Post by California gal on Oct 13, 2009 8:12:54 GMT -8
CBS-TV
GARRISON PRODUCTIONS
THE WILD WILD WEST
“The Night of the Ominous Oculist” – Part I
by
Ken Pettus
FIRST DRAFT
October 25, 1968
#0619
THE WILD WILD WEST
“The Night of the Ominous Oculist” (Part I)
PRODUCER
Bruce Lansbury
ASSOCIATE PRODUCER
LEONARD KATZMAN
STORY CONSULTANT
HENRY SHARP
WRITTEN BY
KEN PETTUS
SETS:
EXT. CAMPFIRE
EXT. VARNISH
EXT. DEPOT
EXT. GREASEWOOD STREET
INT. WAITING ROOM
INT. GALLERY
INT. OFFICE
EXT. DENVER STREET
INT. LAB CAR
INT. VARNISH
EXT. WOLFVILLE STREET
INT. CELL BLOCK
INT. JAIL OFFICE
EXT. SAN PABLO
INT. SNEED’S OFFICE
INT. HOTEL ROOM
INT. SALOON
INT. CONFERENCE ROOM
CAST:
[In the following list, some handwritten names are alongside the names; I’m putting them in Italics; some were crossed out.]
JAMES WEST – ROBERT CONRAD
FRANK HARPER Bill Schallert
PRESIDENT GRANT Roy Engel
MAYOR PUDNEY Jack Coogan
PROF. SIMON WINKLER
CHAVEROS Valentin de Vargas
SHERIFF Harry Lauter
DR. OCCULARIS-JONESBob Ellenstein Bernard Fox
DR. OCCULARIS IITony Zerbe Robt. Ellenstein
HIRAM SNEED
PROF. TOOMBS
TOM BRASS
JUDD BRASS
ZACK BRASS
DEPUTY Ron Pinkard
ROSA LAURETTE Michelle Carey
SECRETARYJanee Michelle
CONDUCTOR
ZENOBIA FINCH Dotty Neumann
THE WILD WILD WEST
“The Night of the Ominous Oculist” – Part I
TEASER
FADE IN:
1. EXT. CAMPFIRE – WEST – NIGHT
He’s squatting beside a small fire drinking coffee. Now he HEARS something—the distant HOOF BEATS of a galloping horse approaching. He tenses slightly, putting the cup of coffee aside and getting to his feet, pulling his revolver, then moving into the shadows beyond the glow of the fire.
2. WEST’S POV – FRANK
as he rides up and reins-in some distance from the campfire. Both horse and rider are mere silhouettes in the moonlight. Frank hesitates, then dismounts, pulling his rifle from his saddle scabbard. He starts toward the first slowly, warily.
3. WEST
waiting and watching in the shadows, his revolver pointing at Frank, obviously not certain who he is.
4. FRANK
still nothing more than a silhouette as he moves to the far side of the campfire and stops just outside its glow.
WEST’S VOICE
Hold it right there, mister!
Frank whirls, startled, then gulps with relief.
FRANK
Jim?
5. WEST
as he recognizes Frank’s voice and sighs with relief. The ANGLE WIDENS as he moves back toward the fire, holstering his revolver.
6. WEST, FRANK
as the latter lowers his rifle and the two shake hands.
WEST
What kept you?
FRANK
My horse threw a shoe in Duncan Center.
WEST
Was she pretty?
FRANK
The horse?
WEST
The blacksmith’s daughter.
FRANK
Now how did you know—
WEST
Artemus told me he’d loaned you his little black book.
FRANK
(laughs)
The tattle-tale.
(beat)
But I’ll have to admit, he does have good taste.
WEST
What’s the news?
FRANK
(grows serious)
The President received two more warnings.
WEST
Two?!
FRANK
One about Denver. The other about Greasewood, Arizona.
West starts kicking dirt on the campfire.
WEST
Then let’s ride. You take Denver. I’ll take Greasewood.
FRANK
Right.
The two rush to their horses and mount. They come together briefly around the dead campfire.
WEST
Wait for me in Denver!
Frank acknowledges this with a wave and the two ride off fast in opposite directions.
CUT TO:
7. EXT TRAIN – RUNBY – DAY
a diamond-stacker POUNDING along.
CUT TO:
8. EXT. TRAIN DEPOT – TIGHT SHOT – DAY
on a RED-FACED MAN in a tacky bandsman’s uniform HAMMERING mightily on a huge bass drum. Fancy lettering on the head of the drum tells us this is the “Greasewood, Ariz., Volunteer Fire Company Band.”
ANGLE WIDENS
To include four or five other MEMBERS of the band, all attacking their particular instruments with as much vigor and lack of talent as the drummer. Now the CAMERA PULLS BACK for a –
9. FULL SHOT
–- of the ceremony in progress outside the bunting-draped depot, across the front of which is a huge cloth sign which reads: “Greasewood Welcomes the Tucson and Tucumcari Railroad!”
A speakers’ stand has been erected on the station platform. A CROWD surrounds it and overflows onto the tracks. It obviously contains few “music lovers.” The crowd mills around restlessly as the band BLARES on.
10. TIGHTER ANGLE
on the speakers’ stand, occupied by the FIRE CHIEF, the LOCAL CONSTABLE and MAYOR CECIL PUDNEY, a cherubic, mild-mannered man in top hat and frock coat.
11. EXT. GREASEWOOD STREET – LONG SHOT – DAY
as West comes POUNDING into view at the far end of the street. It’s deserted. Everybody’s down at the depot. We can HEAR the BAND MUSIC in the distance. In the f.g., West reins in. He’s clearly completed a long, hard and urgent ride. He HEARS the BAND and spurs his horse toward the depot.
12. EXT. TRAIN – RUNBY – DAY
HAMMERING past, BLOWING its WHISTLE
13. EXT TRAIN DEPOT – BAND – DAY
as it completes its concert, the various musicians straggling across the “finish line” in ragged order. The CROWD DEMONSTRATES its approval, if not for the music itself, then for the fact that the concert is over.
14. ANOTHER ANGLE
featuring Pudney and his fellow town officials applauding. Now Pudney gets up, goes to the lectern, gesturing for silence.
PUDNEY
And now, ladies and gentlemen, here is our own Zenobia to sing for us!
There’s perfunctory APPLAUSE and a few AUDIBLE GROANS from the crowd as ZENOBIA FINCH, a skinny old “diva” with a voice like train whistle comes to the stand, blows a sour note on a pitch-pipe and starts to SING. (NOTE: Zenobia continues to assail us behind:)
15. WEST
as he rides up to the side of the depot, leaps from his horse and rushes toward the station platform.
16. ZENOBIA
going at it.
17. WEST
pushing his way through the crowd to the speakers’ platform..
18. PUDNEY, WEST
as Jim reaches the steps to the speakers’ stand, climbs them and goes to the Mayor. Although we can’t hear the exchange between Jim and Pudney, it’s obvious from the Mayor’s reaction that West hasn’t brought him good news. Pudney, looking upset, gets to his feet and leads West off the platform.
19. ANOTHER ANGLE
as Pudney points to the depot and he and West push their way through the crowd toward it, unaware of the—
20. FOUR TOUGHS
–-watching them suspiciously.
21. INT WAITING ROOM – WEST, PUDNEY – DAY
as they enter, Pudney closing the door behind them. They have the room to themselves. We can faintly HEAR ZENOBIA FINCH SINGING outside.
PUDNEY
Now what’s this all about, Mr. West?
WEST
Mr. Mayor, the government has received a warning that some sort of disaster is going to occur in Greasewood today.
PUDNEY
(shocked)
Disaster? … What—what sort of disaster?
WEST
We don't know.
PUDNEY
Well—well, who sent the warning?
WEST
We don't know that either.
PUDNEY
An anonymous message warning of some unnamed disaster? It sounds to me like someone’s idea of a joke.
WEST
Mr. Mayor, the government received the same kind of warning about the town of Cactus Falls. It was written off as a joke. But the next day the dam above the town collapsed and Cactus Falls was wiped out in a flood.
Although a bit shaken by this news, Pudney waves it aside impatiently. Outside, Zenobia brings her SONG to a SCREECHING CONCLUSION.
PUDNEY
Coincidence, no doubt.
(beat)
My Goodness! Zenobia’s finished!
Pudney turns to the door.
WEST
Mayor Pudney—
PUDNEY
I appreciate your concern, Mr. West, but I’m sure there’s no cause for alarm. The people would do nothing to mar this historic occasion. They know how important the arrival of the railroad is to our community.
In the distance we HEAR the HOOT of the train’s WHISTLE. Pudney reacts excitedly.
PUDNEY
Good heavens! The train! It’ll be crossing the trestle any moment!
WEST
(tenses)
The trestle… what trestle?
PUDNEY
Why the one just east of town.
Pudney goes out. Jim hesitates ponderingly, then plunges out the station door after him.
22. EXT. TRAIN DEPOT – WEST – DAY
as he comes out the door to find himself blocked by the four Toughs, standing with their backs to him. West unsuspectingly tries to push past them.
WEST
Excuse me.
But the Toughs don’t move, and when Jim tries to go around them, they move just enough to continue to block his path. West now realizes that the Toughs are deliberately boxing him in, but by this time he’s caught between them and the wall of the depot.
23. PUDNEY
as he mounts the speakers’ stand and goes to the lectern. He takes a speech from a pocket and puts on a pair of spectacles.
PUDNEY
And now my fellow citi—
Pudney breaks off, realizing that a strange silence has fallen over the—
24. CROWD
—and that all eyes are turned up the track. Pudney’s eyes follow those of the crowd and the strange, glassy-eyed look of a man going into a trance slowly comes over him.
25. WEST, TOUGHS
as he becomes aware of the silence that has fallen over the crowd. He, too, looks up the track.
26. LONG POV SHOT
up the tracks to a railroad handcar moving toward the station, emitting SQUEAKING NOISES that take on an ominous note against the eerie silence of the crowd—particularly in light of the fact that although the handles move up and down rhythmically, there is nobody on the car.
The handcar does have a passenger, however. It is a huge, black raven which is perched atop the car’s fulcrum housing. The housing is covered with a black cloth.
27. WEST
baffled by the handcar and its weird passenger. He shoots an apprehensive glance at—
28. PUDNEY
—on the speakers’ stand as the Mayor watches the—
29. HANDCAR
—comes to a SQUEAKING stop on the tracks right below the speakers’ stand. The ANGLE WIDENS to include Pudney. With the movement of sleepwalker, he starts off the speakers’ stand.
30. HANDCAR [this duplication is in the script!]
—comes to a SQUEAKING stop on the tracks right below the speakers’ stand. The ANGLE WIDENS to include Pudney as the Mayor takes a pair of spectacles out of his pocket and puts them on. They’re distinctive-looking glasses with heavy frames and thick, tinted lenses. After donning the glasses, Pudney starts off the speakers’ stand with the movement of a sleepwalker.
31. WEST, TOUGHS
as Jim renews his effort to break free of the Toughs. Now the Hardcases drop the pretense of being merely rude members of the crowd. They turn on West and a close-quarter fight ensues with Jim exchanging vicious jabs with the Toughs.
32. PUDNEY
approaching the handcar. As he does, we HEAR the distant SOUND of a TRAIN WHISTLE.
33. RAVEN
As if the whistle were some sort of cue, the Raven emits a low CAW and takes off with the black cloth covering the fulcrum housing in its claws. A sharp, startled GASP comes from the CROWD.
34. TIGHT SHOT
on a dynamite plunger which has been concealed under the black cloth. The ANGLE WIDENS as Pudney steps up on the handcar and places his hands on the plunger. We again HEAR the TRAIN WHISTLE, a little closer than before.
35. WEST
He has disposed of two of the Toughs and broken free of the other two and is now elbowing his way through the crowd.
WEST
Let me through!... Let me through!
36. EXT. TRAIN – DAY (STOCK)
a diamond-stacker POUNDING down the track toward a trestle over a deep canyon. It BLOWS its WHISTLE.
37. EXT. TRAIN DEPOT – WEST – DAY
fighting his way through the crowd, a job made more difficult by the two Toughs who still harass him.
38. PUDNEY
with his hand son the plunger. His lips are moving as he silently counts to himself. Then he suddenly slams the plunger home. And almost immediately he removes his spectacles and throws them to the floor of the handcar, smashing them.
39. EXT. TRAIN – DAY (STOCK)
as it rolls out on the trestle and the trestle is ripped apart by a HUGE EXPLOSION, sending the train plunging into the canyon.
FADE OUT
END OF TEASER
ACT I
FADE IN:
46. EXT. MUSEUM – TIGHT SHOT – NIGHT
on a bronze plaque which identifies the museum as being the “Denver Museum of Fine Art.”
41. INT. GALLERY – SECRETARY – NIGHT
She is a comely young woman carrying a large package wrapped in plain brown paper she enters a door which bears a discreet sign reading: “Office of the Curator.”
42. INT. OFFICE – WIDE ANGLE – NIGHT
as the Secretary enters with the package. Professor SIMON WINKLER, the curator, is seated at this desk examining a small piece of statuary with a magnifying glass.
WINKLER
Yes, Miss Simms?
SECRETARY
This package was just delivered by special messenger, Professor.
WINKLER
(surprised)
Really?
She places the package on the desk in front of him. It is so tall he has to stand up to examine it. He does o, putting on a pair of spectacles which look exactly like the ones Mayor Pudney wore.
WINKLER (CONT’D)
Odd … No return address … Did the messenger say who it was from, Miss Simms?
SECRETARY
No, sir.
WINKLER
Odd.
Winkler gestures for the Secretary to go. She does. He unsheathes a lethal-looking kris which he uses as a paper-knife and cuts away the strings. He then rips away the brown paper. As he does, the sides of a wooden box fall away to reveal a huge, stuffed –
43. RAVEN
– which looks every bit as ominous as did the live one we saw perched on the railroad handcar.
44. EXT. DENVER STREET – RIDEBY – NIGHT
of Frank, who is pounding along as if his life depended on it.
45. INT. OFFICE – WINKLER – NIGHT
staring at the raven. As did Mayor Pudney, Winkler looks as though he’s in a hypnotic trance. He glances down at the kris in his hand, then slowly and somnabulistically crosses his office toward the door to the gallery.
46. INT. GALLERY – SECRETARY – NIGHT
in hat and coat approaches the door to Winkler’s office as the Professor emerges.
SECRETARY
Professor, if you don’t need me any more this eve –
She breaks off, suddenly frightened by Winkler’s blank stare and the kris in his hand.
SECRETARY (CONT’D)
Professor Winkler –
Winkler pays no attention to her, EXITING SHOT.
SECRETARY (CONT’D)
Professor, are you all –
She breaks off with a SCREAM.
47. TIGHT SHOT
on a large oil painting as the kris in Winkler’s hand slashes it from top to bottom.
48. WINKLER
as he turns and slashes at another painting and at the same time knocks from its pedestal a piece of statuary standing beside it. The statuary hits the floor and is smashed into bits.
49. SECRETARY
continuing to SCREAM.
50. WINKLER
moving along the gallery, slashing paintings and smashing statuary.
51. EXT. MUSEUM – FRANK – NIGHT
as he rides up, springs off his mount and rushes to the heavy double-doors, pounding on them. We can HEAR the Secretary SCREAMING inside.
FRANK
(shouts)
Open up!!
(loudly)
Open up!!
Getting no response, Frank kicks the door open.
52. INT. GALLERY
Winkler continues his senseless carnage. The Secretary emits one more SCREAM, then abruptly faints. Frank comes rushing in, is momentarily taken aback by the destruction. He then runs to Winkler and wrests the kris from his hand. Winkler offers no resistance. He turns and stares blankly at Frank. Then Winkler removes his glasses and throws them to the floor, smashing them., following which he himself sinks to the floor in a dead faint.
53. FRANK
as he looks around at the carnage Winkler has wrought, shaking his head in complete dismay.
CUT TO:
54. EXT. WEST’S TRAIN – RUNBY – NIGHT
speeding through the night.
55. INT LAB CAR – WEST, FRANK – NIGHT
Jim is seated at a desk, looking through some file folders, glum and bewildered. Frank is moving around the car, admiring it and, at times, being surprised when he accidentally trips something which opens a secret panel, etc.
WEST
It doesn’t make any sense, Frank.
(Indicating the file folders)
Cecil Pudney … Simon Winkler … Ethan Forbes.
FRANK
You’re sure Forbes is the one who blew up the dam at Cactus Falls?
WEST
No question about it.
FRANK
But he founded the town. He’s a former territorial governor. Why would he do such a –
Frank lifts the lid off a cigar box and is startled by the RASPING noise it gives off. West pays no attention.
WEST
Why would Mayor Pudney blow up that trestle? Why would Professor Winkler destroy nearly a million dollars worth of art work in his own museum?
FRANK
Are you sure there’s nothing in those dossiers that would help us?
WEST
Not a thing. Their lives are as pure as the driven snow.
West slams the folders down on the desk and gets to his feet.
WEST (CONT’D)
There’s one thing I haven’t mentioned, Frank.
FRANK
Don’t spare me, friend.
WEST
Ethan Forbes’ wife swears a raven flew in the open window of her husband’s study just before he left the house – the blow up the dam.
FRANK
Another raven, eh? The one on the handcar, the stuffed one I found in Winkler’s office, now the one that visited Forbes.
(a beat)
What’s the answer, Jim?
WEST
(shakes his head)
I’m not even sure I know the question.
Sudden West and Frank are startled by a series of short blasts of the train’s WHISTLE followed by the SCREECH of brakes. The two are thrown off balance by the train skidding to an emergency stop.
56. EXT. ENGINE – STOCK – NIGHT
on the drive wheels skidding over the tracks, throwing up a shower of sparks.
57. INT. LAB CCAR – WEST, FRANK – NIGHT
as they quickly douse the lights in the car and look out the windows as the train comes to a stop. Unable to see anything, they exit the car, arming themselves with revolvers as they go.
58. EXT. PLATFORM – WEST, FRANK – NIGHT
as they emerge from the Lab car and encounter the CONDUCTOR, carrying a lantern.
WEST
What’s wrong?
CONDUCTOR
A boulder on the track, Mr. West.
(points o.s.)
Must’ve rolled down from that cut. We’ll have it off right away.
The Conductor EXITS SHOT. West and Frank watch him go, then start into West’s Varnish.
59. INT. WEST’S VARNISH – WEST, FRANK – NIGHT
as they enter the darkened car from the rear platform. West strikes a match to light a lamp.
GRANT’S VOICE
Pull the curtains first, gentlemen.
West and Frank whirl, pointing their revolvers at the far end of the car.
60. POV SHOT
on two men standing in the deep shadows. One wears a slouch and a cape. The large hat is pulled down so that it hides most of his face. The second man stands behind the caped figure. The latter CHUCKLES.
61. WEST, FRANK
look at one another, baffled for a moment. Then they realize who the caped man is.
WEST
Mr. President!
62. ANOTHER ANGLE
as PRESIDENT GRANT moves out of the shadows. The man behind him – SEÑOR CHAVEROS – is a tall, well-dressed, aristocratic-looking Spaniard. Jim and Frank hasten to pull the curtains over windows before lighting the lamps. Grant and Chaveros help with the curtains.
GRANT
My apologies for dropping in on you unannounced, gentlemen, but I felt it best that we meet in complete secrecy. I don’t even want it known that I am not in Washington.
The curtains have been pulled, the lamps lighted and Grant sheds his slouch hat and cape. West and Frank look inquiringly at Chaveros.
GRANT
May I present Senor Chaveros.
(to Chaveros)
Senor James West and Frank Harper.
CHAVEROS
(bows stiffly)
An honor, Senores.
GRANT
Senor Chaveros is a special assistant to President Juarez. Artemus sends his regards to both of you.
WEST
How is he bearing up under his Washington assignment?
GRANT
The question is – how is Washington going to bear up? I’m told there’s been a noticeable influx of lovely young ladies into the capital since Artemus was assigned to us there.
West and Frank chuckle. Grant’s expression grows solemn.
GRANT (CONT’D)
I’m sure I don’t have to tell you why I’m here.
FRANK
No, Mr. President.
GRANT
I’m troubled – deeply troubled – by the events of the last couple of weeks.
WEST
And with good reason.
GRANT
And with more reason than you know, Jim.
WEST
What do you mean, Mr. President?
GRANT
(to Chaveros)
Tell the, Senor.
CHAVEROS
Senores, what has been happening in your country – this strange, inexplicable behavior on the part of such men as Mayor Pudney, Professor Winkler and Senor Forbes – has also been taking place in my country.
West and Frank are shocked.
CHAVEROS (CONT’D)
Several of my countrymen – men of unimpeachable patriotism – have engaged in senseless acts of sabotage.
GRANT
And as with Pudney, Winkler and Forbes, Senor Chaveros’ countrymen have no memory of committing the crimes.
CHAVEROS
Or any possible explanation of why they committed them.
Grant sighs heavily, taking a cigar from his pocket.
GRANT
We might as well make ourselves comfortable, gentlemen. We have a great deal to talk about.
Grant sits down, lighting his cigar.
CUT TO:
63. EXT. WEST’S TRAIN – RUNBY – NIGHT
of the train, its whistle BLOWING intermittently.
CUT TO:
64. INT. WEST’S VARNISH – TIGHT SHOT – NIGHT
on an ashtray with several cigar butts in it. The ANGLE SLOWLY WIDENS to include Grant, West, Frank and Chaveros. Their conference has been a long and troubling one. West is pacing the floor, his coat off, his tie loosened.
WEST
And it seems obvious to me that whoever is behind all this has found a way to “condition” a man’s mind and make him do things he’d never think of doing under normal circumstances.
CHAVEROS
You mean a sort of hypnosis, Senor?
WEST
You could call it that.
CHAVEROS
But why are our governments always warned that a disaster is to take place?
FRANK
But don’t forget – we’re always warned too late to do anything to prevent the disaster.
GRANT
It appears we are being given a preview of their power.
(adds:)
Whoever “they” are.
WEST
Exactly, Mr. President. Someone has started a campaign of fear and suspicion among the people of this country and Mexico by destroying their confidence in the leaders of their communities.
CHAVEROS
But what do they want?
FRANK
I have a hunch we’ll find out soon enough.
GRANT
(nods grimly)
I’ve been expecting some demand to be made on me before this.
(stands, putting his cigar aside)
Jim, President Juarez is going to be in Nogales day after tomorrow. I want either you or Frank – or both of you – to meet with him there.
WEST
Yes, sir.
GRANT
Senor Chaveros will be there, too. You’ll give the Presidente all the information we have and assure him of our complete cooperation with the Mexican government in combating this terrible threat.
(picks up his hat and cape)
This insidious power – whatever it is and whatever its purpose – must be crushed and crushed quickly.
Grant starts to put on his hat and cape, but is stopped by the CLICK of the –
65. TELEGRAPH
– suddenly coming alive. The ANGLE WIDENS as the men, a bit startled, listen. West’s and Frank’s expressions darken.
GRANT
What’s wrong?
FRANK
The message is for you, sir.
GRANT
(stunned)
For me?! … But that’s impossible! … No one knows I’m here!
WEST
Someone does.
GRANT
What is the message?
FRANK
It says –
(beat)
– Wolfville is next.
FADE OUT:
GARRISON PRODUCTIONS
THE WILD WILD WEST
“The Night of the Ominous Oculist” – Part I
by
Ken Pettus
FIRST DRAFT
October 25, 1968
#0619
THE WILD WILD WEST
“The Night of the Ominous Oculist” (Part I)
PRODUCER
Bruce Lansbury
ASSOCIATE PRODUCER
LEONARD KATZMAN
STORY CONSULTANT
HENRY SHARP
WRITTEN BY
KEN PETTUS
SETS:
EXT. CAMPFIRE
EXT. VARNISH
EXT. DEPOT
EXT. GREASEWOOD STREET
INT. WAITING ROOM
INT. GALLERY
INT. OFFICE
EXT. DENVER STREET
INT. LAB CAR
INT. VARNISH
EXT. WOLFVILLE STREET
INT. CELL BLOCK
INT. JAIL OFFICE
EXT. SAN PABLO
INT. SNEED’S OFFICE
INT. HOTEL ROOM
INT. SALOON
INT. CONFERENCE ROOM
CAST:
[In the following list, some handwritten names are alongside the names; I’m putting them in Italics; some were crossed out.]
JAMES WEST – ROBERT CONRAD
FRANK HARPER Bill Schallert
PRESIDENT GRANT Roy Engel
MAYOR PUDNEY Jack Coogan
PROF. SIMON WINKLER
CHAVEROS Valentin de Vargas
SHERIFF Harry Lauter
DR. OCCULARIS-JONES
DR. OCCULARIS II
HIRAM SNEED
PROF. TOOMBS
TOM BRASS
JUDD BRASS
ZACK BRASS
DEPUTY Ron Pinkard
SECRETARY
CONDUCTOR
ZENOBIA FINCH Dotty Neumann
THE WILD WILD WEST
“The Night of the Ominous Oculist” – Part I
TEASER
FADE IN:
1. EXT. CAMPFIRE – WEST – NIGHT
He’s squatting beside a small fire drinking coffee. Now he HEARS something—the distant HOOF BEATS of a galloping horse approaching. He tenses slightly, putting the cup of coffee aside and getting to his feet, pulling his revolver, then moving into the shadows beyond the glow of the fire.
2. WEST’S POV – FRANK
as he rides up and reins-in some distance from the campfire. Both horse and rider are mere silhouettes in the moonlight. Frank hesitates, then dismounts, pulling his rifle from his saddle scabbard. He starts toward the first slowly, warily.
3. WEST
waiting and watching in the shadows, his revolver pointing at Frank, obviously not certain who he is.
4. FRANK
still nothing more than a silhouette as he moves to the far side of the campfire and stops just outside its glow.
WEST’S VOICE
Hold it right there, mister!
Frank whirls, startled, then gulps with relief.
FRANK
Jim?
5. WEST
as he recognizes Frank’s voice and sighs with relief. The ANGLE WIDENS as he moves back toward the fire, holstering his revolver.
6. WEST, FRANK
as the latter lowers his rifle and the two shake hands.
WEST
What kept you?
FRANK
My horse threw a shoe in Duncan Center.
WEST
Was she pretty?
FRANK
The horse?
WEST
The blacksmith’s daughter.
FRANK
Now how did you know—
WEST
Artemus told me he’d loaned you his little black book.
FRANK
(laughs)
The tattle-tale.
(beat)
But I’ll have to admit, he does have good taste.
WEST
What’s the news?
FRANK
(grows serious)
The President received two more warnings.
WEST
Two?!
FRANK
One about Denver. The other about Greasewood, Arizona.
West starts kicking dirt on the campfire.
WEST
Then let’s ride. You take Denver. I’ll take Greasewood.
FRANK
Right.
The two rush to their horses and mount. They come together briefly around the dead campfire.
WEST
Wait for me in Denver!
Frank acknowledges this with a wave and the two ride off fast in opposite directions.
CUT TO:
7. EXT TRAIN – RUNBY – DAY
a diamond-stacker POUNDING along.
CUT TO:
8. EXT. TRAIN DEPOT – TIGHT SHOT – DAY
on a RED-FACED MAN in a tacky bandsman’s uniform HAMMERING mightily on a huge bass drum. Fancy lettering on the head of the drum tells us this is the “Greasewood, Ariz., Volunteer Fire Company Band.”
ANGLE WIDENS
To include four or five other MEMBERS of the band, all attacking their particular instruments with as much vigor and lack of talent as the drummer. Now the CAMERA PULLS BACK for a –
9. FULL SHOT
–- of the ceremony in progress outside the bunting-draped depot, across the front of which is a huge cloth sign which reads: “Greasewood Welcomes the Tucson and Tucumcari Railroad!”
A speakers’ stand has been erected on the station platform. A CROWD surrounds it and overflows onto the tracks. It obviously contains few “music lovers.” The crowd mills around restlessly as the band BLARES on.
10. TIGHTER ANGLE
on the speakers’ stand, occupied by the FIRE CHIEF, the LOCAL CONSTABLE and MAYOR CECIL PUDNEY, a cherubic, mild-mannered man in top hat and frock coat.
11. EXT. GREASEWOOD STREET – LONG SHOT – DAY
as West comes POUNDING into view at the far end of the street. It’s deserted. Everybody’s down at the depot. We can HEAR the BAND MUSIC in the distance. In the f.g., West reins in. He’s clearly completed a long, hard and urgent ride. He HEARS the BAND and spurs his horse toward the depot.
12. EXT. TRAIN – RUNBY – DAY
HAMMERING past, BLOWING its WHISTLE
13. EXT TRAIN DEPOT – BAND – DAY
as it completes its concert, the various musicians straggling across the “finish line” in ragged order. The CROWD DEMONSTRATES its approval, if not for the music itself, then for the fact that the concert is over.
14. ANOTHER ANGLE
featuring Pudney and his fellow town officials applauding. Now Pudney gets up, goes to the lectern, gesturing for silence.
PUDNEY
And now, ladies and gentlemen, here is our own Zenobia to sing for us!
There’s perfunctory APPLAUSE and a few AUDIBLE GROANS from the crowd as ZENOBIA FINCH, a skinny old “diva” with a voice like train whistle comes to the stand, blows a sour note on a pitch-pipe and starts to SING. (NOTE: Zenobia continues to assail us behind:)
15. WEST
as he rides up to the side of the depot, leaps from his horse and rushes toward the station platform.
16. ZENOBIA
going at it.
17. WEST
pushing his way through the crowd to the speakers’ platform..
18. PUDNEY, WEST
as Jim reaches the steps to the speakers’ stand, climbs them and goes to the Mayor. Although we can’t hear the exchange between Jim and Pudney, it’s obvious from the Mayor’s reaction that West hasn’t brought him good news. Pudney, looking upset, gets to his feet and leads West off the platform.
19. ANOTHER ANGLE
as Pudney points to the depot and he and West push their way through the crowd toward it, unaware of the—
20. FOUR TOUGHS
–-watching them suspiciously.
21. INT WAITING ROOM – WEST, PUDNEY – DAY
as they enter, Pudney closing the door behind them. They have the room to themselves. We can faintly HEAR ZENOBIA FINCH SINGING outside.
PUDNEY
Now what’s this all about, Mr. West?
WEST
Mr. Mayor, the government has received a warning that some sort of disaster is going to occur in Greasewood today.
PUDNEY
(shocked)
Disaster? … What—what sort of disaster?
WEST
We don't know.
PUDNEY
Well—well, who sent the warning?
WEST
We don't know that either.
PUDNEY
An anonymous message warning of some unnamed disaster? It sounds to me like someone’s idea of a joke.
WEST
Mr. Mayor, the government received the same kind of warning about the town of Cactus Falls. It was written off as a joke. But the next day the dam above the town collapsed and Cactus Falls was wiped out in a flood.
Although a bit shaken by this news, Pudney waves it aside impatiently. Outside, Zenobia brings her SONG to a SCREECHING CONCLUSION.
PUDNEY
Coincidence, no doubt.
(beat)
My Goodness! Zenobia’s finished!
Pudney turns to the door.
WEST
Mayor Pudney—
PUDNEY
I appreciate your concern, Mr. West, but I’m sure there’s no cause for alarm. The people would do nothing to mar this historic occasion. They know how important the arrival of the railroad is to our community.
In the distance we HEAR the HOOT of the train’s WHISTLE. Pudney reacts excitedly.
PUDNEY
Good heavens! The train! It’ll be crossing the trestle any moment!
WEST
(tenses)
The trestle… what trestle?
PUDNEY
Why the one just east of town.
Pudney goes out. Jim hesitates ponderingly, then plunges out the station door after him.
22. EXT. TRAIN DEPOT – WEST – DAY
as he comes out the door to find himself blocked by the four Toughs, standing with their backs to him. West unsuspectingly tries to push past them.
WEST
Excuse me.
But the Toughs don’t move, and when Jim tries to go around them, they move just enough to continue to block his path. West now realizes that the Toughs are deliberately boxing him in, but by this time he’s caught between them and the wall of the depot.
23. PUDNEY
as he mounts the speakers’ stand and goes to the lectern. He takes a speech from a pocket and puts on a pair of spectacles.
PUDNEY
And now my fellow citi—
Pudney breaks off, realizing that a strange silence has fallen over the—
24. CROWD
—and that all eyes are turned up the track. Pudney’s eyes follow those of the crowd and the strange, glassy-eyed look of a man going into a trance slowly comes over him.
25. WEST, TOUGHS
as he becomes aware of the silence that has fallen over the crowd. He, too, looks up the track.
26. LONG POV SHOT
up the tracks to a railroad handcar moving toward the station, emitting SQUEAKING NOISES that take on an ominous note against the eerie silence of the crowd—particularly in light of the fact that although the handles move up and down rhythmically, there is nobody on the car.
The handcar does have a passenger, however. It is a huge, black raven which is perched atop the car’s fulcrum housing. The housing is covered with a black cloth.
27. WEST
baffled by the handcar and its weird passenger. He shoots an apprehensive glance at—
28. PUDNEY
—on the speakers’ stand as the Mayor watches the—
29. HANDCAR
—comes to a SQUEAKING stop on the tracks right below the speakers’ stand. The ANGLE WIDENS to include Pudney. With the movement of sleepwalker, he starts off the speakers’ stand.
30. HANDCAR [this duplication is in the script!]
—comes to a SQUEAKING stop on the tracks right below the speakers’ stand. The ANGLE WIDENS to include Pudney as the Mayor takes a pair of spectacles out of his pocket and puts them on. They’re distinctive-looking glasses with heavy frames and thick, tinted lenses. After donning the glasses, Pudney starts off the speakers’ stand with the movement of a sleepwalker.
31. WEST, TOUGHS
as Jim renews his effort to break free of the Toughs. Now the Hardcases drop the pretense of being merely rude members of the crowd. They turn on West and a close-quarter fight ensues with Jim exchanging vicious jabs with the Toughs.
32. PUDNEY
approaching the handcar. As he does, we HEAR the distant SOUND of a TRAIN WHISTLE.
33. RAVEN
As if the whistle were some sort of cue, the Raven emits a low CAW and takes off with the black cloth covering the fulcrum housing in its claws. A sharp, startled GASP comes from the CROWD.
34. TIGHT SHOT
on a dynamite plunger which has been concealed under the black cloth. The ANGLE WIDENS as Pudney steps up on the handcar and places his hands on the plunger. We again HEAR the TRAIN WHISTLE, a little closer than before.
35. WEST
He has disposed of two of the Toughs and broken free of the other two and is now elbowing his way through the crowd.
WEST
Let me through!... Let me through!
36. EXT. TRAIN – DAY (STOCK)
a diamond-stacker POUNDING down the track toward a trestle over a deep canyon. It BLOWS its WHISTLE.
37. EXT. TRAIN DEPOT – WEST – DAY
fighting his way through the crowd, a job made more difficult by the two Toughs who still harass him.
38. PUDNEY
with his hand son the plunger. His lips are moving as he silently counts to himself. Then he suddenly slams the plunger home. And almost immediately he removes his spectacles and throws them to the floor of the handcar, smashing them.
39. EXT. TRAIN – DAY (STOCK)
as it rolls out on the trestle and the trestle is ripped apart by a HUGE EXPLOSION, sending the train plunging into the canyon.
FADE OUT
END OF TEASER
ACT I
FADE IN:
46. EXT. MUSEUM – TIGHT SHOT – NIGHT
on a bronze plaque which identifies the museum as being the “Denver Museum of Fine Art.”
41. INT. GALLERY – SECRETARY – NIGHT
She is a comely young woman carrying a large package wrapped in plain brown paper she enters a door which bears a discreet sign reading: “Office of the Curator.”
42. INT. OFFICE – WIDE ANGLE – NIGHT
as the Secretary enters with the package. Professor SIMON WINKLER, the curator, is seated at this desk examining a small piece of statuary with a magnifying glass.
WINKLER
Yes, Miss Simms?
SECRETARY
This package was just delivered by special messenger, Professor.
WINKLER
(surprised)
Really?
She places the package on the desk in front of him. It is so tall he has to stand up to examine it. He does o, putting on a pair of spectacles which look exactly like the ones Mayor Pudney wore.
WINKLER (CONT’D)
Odd … No return address … Did the messenger say who it was from, Miss Simms?
SECRETARY
No, sir.
WINKLER
Odd.
Winkler gestures for the Secretary to go. She does. He unsheathes a lethal-looking kris which he uses as a paper-knife and cuts away the strings. He then rips away the brown paper. As he does, the sides of a wooden box fall away to reveal a huge, stuffed –
43. RAVEN
– which looks every bit as ominous as did the live one we saw perched on the railroad handcar.
44. EXT. DENVER STREET – RIDEBY – NIGHT
of Frank, who is pounding along as if his life depended on it.
45. INT. OFFICE – WINKLER – NIGHT
staring at the raven. As did Mayor Pudney, Winkler looks as though he’s in a hypnotic trance. He glances down at the kris in his hand, then slowly and somnabulistically crosses his office toward the door to the gallery.
46. INT. GALLERY – SECRETARY – NIGHT
in hat and coat approaches the door to Winkler’s office as the Professor emerges.
SECRETARY
Professor, if you don’t need me any more this eve –
She breaks off, suddenly frightened by Winkler’s blank stare and the kris in his hand.
SECRETARY (CONT’D)
Professor Winkler –
Winkler pays no attention to her, EXITING SHOT.
SECRETARY (CONT’D)
Professor, are you all –
She breaks off with a SCREAM.
47. TIGHT SHOT
on a large oil painting as the kris in Winkler’s hand slashes it from top to bottom.
48. WINKLER
as he turns and slashes at another painting and at the same time knocks from its pedestal a piece of statuary standing beside it. The statuary hits the floor and is smashed into bits.
49. SECRETARY
continuing to SCREAM.
50. WINKLER
moving along the gallery, slashing paintings and smashing statuary.
51. EXT. MUSEUM – FRANK – NIGHT
as he rides up, springs off his mount and rushes to the heavy double-doors, pounding on them. We can HEAR the Secretary SCREAMING inside.
FRANK
(shouts)
Open up!!
(loudly)
Open up!!
Getting no response, Frank kicks the door open.
52. INT. GALLERY
Winkler continues his senseless carnage. The Secretary emits one more SCREAM, then abruptly faints. Frank comes rushing in, is momentarily taken aback by the destruction. He then runs to Winkler and wrests the kris from his hand. Winkler offers no resistance. He turns and stares blankly at Frank. Then Winkler removes his glasses and throws them to the floor, smashing them., following which he himself sinks to the floor in a dead faint.
53. FRANK
as he looks around at the carnage Winkler has wrought, shaking his head in complete dismay.
CUT TO:
54. EXT. WEST’S TRAIN – RUNBY – NIGHT
speeding through the night.
55. INT LAB CAR – WEST, FRANK – NIGHT
Jim is seated at a desk, looking through some file folders, glum and bewildered. Frank is moving around the car, admiring it and, at times, being surprised when he accidentally trips something which opens a secret panel, etc.
WEST
It doesn’t make any sense, Frank.
(Indicating the file folders)
Cecil Pudney … Simon Winkler … Ethan Forbes.
FRANK
You’re sure Forbes is the one who blew up the dam at Cactus Falls?
WEST
No question about it.
FRANK
But he founded the town. He’s a former territorial governor. Why would he do such a –
Frank lifts the lid off a cigar box and is startled by the RASPING noise it gives off. West pays no attention.
WEST
Why would Mayor Pudney blow up that trestle? Why would Professor Winkler destroy nearly a million dollars worth of art work in his own museum?
FRANK
Are you sure there’s nothing in those dossiers that would help us?
WEST
Not a thing. Their lives are as pure as the driven snow.
West slams the folders down on the desk and gets to his feet.
WEST (CONT’D)
There’s one thing I haven’t mentioned, Frank.
FRANK
Don’t spare me, friend.
WEST
Ethan Forbes’ wife swears a raven flew in the open window of her husband’s study just before he left the house – the blow up the dam.
FRANK
Another raven, eh? The one on the handcar, the stuffed one I found in Winkler’s office, now the one that visited Forbes.
(a beat)
What’s the answer, Jim?
WEST
(shakes his head)
I’m not even sure I know the question.
Sudden West and Frank are startled by a series of short blasts of the train’s WHISTLE followed by the SCREECH of brakes. The two are thrown off balance by the train skidding to an emergency stop.
56. EXT. ENGINE – STOCK – NIGHT
on the drive wheels skidding over the tracks, throwing up a shower of sparks.
57. INT. LAB CCAR – WEST, FRANK – NIGHT
as they quickly douse the lights in the car and look out the windows as the train comes to a stop. Unable to see anything, they exit the car, arming themselves with revolvers as they go.
58. EXT. PLATFORM – WEST, FRANK – NIGHT
as they emerge from the Lab car and encounter the CONDUCTOR, carrying a lantern.
WEST
What’s wrong?
CONDUCTOR
A boulder on the track, Mr. West.
(points o.s.)
Must’ve rolled down from that cut. We’ll have it off right away.
The Conductor EXITS SHOT. West and Frank watch him go, then start into West’s Varnish.
59. INT. WEST’S VARNISH – WEST, FRANK – NIGHT
as they enter the darkened car from the rear platform. West strikes a match to light a lamp.
GRANT’S VOICE
Pull the curtains first, gentlemen.
West and Frank whirl, pointing their revolvers at the far end of the car.
60. POV SHOT
on two men standing in the deep shadows. One wears a slouch and a cape. The large hat is pulled down so that it hides most of his face. The second man stands behind the caped figure. The latter CHUCKLES.
61. WEST, FRANK
look at one another, baffled for a moment. Then they realize who the caped man is.
WEST
Mr. President!
62. ANOTHER ANGLE
as PRESIDENT GRANT moves out of the shadows. The man behind him – SEÑOR CHAVEROS – is a tall, well-dressed, aristocratic-looking Spaniard. Jim and Frank hasten to pull the curtains over windows before lighting the lamps. Grant and Chaveros help with the curtains.
GRANT
My apologies for dropping in on you unannounced, gentlemen, but I felt it best that we meet in complete secrecy. I don’t even want it known that I am not in Washington.
The curtains have been pulled, the lamps lighted and Grant sheds his slouch hat and cape. West and Frank look inquiringly at Chaveros.
GRANT
May I present Senor Chaveros.
(to Chaveros)
Senor James West and Frank Harper.
CHAVEROS
(bows stiffly)
An honor, Senores.
GRANT
Senor Chaveros is a special assistant to President Juarez. Artemus sends his regards to both of you.
WEST
How is he bearing up under his Washington assignment?
GRANT
The question is – how is Washington going to bear up? I’m told there’s been a noticeable influx of lovely young ladies into the capital since Artemus was assigned to us there.
West and Frank chuckle. Grant’s expression grows solemn.
GRANT (CONT’D)
I’m sure I don’t have to tell you why I’m here.
FRANK
No, Mr. President.
GRANT
I’m troubled – deeply troubled – by the events of the last couple of weeks.
WEST
And with good reason.
GRANT
And with more reason than you know, Jim.
WEST
What do you mean, Mr. President?
GRANT
(to Chaveros)
Tell the, Senor.
CHAVEROS
Senores, what has been happening in your country – this strange, inexplicable behavior on the part of such men as Mayor Pudney, Professor Winkler and Senor Forbes – has also been taking place in my country.
West and Frank are shocked.
CHAVEROS (CONT’D)
Several of my countrymen – men of unimpeachable patriotism – have engaged in senseless acts of sabotage.
GRANT
And as with Pudney, Winkler and Forbes, Senor Chaveros’ countrymen have no memory of committing the crimes.
CHAVEROS
Or any possible explanation of why they committed them.
Grant sighs heavily, taking a cigar from his pocket.
GRANT
We might as well make ourselves comfortable, gentlemen. We have a great deal to talk about.
Grant sits down, lighting his cigar.
CUT TO:
63. EXT. WEST’S TRAIN – RUNBY – NIGHT
of the train, its whistle BLOWING intermittently.
CUT TO:
64. INT. WEST’S VARNISH – TIGHT SHOT – NIGHT
on an ashtray with several cigar butts in it. The ANGLE SLOWLY WIDENS to include Grant, West, Frank and Chaveros. Their conference has been a long and troubling one. West is pacing the floor, his coat off, his tie loosened.
WEST
And it seems obvious to me that whoever is behind all this has found a way to “condition” a man’s mind and make him do things he’d never think of doing under normal circumstances.
CHAVEROS
You mean a sort of hypnosis, Senor?
WEST
You could call it that.
CHAVEROS
But why are our governments always warned that a disaster is to take place?
FRANK
But don’t forget – we’re always warned too late to do anything to prevent the disaster.
GRANT
It appears we are being given a preview of their power.
(adds:)
Whoever “they” are.
WEST
Exactly, Mr. President. Someone has started a campaign of fear and suspicion among the people of this country and Mexico by destroying their confidence in the leaders of their communities.
CHAVEROS
But what do they want?
FRANK
I have a hunch we’ll find out soon enough.
GRANT
(nods grimly)
I’ve been expecting some demand to be made on me before this.
(stands, putting his cigar aside)
Jim, President Juarez is going to be in Nogales day after tomorrow. I want either you or Frank – or both of you – to meet with him there.
WEST
Yes, sir.
GRANT
Senor Chaveros will be there, too. You’ll give the Presidente all the information we have and assure him of our complete cooperation with the Mexican government in combating this terrible threat.
(picks up his hat and cape)
This insidious power – whatever it is and whatever its purpose – must be crushed and crushed quickly.
Grant starts to put on his hat and cape, but is stopped by the CLICK of the –
65. TELEGRAPH
– suddenly coming alive. The ANGLE WIDENS as the men, a bit startled, listen. West’s and Frank’s expressions darken.
GRANT
What’s wrong?
FRANK
The message is for you, sir.
GRANT
(stunned)
For me?! … But that’s impossible! … No one knows I’m here!
WEST
Someone does.
GRANT
What is the message?
FRANK
It says –
(beat)
– Wolfville is next.
FADE OUT: