Post by California gal on Sept 5, 2009 14:13:48 GMT -8
CBS-TV
GARRISON PRODUCTIONS
THE WILD WILD WEST
“The Night of Jack o’ Diamonds?
#0351
FINAL DRAFT
MAY 10, 1967
THE WILD WILD WEST
“The Night of Jack o’ Diamonds”
PRODUCER
BRUCE LANSBURY
ASSOCIATE PRODUCER
LEONARD KATZMAN
STORY CONSULTANT
HENRY SHARP
WRITTEN BY
DENNE BART PETTICLERC
SETS:
EXT. MEXICAN TOWN
EXT. MEXICAN STREET
EXT. HOTEL
INT. HOTEL
INT. HOTEL ROOM
INT. HOTEL STAIRWAY
EXT. OPEN COUNTRY
EXT. DESERT TERRAIN – HIGH ROCKS
EXT. SALT FLATS
EXT. STEEP WALLED CANYON
EXT. BANDIT ENCAMPMENT
EXT. CORRAL
EXT. CANTINA
EXT. SMALL HILL
EXT. WATER HOLE
EXT. WEST’S DESERT CAMP
EXT. CAMPSITE IN ROCKS
CAST
JAMES WEST – ROBERT CONRAD
ARTEMUS GORDON – ROSS MARTIN
SORDO
ENRIQUE
GREGORIO
ANTONIO
FORTUNA
ISABEL
CHICO
JUAN
TEASER
1. EXT. A TOWN ON THE MEXICAN BORDER – DAY
West and Gordon, saddle weary, covered with dust and grime from a long ride, appear at the edge of the village leading full-blooded Arabian stallion – an extremely beautiful horse to see. Several villagers emerge from the adobe shacks to admire the animal as it passes.
2. ANGLE THROUGH HOTEL WINDOW
SHOOTING DOWNWARD, we SEE West and Artie making their progress down the street. Now a bandoliered MEXICAN intrudes upon our view. He rests an ugly-looking, short-barreled shotgun on the windowsill, and aims it directly at West and Artie. We HEAR him COCK it, just as a large van-like wagon pulls directly in front of his line-of-sight. We HEAR the Mexican CURSE softly.
3.STREET – AS BEFORE – WEST AND Artie
Artie reacts to a very beautiful young girl who is among the bystanders.
ARTEMUS
You know, this assignment might not turn out so bad after all.
WEST
She wasn’t look at you.
ARTEMUS
She wasn’t?
She was looking at Jack o’ Diamonds.
Gordon reacts and looks back at the horse.
ARTEMUS
What’s he got that I haven’t?
WEST
Maybe his pedigree is better than yours, Artie.
4. ANOTHER ANGLE
West and Gordon ride past CAMERA – we STAY with two other riders going in the other direction – SORDO and ENRIQUE. They are bandits. Sordo is almost middle-aged, fierce-looking an authoritative in manner. Enrique is his lieutenant. As West, Artie and the Arabian horse pass, Sordo does an obvious double take. He appraises the stallion knowingly and is at once in love with it.
5. SORDO’S EYELINE – WEST AND ARTEMUS
Riding away from CAMERA down the street, leading the stallion.
6. TWO-SHOT – SORDO AND ENRIQUE
Sordo looks at Enrique, then wheels his own horse to follow the action. Enrique follows.
7. LONG SHOT – THE STREET – DAY
West and Gordon are seen riding toward us, leading the stallion. CAMERA BACKS SUDDENLY to bring into closer view the face of GREGORIO, a handsome young Mexican with an aloof, aristocratic face. He is watching their approach with intensity.
8. ANOTHER ANGLE – FAVORING GREGORIO
He sits on a fine looking Cavalry horse, splendid in his uniform, looking off. Behind him are two Mexican cavalrymen. All three are spit and polish, military as bayonets.
9. FULL SHOT – THE STREET – DAY
as West and Gordon rein up in front of the young Mexican officer and his two men:
GREGORIO
Hola, senors! It’s a pleasure to see you. I am Captain Raul Fortuna, Fifth Regiment—I am to escort you to the capital!
WEST
I’m James West, Captain. This is Artemus Gordon…
ARTEMUS
(smiling)
Right now, Captain, I for one would rather be escorted to the hotel.
GREGORIO
Of course, it’s just up the street.
WEST
When do you plan to leave for Mexico City?
GREGORIO
At first light tomorrow, senor. When you have rested. President Juarez is looking forward to this gift from your President Grant. He pans to ride him at the Cinco de Mayo parade.
(appraises the horse)
Que macho! It is a pleasure to see such a horse.
He throws a glance at his two companions, who also react with admiration.
WEST
How long will the trip take?
Gregorio looks at West, quickly:
GREGORIO
Three weeks. We must move with extreme caution. We have many enemies who might try to steal this horse – to embarrass relations between our two countries.
(beat, tensely)
If we did not reach Mexico City with this horse, it would be most unfortunate, eh?
10. TELEPHOTO SHOT – SORDO
Seen from across the street as he stands in the entrance of a Cantina. The two Mexican cavalrymen, leading the stallion, pass between CAMERA and SORDO.
11. CLOSE SHOT – SORDO
He reacts with a smile of satisfaction. Moves to:
12. ANOTHER ANGLE
as Sordo turns the corner, CAMERA WITH HIM, and we see the two cavalrymen and the stallion, BACKS TO CAMERA, moving away from us; we notice now that several Mexicans in big hats are moving out from doorways along the narrow streets:
13. EXT. BORDER TOWN HOTEL – DAY
West, Gordon and Gregorio rein up, West and Gordon dismounting:
GREGORIO
(oily)
My men will guard the horse with their lives.
(smiles)
I am sure you will enjoy the hospitality of the hotel, senors!
West looks up at him quickly:
WEST
Aren’t you coming in?
GREGORIO
Late. I must send a wire to my superiors in Mexico City—they will be pleased to hear of your safe arrival.
(salutes)
Until I see you, eh?
He turns his horse and spurs; West and Gordon turn to enter the hotel.
ARTEMUS
Nice young fellow that Captain Fortuna. That’s the type that will build Mexico into a great country—dedicated, young, full of vigor!
He starts to move and reacts to his sore backside.
WEST
What’s the matter with you?
ARTEMUS
Nothing an assignment in New Orleans wouldn’t cure.
They move to hotel entrance.
14. INT. HOTEL – DAY
as West and Gordon enter. They hear a very audible CLICK as of a gun being cocked, and simultaneously dive for cover, pulling their own sidearms.
FLASH PAN TO:
15. ANOTHER ANGLE – THE STAIRWAY
the assassin crouched behind the banister rises quickly to fire his shotgun at West and Gordon—but simultaneously there is an explosion of a gun behind him! Smoke billow. The shotgun FIRES harmlessly and he crashes through the banister.
16. TWO SHOT – WEST AND ARTEMUS
They react to:
17. THEIR EYELINE – THE STAIRWAY
A pair of shiny leather military boots appear, coming down the stairs. We HOLD UNTIL we unveil the full and magnificent gamecock figure of CAPTAIN RAUL FORTUNA, a man in his mature years, who is carrying in his hand an enormous Smith-Wesson-type revolver that is smoldering. He gives the dead assassin a casual glance and then smiles off—West and Gordon move into FRAME:
FORTUNA
(beat – glancing at dead assassin)
These pigs! They are everywhere these days. Bandits. Assassins. Traitors. Scum who would destroy our Republic! One must be careful – just to stay alive.
(beat, smiles)
But enough – welcome to sunny Mexico, Señor West… Señor Gordon…
West and Gordon exchange a glance.
WEST
Who are you?
FORTUNA
I am Captain Raul Fortuna, Fifth Regiment, sent to escort you to Mexico City.
(glances around)
Where have you quartered the horse?
West and Gordon look at each other suddenly:
18. EXT. OPEN COUNTRY OUTSIDE THE BORDER TOWN – DAY
For an instance OUR SCREEN HAS GONE TO BLACK – but one of the pseudo-cavalrymen moves away from the LENS, staggering. A SHOT RINGS OUT, and he drops. Beyond, we discover the mounted figure of SORDO, gun in hand. He is mounted upon the stallion, which he wheels. He shouts joyously, and spurs – the horse bolts for the open desert. On this image growing smaller and smaller into the horizon –
FREEZE FRAME
ACT ONE
FADE IN:
19. EXT. OPEN DESERT COUNTRY – EST. SHOT – TELEPHOTO – DAY
In the panorama of country below we make out two riders, West and Fortuna – and we discover we are seeing them through binoculars when:
20. TWO SHOT – GREGORIO AND ANTONIO
They are on a high bluff – Antonio is a tough-looking man with a pockmarked face and a heavy mustache.
ANTONIO
Juarez’s men don’t have the horse, the United States Secret Service does not have it, and we do not—ay, compadre!
GREGORIO
We had better find an answer. Our orders from the Imperial high command were explicit—the horse was not to reach Mexico City.
Antonio is much bewildered.
ANTONIO
The idea is to embarrass the regime of Juarez… Now it looks like a lot of us are going to be embarrassed, eh?
GREGORIO
More embarrassing if you are buried in an anthill—up to your chin!
Antonio gulps unhappily at this: they both turn to watch the two riders.
ANTONIO
I detest ants!
GREGORIO
Then we’d better find that horse!
DISSOLVE TO:
21. EXT. BORDER TOWN HOTEL – DAY
West and Fortuna ride up to the hotel—Artemus Gordon emerges from the doorway, anxiously:
WEST
(depressed)
No luck, Art. They got away. No tracks. Nothing. An army could hide out there in that desert.
ARTEMUS
I haven’t had much luck here either. A lot of people saw that phony cavalry officer, but no one knows anything about him—he just vanished!
FORTUNA
(wearily)
We found one of his imposter companions—dead!
Gordon falls in with them as they move to the hotel entrance?
ARTEMUS
What now?
Fortuna turns in the doorway to look at West and Gordon—his face reflects his extreme gloom:
FORTUNA
What now, senor? I hate to think! What will our respective presidents say when we tell them we have lost this gift of state? Ay, mamacita! I should have become a bullfighter!
He turns and enters the hotel, leaving West and Gordon to react to this thought. They do, silently, and follow Fortuna into the hotel—CAMERA PANS DOWN TO:
22. CLOSE SHOT – ENRIQUE
Crouched in siesta against the adobe wall of the hotel, near the doorway; he lifts his sombrero and looks after West and Gordon—a thoughtful expression on is face:
DISSOLVE TO:
Our view is on a window as a shadowy figure crosses between it and CAMERA.
24. CLOSE SHOT – WEST
He sleeps, bare-chested.
25. ANOTHER ANGLE
As the shadow-figure moves silently to West’s bed.
26. CLOSE SHOT – WEST
He awakens instantly, pulled from his sleep by a foreign presence. He listens. Nothing. Then he bolts up in bed, CAMERA PANNING HIM CLOSE – until he discovers a gun pressing against his head. He stops motion, freezing.
ENRIQUE’S VOICE (off)
Don’t make a sound, senor.
(off—but closer)
You want to find the stallion, true?
West is suddenly very interested.
WEST
True.
ENRIQUE (off)
I can lead you to him. For a price.
WEST
How much?
ENRIQUE
One hundred American dollars.
WEST
Friend, you’ve got a deal.
ENRIQUE
Bueno, in the morning, after sunrise, you will bring the map to me. I will give you a map.
WEST
How do I know the map is any good?
ENRIQUE
It’s a chance you must take, eh?
WEST
All right. Where do we meet?
ENRIQUE
To the southeast—a high pinnacle of rocks that are called Castilla la Vieja. Come alone.
27. NEW ANGLE
The shadow moves toward the window and begins to exit therefrom.
ENRIQUE
Do not turn, senor. Do not follow me, or the horse will die.
He exits and CAMERA MOVES IN on West as we
DISSOLVE.
28. INT. HOTEL ROOM – NIGHT
West is in the process of dressing. Not his usual, slick duds—but rougher trail wear, worn leather trousers and jacket. Artemus is in his shirtsleeves looking worried. He is counting out a hundred dollars. He gives the money to West.
ARTEMUS
… ninety-nine… one hundred of Uncle Sam’s best… Jim, do you think your elusive friend is going to give you a hundred bucks’ worth of information?
WEST
We don’t have much choice. It’s the only lead we’ve got.
ARTEMUS
I haven’t given up here. I still think we might be able to trace that phony cavalry officer.
WEST
That’ll take time, Artie.
ARTEMUS
(sighs)
Yeah… May fifth isn’t that far off.
West finishes dressing. He picks up his saddlebags and a poncho.
WEST
I guess that’ll do it.
ARTEMUS
Take care of yourself, Jim.
WEST
Don’t worry.
Artie holds out a small leather cigar case:
ARTEMUS
You better have this.
West reacts, pushes a lever to open the case, revealing:
29. INSERT – CIGAR CASE
Seven thick-looking Havanas.
30. BACK TO SHOT
Artemus smiles. West nods.
WEST
See you, Artie.
He exits.
31. EXT. OPEN COUNTRY – DAWN (STOCK)
The blazing sunrise across a vista of desert hills and mountains.
DISSOLVE TO:
32. EXT. DESERT TERRAIN – THE HIGH ROCKS – DAY
We VIEW the high, odd-shaped rock formation and then COME AROUND to find West riding up to them. He reins, looks off. SOUND OF AN EERIE WIND BLOWING. Nothing stirs in his view. He reacts with suspicion and caution, touches up his horse and rides towards the rocks.
33. REVERSE ANGLE – WEST
He rides around a ledge of rock and saws back on the reins suddenly – CAMERA ZOOMING IN ON his reaction to:
34. FULL SHOT – FAVORING ENRIQUE IN THE F.G.
The little bandit is dangling upside down on a rope slung over a tree limb, turning in the wind. Beneath him a fire smolders. In the b.g. we see West, who spurs his horse forward and dismounts quickly.
35. CLOSER ANGLE
As West reaches Enrique, cuts the rope and eases the little man to the ground. Enrique, showing the effects of torture, opens his eyes, reacts to West:
ENRIQUE
Leave me. For a favor, senor.
He shuts his eyes with pain, his lips twitching.
WEST
Who did this to you?
ENRIQUE
(with great hatred)
Scum… dogs… traitors.
(gets his breath)
I am a bandit, senor… but at least, I am… Mexican… these are worse…
His voice trails off in his intense pain.
WEST
Who has the horse?
ENRIQUE
(weakly)
Sordo…
WEST
Who?
Enrique smiles to himself.
ENRIQUE
In… my boot… the right one… you will find… a map, senor.
(beat – reacts to pain)
It will… lead you to him… Did you bring the money?
WEST
Yes, here.
He reaches into his shirt and brings out a money pouch.
ENRIQUE
Let me see it, for a favor?
West takes the money out of the pouch and spreads the bills out in front of Enrique’s eyes. The Mexican smiles broadly, although continually in pain:
ENRIQUE (CONT’D)
Never in my life have I seen so much money – Ay, I am dying a rich man. It makes me content.
He takes the money and holds it, closing his eyes in pain.
ENRIQUE (CONT’D)
Leave me now please. For a favor. You are in danger, senor. I will find myself very well here.
He dies. West reacts. Throughout the ensuring action, West is careful to keep his eyes and ears alert for hostile sounds. He strips off the man’s boot, and discovers:
36. INSERT – THE MAP
Crudely drawn, but clear – a trail laid out to the mountains to the southeast, leading to an area designated as “the spot,” which nestles beside a prominent cluster of rocks.
37. CLOSE SHOT – WEST
He reacts, looks at the dead man. Then he suddenly wheels, draws and SHOOTS!
37A. WEST’S POV – ROCK
An Imperialista gunman folds and falls away.
38. WEST’S EYELINE – A RIDGE
Four or five more Imperialista gunmen appear over a ridge, carrying rifles. They start their horses down the slope, toward West – a reasonable distance away.
39. BACK TO SHOT – WEST
He reacts quickly, stuffing the map inside his shirt, and sprinting up to a ledge of rock. He FIRES at the onrushing bandits.
40. ANOTHER ANGLE – THE ATTACKERS
as one bandit topples from his horse.
41. ANOTHER ANGLE – WEST
as he leaps from the high ledge onto the back of his horse, and spurs away.
(NOTE ON THE ACTION: The staging will be dictated by terrain and the director’s discretion, of course, so generally this is what should happen: Perhaps two groups of heavies are converging on West. He turns his horse and rides down into a narrow canyon (if available) and escapes into the open plain.)
42. TRACKING SHOT – WEST
As he rides at a full, race-horse gallop out into the open plain, CAMERA TRACKING WITH HIM at high speed.
43. EXT. VANTAGE POINT – GREGORIO AND ANTONIO – DAY
reacts, angry:
ANTONIO
(to others)
After him!
GREGORIO
No!
ANTONIO
But he’ll escape!
GREGORIO
Not entirely, my dear Antonio!
(lifts his glasses)
He will lead us to the horse.
ANTONIO
Ah! And when he finds it?
Gregorio is looking through the glasses, he lowers them and gives his companion a glance:
GREGORIO
We kill them both!
Antonio reacts with a smile of satisfaction, turns to move away:
44. EXT. OPEN PLAIN – WEST – DAY
He rides hard, moves over a small hill and vanishes:
45. EXT. SALT FLATS – TELEPHOTO SHOT – LOW ANGLE – DAY
The straight line of the plain, heat shimmering to distant the image of a long rider – West, and above him an immense blue sky. He rides toward us slowly, the image in motion, but flattened so as it appears on screen as a moving tapestry.
46. CLOSER ANGLE – WEST
SHOOTING UP at him as he rides, the sun blazing above. He reacts to it, reins the horse. The acetelyn brilliant sun BLINDS OUR CAMERA:
47. ANOTHER CLOSE ANGLE – WEST
He is sweating heavily from the heat. He wipes his face, consults the map. He reaches down, pats the neck of his horse and smiles, for he is close to his destination.
WEST
It’ll be dark soon, boy. He’ll rest then.
He spurs his horse.
DISSOLVE TO:
47A. OMIT
48. INT. HOTEL ROOM – FULL SHOT – NIGHT
Artemus has just finished packing his saddlebags. He is dressed in trail clothes. There is a KNOCK O.S.
FORTUNA (O.S.)
Señor Gordon.
ARTEMUS
Come in.
Fortuna enters, sees Artie’s activity.
FORTUNA
I saw your light was on. I thought perhaps Señor West had returned.
ARTEMUS
He hasn’t, and it’s almost dawn, Captain. It’s time I went looking for him.
FORTUNA
Where are you going to look for him?
ARTEMUS
A rock called Castilla la Vieja.
Artie walks out.
FORTUNA
(exasperated)
Señor… Wait… I’ll come with you.
48A. DESERT CAMP – WEST – NIGHT (DAWN)
West is tightening the stallion’s cinch. He takes his almost dry canteen, moistens a rag and wets the horse’s mouth. Then he mounts up.
* after scene numbers indicates these are NEW SCENES entirely. They differ completely from previous script scene numbers.
49. * DESERT SHOT – SUNRISE (STOCK)
50.* LONG – WEST – DAY
He is cantering easily across the desert on the stallion.
51. * EXT. HIGH ROCK AREA – ON FORTUNA – DAY
He is leaning over the dead Enrique, whose lower torso only, appears in FRAME. Fortuna reacts, straightens and turns as Artemus Gordon walks up in the B.G. Gordon holds something in his hand.
FORTUNA
Who could have tortured him like this?
ARTEMUS
You recognize him?
FORTUNA
(nodding)
A bandit… Enrique Garcia… lieutenant for a still bigger bandit… A man called Sordo… Ugh! On top of everything we have that crafty old fox to contend with…
Artemus hands the spur to Fortuna.
ARTEMUS
Bandits don’t wear spurs like that.
Fortuna looks at it and reactions.
FORTUNA
Where did you find this?
ARTEMUS
(referring to dead Imperialista)
Came off him… Apparently Jim ran into some competition for that map Enrique promised him!
(referring to spur)
Recognize it? It’s the type worn by the French lancers.
A light of understanding comes into Fortuna’s eyes, and he hisses between his teeth.
FORTUNA
Imperialista!
ARTEMUS
(nodding)
They must have been torturing him when Jim showed up.
FORTUNA
Then who has the map, Señor?
ARTEMUS
What’s the difference? Sordo has to have the horse.
He turns and walks back toward his horse. Fortuna follows, Artie mounts up.
ARTEMUS (CONT’D)
This Sordo character—where could I find him?
FORTUNA
(shrugs)
Look around you. Five hundred square miles of desert to hide in….
ARTEMUS
Someone must know.
FORTUNA
Ah… the villagers may. But they will never betray men like Sordo. The fools look upon these bandits as heroes!
ARTEMUS
(as though a thought occurs to him)
They do, do they?...
Artie turns and spurs his mount. Fortuna watches a beat and follows as we
DISSOLVE
52. * EXT. A STEEP WALLED CANYON – DAY
West rides into the canyon, reacts to the high walls, and continues on, alertly.
53. * CLOSER ANGLE – WEST
He looks up at the steep slope.
54. * WEST’S EYELINE – THE HIGH STEEP SLOPE
It should be exaggerated by the CAMERA TO APPEAR impossible to ride.
55. * BACK TO SHOT – WEST
He dismounts, patting his horse, and continues several paces on foot. Now he pauses, scanning the fortress-like rocks above. He takes out a viewing apparatus and commences to inspect those at closer range.
56. * SHOT – BANDIT GUARD
He stands with a rifle, guarding an unseen pass.
57. * BACK TO SHOT – WEST
He puts away the telescope and starts climbing up the rocks toward the guard.
58. * NEW ANGLE – STEEP SLOPE – WEST
As he hangs precariously on a rocky ledge, his eyes alert to any move above.
59. * SHOT – TOP OF ROCKS – BANDIT GUARD
West suddenly appears beside him and takes him down. West looks down now.
60. * POV SHOT – BANDIT ENCAMPMENT
There are horses and men milling about the campsite—men in big hats and bandit bandoliers of ammunition, perhaps one or two women, tending the fires that send a little pall of smoke up into the air, a dog or two BARKING.
61. * MED. CLOSE SHOT – WEST
Sprawled half hidden on a ledge of rock, he again takes out his viewing device and aims it downward.
62. * WEST’S EYELINE – MAT – THE ENCAMPMENT
We PAN SLOWLY OVER the scene below and stop at a crude rope corral, where we discover the stallion, and the small figure of SORDO, standing at the rope, petting the horse. We HEAR A CLICK as West punches a button and new lens enlarges the image of SORDO AND THE HORSE as much as possible; he is so clear you could almost reach out and touch him. The horse is saddled. The cinch hangs loose.
63. * CLOSE SHOT – WEST
He lowers the device and reacts, puzzled. Then he trains it on the camp again.
64. * WEST’S EYELINE – SORDO
He is petting the stallion’s neck, LAUGHING. The VIEW PANS AWAY FROM SORDO to the figure of a man hanging by his wrists from a tree. He is stripped to the waist and shows the effects of hunger and thirst—we recognize him as one of the phony soldiers seen with Gregorio in the opening scenes.
65. * ANGLE ON WEST
He reacts to this. Now he produces an eye-bolt with a bullet-like appendage on the ring. He plugs this into the barrel of his six gun and fires the eye-bolt into the rock. That secured, he now attaches the end of a running wire to the eye-bolt, and the wire in turn is played out from a two-handed reel. West grasps this and drops lightly over the sides of the cliff.
66. * LONG SHOT – WEST
As he nimbly reels himself down the face of the sheer cliff.
66A. EXT. BANDIT ENCAMPMENT – SORDO
We PAN Sordo as he walks through the encampment, fire to fire, where his men are sprawled, eating and drinking. He AD LIBS Spanish small-talk such as “Hombre! Que Hermosa dia.” “Esa senorita muy amable, eh?”, etc., to responses of good-natured LAUGHTER from his men. A GUITAR is PLAYING a moody Mexican SONG, and we MOVE WITH GORDO into the main campfire area where the blackened bean pot smolders. We discover the guitarist, JUAN, playing. Sordo acknowledges the player with a smile.
SORDO
Ha comido usted? Es bueno?
He dips the big spoon into the beans, blows the steam off them and tastes, reacts with pleasure.
SORDO (CONT’D)
Lo comprare!
He turns to look off, suddenly, his eyes losing their bright, joyful look, growing hard and dangerous. The guitar player also reacts, ceasing his playing, moving his position, ready to fight. Another man also turns to follow their gaze, and abruptly whips out a long, wicked machete.
66B. ANOTHER ANGLE
SHOOTING PAST SORDO on James WEST as he steps forward, CAMERA PUSHES IN QUICKLY ON HIM –
FREEZE FRAME:
END ACT ONE
GARRISON PRODUCTIONS
THE WILD WILD WEST
“The Night of Jack o’ Diamonds?
#0351
FINAL DRAFT
MAY 10, 1967
THE WILD WILD WEST
“The Night of Jack o’ Diamonds”
PRODUCER
BRUCE LANSBURY
ASSOCIATE PRODUCER
LEONARD KATZMAN
STORY CONSULTANT
HENRY SHARP
WRITTEN BY
DENNE BART PETTICLERC
SETS:
EXT. MEXICAN TOWN
EXT. MEXICAN STREET
EXT. HOTEL
INT. HOTEL
INT. HOTEL ROOM
INT. HOTEL STAIRWAY
EXT. OPEN COUNTRY
EXT. DESERT TERRAIN – HIGH ROCKS
EXT. SALT FLATS
EXT. STEEP WALLED CANYON
EXT. BANDIT ENCAMPMENT
EXT. CORRAL
EXT. CANTINA
EXT. SMALL HILL
EXT. WATER HOLE
EXT. WEST’S DESERT CAMP
EXT. CAMPSITE IN ROCKS
CAST
JAMES WEST – ROBERT CONRAD
ARTEMUS GORDON – ROSS MARTIN
SORDO
ENRIQUE
GREGORIO
ANTONIO
FORTUNA
ISABEL
CHICO
JUAN
TEASER
1. EXT. A TOWN ON THE MEXICAN BORDER – DAY
West and Gordon, saddle weary, covered with dust and grime from a long ride, appear at the edge of the village leading full-blooded Arabian stallion – an extremely beautiful horse to see. Several villagers emerge from the adobe shacks to admire the animal as it passes.
2. ANGLE THROUGH HOTEL WINDOW
SHOOTING DOWNWARD, we SEE West and Artie making their progress down the street. Now a bandoliered MEXICAN intrudes upon our view. He rests an ugly-looking, short-barreled shotgun on the windowsill, and aims it directly at West and Artie. We HEAR him COCK it, just as a large van-like wagon pulls directly in front of his line-of-sight. We HEAR the Mexican CURSE softly.
3.STREET – AS BEFORE – WEST AND Artie
Artie reacts to a very beautiful young girl who is among the bystanders.
ARTEMUS
You know, this assignment might not turn out so bad after all.
WEST
She wasn’t look at you.
ARTEMUS
She wasn’t?
She was looking at Jack o’ Diamonds.
Gordon reacts and looks back at the horse.
ARTEMUS
What’s he got that I haven’t?
WEST
Maybe his pedigree is better than yours, Artie.
4. ANOTHER ANGLE
West and Gordon ride past CAMERA – we STAY with two other riders going in the other direction – SORDO and ENRIQUE. They are bandits. Sordo is almost middle-aged, fierce-looking an authoritative in manner. Enrique is his lieutenant. As West, Artie and the Arabian horse pass, Sordo does an obvious double take. He appraises the stallion knowingly and is at once in love with it.
5. SORDO’S EYELINE – WEST AND ARTEMUS
Riding away from CAMERA down the street, leading the stallion.
6. TWO-SHOT – SORDO AND ENRIQUE
Sordo looks at Enrique, then wheels his own horse to follow the action. Enrique follows.
7. LONG SHOT – THE STREET – DAY
West and Gordon are seen riding toward us, leading the stallion. CAMERA BACKS SUDDENLY to bring into closer view the face of GREGORIO, a handsome young Mexican with an aloof, aristocratic face. He is watching their approach with intensity.
8. ANOTHER ANGLE – FAVORING GREGORIO
He sits on a fine looking Cavalry horse, splendid in his uniform, looking off. Behind him are two Mexican cavalrymen. All three are spit and polish, military as bayonets.
9. FULL SHOT – THE STREET – DAY
as West and Gordon rein up in front of the young Mexican officer and his two men:
GREGORIO
Hola, senors! It’s a pleasure to see you. I am Captain Raul Fortuna, Fifth Regiment—I am to escort you to the capital!
WEST
I’m James West, Captain. This is Artemus Gordon…
ARTEMUS
(smiling)
Right now, Captain, I for one would rather be escorted to the hotel.
GREGORIO
Of course, it’s just up the street.
WEST
When do you plan to leave for Mexico City?
GREGORIO
At first light tomorrow, senor. When you have rested. President Juarez is looking forward to this gift from your President Grant. He pans to ride him at the Cinco de Mayo parade.
(appraises the horse)
Que macho! It is a pleasure to see such a horse.
He throws a glance at his two companions, who also react with admiration.
WEST
How long will the trip take?
Gregorio looks at West, quickly:
GREGORIO
Three weeks. We must move with extreme caution. We have many enemies who might try to steal this horse – to embarrass relations between our two countries.
(beat, tensely)
If we did not reach Mexico City with this horse, it would be most unfortunate, eh?
10. TELEPHOTO SHOT – SORDO
Seen from across the street as he stands in the entrance of a Cantina. The two Mexican cavalrymen, leading the stallion, pass between CAMERA and SORDO.
11. CLOSE SHOT – SORDO
He reacts with a smile of satisfaction. Moves to:
12. ANOTHER ANGLE
as Sordo turns the corner, CAMERA WITH HIM, and we see the two cavalrymen and the stallion, BACKS TO CAMERA, moving away from us; we notice now that several Mexicans in big hats are moving out from doorways along the narrow streets:
13. EXT. BORDER TOWN HOTEL – DAY
West, Gordon and Gregorio rein up, West and Gordon dismounting:
GREGORIO
(oily)
My men will guard the horse with their lives.
(smiles)
I am sure you will enjoy the hospitality of the hotel, senors!
West looks up at him quickly:
WEST
Aren’t you coming in?
GREGORIO
Late. I must send a wire to my superiors in Mexico City—they will be pleased to hear of your safe arrival.
(salutes)
Until I see you, eh?
He turns his horse and spurs; West and Gordon turn to enter the hotel.
ARTEMUS
Nice young fellow that Captain Fortuna. That’s the type that will build Mexico into a great country—dedicated, young, full of vigor!
He starts to move and reacts to his sore backside.
WEST
What’s the matter with you?
ARTEMUS
Nothing an assignment in New Orleans wouldn’t cure.
They move to hotel entrance.
14. INT. HOTEL – DAY
as West and Gordon enter. They hear a very audible CLICK as of a gun being cocked, and simultaneously dive for cover, pulling their own sidearms.
FLASH PAN TO:
15. ANOTHER ANGLE – THE STAIRWAY
the assassin crouched behind the banister rises quickly to fire his shotgun at West and Gordon—but simultaneously there is an explosion of a gun behind him! Smoke billow. The shotgun FIRES harmlessly and he crashes through the banister.
16. TWO SHOT – WEST AND ARTEMUS
They react to:
17. THEIR EYELINE – THE STAIRWAY
A pair of shiny leather military boots appear, coming down the stairs. We HOLD UNTIL we unveil the full and magnificent gamecock figure of CAPTAIN RAUL FORTUNA, a man in his mature years, who is carrying in his hand an enormous Smith-Wesson-type revolver that is smoldering. He gives the dead assassin a casual glance and then smiles off—West and Gordon move into FRAME:
FORTUNA
(beat – glancing at dead assassin)
These pigs! They are everywhere these days. Bandits. Assassins. Traitors. Scum who would destroy our Republic! One must be careful – just to stay alive.
(beat, smiles)
But enough – welcome to sunny Mexico, Señor West… Señor Gordon…
West and Gordon exchange a glance.
WEST
Who are you?
FORTUNA
I am Captain Raul Fortuna, Fifth Regiment, sent to escort you to Mexico City.
(glances around)
Where have you quartered the horse?
West and Gordon look at each other suddenly:
18. EXT. OPEN COUNTRY OUTSIDE THE BORDER TOWN – DAY
For an instance OUR SCREEN HAS GONE TO BLACK – but one of the pseudo-cavalrymen moves away from the LENS, staggering. A SHOT RINGS OUT, and he drops. Beyond, we discover the mounted figure of SORDO, gun in hand. He is mounted upon the stallion, which he wheels. He shouts joyously, and spurs – the horse bolts for the open desert. On this image growing smaller and smaller into the horizon –
FREEZE FRAME
ACT ONE
FADE IN:
19. EXT. OPEN DESERT COUNTRY – EST. SHOT – TELEPHOTO – DAY
In the panorama of country below we make out two riders, West and Fortuna – and we discover we are seeing them through binoculars when:
20. TWO SHOT – GREGORIO AND ANTONIO
They are on a high bluff – Antonio is a tough-looking man with a pockmarked face and a heavy mustache.
ANTONIO
Juarez’s men don’t have the horse, the United States Secret Service does not have it, and we do not—ay, compadre!
GREGORIO
We had better find an answer. Our orders from the Imperial high command were explicit—the horse was not to reach Mexico City.
Antonio is much bewildered.
ANTONIO
The idea is to embarrass the regime of Juarez… Now it looks like a lot of us are going to be embarrassed, eh?
GREGORIO
More embarrassing if you are buried in an anthill—up to your chin!
Antonio gulps unhappily at this: they both turn to watch the two riders.
ANTONIO
I detest ants!
GREGORIO
Then we’d better find that horse!
DISSOLVE TO:
21. EXT. BORDER TOWN HOTEL – DAY
West and Fortuna ride up to the hotel—Artemus Gordon emerges from the doorway, anxiously:
WEST
(depressed)
No luck, Art. They got away. No tracks. Nothing. An army could hide out there in that desert.
ARTEMUS
I haven’t had much luck here either. A lot of people saw that phony cavalry officer, but no one knows anything about him—he just vanished!
FORTUNA
(wearily)
We found one of his imposter companions—dead!
Gordon falls in with them as they move to the hotel entrance?
ARTEMUS
What now?
Fortuna turns in the doorway to look at West and Gordon—his face reflects his extreme gloom:
FORTUNA
What now, senor? I hate to think! What will our respective presidents say when we tell them we have lost this gift of state? Ay, mamacita! I should have become a bullfighter!
He turns and enters the hotel, leaving West and Gordon to react to this thought. They do, silently, and follow Fortuna into the hotel—CAMERA PANS DOWN TO:
22. CLOSE SHOT – ENRIQUE
Crouched in siesta against the adobe wall of the hotel, near the doorway; he lifts his sombrero and looks after West and Gordon—a thoughtful expression on is face:
DISSOLVE TO:
Our view is on a window as a shadowy figure crosses between it and CAMERA.
24. CLOSE SHOT – WEST
He sleeps, bare-chested.
25. ANOTHER ANGLE
As the shadow-figure moves silently to West’s bed.
26. CLOSE SHOT – WEST
He awakens instantly, pulled from his sleep by a foreign presence. He listens. Nothing. Then he bolts up in bed, CAMERA PANNING HIM CLOSE – until he discovers a gun pressing against his head. He stops motion, freezing.
ENRIQUE’S VOICE (off)
Don’t make a sound, senor.
(off—but closer)
You want to find the stallion, true?
West is suddenly very interested.
WEST
True.
ENRIQUE (off)
I can lead you to him. For a price.
WEST
How much?
ENRIQUE
One hundred American dollars.
WEST
Friend, you’ve got a deal.
ENRIQUE
Bueno, in the morning, after sunrise, you will bring the map to me. I will give you a map.
WEST
How do I know the map is any good?
ENRIQUE
It’s a chance you must take, eh?
WEST
All right. Where do we meet?
ENRIQUE
To the southeast—a high pinnacle of rocks that are called Castilla la Vieja. Come alone.
27. NEW ANGLE
The shadow moves toward the window and begins to exit therefrom.
ENRIQUE
Do not turn, senor. Do not follow me, or the horse will die.
He exits and CAMERA MOVES IN on West as we
DISSOLVE.
28. INT. HOTEL ROOM – NIGHT
West is in the process of dressing. Not his usual, slick duds—but rougher trail wear, worn leather trousers and jacket. Artemus is in his shirtsleeves looking worried. He is counting out a hundred dollars. He gives the money to West.
ARTEMUS
… ninety-nine… one hundred of Uncle Sam’s best… Jim, do you think your elusive friend is going to give you a hundred bucks’ worth of information?
WEST
We don’t have much choice. It’s the only lead we’ve got.
ARTEMUS
I haven’t given up here. I still think we might be able to trace that phony cavalry officer.
WEST
That’ll take time, Artie.
ARTEMUS
(sighs)
Yeah… May fifth isn’t that far off.
West finishes dressing. He picks up his saddlebags and a poncho.
WEST
I guess that’ll do it.
ARTEMUS
Take care of yourself, Jim.
WEST
Don’t worry.
Artie holds out a small leather cigar case:
ARTEMUS
You better have this.
West reacts, pushes a lever to open the case, revealing:
29. INSERT – CIGAR CASE
Seven thick-looking Havanas.
30. BACK TO SHOT
Artemus smiles. West nods.
WEST
See you, Artie.
He exits.
31. EXT. OPEN COUNTRY – DAWN (STOCK)
The blazing sunrise across a vista of desert hills and mountains.
DISSOLVE TO:
32. EXT. DESERT TERRAIN – THE HIGH ROCKS – DAY
We VIEW the high, odd-shaped rock formation and then COME AROUND to find West riding up to them. He reins, looks off. SOUND OF AN EERIE WIND BLOWING. Nothing stirs in his view. He reacts with suspicion and caution, touches up his horse and rides towards the rocks.
33. REVERSE ANGLE – WEST
He rides around a ledge of rock and saws back on the reins suddenly – CAMERA ZOOMING IN ON his reaction to:
34. FULL SHOT – FAVORING ENRIQUE IN THE F.G.
The little bandit is dangling upside down on a rope slung over a tree limb, turning in the wind. Beneath him a fire smolders. In the b.g. we see West, who spurs his horse forward and dismounts quickly.
35. CLOSER ANGLE
As West reaches Enrique, cuts the rope and eases the little man to the ground. Enrique, showing the effects of torture, opens his eyes, reacts to West:
ENRIQUE
Leave me. For a favor, senor.
He shuts his eyes with pain, his lips twitching.
WEST
Who did this to you?
ENRIQUE
(with great hatred)
Scum… dogs… traitors.
(gets his breath)
I am a bandit, senor… but at least, I am… Mexican… these are worse…
His voice trails off in his intense pain.
WEST
Who has the horse?
ENRIQUE
(weakly)
Sordo…
WEST
Who?
Enrique smiles to himself.
ENRIQUE
In… my boot… the right one… you will find… a map, senor.
(beat – reacts to pain)
It will… lead you to him… Did you bring the money?
WEST
Yes, here.
He reaches into his shirt and brings out a money pouch.
ENRIQUE
Let me see it, for a favor?
West takes the money out of the pouch and spreads the bills out in front of Enrique’s eyes. The Mexican smiles broadly, although continually in pain:
ENRIQUE (CONT’D)
Never in my life have I seen so much money – Ay, I am dying a rich man. It makes me content.
He takes the money and holds it, closing his eyes in pain.
ENRIQUE (CONT’D)
Leave me now please. For a favor. You are in danger, senor. I will find myself very well here.
He dies. West reacts. Throughout the ensuring action, West is careful to keep his eyes and ears alert for hostile sounds. He strips off the man’s boot, and discovers:
36. INSERT – THE MAP
Crudely drawn, but clear – a trail laid out to the mountains to the southeast, leading to an area designated as “the spot,” which nestles beside a prominent cluster of rocks.
37. CLOSE SHOT – WEST
He reacts, looks at the dead man. Then he suddenly wheels, draws and SHOOTS!
37A. WEST’S POV – ROCK
An Imperialista gunman folds and falls away.
38. WEST’S EYELINE – A RIDGE
Four or five more Imperialista gunmen appear over a ridge, carrying rifles. They start their horses down the slope, toward West – a reasonable distance away.
39. BACK TO SHOT – WEST
He reacts quickly, stuffing the map inside his shirt, and sprinting up to a ledge of rock. He FIRES at the onrushing bandits.
40. ANOTHER ANGLE – THE ATTACKERS
as one bandit topples from his horse.
41. ANOTHER ANGLE – WEST
as he leaps from the high ledge onto the back of his horse, and spurs away.
(NOTE ON THE ACTION: The staging will be dictated by terrain and the director’s discretion, of course, so generally this is what should happen: Perhaps two groups of heavies are converging on West. He turns his horse and rides down into a narrow canyon (if available) and escapes into the open plain.)
42. TRACKING SHOT – WEST
As he rides at a full, race-horse gallop out into the open plain, CAMERA TRACKING WITH HIM at high speed.
43. EXT. VANTAGE POINT – GREGORIO AND ANTONIO – DAY
reacts, angry:
ANTONIO
(to others)
After him!
GREGORIO
No!
ANTONIO
But he’ll escape!
GREGORIO
Not entirely, my dear Antonio!
(lifts his glasses)
He will lead us to the horse.
ANTONIO
Ah! And when he finds it?
Gregorio is looking through the glasses, he lowers them and gives his companion a glance:
GREGORIO
We kill them both!
Antonio reacts with a smile of satisfaction, turns to move away:
44. EXT. OPEN PLAIN – WEST – DAY
He rides hard, moves over a small hill and vanishes:
45. EXT. SALT FLATS – TELEPHOTO SHOT – LOW ANGLE – DAY
The straight line of the plain, heat shimmering to distant the image of a long rider – West, and above him an immense blue sky. He rides toward us slowly, the image in motion, but flattened so as it appears on screen as a moving tapestry.
46. CLOSER ANGLE – WEST
SHOOTING UP at him as he rides, the sun blazing above. He reacts to it, reins the horse. The acetelyn brilliant sun BLINDS OUR CAMERA:
47. ANOTHER CLOSE ANGLE – WEST
He is sweating heavily from the heat. He wipes his face, consults the map. He reaches down, pats the neck of his horse and smiles, for he is close to his destination.
WEST
It’ll be dark soon, boy. He’ll rest then.
He spurs his horse.
DISSOLVE TO:
47A. OMIT
48. INT. HOTEL ROOM – FULL SHOT – NIGHT
Artemus has just finished packing his saddlebags. He is dressed in trail clothes. There is a KNOCK O.S.
FORTUNA (O.S.)
Señor Gordon.
ARTEMUS
Come in.
Fortuna enters, sees Artie’s activity.
FORTUNA
I saw your light was on. I thought perhaps Señor West had returned.
ARTEMUS
He hasn’t, and it’s almost dawn, Captain. It’s time I went looking for him.
FORTUNA
Where are you going to look for him?
ARTEMUS
A rock called Castilla la Vieja.
Artie walks out.
FORTUNA
(exasperated)
Señor… Wait… I’ll come with you.
48A. DESERT CAMP – WEST – NIGHT (DAWN)
West is tightening the stallion’s cinch. He takes his almost dry canteen, moistens a rag and wets the horse’s mouth. Then he mounts up.
* after scene numbers indicates these are NEW SCENES entirely. They differ completely from previous script scene numbers.
49. * DESERT SHOT – SUNRISE (STOCK)
50.* LONG – WEST – DAY
He is cantering easily across the desert on the stallion.
51. * EXT. HIGH ROCK AREA – ON FORTUNA – DAY
He is leaning over the dead Enrique, whose lower torso only, appears in FRAME. Fortuna reacts, straightens and turns as Artemus Gordon walks up in the B.G. Gordon holds something in his hand.
FORTUNA
Who could have tortured him like this?
ARTEMUS
You recognize him?
FORTUNA
(nodding)
A bandit… Enrique Garcia… lieutenant for a still bigger bandit… A man called Sordo… Ugh! On top of everything we have that crafty old fox to contend with…
Artemus hands the spur to Fortuna.
ARTEMUS
Bandits don’t wear spurs like that.
Fortuna looks at it and reactions.
FORTUNA
Where did you find this?
ARTEMUS
(referring to dead Imperialista)
Came off him… Apparently Jim ran into some competition for that map Enrique promised him!
(referring to spur)
Recognize it? It’s the type worn by the French lancers.
A light of understanding comes into Fortuna’s eyes, and he hisses between his teeth.
FORTUNA
Imperialista!
ARTEMUS
(nodding)
They must have been torturing him when Jim showed up.
FORTUNA
Then who has the map, Señor?
ARTEMUS
What’s the difference? Sordo has to have the horse.
He turns and walks back toward his horse. Fortuna follows, Artie mounts up.
ARTEMUS (CONT’D)
This Sordo character—where could I find him?
FORTUNA
(shrugs)
Look around you. Five hundred square miles of desert to hide in….
ARTEMUS
Someone must know.
FORTUNA
Ah… the villagers may. But they will never betray men like Sordo. The fools look upon these bandits as heroes!
ARTEMUS
(as though a thought occurs to him)
They do, do they?...
Artie turns and spurs his mount. Fortuna watches a beat and follows as we
DISSOLVE
52. * EXT. A STEEP WALLED CANYON – DAY
West rides into the canyon, reacts to the high walls, and continues on, alertly.
53. * CLOSER ANGLE – WEST
He looks up at the steep slope.
54. * WEST’S EYELINE – THE HIGH STEEP SLOPE
It should be exaggerated by the CAMERA TO APPEAR impossible to ride.
55. * BACK TO SHOT – WEST
He dismounts, patting his horse, and continues several paces on foot. Now he pauses, scanning the fortress-like rocks above. He takes out a viewing apparatus and commences to inspect those at closer range.
56. * SHOT – BANDIT GUARD
He stands with a rifle, guarding an unseen pass.
57. * BACK TO SHOT – WEST
He puts away the telescope and starts climbing up the rocks toward the guard.
58. * NEW ANGLE – STEEP SLOPE – WEST
As he hangs precariously on a rocky ledge, his eyes alert to any move above.
59. * SHOT – TOP OF ROCKS – BANDIT GUARD
West suddenly appears beside him and takes him down. West looks down now.
60. * POV SHOT – BANDIT ENCAMPMENT
There are horses and men milling about the campsite—men in big hats and bandit bandoliers of ammunition, perhaps one or two women, tending the fires that send a little pall of smoke up into the air, a dog or two BARKING.
61. * MED. CLOSE SHOT – WEST
Sprawled half hidden on a ledge of rock, he again takes out his viewing device and aims it downward.
62. * WEST’S EYELINE – MAT – THE ENCAMPMENT
We PAN SLOWLY OVER the scene below and stop at a crude rope corral, where we discover the stallion, and the small figure of SORDO, standing at the rope, petting the horse. We HEAR A CLICK as West punches a button and new lens enlarges the image of SORDO AND THE HORSE as much as possible; he is so clear you could almost reach out and touch him. The horse is saddled. The cinch hangs loose.
63. * CLOSE SHOT – WEST
He lowers the device and reacts, puzzled. Then he trains it on the camp again.
64. * WEST’S EYELINE – SORDO
He is petting the stallion’s neck, LAUGHING. The VIEW PANS AWAY FROM SORDO to the figure of a man hanging by his wrists from a tree. He is stripped to the waist and shows the effects of hunger and thirst—we recognize him as one of the phony soldiers seen with Gregorio in the opening scenes.
65. * ANGLE ON WEST
He reacts to this. Now he produces an eye-bolt with a bullet-like appendage on the ring. He plugs this into the barrel of his six gun and fires the eye-bolt into the rock. That secured, he now attaches the end of a running wire to the eye-bolt, and the wire in turn is played out from a two-handed reel. West grasps this and drops lightly over the sides of the cliff.
66. * LONG SHOT – WEST
As he nimbly reels himself down the face of the sheer cliff.
66A. EXT. BANDIT ENCAMPMENT – SORDO
We PAN Sordo as he walks through the encampment, fire to fire, where his men are sprawled, eating and drinking. He AD LIBS Spanish small-talk such as “Hombre! Que Hermosa dia.” “Esa senorita muy amable, eh?”, etc., to responses of good-natured LAUGHTER from his men. A GUITAR is PLAYING a moody Mexican SONG, and we MOVE WITH GORDO into the main campfire area where the blackened bean pot smolders. We discover the guitarist, JUAN, playing. Sordo acknowledges the player with a smile.
SORDO
Ha comido usted? Es bueno?
He dips the big spoon into the beans, blows the steam off them and tastes, reacts with pleasure.
SORDO (CONT’D)
Lo comprare!
He turns to look off, suddenly, his eyes losing their bright, joyful look, growing hard and dangerous. The guitar player also reacts, ceasing his playing, moving his position, ready to fight. Another man also turns to follow their gaze, and abruptly whips out a long, wicked machete.
66B. ANOTHER ANGLE
SHOOTING PAST SORDO on James WEST as he steps forward, CAMERA PUSHES IN QUICKLY ON HIM –
FREEZE FRAME:
END ACT ONE