGLE – MEDIUM
Antille gets off the table and Lavendor leads him to a wall covered with sliding storage compartments for bodies.
LAVENDOR
These are known as “slumber vaults”…
He slides one out, finding it already occupied.
LAVENDOR (CONT’D)
Sorry, old boy…
He slides the drawer back in again, selects another and pulls it out. This one is empty. Antille doesn’t like the idea.
ANTILLE
Must it be here…?
LAVENDOR
This is the safest place, in case of a search.
(pause; then smile)
And I assure you – the other tenants will not disturb your rest.
ZIP PAN TO:
18. SAME CLOSE SHOT OF LAVENDOR
Then pull BACK to show we are in:
19. EXT. STREET SCENE – NIGHT
And that Lavendor is peering intently through the partially opened door of a hansom cab parked at the curb. He unscrews the cap of a hip flask, tilts it in a long swallow, then as a panel of light suddenly leaps toward him, he shrinks back into the darkness of the cab – as CAMERA ANGLES…
… to show that we are facing the front of an unassuming pub, distinguished only by an illustration of a large schooner of veer and the name “Lenahan’s.” Right now a customer has opened the front door and is swaying happily as he stands there – and we are enabled to see that he bears more than a passing resemblance to Claudio Antille –only older, frowsier, and considerably more cheerful than we have ever seen Antille to be… (NOTE: we will find out that he is TOBY MURPHY.)
20. ANOTHER ANGLE
As Toby Murphy leaves the doorway of Lenahan’s and sets a wavering course down the darkened sidewalk, singing “Danny Boy” as he goes…
21. AT HANSOM CAB
The door opens and Lavendor maneuvers himself through the cab door and sets out stealthily after Murphy. Lavendor watches (unseen) Murphy, and we see his tremendous hand closing about the hip-flask he still holds – and, completely unconscious of what he is doing, he crushes the flask into a shapeless mass – then the door opens.
22. BACK TO MURPHY
Staggering along, singing happily, when some ancient remnant of a sixth sense operates – and he stops singing, turns around, peering waveringly into the darkness around him – then shrugs and starts off again – then again he stops – as if he heard something stealthy, menacing…
… and this time as he turns around, we can see from the expression of his face that he does see something – and as the shadow of whatever it is that he sees draws closer and moves over him, we can see Murphy’s face forming into an expression of horror; on the gathering terror in his eyes…
FLIP TO:
Rev. 8/8/66
23. INT. WEST’S RAILROAD CAR – DAY
CLOSE on a STRIKINGLY BEAUTIFUL WOMAN dressed in widow’s weeds (she is Leda Pellargo, widow of the slain dictator)…
… the PULL BACK to show her seated on a sofa, with West standing uncomfortably nearby.
WEST
There was no need for you to come here, Senora Pellargo. I’d have been happy to come to you.
LEDA
(wearily)
I wanted to walk—the walks of my hotel room were beginning to close in on me.
(a beat)
What did you wish to see me about?
WEST
I’ve been entrusted to deliver a telegram to you – from the President of the United States.
West produces the message and hands it to her, but she makes no move to open it.
LEDA
An official expression of sorrow… and sympathy—heartfelt condolences, etc. Am I correct?
West nods uncomfortably.
LEDA (CONT’D)
Will that bring back my husband? Or bring his murderer to justice?
As Leda rises, as if to go.
WEST
I’m sorry, Senora.
(a beat)
But you may be interested to know that we have identified your husband’s murder.
Leda wheels about, nostrils dilated, eyes glowing.
LEDA
Who is it?
West takes a photo from a drawer and places it in Leda’s eager hand.
Rev. 8/9/66
24. INSERT – PHOTO
… and we see that it is an excellent likeness of Antille.
WEST’S VOICE
Claudio Antille – professional assassin – courtesy of Washington’s files of internationally wanted criminals.
25. BACK TO SCENE
LEDA
(gazing at photo)
Portrait of a murderer…
She raises a gloved hand as if to strike the portrait, then suddenly, her composure is shattered; she whips out a hankie and presses it to her eyes.
26. ANGLE FEATURING WEST
WEST
United States has been made to look responsible for your husband’s death…
LEDA
(ignoring West’s remarks)
There was a rumor you wounded this… Antille, you said.
27. MEDIUM TWO SHOT
WEST
Yes, Senora. I’m sure I did. I found blood.
LEDA
I should have thought that would make him quite easy to follow.
WEST
I’d have thought so, too, but he vanished in a blind alley…
LEDA
How is it possible for this man to have accomplished – what he set out to do?
WEST
This Antille is, in his own way, very capable. Look how far ahead the man planned! Two months ago he arrived here, set up shop as Hugo Kastner, photographer, and waited patiently for…
Rev. 8/8/66
27. CONTINUED
He breaks off as Artemus comes bustling into the scene, starts to blurt out something, then stops at the sight of Leda.
ARTEMUS
Excuse me, Senora –
(to West)
May I speak to you a minute, Jim…
He draws West away and whispers to him—with West reacting grimly to what he HEARS. Then, as West turns back to Leda:
LEDA
(looks from West to Artemus)
What is it? Antille?
WEST
(nodding)
He’s been found.
LEDA
Thank heavens!
(bitterly)
What does a murderer say when he is caught?
WEST
In the case of Antille, nothing: he’s dead.
FLIP TO:
28. EXT. FUNERAL PARLOR – FULL SHOT – DAY
On a quiet side street amid dignified old houses is the New Dawn Funeral Parlor, identified by the name in gold letters across the velvet-draped front windows. A horse-cab pulls to a stop in front of the place, West and Leda get out, and the cab pulls away.
29. CLOSE ANGLE – WEST AND LEDA
Leda wears her mourning black, with a veil. West supports her by her arm as they move toward the door.
WEST
Are you sure you feel up to this?
LEDA
Yes… I want to do it.
WEST
It will be painful…
LEDA
So was the loss of my husband; I want to see his murderer.
West holds the door open for Leda, then follows her in.
30. INT. FUNERAL PARLOR – RECEPTION ROOM – MEDIUM
The reception room is decorated with the usual genteel vulgarity of such places; a small desk, a few uncomfortable chairs, a potted rubber plant, sickly sentimental pictures on the walls. Lavendor comes forward to meet West and Leda, exuding professional sympathy.
LAVENDOR
May I help you in this hour of trial?
WEST
Are you in charge here?
LAVENDOR
(slight bow)
I am the proprietor, Fabian Lavendor.
WEST
You have a body on hand presumed to be a certain Claudio Antille?
LAVENDOR
Oh. Yes… that one.
WEST
How does he happen to be here?
LAVENDOR
It was rather irregular… but the men who found him said this was simply the nearest available place… I could hardly turn them away… Naturally I soon notified the police.
WEST
Who brought him in?
LAVENDOR
Two workers… They declined to leave their names – and I have no authority to force them. They left rather quickly… before I had time to discover the bullet wound in the departed.
Rev. 8/9/66
30. CONTINUED
WEST
You made the identification?
LAVENDOR
Yes… from some papers in the coat pocket, and a letter. I’ll get them for you.
Lavendor moves to the small desk, opens a drawer and gets out a few papers and a wallet, which he hands to West.
LAVENDOR (CONT’D)
Are you and Madame, uh… related… to the deceased?
31. THREE SHOT – FEATURING WEST
WEST
The Senora is the widow of the man Antille killed.
LAVENDOR
Oh. My deepest sympathies… If I might be of professional service to Senora…?
WEST
That’s been taken care of, thanks. … Now if we could see the body?
LAVENDOR
Of course. He is reposing in the chapel… This way, please.
West and Leda follow Lavendor toward an inner door.
32. INT. FUNERAL PARLOR CHAPEL – MEDIUM
Lavendor, Leda and West enter, moving past the few rows of folding chairs toward the altar and the low tier before it. On the bier is a plain wooden coffin with the lid removed. As they near it, Lavendor steps aside.
33. DOWN ANGLE – WEST, LEDA AND CASKET
West and Leda move up beside the casket and look in to it. There’s Antille beyond doubt. Leda reacts quickly, involuntarily, as if to strike the lifeless figure within – until West gently but firmly restrains her.
LEDA
(bitterly)
So that’s the monster…!
Rev. 8/8/66
33. CONTINUED
Overcome with emotion, she turns away, bringing a hand to her mouth as though to hold back sobs. West supports her leading her away, and CAMERA PANS to bring Lavendor INTO SCENE.
WEST
Please take care of Senora Pellargo for a moment.
LAVENDOR
Of course. Come, Senora, I have some smelling salts in the reception room.
Lavendor takes Leda’s arm and leads her out. West turns back toward the bier.
34. ANGLE ON WEST AND COFFIN
West returns to the side of the casket, staring down at the body of Antille with an intent, slightly puzzled expression. He feels the chest, first for heartbeat, then for the bullet wound. When he finds the spot, he opens the shirt slightly to take a look. (Naturally we keep any gory or distasteful portions of West’s examination off-screen.)
35. ANOTHER ANGLE
West walks around the coffin, still looking the body over carefully. He traces a slight scar on Antille’s jaw, then peers at some faint markings on the neck. Then he lifts the right hand of the body, checking for another scar across the knuckles. It’s there. The shirt sleeve flops loosely, and West pulls out the cuff, showing the cufflink hole to be empty. He lowers the right hand and lifts the left, pulling out the shirt cuff.
36, BIG CLOSEUP – CUFF AND CUFFLINK
The cufflink on the left sleeve is an exact match for the one found by West in the alley. His hand ENTERS FRAME, holding the found one to match the two.
37. ANGLE ON WEST
Satisfied, he lowers the left arm, takes a final look, then turns and moves quickly for the door.
38. INT. RECEPTION ROOM – MEDIUM FULL
Leda sits in a chair, while Lavendor attempts to pass the smelling salts under her nose again. She turns away.
Rev. 8/9/66
38. CONTINUED
LEDA
No more, please… I’m feeling quite all right now.
West enters and crosses quickly to Leda, who stands to meet him.
WEST
Sorry to keep you waiting, but I had to be positive…
(turns to Lavendor)
I’ll have to keep those papers.
LAVENDOR
Of course… Uh, about the financial arrangements…
WEST
You’ll be reimbursed by the government. I’ll see to it.
West takes Leda’s arm and they exit. CAMERA MOVES IN ON Lavendor making a face of dignified dislike after West. Then Lavendor turns and moves toward the door to the chapel.
39. INT. CHAPEL – LOW ANGLE – PAST COFFIN
Lavendor appears, moves briskly up to the coffee, then takes the lid from its resting place against the bier. He looks down and addresses the body cheerfully.
LAVENDOR
So sorry, old man – I had hoped to send you off with a little pomp and ceremony.
Lavendor claps the lid on and starts to fasten it down. SOUND OF HOLLOW LAUGHTER (as from within the box) should freeze the spines of our viewers at this point. But Lavendor isn’t scared. In fact, he joins in with a low, rumbling chuckle.
40. ANOTHER ANGLE – PAST LAVENDOR TO WALL PANEL
The wall panel opens, revealing the same secret passage through which Antille emerged before—and he emerges again, very much alive and very much amused. He moves up beside the coffin, helping Lavendor to screw down the lid – both of them now LAUGHING HEARTILY, as we slowly:
FADE OUT:
END ACT ONE
THE WILD WILD WEST
“THE NIGHT OF THE READY-MADE CORPSE”
EXECUTIVE PRODUCER
BRUCE LANSBURY
ASSOCIATE PRODUCER
LEONARD KATZMAN
STORY CONSULTANT
HENRY SHARP
WRITTEN BY
KEN KOLB
SETS: (X)
EXT. WESTERN STREET
INT. PHOTOGRAPHER’S STUDIO
INT. WORKSHOP
INT. WEST’S RAILROAD CAR
EXT. FUNERAL PARLOR
INT. CHAPEL
INT. EMBALMING ROOM
INT. IRISH BAR
EXT. GRAVEYARD
INT. ANTILLE’S CRYPT
EXT. ANTILLE’S CRYPT
EXT. IRISH BAR
INT. LEDA’S APARTMENT
INT. FUNERAL PARLOR – RECEPTION ROOM
INT. CLOSED CARRIAGE
EXT. ALLEY
INT. FUNERAL ALCOVE
EXT. PHOTOGRAPHER’S STUDIO
EXT. STREET
CAST (X)
JAMES WEST – ROBERT CONRAD
ARTEMUS GORDON – ROSS MARTIN
PELLARGO #1
PELLARGO #2
CLAUDIO ANTILLE
FABIAN LAVENOR
FINLEY
LEDA PELLARDO
ROSE MURPHY
BARMAID
SILENT (X)
GOLO
GUARDS
TOBY MURPHY
Rev. 8/8/66
TEASER
FADE IN:
2. EXT. WESTERN STREEET – DAY
A horse and rider canters up the street, past the CAMERA, then to a railing, where the rider dismounts and secures his horse, during which time we will recognize him as WEST…
… then CAMERA ANGLES, picks up a GROUP OF FIVE MEN walking along sidewalk, approaching West—same sidewalk, but with a jog in it that hides West from view; we see that the group of five men is dominated by the figure in the middle; dazzling, a colorful, over-uniformed figure – a swarthy, strutting bantam cock (he is PELLARGO and should put us in mind of a youthful Trujillo) surrounded by four obvious BODYGUARDS – tough, hard-looking men in the period equivalent of our modern trench coats, each with his hands jammed in his coat pockets.
2. ANOTHER ANGLE
as West turns the corner and sees the approaching group.
WEST
(to Pellargo)
Oh, good morning, your Excellency. May I…
That’s as far as he gets; with a speed and deadly coordination that speaks volumes for their training, three of the four bodyguards manhandle West off to the side, slam him against the wall, and proceed to frisk him – for all of five seconds…
… until West explodes into a furious surge of counteraction that consists of…
A… piston-like contraction of his arm that drives an elbow deep into the solar-plexus of bodyguard #1, dropping him like a sack of grain—then…
B… a sizzling right across to the chin of bodyguard #2, whirling him around and into a slack-jawed, wobbly-kneed state—and finally…
C… a fast duck to avoid a roundhouse swing leveled at him by bodyguard #3—a swing that smashed against the plaster wall, with highly painful results—whereupon West yanks the bodyguard’s buttoned coat down hard around his elbows, effectively pinioning him as if he had been leisurely tied up…
… just as ARTEMUS rides up in a lather, flips off his horse, then puts on an elaborately casual manner as he sees that the action is all over. West, of course, is equally calm and unruffled.
ARTEMUS
Hi, Jim. What’s cooking?
WEST
Same old soup, Artie—just heating it over.
(turning to Pellargo)
As I was saying before I was interrupted, welcome to Wickenburg, Col. Pellargo.
Pellargo nods, looking West over appraisingly.
PELLARGO
You’re very capable; your name?
WEST
James West.
(indicating Artemus)
My partner, Artemus Gordon.
PELLARGO
Assigned to me by your government?
(at West’s nod)
I approve.
(to the three bodyguards, contemptuously)
I don’t want to see you comic-opera characters for the rest of the day.
As the three bodyguards slink out of view, Pellargo takes West’s elbow and steers him up a flight of stairs – (followed by Guard #4 who has never stirred from Pellargo’s side, remember) – a flight of stairs that terminated on a second floor landing – on which we see a sign reading, “Hugo Kastner, Photographer.”
(NOTE: before he allows himself to be led up the stairs, West tosses a meaningful glance at Artemus – which Artemus acknowledges with a nod – after which he takes up his station at the food of the stairs.)
3. INT. PHOTOGRAPHER’S STUDIO – NIGHT
West and Pellargo emerge into the starkly functional photo studio typical of the era—a large, inclined skylight floods the room with moonlight, supplemented by ornate kerosene lamps—and before the dais with its prop potted palm and Roman column, a massive studio camera is readied on a wheeled platform.
PELLARGO
(continuing speech)
… I can only trust you will forgive their over-zealousness… they were trying to keep me from being murdered.
WET
If that was what was on my mind, I could easily have murdered you.
VOICE
And if you had, Mr. West? There’d be no harm done, would there?
4. CAMERA ANGLES as West turns to disclose that the voice belongs to bodyguard #4, as he unbuttons his coat and allows it to fall to the floor—and now we see underneath the coat he wears a magnificent, be-medaled uniform.
… similar to the one worn by “Pellargo”—as West turns back to him, we see that he has snapped to attention like a buck private, then lunged forward, striking a match that he holds to the cigar that the other has put to his lips. West looks from one to the other, and we see an understanding light dawn in his eyes.
WEST
(to 2nd Pellargo, indicating 1st Pellargo)
Of course—a double.
(a beat)
Or should I say—a lightning rod?
PELLARGO
(shrugging)
If you prefer—but a lightning rod who is paid handsomely for the risks he runs.
WEST
Very ingenious; you had me fooled.
PELLARGO
(tapping his chest)
Pellargo has many people fooled. Mr. West—
(turns on mirthless smile)
--which is why Pellargo is still listed among the living, eh?
He throws back his head and laughs uproariously as a MOUSY PHOTOGRAPHER wearing a shaggy mop of hair and thick-lensed glasses approaches timorously.
PHOTOGRAPHER
(stammering)
Sir—your Excellency…
He retreats and buries his head in the photographer’s cloth as he fusses with the camera’s innards…
… while Pellargo mounts the dais and takes up a pose reminiscent of Napoleon, during which he turns his glittering smile on West.
PELLARGO
An old custom in my country—a portrait of its ruler, to be distributed among the people.
WEST
(ironically)
As a substitute for bread?
Pellargo’s smile is suddenly erased and replaced by tightly compressed lips as he stares at West—then his smile breaks out again.
PELLARGO
I like you, Mr. West, you say what you think.
(a beat – mock-mournfully)
My country—alas, is poor—we cannot afford portraits and bread.
WEST
So the people end up with portraits.
PELLARGO
(contemptuously)
Why not? My people are completely dedicated to two basic objectives; the first, eking out a wretched hand-to-mouth existence; and the second…
WEST
Trying to assassinate you.
PELLARGO
(nodding smilingly)
From time to time, yes.
(spreading his arms)
I’m a reasonable man; I’m willing to grant them the first—but never the second.
He throws back his head and roars with laughter, until:
PHOTOGRAPHER
(muffled—from under cloth)
Sir—your Excellency—you mustn’t move…
Pellargo turns off his laughter and holds his arrogant pose, his lips still twitching with laughter, as CAMERA PULLS BACK to show the photographer’s head buried in his cloth, one handholding the bulb, the other a photo flash tray extended overhead.
PHOTOGRAPHER (CONT’D)
Hold it, sir, hold it…
Then it happens; the flash goes off—but instead of the standard flash of light, an immense cloud of crimson smoke boils up, enveloping the room in an instant…
… and following almost immediately, we see Pellargo lashing out convulsively as his hands to to his throat, then he topples inertly to the floor in a welter over overturned Roman column and potted plant…
… Bodyguard #4 lunges forward, frantically trying to draw his pistol from its holster—but he never makes it; he, too, topples to the floor…
… but West, with a desperate urgency has ripped a section of his shirt away and, holding it to his face, he plunges toward camera, just as the photographer emerges from under his cloth, and we see that he is now wearing a gas mask…
… the photographer counters by sending the big, wheeled camera rocketing toward West, delaying him just long enough for the photographer to snatch open the door through which all entered, and slams it shut behind him…
5. EXT. LANDING OUTSIDE PHOTOGRAPHER’S STUDIO – NIGHT
… and now, outside, he slams a massive pivoted bar down, securely locking the door, then whirls and smashes the flash tray he still holds against Artemus, who has come running up the stairs, then plunging past the stunned Artemus, he dashes down the stairs.
6. INT. PHOTOGRAPHER’S STUDIO – NIGHT
… while inside, West wastes a few precious, non-breathing seconds tugging at the barred door, then turns and flings himself in a desperate dive right through the front window, as we
FADE OUT:
END TEASER
ACT ONE
FADE IN:
7. EXT. PHOTOGRAPHER’S STUDIO – NIGHT
SHOOTING UP FROM STREET – (NOTE: the following action is a direct continuation of the action Teaser ended on) – West crashes through the front window in an explosion of glass and framing – lands on the roof of the verandah below, and continues his plummeting flight from there…
… during which we see the photographer, discarding his wig and spectacles as he goes, racing down the stairs from the studio (Artemus is slumped over stair rail, stunned from the blow he took from the photographer’s flash tray) and into the street…
… in a tie with West, who, even as he hits the ground has drawn his gun; as the photographer races past West into the alley across the street, West snaps off a shot—we see the photographer stagger briefly, clutching his arm.
8. CLOSE SHOT – THE PHOTOGRAPHER
… and now for the first time we see what the photographer really looks like as he turns his hunted, hate-filled face to West—(now we can tell you he is CLAUDIO ANTILLE)—then whips around and dashes into the alley—we see him reach the end where the alley takes a job, disappear around the corner…
9. ANOTHER ANGLE
Still clutching his arm, Antille emerges around the corner of the alley, dashes toward a frame that holds a small bill-poster, steps within the frame of the bill-poster, supporting himself by grasping the frame with his uninjured hand…
… and smoothly and silently the frame revolves on hidden pivots, causing him to disappear (see Fig. 37) and replacing the poster that has revolved out with an another identical one…
… just before West rounds the corner, prepared for bear – and stops short; CAMERA PULLS BACK to show him walking slowly and bewilderedly toward the end of the blind, completely empty alley…
10. ANOTHER ANGLE
As Artemus rounds the corner (his forehead lacerated where the flash tray made violent contact) and looks around, breathing hard:
[page missing]
Rev. 8/9/66
Rev. 8/9/66
13. CONTINUED
LAVENDOR
Ah, good evening, Mr. Antille… You are a few moments late.
(turning)
Will you follow me, please?
14. MOVING – TWO SHOT
As Antille follows Lavendor past a few rows of folding chairs toward the doors to the chapel.
ANTILLE
My arm is hurting…
LAVENDOR
I noticed you had a slight wound. I’ll see to it…. Do try not to bleed on the carpet. It gives the mourners a bad impression.
15. INT. EMBALMING ROOM – FULL SHOT
Antille and Lavendor ENTER from a door in the far wall and advance to the MEDIUM F.G. The room is furnished with the necessary props and tools of the mortician’s craft. A flat wooden table is the central feature, surrounded by large jars of formaldehyde, makeup equipment, and so on.
LAVENDOR
Just lie down there on the table, please…. It’s not very comfortable, I’m afraid….
(thin smile)
But few of my clients complain.
Antille looks around, plainly disliking the environment, but he sits on the edge of the work table, then lies out flat.
16. MEDIUM TWO SHOT
Lavendor approaches Antille, quickly and efficiently snips away the soaked cloth around the wound, then swabs it with a liquid antiseptic as Antille winces:
LAVENDOR
Hurt? You’re fortunate – it’s a clean flesh-wound…. I trust you accomplished your mission tonight.
ANTILLE
I always do; why should this job be an exception?
LAVENDOR
Congratulations. Then the rest is up to me, to provide the little services you contracted for.
Lavendor binds up the wound with a wraparound gauze bandage, then Antille sits up, swinging his legs over the side.
ANTILLE
An agent guarding Pellargo came after me. I suppose they’ll be searching the whole area.
LAVENDOR
I considered that possibility… so you have accommodations here. I’ll show you.
17. NEW ANGLE – MEDIUM
Antille gets off the table and Lavendor leads him to a wall covered with sliding storage compartments for bodies.
LAVENDOR
These are known as “slumber vaults”…
He slides one out, finding it already occupied.
LAVENDOR (CONT’D)
Sorry, old boy…
He slides the drawer back in again, selects another and pulls it out. This one is empty. Antille doesn’t like the idea.
ANTILLE
Must it be here…?
LAVENDOR
This is the safest place, in case of a search.
(pause; then smile)
And I assure you – the other tenants will not disturb your rest.
ZIP PAN TO:
18. SAME CLOSE SHOT OF LAVENDOR
Then pull BACK to show we are in:
19. EXT. STREET SCENE – NIGHT
And that Lavendor is peering intently through the partially opened door of a hansom cab parked at the curb. He unscrews the cap of a hip flask, tilts it in a long swallow, then as a panel of light suddenly leaps toward him, he shrinks back into the darkness of the cab – as CAMERA ANGLES…
… to show that we are facing the front of an unassuming pub, distinguished only by an illustration of a large schooner of veer and the name “Lenahan’s.” Right now a customer has opened the front door and is swaying happily as he stands there – and we are enabled to see that he bears more than a passing resemblance to Claudio Antille –only older, frowsier, and considerably more cheerful than we have ever seen Antille to be… (NOTE: we will find out that he is TOBY MURPHY.)
20. ANOTHER ANGLE
As Toby Murphy leaves the doorway of Lenahan’s and sets a wavering course down the darkened sidewalk, singing “Danny Boy” as he goes…
21. AT HANSOM CAB
The door opens and Lavendor maneuvers himself through the cab door and sets out stealthily after Murphy. Lavendor watches (unseen) Murphy, and we see his tremendous hand closing about the hip-flask he still holds – and, completely unconscious of what he is doing, he crushes the flask into a shapeless mass – then the door opens.
22. BACK TO MURPHY
Staggering along, singing happily, when some ancient remnant of a sixth sense operates – and he stops singing, turns around, peering waveringly into the darkness around him – then shrugs and starts off again – then again he stops – as if he heard something stealthy, menacing…
… and this time as he turns around, we can see from the expression of his face that he does see something – and as the shadow of whatever it is that he sees draws closer and moves over him, we can see Murphy’s face forming into an expression of horror; on the gathering terror in his eyes…
FLIP TO:
Rev. 8/8/66
23. INT. WEST’S RAILROAD CAR – DAY
CLOSE on a STRIKINGLY BEAUTIFUL WOMAN dressed in widow’s weeds (she is Leda Pellargo, widow of the slain dictator)…
… the PULL BACK to show her seated on a sofa, with West standing uncomfortably nearby.
WEST
There was no need for you to come here, Senora Pellargo. I’d have been happy to come to you.
LEDA
(wearily)
I wanted to walk—the walks of my hotel room were beginning to close in on me.
(a beat)
What did you wish to see me about?
WEST
I’ve been entrusted to deliver a telegram to you – from the President of the United States.
West produces the message and hands it to her, but she makes no move to open it.
LEDA
An official expression of sorrow… and sympathy—heartfelt condolences, etc. Am I correct?
West nods uncomfortably.
LEDA (CONT’D)
Will that bring back my husband? Or bring his murderer to justice?
As Leda rises, as if to go.
WEST
I’m sorry, Senora.
(a beat)
But you may be interested to know that we have identified your husband’s murder.
Leda wheels about, nostrils dilated, eyes glowing.
LEDA
Who is it?
West takes a photo from a drawer and places it in Leda’s eager hand.
Rev. 8/9/66
24. INSERT – PHOTO
… and we see that it is an excellent likeness of Antille.
WEST’S VOICE
Claudio Antille – professional assassin – courtesy of Washington’s files of internationally wanted criminals.
25. BACK TO SCENE
LEDA
(gazing at photo)
Portrait of a murderer…
She raises a gloved hand as if to strike the portrait, then suddenly, her composure is shattered; she whips out a hankie and presses it to her eyes.
26. ANGLE FEATURING WEST
WEST
United States has been made to look responsible for your husband’s death…
LEDA
(ignoring West’s remarks)
There was a rumor you wounded this… Antille, you said.
27. MEDIUM TWO SHOT
WEST
Yes, Senora. I’m sure I did. I found blood.
LEDA
I should have thought that would make him quite easy to follow.
WEST
I’d have thought so, too, but he vanished in a blind alley…
LEDA
How is it possible for this man to have accomplished – what he set out to do?
WEST
This Antille is, in his own way, very capable. Look how far ahead the man planned! Two months ago he arrived here, set up shop as Hugo Kastner, photographer, and waited patiently for…
Rev. 8/8/66
27. CONTINUED
He breaks off as Artemus comes bustling into the scene, starts to blurt out something, then stops at the sight of Leda.
ARTEMUS
Excuse me, Senora –
(to West)
May I speak to you a minute, Jim…
He draws West away and whispers to him—with West reacting grimly to what he HEARS. Then, as West turns back to Leda:
LEDA
(looks from West to Artemus)
What is it? Antille?
WEST
(nodding)
He’s been found.
LEDA
Thank heavens!
(bitterly)
What does a murderer say when he is caught?
WEST
In the case of Antille, nothing: he’s dead.
FLIP TO:
28. EXT. FUNERAL PARLOR – FULL SHOT – DAY
On a quiet side street amid dignified old houses is the New Dawn Funeral Parlor, identified by the name in gold letters across the velvet-draped front windows. A horse-cab pulls to a stop in front of the place, West and Leda get out, and the cab pulls away.
29. CLOSE ANGLE – WEST AND LEDA
Leda wears her mourning black, with a veil. West supports her by her arm as they move toward the door.
WEST
Are you sure you feel up to this?
LEDA
Yes… I want to do it.
WEST
It will be painful…
LEDA
So was the loss of my husband; I want to see his murderer.
West holds the door open for Leda, then follows her in.
30. INT. FUNERAL PARLOR – RECEPTION ROOM – MEDIUM
The reception room is decorated with the usual genteel vulgarity of such places; a small desk, a few uncomfortable chairs, a potted rubber plant, sickly sentimental pictures on the walls. Lavendor comes forward to meet West and Leda, exuding professional sympathy.
LAVENDOR
May I help you in this hour of trial?
WEST
Are you in charge here?
LAVENDOR
(slight bow)
I am the proprietor, Fabian Lavendor.
WEST
You have a body on hand presumed to be a certain Claudio Antille?
LAVENDOR
Oh. Yes… that one.
WEST
How does he happen to be here?
LAVENDOR
It was rather irregular… but the men who found him said this was simply the nearest available place… I could hardly turn them away… Naturally I soon notified the police.
WEST
Who brought him in?
LAVENDOR
Two workers… They declined to leave their names – and I have no authority to force them. They left rather quickly… before I had time to discover the bullet wound in the departed.
Rev. 8/9/66
30. CONTINUED
WEST
You made the identification?
LAVENDOR
Yes… from some papers in the coat pocket, and a letter. I’ll get them for you.
Lavendor moves to the small desk, opens a drawer and gets out a few papers and a wallet, which he hands to West.
LAVENDOR (CONT’D)
Are you and Madame, uh… related… to the deceased?
31. THREE SHOT – FEATURING WEST
WEST
The Senora is the widow of the man Antille killed.
LAVENDOR
Oh. My deepest sympathies… If I might be of professional service to Senora…?
WEST
That’s been taken care of, thanks. … Now if we could see the body?
LAVENDOR
Of course. He is reposing in the chapel… This way, please.
West and Leda follow Lavendor toward an inner door.
32. INT. FUNERAL PARLOR CHAPEL – MEDIUM
Lavendor, Leda and West enter, moving past the few rows of folding chairs toward the altar and the low tier before it. On the bier is a plain wooden coffin with the lid removed. As they near it, Lavendor steps aside.
33. DOWN ANGLE – WEST, LEDA AND CASKET
West and Leda move up beside the casket and look in to it. There’s Antille beyond doubt. Leda reacts quickly, involuntarily, as if to strike the lifeless figure within – until West gently but firmly restrains her.
LEDA
(bitterly)
So that’s the monster…!
Rev. 8/8/66
33. CONTINUED
Overcome with emotion, she turns away, bringing a hand to her mouth as though to hold back sobs. West supports her leading her away, and CAMERA PANS to bring Lavendor INTO SCENE.
WEST
Please take care of Senora Pellargo for a moment.
LAVENDOR
Of course. Come, Senora, I have some smelling salts in the reception room.
Lavendor takes Leda’s arm and leads her out. West turns back toward the bier.
34. ANGLE ON WEST AND COFFIN
West returns to the side of the casket, staring down at the body of Antille with an intent, slightly puzzled expression. He feels the chest, first for heartbeat, then for the bullet wound. When he finds the spot, he opens the shirt slightly to take a look. (Naturally we keep any gory or distasteful portions of West’s examination off-screen.)
35. ANOTHER ANGLE
West walks around the coffin, still looking the body over carefully. He traces a slight scar on Antille’s jaw, then peers at some faint markings on the neck. Then he lifts the right hand of the body, checking for another scar across the knuckles. It’s there. The shirt sleeve flops loosely, and West pulls out the cuff, showing the cufflink hole to be empty. He lowers the right hand and lifts the left, pulling out the shirt cuff.
36, BIG CLOSEUP – CUFF AND CUFFLINK
The cufflink on the left sleeve is an exact match for the one found by West in the alley. His hand ENTERS FRAME, holding the found one to match the two.
37. ANGLE ON WEST
Satisfied, he lowers the left arm, takes a final look, then turns and moves quickly for the door.
38. INT. RECEPTION ROOM – MEDIUM FULL
Leda sits in a chair, while Lavendor attempts to pass the smelling salts under her nose again. She turns away.
Rev. 8/9/66
38. CONTINUED
LEDA
No more, please… I’m feeling quite all right now.
West enters and crosses quickly to Leda, who stands to meet him.
WEST
Sorry to keep you waiting, but I had to be positive…
(turns to Lavendor)
I’ll have to keep those papers.
LAVENDOR
Of course… Uh, about the financial arrangements…
WEST
You’ll be reimbursed by the government. I’ll see to it.
West takes Leda’s arm and they exit. CAMERA MOVES IN ON Lavendor making a face of dignified dislike after West. Then Lavendor turns and moves toward the door to the chapel.
39. INT. CHAPEL – LOW ANGLE – PAST COFFIN
Lavendor appears, moves briskly up to the coffee, then takes the lid from its resting place against the bier. He looks down and addresses the body cheerfully.
LAVENDOR
So sorry, old man – I had hoped to send you off with a little pomp and ceremony.
Lavendor claps the lid on and starts to fasten it down. SOUND OF HOLLOW LAUGHTER (as from within the box) should freeze the spines of our viewers at this point. But Lavendor isn’t scared. In fact, he joins in with a low, rumbling chuckle.
40. ANOTHER ANGLE – PAST LAVENDOR TO WALL PANEL
The wall panel opens, revealing the same secret passage through which Antille emerged before—and he emerges again, very much alive and very much amused. He moves up beside the coffin, helping Lavendor to screw down the lid – both of them now LAUGHING HEARTILY, as we slowly:
FADE OUT:
END ACT ONE