Post by California gal on Sept 27, 2009 9:01:53 GMT -8
CBS-TV
GARRISON PRODUCTIONS
THE WILD WILD WEST
“The Night of the Cut-Throats”
#0353
FINAL DRAFT
JUNE 21, 1967
FADE IN:
1. EXT. PRAIRIE – LONG ESTAB. SHOT – DAY
Flat, desolate terrain. A stagecoach moves across the wasteland.
2. INT. STAGECOACH
JAMES WEST is sitting opposite an ATTRACTIVE YOUNG LADY enjoying the view while beside her sits a round little businessman type named HOGAN who keeps up an annoying harangue for her benefit. Beside West is a tall, dark, distinguished man in his late forties. He is impeccably dressed, smokes a pencil thin cheroot. His name is JOHN TRAYNE. Hogan is addressing himself primarily to the young lady.
HOGAN
New Athens isn’t the biggest town in the Wyoming Territory. But since it’s stuck out in the middle of nowhere, I amt he sold distributor of ladies needleware – got the market all sewed up. Ha ha! Joke. All sewed up. You get it?
3. ANGLE
– on Trayne.
TRAYNE
(quietly)
Sir – if you don’t stop boring us – you may very soon find your mouth ‘all sewed up.’
4. SHOT – SCENE
Hogan stiffens with embarrassment, turns to the lady who is having a hard time suppressing a grateful smile.
5. EXT. RUNNING SHOT – ON THE STAGE – DAY
A group of four masked, armed riders come POUNDING up behind the stage and are nearly abreast of it before the DRIVER and GUARD see them. The Guard reacts, reaches for his weapon. The nearest masked rider FIRES, wounding the Guard in the shoulder. The Driver pulls the stage to a halt.
6. INT. STAGE – DAY
The passengers exchange startled looks.
HOGAN
Was that a shot?!
LADY
What’s happening? Why are we stopping.
TRAYNE
(casually)
It would appear we are being held up.
The door is suddenly flung open by TWO MASKED MEN.
WEST
(blandly)
It would appear.
FIRST MASKED MAN
All right, everybody out!
West and Trayne exchange an annoyed glance. The lady begins to shrink back, half whimpering with fear.
TRAYNE
(gently)
Don’t be afraid, Ma’am. Under the mask he’s probably as worried as you.
FIRST MASKED MAN
(annoyed)
I said out!
The Lady allows West to help her out. Hogan stumbled out next.
7. EXT. ANGLE
Hogan thrusts his hands skyward. One of the four masked men comes down from the driver’s seat, tells the first.
SECOND MASKED MAN
Nothing.
HOGAN
(helpfully)
Say, you boys must not be from around here. I mean I could have told you nobody ever robs this stage. Never carries any money. Mines shut down two years ago.
FIRST MASKED MAN
Shut up!
(beat)
All right, all of you empty your pockets! Quick!
Hogan begins turning his pockets out, revealing a wallet, a gold watch. The Second Masked Man takes the young lady’s purse, begins rifling through it.
LADY
(near tears)
Please – every cent I have is in that purse…
8. ANGLE
– on West, as the Third Masked Man moves to him, reaches into his vest for his wallet. West suddenly rams an elbow into the man’s ribs, doubling him over. West brings an uppercut next, snapping the man’s head back.
9. ANGLE
– on the Fourth Masked Man. He turns his attention from the Driver and Guard, levels his pistol towards West.
10. CLOSEUP – WEST’S RIGHT ARM
As the derringer SNAPS from his sleeve.
11. ANGLE
– on West, swinging his right arm upward, revealing the derringer on his arm, FIRING it in the same motion.
12. SHOT – SCENE
The Fourth Masked Man takes the slug in the chest, dies. West rushes the Second Masked Man, driving him away from the girl. They exchange hard, swinging blows. The Lady SCREAMS, shrinks back against the stage.
13. ANGLE
– on the First Masked Man. He steps back, putting himself closer to Trayne who stands there by the door of the stage, unmoving, leaning against an expensive, gold tipped walking cane.
FIRST MASKED MAN
Get back, Clyde!
ANGLE
– on West, slamming “Clyde” to the jaw, indeed driving him back. As West whirls, defense, to face the First Masked Man –
15. ANGLE
– Trayne, moving swiftly, cracks the First Masked Man on the skull with the heavy gold end of his walking stick. The man sinks to the ground.
16. SHOT – SCENE
West steps in, picks up the First Masked Man’s weapon, tosses it to Trayne who quickly levels it at the two Masked Men still standing. West examines the fallen man, removing his mask, while Hogan examines the man West shot, removing his mask.
WEST
Dead…
HOGAN
This one too!
Trayne considers this, turns his walking stick around, studies the end of it.
TRAYNE
Doesn’t seem to be any damage here.
Even as he says this, the two remaining masked men bolt for their horses. West sees them going, pulls up, tells Trayne.
WEST
They’ve lost their taste for battle.
17. CLOSE – TRAYNE
He reacts to –
18. POV
– the two masked men, mounting, riding away.
19. SHOT – SCENE
Trayne watches them go, shrugs.
TRAYNE
Personally, I’d rather not have their company the rest of the way to New Athens…
(beat)
It would upset the lady.
The lady allows Trayne to put a reassuring arm around her shoulder.
WEST
(smiles)
Never upset a lady.
TRAYNE
You handle yourself very well –
West smiles, nods his thanks for the compliment.
TRAYNE (CONT’D)
And now, Miss, if you’ll allow me…
The lady smiles. Trayne helps her into the stage with a flourish.
20. ANGLE
– on West, looking down at the masked man Trayne struck down. Hogan edges in, looks too, quips:
HOGAN
The gentleman’s walkin’ stick packs quite a wallop.
WEST
So does the gentleman’s stagecoach manner.
Hogan follows West’s gaze.
21. POV
Trayne is sitting beside the lady now, gently wiping her tear-stained cheeks with his handkerchief.
22. ANGLE
– on West. He helps the wounded man into the stagecoach, then takes shotgun position himself as we:
FADE OUT:
ACT I
FADE IN:
23. EXT. MAIN STREET – NEW ATHENS – LONG EST. SHOT – DAY
A small town. The stage RUMBLES down the street and halts in front of the depot. West jumps down to survey a strange scene taking place in the street: it is a kind of exodus, a trickle of carts, wagons and riders – men, women and children – making their way out of town.
Two men are walking among them, exhorting them to stay. One is CASSIDY, mayor of the town, a round little man, and the other is JEREMIAH, an antique dressed in the garb of a buffalo hunter, carrying an ancient squirrel rifle.
JEREMIAH
Where you going, you chicken-livered cowards --? You call yourselves men? Stand and fight!
CASSIDY
(the voice of reason)
Protect your property! Don’t panic, gentlemen. In unity there is strength; we cannot be bluffed! Please…
24. ANGLE
Meanwhile, the driver is helping the wounded guard into the depot. Trayne helps the young lady out, as West nods to him.
WEST
(nods to lady)
Ma’am…
Trayne offers his arm to the young lady.
TRAYNE
May I escort you to the hotel?
She smiles, nods, takes his arm. CAMERA TRUCKS WITH THEM A MOMENT.
25. TWO SHOT – WEST AND HOGAN
As the salesman steps up beside West, surveying the exodus.
HOGAN
(worriedly)
Where’s everybody going?
WEST
(bemused)
Maybe they don’t like it here.
West walks out of SHOT.
25A. INT. SHERIFF KOSTER’S OFFICE – DAY
CAMERA IS TIGHT on a huge tray of food on a desk. CAMERA PANS up to SHERIFF KOSTER as he literally “inhales” the huge repast. Koster is 40, fast, unpleasant and has a whining voice which we can hardly understand as he mumbles through his food.
WEST (O.S.)
You the Sheriff of New Athens?
KOSTER
This badge sure ain’t for dog catching.
WEST
(tolerantly)
Then you can answer a question for me.
KOSTER
Make it quick. Eat’n’ and talk’n’ at the same time ain’t good for the digestion.
CAMERA PULLS TO A WIDE ANGLE to reveal the rest of the office. A couple of empty cells in the rear. The office is dusty, unkempt, Koster’s desk in a state of disarray. Even the rifle rack lock is broken, hanging loose and the rack itself is a rooming house for all that creeps and crawls. West is brushing off a corner of the desk to lean on as he speaks, studying Koster.
WEST
Why are all the people leaving town, Sheriff?
KOSTER
(snorts)
Wild rumors… nothin’ you can put your finger on.
WEST
Like what?
KOSTER
A passel of gunslingers… bums and ex-cons… been drifting into this territory. Makes folks nervous. Course, I ain’t seen none of them myself. Understand they’ve been camping outside of town.
WEST
And if they did come into town?
KOSTER
Well, if I saw them, I’d sure give it some thought.
WEST
I bet you would!
West pulls off the desk, brushes some dust from his pants, takes a dainty sample of the pie on Koster’s tray, moves to the door, CAMERA PANNING. As he samples the pie, he frowns:
WEST (CONT’D)
You should try to cut down on your starches. Nobody likes a fat hero.
West EXITS.
25B. ANGLE
– on Koster. He glowers after West, tastes the pie with worried wonder as we –
CUT TO:
26. NEW ATHENS SALOON – WIDE ANGLE – DAY
A gaudy but pleasant place. A small crowd is gathering for some early drinking. The SOUND OF A SALOON PIANO IS HEARD O.S.
27. ANGLE
– on West, as he enters the saloon, looks around, then moves toward the piano, CAMERA PANNING.
28. ANGLE
ON WEST as he reaches the piano. The pianist wears a mustache, hair parted down the middle, striped shirt, garter on the sleeve, cigar in his mouth. It is Artemus. He continues to VAMP on the PIANO. Their conversation on the surface is relaxed and smiling, but we detect the underlying tensity as they trade vital information against constant interruptions of passing customers.
ARTEMUS
Howdy, mister. Selection you’d like to hear?
WEST
Depends… do you know something recent by a man called Mason?
ARTEMUS
If you mean Walter Mason… he hasn’t written anything since he left Washington. Either he’s found urgent business elsewhere…
WEST
Unlikely…
ARTEMUS
… or he’s dead.
WEST
(depressed)
What about Arthur Cole?
ARTEMUS
(shakes his head)
Cole’s been out of town.
A pretty WAITING GIRL steps up to Artie, strokes his cheek. She has a shawl over her work clothes.
WAITING GIRL
Lunch at my place, as usual, dahlin’?
ARTEMUS
Yes… dahlin’…
Artemus executes a small but impressive PIANISTIC FLOURISH, avoiding West’s arch look.
WEST
Must’ve been a dull few days for you.
ARTEMUS
You get your information where you can find it…
WEST
(nods)
I know what you mean. I just met Sheriff Koster.
ARTEMUS
Cole’s expected back this afternoon.
WEST
I’d better get over there now, then. Meet us later?
ARTEMUS
Right. East of town. Pembroke Road. Name’s on the gate.
28A. NEW ANGLE
as West’s attention is captured by the entrance down the saloon’s staircase of a very beautiful woman. She has a naughty, proprietary manner as owner of the saloon and is dressed accordingly. This is SALLY YARNELL.
ARTEMUS
(seeing West’s reaction)
She’s the boss! Sally Yarnell…
29. ANGLE ON SALLY
She reacts to the somber mood of clientele.
SALLY
What’s the matter with you guys?
(to Artemus)
C’mon, Joe. Play something to liven these boys up.
30. ANGLE ON SALLY
Artie goes into a bouncy tune. Sally begins moving through the room, addressing her conversation to a few special men. West watches her, sits down at a nearby table. CAMERA TRUCKS WITH HER as she tries to cheer the customers up.
31. SHOT – SALLY
as she suddenly stops, paling, and looks across the room at the door. There is a mixture of fear, curiosity, and longing on her face.
32. POV
John Trayne, at the entrance to the room. He seems quiet, deadly as he watches her.
33. CLOSE – SALLY
As she looks at him a beat longer then she rushes upstairs and out of sight, CAMERA PANNING.
34. ANGLE
ON West. As she rushes past him, he and Artemus exchange a puzzled look, then turn, watch:
35. POV
Trayne moves to a table near the bar which is occupied by two obvious hardcases, WALT and SAM. There is less speaking in the room now. Various groups of men exchange silent whispers, glance toward Trayne. It would seem, Trayne has been in New Athens before.
35A. THREE SHOT
Trayne is looking down at Walt and Sam. There is an air of tension produced by his unquestioned authority and the others fearful obeisance to it.
TRAYNE
Gents…
WALT
Welcome home, Johnny…
36. ANGLE
on Trayne, as he proceeds to bar now flanked by Walt and Sam. The BARTENDER moves in, worried, uncertain. Trayne takes his walking stick, shoves away one of the bottles on the bar, says quietly:
TRAYNE
That’s not my brand of course…
The Bartender nods, begins searching in the cabinets below the bar.
37. ANGLE
– on West and Artemus, exchanging a wondering glance.
38. ANGLE
– on Trayne as the bartender pulls forth a dusty, half empty bottle of whiskey, puts it on the bar. Trayne picks it up, examines –
39. INSERT SHOT
– a pencil line drawn across the label which coincides with the level of the whiskey in the bottle.
40. SHOT – SCENE
Trayne nods. The bartender nervously wipes the dust off the bottle, takes the top off, pours t. Trayne savours the drink.
TRAYNE
People are staring – I don’t like that.
BARTENDER
(nervous)
Well – it’s – sort of a shock – you coming back…
TRAYNE
Shouldn’t be. This is my home town.
Trayne turns to the staring faces, quietly tells the bartender.
TRAYNE (CONT’D)
I want to drink alone. Clear the room.
Trayne lays his walking stick on the bar, sips his whiskey. The Bartender nods; then clears his throat, announces:
BARTENDER
Er – listen folks…
41. WIDE ANGLE
– on the men present, as they go silent, turn to the bar.
42. SHOT – SCENE
BARTENDER
The bar is – is closing.
The Bartender glances at Trayne.
43. WIDE ANGLE
– on the room. Everyone exchanges a glance. Then, wordlessly, everyone gets up, walks quietly out of the saloon.
44. ANGLE
– on West and Artemus, watching, curious.
45. WIDE ANGLE
– on the now empty room.
46. ANGLE
– on Trayne, reacting to the mirror.
47. HIS POV
– into the mirror, seeing West and Artemus.
48. SHOT – SCENE
Slowly Trayne turns, studies West.
49. ANGLE
– on the Bartender, hurriedly moving to West and Artemus.
BARTENDER
(quietly)
Er – the bar is closed.
WEST
Why?
The gentleman at the bar wants it that way.
West studies Trayne, then turns back to the Bartender.
WEST
I came in for a drink.
BARTENDER
Look, sir, I told you…
WEST
I know what you told me. Whiskey. Straight.
49A. PANNING SHOT
Walt and Sam cross to West and stop in front of the table. Walt takes the near edge and in a violent movement turns it over.
WALT
Mr. Trayne drinks alone.
West shrugs, feinting, and lets Walt have a haymaker which sends him reeling across the length of the room to CRASH into a fancy glass mirror beside the bar. Sam starts in and gets the same summary justice.
49B. ANGLE ON Artie
He smiles to himself and launches into something like “Hearts and Flowers.”
49C. West dusts himself off and crosses to the bar.
50. ANGLE
– at bar. The Bartender moves behind the bar, expecting an explosion any moment from Trayne.
WEST
You seem to have an adverse effect on the people in this town.
TRAYNE
Homecomings can be – emotional…
West turns to the Bartender.
WEST
I said whiskey.
The bartender looks questioningly at Trayne. Trayne studies West, measuring him.
51. CLOSE – ARTEMUS
– watching. He reacts to –
52. POV
– Sally Yarnell, peeking out from behind the curtain, looking very scared.
53. BACK TO BAR
The Bartender continues to wait for Trayne to tell him what to do. Trayne pours a drink for West from his own bottle.
TRAYNE
This is the best whiskey in New Athens, Mr. –
WEST
West… James West.
TRAYNE
(nods)
I’m John Trayne.
WEST
(to the bartender)
See? Mr. Trayne didn’t want to drink alone after all.
TRAYNE
Oh, I did – but occasionally I change my mind.
West picks up the full glass and holds it to the light, thoughtfully, then he puts it down.
WEST
Me, too. I don’t think I want a drink… even the best whiskey in New Athens.
Trayne lifts his glass, smiles thinly. West EXITS, CAMERA PANNING.
54. ANGLE – TRAYNE
– watching him go. He spots Sally. He then turns, tells Artemus.
TRAYNE
This silence is deafening. Do you know the girl in the gilded cage?
55. ANGLE
– on Artemus. He measures Trayne.
ARTEMUS
I’ll fake it.
Which he DOES, badly.
56. ANGLE
– on Trayne, not very pleased.
CUT TO:
57.-58. – OMIT
59. EXT. COLE RANCHE – MEDIUM LONG SHOT – DAY
Pleasant little place, slightly away from it all. House, small barn, well out in front, picket fence. West rides in, dismounts in front of the house, walks to the front porch.
60. ANGLE
– on West, knocking on the door.
WEST
Mister Cole?
No answer. West looks around him. There is a rocker and a table with a pipe on it.
61. POV INSERT
– the pipe, still smoking in its rack.
62. SHOT – SCENE
West picks up the pipe, studies it, puts it down, then reacts to the SOUND OF A NOISE NEARBY. He EXITS the porch.
63. ANGLE FROT OF THE HOUSE
West moves cautiously toward the barn.
64. EXT. BARN – MEDIUM SHOT – DAY
A tall, well built man in his forties at the rear of the barn is carrying a shovel, stops, reacts to –
65. POV
– West, entering the shot.
WEST
(pleasantly)
Arthur Cole?
66. SHOT – SCENE
The man studies West, puzzled, then moves forward, putting the shovel aside.
MAN
Yes?
West notes a saddled horse, slightly lathered, munching hay from a stanchion.
WEST
Looks like I timed my arrival just right.
(smiles)
Haven’t even unsaddled your horse yet…
The man smiles, nods, begins to unsaddle the horse.
MAN
Yeah – just got back
(beat)
Didn’t get your name.
WEST
West. James West.
The man leans on the horse, casually wiping some sweat away.
MAN
What can I do for you?
WEST
Among other things, I’m looking for Walter Mason. Has he contacted you yet?
The man studies West, tries to hide his confusion.
MAN
Mason – no – not yet.
WEST
You did get a letter saying he was coming…
The man considers this, then nods.
MAN
Yes – I got the letter – but Mister Mason never showed.
West nodes, pulls two cheroots from his inside pocket, hands one to the man.
MAN (CONT’D)
Thank you…
West lights both cigars as he casually nods, reflects.
WEST
Well, when we got no report from Mason – we feared something might have happened to him. That’s why I’m here.
MAN
I see.
WEST
And since I am here – just what was it you wanted the Secret Service to know – that you couldn’t put in a letter…
The man considers this, inhales casually on the cheroot, reflects:
MAN
Mason never wrote – told you before he – disappeared…
West smiles, shrugs.
WEST
If he’d told us – I wouldn’t be here asking you, Mister Cole…
67. ANGLE ON THE MAN
The man turns, casually lifts a hand scythe from its cradle on the stanchion wall, begins rubbing it with a whetstone. He smiles, nods.
MAN
So you’re completely in the dark, eh, Mister West?
68. ANGLE
– on West.
WEST
(smiles)
Blindly groping, Mister Cole.
69. SHOT – SCENE
Suddenly, the man lunges at West. West meets him with a hard punch. Then a SECOND MAN drops INTO SHOT from off scene and West crouches, ready for his move, as we:
FREEZE FRAME
GARRISON PRODUCTIONS
THE WILD WILD WEST
“The Night of the Cut-Throats”
#0353
FINAL DRAFT
JUNE 21, 1967
FADE IN:
1. EXT. PRAIRIE – LONG ESTAB. SHOT – DAY
Flat, desolate terrain. A stagecoach moves across the wasteland.
2. INT. STAGECOACH
JAMES WEST is sitting opposite an ATTRACTIVE YOUNG LADY enjoying the view while beside her sits a round little businessman type named HOGAN who keeps up an annoying harangue for her benefit. Beside West is a tall, dark, distinguished man in his late forties. He is impeccably dressed, smokes a pencil thin cheroot. His name is JOHN TRAYNE. Hogan is addressing himself primarily to the young lady.
HOGAN
New Athens isn’t the biggest town in the Wyoming Territory. But since it’s stuck out in the middle of nowhere, I amt he sold distributor of ladies needleware – got the market all sewed up. Ha ha! Joke. All sewed up. You get it?
3. ANGLE
– on Trayne.
TRAYNE
(quietly)
Sir – if you don’t stop boring us – you may very soon find your mouth ‘all sewed up.’
4. SHOT – SCENE
Hogan stiffens with embarrassment, turns to the lady who is having a hard time suppressing a grateful smile.
5. EXT. RUNNING SHOT – ON THE STAGE – DAY
A group of four masked, armed riders come POUNDING up behind the stage and are nearly abreast of it before the DRIVER and GUARD see them. The Guard reacts, reaches for his weapon. The nearest masked rider FIRES, wounding the Guard in the shoulder. The Driver pulls the stage to a halt.
6. INT. STAGE – DAY
The passengers exchange startled looks.
HOGAN
Was that a shot?!
LADY
What’s happening? Why are we stopping.
TRAYNE
(casually)
It would appear we are being held up.
The door is suddenly flung open by TWO MASKED MEN.
WEST
(blandly)
It would appear.
FIRST MASKED MAN
All right, everybody out!
West and Trayne exchange an annoyed glance. The lady begins to shrink back, half whimpering with fear.
TRAYNE
(gently)
Don’t be afraid, Ma’am. Under the mask he’s probably as worried as you.
FIRST MASKED MAN
(annoyed)
I said out!
The Lady allows West to help her out. Hogan stumbled out next.
7. EXT. ANGLE
Hogan thrusts his hands skyward. One of the four masked men comes down from the driver’s seat, tells the first.
SECOND MASKED MAN
Nothing.
HOGAN
(helpfully)
Say, you boys must not be from around here. I mean I could have told you nobody ever robs this stage. Never carries any money. Mines shut down two years ago.
FIRST MASKED MAN
Shut up!
(beat)
All right, all of you empty your pockets! Quick!
Hogan begins turning his pockets out, revealing a wallet, a gold watch. The Second Masked Man takes the young lady’s purse, begins rifling through it.
LADY
(near tears)
Please – every cent I have is in that purse…
8. ANGLE
– on West, as the Third Masked Man moves to him, reaches into his vest for his wallet. West suddenly rams an elbow into the man’s ribs, doubling him over. West brings an uppercut next, snapping the man’s head back.
9. ANGLE
– on the Fourth Masked Man. He turns his attention from the Driver and Guard, levels his pistol towards West.
10. CLOSEUP – WEST’S RIGHT ARM
As the derringer SNAPS from his sleeve.
11. ANGLE
– on West, swinging his right arm upward, revealing the derringer on his arm, FIRING it in the same motion.
12. SHOT – SCENE
The Fourth Masked Man takes the slug in the chest, dies. West rushes the Second Masked Man, driving him away from the girl. They exchange hard, swinging blows. The Lady SCREAMS, shrinks back against the stage.
13. ANGLE
– on the First Masked Man. He steps back, putting himself closer to Trayne who stands there by the door of the stage, unmoving, leaning against an expensive, gold tipped walking cane.
FIRST MASKED MAN
Get back, Clyde!
ANGLE
– on West, slamming “Clyde” to the jaw, indeed driving him back. As West whirls, defense, to face the First Masked Man –
15. ANGLE
– Trayne, moving swiftly, cracks the First Masked Man on the skull with the heavy gold end of his walking stick. The man sinks to the ground.
16. SHOT – SCENE
West steps in, picks up the First Masked Man’s weapon, tosses it to Trayne who quickly levels it at the two Masked Men still standing. West examines the fallen man, removing his mask, while Hogan examines the man West shot, removing his mask.
WEST
Dead…
HOGAN
This one too!
Trayne considers this, turns his walking stick around, studies the end of it.
TRAYNE
Doesn’t seem to be any damage here.
Even as he says this, the two remaining masked men bolt for their horses. West sees them going, pulls up, tells Trayne.
WEST
They’ve lost their taste for battle.
17. CLOSE – TRAYNE
He reacts to –
18. POV
– the two masked men, mounting, riding away.
19. SHOT – SCENE
Trayne watches them go, shrugs.
TRAYNE
Personally, I’d rather not have their company the rest of the way to New Athens…
(beat)
It would upset the lady.
The lady allows Trayne to put a reassuring arm around her shoulder.
WEST
(smiles)
Never upset a lady.
TRAYNE
You handle yourself very well –
West smiles, nods his thanks for the compliment.
TRAYNE (CONT’D)
And now, Miss, if you’ll allow me…
The lady smiles. Trayne helps her into the stage with a flourish.
20. ANGLE
– on West, looking down at the masked man Trayne struck down. Hogan edges in, looks too, quips:
HOGAN
The gentleman’s walkin’ stick packs quite a wallop.
WEST
So does the gentleman’s stagecoach manner.
Hogan follows West’s gaze.
21. POV
Trayne is sitting beside the lady now, gently wiping her tear-stained cheeks with his handkerchief.
22. ANGLE
– on West. He helps the wounded man into the stagecoach, then takes shotgun position himself as we:
FADE OUT:
ACT I
FADE IN:
23. EXT. MAIN STREET – NEW ATHENS – LONG EST. SHOT – DAY
A small town. The stage RUMBLES down the street and halts in front of the depot. West jumps down to survey a strange scene taking place in the street: it is a kind of exodus, a trickle of carts, wagons and riders – men, women and children – making their way out of town.
Two men are walking among them, exhorting them to stay. One is CASSIDY, mayor of the town, a round little man, and the other is JEREMIAH, an antique dressed in the garb of a buffalo hunter, carrying an ancient squirrel rifle.
JEREMIAH
Where you going, you chicken-livered cowards --? You call yourselves men? Stand and fight!
CASSIDY
(the voice of reason)
Protect your property! Don’t panic, gentlemen. In unity there is strength; we cannot be bluffed! Please…
24. ANGLE
Meanwhile, the driver is helping the wounded guard into the depot. Trayne helps the young lady out, as West nods to him.
WEST
(nods to lady)
Ma’am…
Trayne offers his arm to the young lady.
TRAYNE
May I escort you to the hotel?
She smiles, nods, takes his arm. CAMERA TRUCKS WITH THEM A MOMENT.
25. TWO SHOT – WEST AND HOGAN
As the salesman steps up beside West, surveying the exodus.
HOGAN
(worriedly)
Where’s everybody going?
WEST
(bemused)
Maybe they don’t like it here.
West walks out of SHOT.
25A. INT. SHERIFF KOSTER’S OFFICE – DAY
CAMERA IS TIGHT on a huge tray of food on a desk. CAMERA PANS up to SHERIFF KOSTER as he literally “inhales” the huge repast. Koster is 40, fast, unpleasant and has a whining voice which we can hardly understand as he mumbles through his food.
WEST (O.S.)
You the Sheriff of New Athens?
KOSTER
This badge sure ain’t for dog catching.
WEST
(tolerantly)
Then you can answer a question for me.
KOSTER
Make it quick. Eat’n’ and talk’n’ at the same time ain’t good for the digestion.
CAMERA PULLS TO A WIDE ANGLE to reveal the rest of the office. A couple of empty cells in the rear. The office is dusty, unkempt, Koster’s desk in a state of disarray. Even the rifle rack lock is broken, hanging loose and the rack itself is a rooming house for all that creeps and crawls. West is brushing off a corner of the desk to lean on as he speaks, studying Koster.
WEST
Why are all the people leaving town, Sheriff?
KOSTER
(snorts)
Wild rumors… nothin’ you can put your finger on.
WEST
Like what?
KOSTER
A passel of gunslingers… bums and ex-cons… been drifting into this territory. Makes folks nervous. Course, I ain’t seen none of them myself. Understand they’ve been camping outside of town.
WEST
And if they did come into town?
KOSTER
Well, if I saw them, I’d sure give it some thought.
WEST
I bet you would!
West pulls off the desk, brushes some dust from his pants, takes a dainty sample of the pie on Koster’s tray, moves to the door, CAMERA PANNING. As he samples the pie, he frowns:
WEST (CONT’D)
You should try to cut down on your starches. Nobody likes a fat hero.
West EXITS.
25B. ANGLE
– on Koster. He glowers after West, tastes the pie with worried wonder as we –
CUT TO:
26. NEW ATHENS SALOON – WIDE ANGLE – DAY
A gaudy but pleasant place. A small crowd is gathering for some early drinking. The SOUND OF A SALOON PIANO IS HEARD O.S.
27. ANGLE
– on West, as he enters the saloon, looks around, then moves toward the piano, CAMERA PANNING.
28. ANGLE
ON WEST as he reaches the piano. The pianist wears a mustache, hair parted down the middle, striped shirt, garter on the sleeve, cigar in his mouth. It is Artemus. He continues to VAMP on the PIANO. Their conversation on the surface is relaxed and smiling, but we detect the underlying tensity as they trade vital information against constant interruptions of passing customers.
ARTEMUS
Howdy, mister. Selection you’d like to hear?
WEST
Depends… do you know something recent by a man called Mason?
ARTEMUS
If you mean Walter Mason… he hasn’t written anything since he left Washington. Either he’s found urgent business elsewhere…
WEST
Unlikely…
ARTEMUS
… or he’s dead.
WEST
(depressed)
What about Arthur Cole?
ARTEMUS
(shakes his head)
Cole’s been out of town.
A pretty WAITING GIRL steps up to Artie, strokes his cheek. She has a shawl over her work clothes.
WAITING GIRL
Lunch at my place, as usual, dahlin’?
ARTEMUS
Yes… dahlin’…
Artemus executes a small but impressive PIANISTIC FLOURISH, avoiding West’s arch look.
WEST
Must’ve been a dull few days for you.
ARTEMUS
You get your information where you can find it…
WEST
(nods)
I know what you mean. I just met Sheriff Koster.
ARTEMUS
Cole’s expected back this afternoon.
WEST
I’d better get over there now, then. Meet us later?
ARTEMUS
Right. East of town. Pembroke Road. Name’s on the gate.
28A. NEW ANGLE
as West’s attention is captured by the entrance down the saloon’s staircase of a very beautiful woman. She has a naughty, proprietary manner as owner of the saloon and is dressed accordingly. This is SALLY YARNELL.
ARTEMUS
(seeing West’s reaction)
She’s the boss! Sally Yarnell…
29. ANGLE ON SALLY
She reacts to the somber mood of clientele.
SALLY
What’s the matter with you guys?
(to Artemus)
C’mon, Joe. Play something to liven these boys up.
30. ANGLE ON SALLY
Artie goes into a bouncy tune. Sally begins moving through the room, addressing her conversation to a few special men. West watches her, sits down at a nearby table. CAMERA TRUCKS WITH HER as she tries to cheer the customers up.
31. SHOT – SALLY
as she suddenly stops, paling, and looks across the room at the door. There is a mixture of fear, curiosity, and longing on her face.
32. POV
John Trayne, at the entrance to the room. He seems quiet, deadly as he watches her.
33. CLOSE – SALLY
As she looks at him a beat longer then she rushes upstairs and out of sight, CAMERA PANNING.
34. ANGLE
ON West. As she rushes past him, he and Artemus exchange a puzzled look, then turn, watch:
35. POV
Trayne moves to a table near the bar which is occupied by two obvious hardcases, WALT and SAM. There is less speaking in the room now. Various groups of men exchange silent whispers, glance toward Trayne. It would seem, Trayne has been in New Athens before.
35A. THREE SHOT
Trayne is looking down at Walt and Sam. There is an air of tension produced by his unquestioned authority and the others fearful obeisance to it.
TRAYNE
Gents…
WALT
Welcome home, Johnny…
36. ANGLE
on Trayne, as he proceeds to bar now flanked by Walt and Sam. The BARTENDER moves in, worried, uncertain. Trayne takes his walking stick, shoves away one of the bottles on the bar, says quietly:
TRAYNE
That’s not my brand of course…
The Bartender nods, begins searching in the cabinets below the bar.
37. ANGLE
– on West and Artemus, exchanging a wondering glance.
38. ANGLE
– on Trayne as the bartender pulls forth a dusty, half empty bottle of whiskey, puts it on the bar. Trayne picks it up, examines –
39. INSERT SHOT
– a pencil line drawn across the label which coincides with the level of the whiskey in the bottle.
40. SHOT – SCENE
Trayne nods. The bartender nervously wipes the dust off the bottle, takes the top off, pours t. Trayne savours the drink.
TRAYNE
People are staring – I don’t like that.
BARTENDER
(nervous)
Well – it’s – sort of a shock – you coming back…
TRAYNE
Shouldn’t be. This is my home town.
Trayne turns to the staring faces, quietly tells the bartender.
TRAYNE (CONT’D)
I want to drink alone. Clear the room.
Trayne lays his walking stick on the bar, sips his whiskey. The Bartender nods; then clears his throat, announces:
BARTENDER
Er – listen folks…
41. WIDE ANGLE
– on the men present, as they go silent, turn to the bar.
42. SHOT – SCENE
BARTENDER
The bar is – is closing.
The Bartender glances at Trayne.
43. WIDE ANGLE
– on the room. Everyone exchanges a glance. Then, wordlessly, everyone gets up, walks quietly out of the saloon.
44. ANGLE
– on West and Artemus, watching, curious.
45. WIDE ANGLE
– on the now empty room.
46. ANGLE
– on Trayne, reacting to the mirror.
47. HIS POV
– into the mirror, seeing West and Artemus.
48. SHOT – SCENE
Slowly Trayne turns, studies West.
49. ANGLE
– on the Bartender, hurriedly moving to West and Artemus.
BARTENDER
(quietly)
Er – the bar is closed.
WEST
Why?
The gentleman at the bar wants it that way.
West studies Trayne, then turns back to the Bartender.
WEST
I came in for a drink.
BARTENDER
Look, sir, I told you…
WEST
I know what you told me. Whiskey. Straight.
49A. PANNING SHOT
Walt and Sam cross to West and stop in front of the table. Walt takes the near edge and in a violent movement turns it over.
WALT
Mr. Trayne drinks alone.
West shrugs, feinting, and lets Walt have a haymaker which sends him reeling across the length of the room to CRASH into a fancy glass mirror beside the bar. Sam starts in and gets the same summary justice.
49B. ANGLE ON Artie
He smiles to himself and launches into something like “Hearts and Flowers.”
49C. West dusts himself off and crosses to the bar.
50. ANGLE
– at bar. The Bartender moves behind the bar, expecting an explosion any moment from Trayne.
WEST
You seem to have an adverse effect on the people in this town.
TRAYNE
Homecomings can be – emotional…
West turns to the Bartender.
WEST
I said whiskey.
The bartender looks questioningly at Trayne. Trayne studies West, measuring him.
51. CLOSE – ARTEMUS
– watching. He reacts to –
52. POV
– Sally Yarnell, peeking out from behind the curtain, looking very scared.
53. BACK TO BAR
The Bartender continues to wait for Trayne to tell him what to do. Trayne pours a drink for West from his own bottle.
TRAYNE
This is the best whiskey in New Athens, Mr. –
WEST
West… James West.
TRAYNE
(nods)
I’m John Trayne.
WEST
(to the bartender)
See? Mr. Trayne didn’t want to drink alone after all.
TRAYNE
Oh, I did – but occasionally I change my mind.
West picks up the full glass and holds it to the light, thoughtfully, then he puts it down.
WEST
Me, too. I don’t think I want a drink… even the best whiskey in New Athens.
Trayne lifts his glass, smiles thinly. West EXITS, CAMERA PANNING.
54. ANGLE – TRAYNE
– watching him go. He spots Sally. He then turns, tells Artemus.
TRAYNE
This silence is deafening. Do you know the girl in the gilded cage?
55. ANGLE
– on Artemus. He measures Trayne.
ARTEMUS
I’ll fake it.
Which he DOES, badly.
56. ANGLE
– on Trayne, not very pleased.
CUT TO:
57.-58. – OMIT
59. EXT. COLE RANCHE – MEDIUM LONG SHOT – DAY
Pleasant little place, slightly away from it all. House, small barn, well out in front, picket fence. West rides in, dismounts in front of the house, walks to the front porch.
60. ANGLE
– on West, knocking on the door.
WEST
Mister Cole?
No answer. West looks around him. There is a rocker and a table with a pipe on it.
61. POV INSERT
– the pipe, still smoking in its rack.
62. SHOT – SCENE
West picks up the pipe, studies it, puts it down, then reacts to the SOUND OF A NOISE NEARBY. He EXITS the porch.
63. ANGLE FROT OF THE HOUSE
West moves cautiously toward the barn.
64. EXT. BARN – MEDIUM SHOT – DAY
A tall, well built man in his forties at the rear of the barn is carrying a shovel, stops, reacts to –
65. POV
– West, entering the shot.
WEST
(pleasantly)
Arthur Cole?
66. SHOT – SCENE
The man studies West, puzzled, then moves forward, putting the shovel aside.
MAN
Yes?
West notes a saddled horse, slightly lathered, munching hay from a stanchion.
WEST
Looks like I timed my arrival just right.
(smiles)
Haven’t even unsaddled your horse yet…
The man smiles, nods, begins to unsaddle the horse.
MAN
Yeah – just got back
(beat)
Didn’t get your name.
WEST
West. James West.
The man leans on the horse, casually wiping some sweat away.
MAN
What can I do for you?
WEST
Among other things, I’m looking for Walter Mason. Has he contacted you yet?
The man studies West, tries to hide his confusion.
MAN
Mason – no – not yet.
WEST
You did get a letter saying he was coming…
The man considers this, then nods.
MAN
Yes – I got the letter – but Mister Mason never showed.
West nodes, pulls two cheroots from his inside pocket, hands one to the man.
MAN (CONT’D)
Thank you…
West lights both cigars as he casually nods, reflects.
WEST
Well, when we got no report from Mason – we feared something might have happened to him. That’s why I’m here.
MAN
I see.
WEST
And since I am here – just what was it you wanted the Secret Service to know – that you couldn’t put in a letter…
The man considers this, inhales casually on the cheroot, reflects:
MAN
Mason never wrote – told you before he – disappeared…
West smiles, shrugs.
WEST
If he’d told us – I wouldn’t be here asking you, Mister Cole…
67. ANGLE ON THE MAN
The man turns, casually lifts a hand scythe from its cradle on the stanchion wall, begins rubbing it with a whetstone. He smiles, nods.
MAN
So you’re completely in the dark, eh, Mister West?
68. ANGLE
– on West.
WEST
(smiles)
Blindly groping, Mister Cole.
69. SHOT – SCENE
Suddenly, the man lunges at West. West meets him with a hard punch. Then a SECOND MAN drops INTO SHOT from off scene and West crouches, ready for his move, as we:
FREEZE FRAME