Post by snish on Nov 7, 2009 7:00:31 GMT -8
THE WILD WILD WEST
"NIGHT OF THE BURNING DIAMOND"
Revised First Draft 2/11/66
TEASER
FADE IN:
1. INT. SERBIAN EMBASSY - RECEPTION ROOM - FULL SHOT - DAY
CAMERA LOOKS toward a wide, paneled door as it opens and
TWO GUARDS in dress uniform enter stiffly, followed by
JAMES WEST, in formal diplomatic day wear, with swagger stick.
FIRST GUARD
(announcing)
Your Excellency...an emissary of
the United States Government --
Mister James West.
The guards step aside, remaining at attention, and West
advances down the reception room.
2. REVERSE ANGLE - SERBIAN AMBASSADOR
The AMBASSADOR is in his forties, imposing, bearded. He
wears formal diplomatic costume, adorned by a sash bearing
his decorations. He advances to meet West.
AMBASSADOR
... an honor.
West ENTERS SCENE, makes a slight formal bow of greeting.
WEST
Mr. Ambassador...my deepest
respects to you and your government.
AMBASSADOR
To what do I owe the pleasure of
meeting the redoubtable James West.
WEST
We share a problem of great
importance... and some delicacy.
West glances meaningfully at the Guards. The Ambassador
raises his hands and claps once. The Guards march stiffly
OUT, closing the door after them.
3. CLOSER ANGLE - TWO SHOT
AMBASSADOR
A problem?
WEST
Concerning the International Jewel
Exhibit to be held next week.
AMBASSADOR
(nods, smiling)
A unique event -- and a diplomatic
triumph for your young country to
lure the official treasures of
so many nations.
WEST
We understand your government has
decided to exhibit the Orloff Diamond.
AMBASSADOR
(proudly)
A most unusual gem, Mr. West -- a
full eighty carats, flawless, in
a regal setting.
WEST
I know. My government would like to
take certain measures to safeguard
this priceless treasure.
The Ambassador frowns, considering a moment.
AMBASSADOR
I am convinced my own safety
measures are adequate.
WEST
We mean no reflection on your
judgement... But there have been
several daring and mysterious
diamond thefts in recent weeks,
as you no doubt know.
(brief pause)
In Amsterdam the diamond-cutting
house... in London a museum...
in New York a famous jeweler... and
here in San Francisco --
AMBASSADOR
(interrupting)
What is it you wish to do?
WEST
The United States government wishes
to take your diamond into protective
custody until the International
Exhibition opens.
The Ambassador hesitates a moment, then gives a small chuckle.
AMBASSADOR
Mr. West, you must be joking...
did you have an easy time getting
into this room?
4. ANGLE FEATURING WEST
WEST
(recalling it)
I was challenged by armed guards
at the front gate... the Embassy
entrance... and the corridor to
your private chambers.
(brief pause)
My credentials were checked three
times... I was searched twice --
discreetly, of course.
(pause: smiling)
And I am now being observed from
a peep-hole disguised by the
portrait of your esteemed ruler.
5. TWO SHOT - FAVORING AMBASSADOR
He chuckles again, favoring West with a look of admiration.
AMBASSADOR
You merit your reputation, Mr. West.
(beat)
If at any moment there had been a
slightest doubt of your identity
or intentions -- you could have
been cut down instantly... That's
why this room is a perfectly safe
place for the Orloff Diamond.
WEST
This room?
6. WIDER ANGLE
The Ambassador turns, gestures for West to follow, then
walks to a long, heavy table which dominates the far end
of the room. CAMERA FOLLOWS West and the Ambassador, who
shoves aside a large bowl of flowers on the table. A
center panel of the table folds down, and up into view
rises a square case about two feet each way, covered with
a heavy cloth.
AMBASSADOR
Only for the most privileged guests
... a private showing.
The Ambassador takes hold of the cloth draping the case and
whisks it off.
7. CLOSER ANGLE - FEATURING THE JEWEL CASE
The case is entirely of glass, save the base. Within, a huge
diamond glitters brightly, catching and magnifying the light.
A beauty... very impressive, and it impresses West.
WEST
Give me two of those and I'd have
such a set of cufflinks!
AMBASSADOR
Eh? Oh. A joke. You Americans do
like your jokes, don't you?
WEST
We also like flawless, eighty-carat
rocks. It's quite a stone.
AMBASSADOR
One of the world's finest. That's
why I don't wish it to leave the
perfect protection we have provided
for it.
WEST
Every place that's been robbed
lately has been perfectly protected...
or at least people thought so.
AMBASSADOR
Relax, Mr. West. Nothing can happen
to the Orloff here, There is only
one door to the room. The hall
outside is patrolled twenty-four
hours a day. And we Serbians are
jealous of our national treasures.
As for the windows...
The Ambassador and West move OFF to observe the windows.
CAMERA HOLDS a moment on the diamond, the case left elevated
above the table.
8. FULL SHOT OF ROOM
West and the Ambassador stand in the f.g. at one of the
windows. Beyond them the table and jewel case are visible
at one end of the scene, the only door at the otehr end.
AMBASSADOR
(gesturing at window)
You see -- the walls are sheer...the
fence is high...the guards are ever
vigilant, with orders to shoot if
necessary. This room is as safe --
The Ambassador is cut off in mid-word by an astonishing
occurrence. Simultaneously the door flies open and slams
shut, all in less than a second; the glass jewel case on
the table shatters, hurling glass in all directions; a rush
of air. Before West and the Ambassador can even turn from
the window, it's all over.
9. CLOSER ANGLE - TABLE AND JEWEL CASE
West and the Ambassador spring for the table, West well in
the lead. Newspaper pages are still spiraling gently to the
floor. Fragments of glass are embedded in the table top.
The glass portion of the jewel case has completely vanished --
and the base is glaringly empty.
AMBASSADOR
The Orloff! It's gone!
CAMERA GOES IN FOR A TIGHT TWO, HOLDING their stunned reaction
for just a second, then we
FADE OUT:
END TEASER
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
ACT ONE
FADE IN:
10. INT. SERBIAN EMBASSY - WEST AND AMBASSADOR - DAY
The scene as before, a few seconds later. West annd the Serbian
Ambassador are still staring in disbelief at the empty base of
the jewel case. West is the first to move -- he reaches out
and attempts to pull loose one of the larger hunks of glass
embedded in the table top.
WEST
That glass exploded with
tremendous force.
West's voice seems to jar the Ambassador from his shock. He
manages a brief, forced chuckle.
AMBASSADOR
All right, all right. You have
made your point, Mr. West.
WEST
It was made for me.
AMBASSADOR
(grudging smile)
Even before I arrived in this
country I heard strange accounts
of your talents... but I was not
informed that you are a magician.
West looks at the Ambassador with growing concern and
irritation.
WEST
Magician?
AMBASSADOR
I suggest that your trick was most
effective -- though perhaps not in
the best of taste.
11. TWO SHOT - FAVORING WEST
West is getting angry. He gets a grip on his temper, then
makes one final effort at the polite language of diplomacy.
WEST
Mr. Ambassador... this event is as
mysterious to me as it is to you.
The Ambassador lifts his hands and lightly pantomimes a bit of
audience applause.
AMBASSADOR
A perfect performance, carried to
logical conclusion...
(loud; hard)
Now tell me at once what you have
done with our diamond!
WEST
(pointing)
I was standing over there at the
window with you -- remember?
AMBASSADOR
But that is the essence of magical
performances -- to make it appear
impossible for the conjurer --
WEST
Look, I'm a government agent --
and my job was to warn you your
diamond could be stolen. That's
all!
12. NEW ANGLE - FEATURING AMBASSADOR
The Ambassador and West are both steamed up now. There's a
momentary tableau in which it seems the Ambassador considers
grabbing West by the throat -- then decides he'd better not.
AMBASSADOR
(very cold)
You will return the diamond at once --
this minute!
West sees he's dealing with a fixation which makes further
argument useless.
WEST
As long as you think that way, sir,
you've got a lot of problems.
West turns abruptly and moves toward the door.
AMBASSADOR
Within this Embassy you are on
Serbian soil, Mr. West. I warn
you -- unless we recover our
diamond, you will not be allowed
to leave here alive.
13. ANGLE FEATURING WEST
He turns. There's no doubt the Ambassador means the threat.
West's eyes quickly check the terrain for an easy exit, finding
none. Nothing for it but to try a quick fake and run.
WEST
All right... look under the statue
of your esteemed ruler.
14. FULL SHOT
The Ambassador hurries to a sculptured bust mounted prominently
on a pedestal. While he searches under and around it. West
moves cautiously for the door. But the Ambassador looks up
too soon.
AMBASSADOR
Guards! ... Guards!
The door bursts open and the two Guards rush in to confront
West.
15. CLOSER ANGLE - FEATURING WEST
One of the Guards swings his rifle to fire point-blank at
West, but West grabs the gun barrel, yanks the guard toward
him and cools him with a sharp rap of the swagger stick. The
other one gets off one wild SHOT before West seizes him and
sends him sailing with a judo throw.
Then West charges for the door again, but is met by the ENTRY
of two more armed Gurads -- and behind him two more. He's cut
off -- forced to retreat.
16. CLOSE ON WEST
Desperate, he siezes his swagger stick in both hands and yanks
the gold head off it. Dense smoke immediately pours from it.
17. FULL SHOT
Waving the swagger stick, West quickly lays an impenetrable
smoke screen. SOUND of one or two wild SHOTS, as the room is
almost totally obscured. Chips of rock fly from the bust.
SOUND of breaking glass, with just a glimpse through the smoke
of West going out the window without the formality of opening
it. COUGHING and CHOKING is heard from the Guards amid the
smoke.
18. ANGLE ON AMBASSADOR
As he runs to the broken window, leans out, yells:
AMBASSADOR
Stop him! Stop that man!
ZIP PAN TO:
19. EXT. MIDAS MANSION - FULL SHOT - DAY
The house is a large, ornate Victorian structure typical of old
San Francisco wealth. A closed horse-carriage waits at the
curb. Down the long flight of stone steps from the front door
comes MORGAN MIDAS and CLIVE, the huge Negro major-domo of the
household staff. Between them they bear a large steamer trunk,
with Clive ahead, bearing most of the weight on his immense
shoulders. The trunk appears to be very heavy.
MORGAN
(guiding trunk)
Easy now... Careful, Clive.
Together they ease the trunk into the carriage. At close
range now, we see that Morgan Midas is a strong, handsome
fellow of about 30, blonde, with an engaging smile. He gives
the steamer trunk a casual slap and says, offhand:
MORGAN (CONT'D)
Have a nice trip, old girl.
Then he vaults easily up beside Clive on the driver's seat.
Clive flips the reins and they drive OFF. CAMERA HOLDS on the
spot at the curb, as a horse-cab moves INTO SCENE and stops.
Out of the cab jumps ARTEMUS GORDON.
20. NEW ANGLE - FEATURING ARTEMUS
He flips a coin to the driver, who smiles his thanks and then
quickly drives OFF. Artemus stands a moment at the foot of
the steps, sizing up the Midas house, then he moves quickly up
the stairs, CAMERA PANNING.
21. ANGLE AT FRONT DOOR
Artemus RAPS briskly with the ornate metal knocker. In a
moment the door is opened by RUDD, a squat, dwarfish anthropoid
who gives an impression of inhuman strength and subhuman
intelligence.
ARTEMUS
(a brief take)
Uh, good afternoon. I wish to see
Lady Margaret Midas.
Rudd continues to stare silently at Artemus. It is apparent
that he likes Artemus less with each passing second. His lips
part in a grimace that reveals sharply pointed teeth. Quickly,
in as many foreign languages as he can handle, Artemus tries:
ARTEMUS (CONT'D)
Quiro ver la Senora de la casa.
And so on, in German, Chinese, and whatever. No luck.
Just when it seems Rudd's open hostility is about to
explode into attack, a startlingly beautiful woman
appears in the doorway behind him. This is LUCRETIA
IVRONIN. She speaks sharply to Rudd.
LUCRETIA
Ikklat! Ga bretz dubanov.
Rudd makes a short, awkward bow to her, then backs off,
obviously disappointed at not getting a chance to strangle
Artemus.
ARTEMUS
(relieved, cheerful)
Thanks. I wasn't getting anywhere
with your servant. I guess I don't
speak his dialect.
LUCRETIA
(coolly)
Very few people do.
ARTEMUS
You're too pretty to be Lady Margaret.
Lucretia glances past Artemus down the street, as though
letting her gaze follow the recently departed carriage.
LUCRETIA
Lady Margaret has recently departed.
ARTEMUS
It's very important that I see her.
When do you expect her?
LUCRETIA
I think... not for some time.
22. NEW ANGLE - FEATURING ARTEMUS
He's getting nowhere. There's a momentary silence during
which Lucretia studies Artemus coldly. She has long
black hair and dark eyes. She speaks with a trace of
indefinable accent, suggestive of the Near East.
ARTEMUS
Have you any idea where I can
contact her?
LUCRETIA
That would be very difficult.
ARTEMUS
(growing impatient)
Look, Lady Midas was expecting me.
LUCRETIA
She did not mention it.
ARTEMUS
She asked for federal protection for
the Queen Anne Triplet....the diamonds
she plans to exhibit at the International
Jewel Show. I'm here to give her that
protection.
23. ANGLE FEATURING LUCRETIA
This last speech makes an impression on her, but it is
shown only in a momentary widening of her large eyes
and a brief flash of misgiving. Then she is impassive
again.
LUCRETIA
She said nothing of this.
ARTEMUS
(giving up)
Just tell me where I can find her.
LUCRETIA
It is difficult to say.
ARTEMUS
I don't mean to be impertinent...
but just who are you?
Lucretia's answer is to look over her shoulder and make a
brief signal. At once Rudd moves INTO SCENE, stepping between
Lucretia and Artemus. He glares briefly at Artemus, then
slams the door in his face. SOUND of locks being thrown.
24. CLOSE ON ARTEMUS
Reflecting his frustration.
ARTEMUS
We must get together sometime
for another cozy chat.
ZIP PAN TO:
25. INT. WEST'S RAILWAY CAR - ANGLE ON WEST - DAY
West still has on his formal pants, but his shirt is off, and
he's dressing a few minor wounds. One arm already bears a
narrow bandage, and he's working on a small cut on the
opposite shoulder.
ARTEMUS'S VOICE
(from O.S.)
Didn't your mother ever tell you
not to jump out of second-story
windows?
WEST
I don't recall that the subject
ever came up.
ARTEMUS'S VOICE
What a barren childhood you must have
had.
West turns toward Artemus's voice, and CAMERA ANGLE WIDENS to
show Artemus perched atop the billiard table in the inverted
lotus yoga position. Propped a short distance from his face is
an encyclopedia -- upside down to us, right side up to him.
WEST
I don't mean to pry, but just
what are you doing?
ARTEMUS
Reading about diamonds. Did you
know that in pure oxygen a diamond
can be made to burn with a flame
above four thousand degrees hot?
WEST
That's very warm...Didn't your
mother ever teach you to read
right side up?
ARTEMUS
Of course. If she told me once,
she told me a hundred times...
WEST
So why are you upside down?
ARTEMUS
A Hindu friend taught me this
position. It's good for your
health and stamina.
WEST
What has it done for you so far?
Artemus carefully lets himself down to a normal position before
he answers.
ARTEMUS
It's given me two big calluses
on my elbows.
WEST
I'd be more interested in calluses
on your thinking equipment. What
about these diamond disappearances?
26. TWO SHOT - FAVORING ARTEMUS
Artemus thoughtfully ticks off the points on his finger, as:
ARTEMUS
I've been brooding about those. And
I've got an idea. You'll love it.
First the facts. The diamonds always
disappear in broad daylight, without
anyone ever seeing a thief.
(beat)
Nothing is ever missing except
diamonds. Other valuable gems in
the same case are left untouched.
(beat)
There's always an indication of
some tremendous force having been
present...like shattered glass.
WEST
Intriguing, but not especially
illuminating.
ARTEMUS
One thing at a time. Maybe the
diamonds aren't being stolen at
all. Maybe...through the application
of some force...they're being made
to...will you believe this?.....
explode. From inside.
WEST
Well, it's a thought. Do you
believe it?
SOUND of a firm, heavy knock on the door, bringing a quick
reaction from both men.
27. NEW ANGLE - TOWARD DOOR
West quickly pulls on a shirt and buttons it, as Artemus moves
cautiously to the door. With his derringer close at hand,
Artemus opens the door part way, revealing THADDEUS BAINES.
BAINES
I want to see James West.
ARTEMUS
West?...West...the name is vaguely
familiar...
BAINES
I'm Thaddeus Baines, special envoy
from Washington.
He shows Artemus a card, and Artemus steps aside to let Baines
enter. Baines is about 45, a ramrod-stiff, no-nonsense career
diplomat, heavy-set and forceful. West advances to meet him.
Baines regards both of them rather coldly.
BAINES (CONT'D)
West and Gordon. The unconquerable
duo. I wish I could say I was
pleased. I am not. I've just come
from the Serbian Embassy.
WEST
That must have been jolly.
BAINES
I don't know you, West, so perhaps
I should not be surprised that you
have caused an international incident.
The Ambassador has lodged an official
protest. Our government has been
placed in a most embarassing position.
To say that you failed in your
assignment is an outrageous understatement.
Unperturbed, West picks up a billiard cue and chalks it.
WEST
Where do you fit into this
picture, Mr. Baines?
BAINES
I'm the President's special envoy,
charged with seeing that this
International Jewel Exhibit reflects
credit on our government.
West bends over the table, lines up his shot, strokes the cue.
28. ANGLE ON TABLE
West makes a three cushion shot.
29. BACK TO SCENE
BAINES
Very nice. Too bad you don't
demonstrate the same efficiency
in your work.
West lines up another shot while he talks.
WEST
What happened at the Serbian
Embassy today follows the pattern
of the other diamond thefts...
There was nothing I could do to
prevent it.
BAINES
Mr. West, do you realize the
diplomatic effort which went into
this project? And the effect it
could have on us?
WEST
Yes. It could prove we've come of
age as a country...or it could become
the most costly fiasco in our diplomatic
history.
BAINES
Right! So do you have any clues
so far?...Any theories?
ARTEMUS
Well... I thought -- just possibly
the diamonds might have been...
somehow...exploded.
Baines snorts with disdain. He grabs up the billiard ball
which West is about to shoot and shakes it at Artemus.
BAINES
Exploding diamonds -- nonsense!
Inert objects do not explode! A
diamond could no more explode than
this could!
30. ANGLE FEATURING BAINES
ARTEMUS
(alarmed)
Don't shake that!
West moves quickly, reaching Baines, yanking the billiard ball
from his hand and hurling it through a window. SOUND of a
muffled grenade EXPLOSION from outside. Big reaction from
Baines.
ARTEMUS (CONT'D)
You never know about inert objects.
ZIP PAN TO:
31. EXT. NARROW STREET - HORSE CARRIAGE - NIGHT - (STOCK)
A closed carriage rattles down the cobblestoned street
behind a briskly CLIPCLOPPING horse. A gas streetlamp
throws Gothic shadows. MUSIC suggests an air of mystery
and suspense.
32. INT. CARRIAGE - WEST AND ARTEMUS
SOUND of the rattle carriage and hoofs in b.g.
ARTEMUS
You should come to the exhibit hall
with me. I'll be able to use all the
ideas I can get.
WEST
I'd better take a crack at the
Midas house. Something smells.
The old girl's too methodical to
play free and easy with her jewels.
ARTEMUS
Believe me, they're safe. It would
take an army to get past that gorilla
at the door.
WEST
That gorilla's another point. Lady
Margaret was never interested in
zoology.
ARTEMUS
Lots of luck, pal. You'll need it.
WEST
I've got winning ways.
(glances out window)
Here's her place. See you later.
The carriage stops. West quickly gets out
33. EXT. MIDAS MANSION - ESTABLISHING
West pauses a moment to look up at the juge old Victorian
mansion silhouetted against the night sky. SOUND of the
horse carriage moving off into the distance. Lights show
in the first and second story windows of the house. West
moves quickly up the stairs to the front door.
34. ANGLE ON FRONT DOOR
West RAPS the knocker. In a moment the door is opened by
Clive, the huge, powerfully built Negro. His clothing reflects
his status as general manager of the household, not a mere
butler or servant.
WEST
Lady Margaret Midas, please...
James West calling.
Clive stares hard at West for a moment, then steps aside and
beckons him in.
35. INT. MAIN ROOM - FULL SHOT
The principal downstairs room is of imposing dimensions,
decorated to reflect old-line wealth and taste. At the far
end of the room a stairway leads upward to a balcony, off which
are seen doors to second-floor rooms. Clive leads West to a long
couch, indicates it briefly with a gesture.
CLIVE
Please be seated. I shall
announce your presence.
Clive EXITS through a door at one side of the room. Instead of
sitting, West wanders about the room, looking things over.
36. CLOSER ANGLE ON WEST
On a brocade cushion West finds a large Persian cat, regarding
him intently, ready to spring up and run away.
WEST
Hello, Sultan. You're looking
fat these days.
West gently pets the cat, who settles back, reassured.
MIDAS' VOICE
Good evening, Mr. West.
West turns quickly toward the voice.
37. MEDIUM SHOT - WEST, MIDAS AND LUCRETIA
Coming forward to meet West are Morgan Midas and Lucretia, who
make a very handsome couple. In contrast to the hostility he
had expected, their charm puts West on his guard.
WEST
Good evening. Is Lady Margaret
at home?
MIDAS
Unfortunately, my Aunt departed
recently on a long voyage. I am
Morgan Midas -- and this is my
fiancee, Lucretia Ivronin.
WEST
Your Aunt must have altered her
plans rather suddenly.
MIDAS
She had a recurrance of her old
ailment, the gout. The only
remedy is the mineral waters of
Germany.
LUCRETIA
She asked us to care for her house
until she returns.
West considers this briefly. It seems possible.
WEST
Then I presume she informed you
of her promise to show her diamonds
in the International Exhibit next
week.
Morgan looks puzzled and disturbed.
MIDAS
No...she didn't mention it...
WEST
My partner, Mr. Gordon, was here
to discuss the matter this afternoon.
He got a very cold reception.
Morgan exchanges a look with Lucretia, then forces a brief
laugh.
MIDAS
That must have been the caller she
mentioned to me...
(beat)
I was out at the time -- and my
fiancee has not been long in this
country. In the part of Europe she
comes from, it's the custom to be
very cautious of strangers.
LUCRETIA
I am sorry I did not understand.
...I apologize.
38. NEW ANGLE - THREE SHOT - FEATURNING WEST
WEST
All right...But that still leaves
the problem of the three large
diamonds she was going to show --
the Queen Anne Triplet.
MIDAS
I'm sure you realize, Mr. West, that
I couldn't allow the gems to leave
this house without the specific
consent of my Aunt -- and it will
be most difficult to reach her...
WEST
We already have it -- in writing.
Midas looks more and more worried as West gets out a letter
from his coat pocket and hands it over. Midas quickly unfolds
the letter and scans it.
WEST (CONT'D)
You'll recognize your Aunt's
handwriting...She sent this letter
to Thaddeus Baines, our envoy from
Washington.
MIDAS
(reading)
Yes...yes, I know Mr. Baines
slightly...through my Aunt...
(looking up)
I can't imagine why she forgot to
tell me of this. It must have
been her illness.
39. ANGLE FEATURING MIDAS AND LUCRETIA
They are clearly under pressure now. They look at one another
as though each hoping the other will come up with something.
LUCRETIA
But her entire collection is in
the safe, is it not?
MIDAS
Yes -- that's right. And I don't
even know the combination.
WEST
I'll open it for you.
MIDAS
Really, Mr. West, I can hardly --
WEST
(relentless)
It's my job to locate and protect
those jewels until the exhibition.
...I intend to do my job.
Midas can see that West means it. He might even go looking
for Auntie, and Midas can't have that.
MIDAS
Very well. You can try, I suppose.
But it's a very good safe.
WEST
I'm a very good safecracker.
MIDAS
Show him the safe, Lucretia.
(beat)
I'll be back in a moment.
There is something significant in the way he says it.
Lucretia nods, leads West over toward the ornate, gilt-
framed mirror, as Midas quickly turns and disappears up
the staircase. CAMERA MOVES IN ON MIRROR as Lucretia
pulls it away from the wall, revealing the wall safe.
West moves to the safe, puts his ear to it, begins to
turn the dial.
40. FAVORING LUCRETIA
A little nervous, she stands by and waits. CAMERA PULLS
BACK FOR A TWO SHOT as the tumblers drop into place, and
West opens the safe. He looks inside, feels inside, turns
back to Lucretia with a smile on his face.
WEST
Imagine that. There's nothing
inside.
LUCRETIA
I...I don't understand.
WEST
Neither do I. But I'd like to.
I'm afraid you and your fiance will
have to come with me.
She suddenly moves very close to him.
LUCRETIA
Surely that's not necessary. Can't
we...discuss it?
WEST
What kind of discussion did you
have in mind?
Her eyes flit quickly in the direction of the staircase, and
then her arms go around Jim's neck.
LUCRETIA
This kind?
WEST
Well... it's a starting place.
They kiss. And then, SUDDENLY, they seem to explode
apart. West's head flies back, and he is slammed across
the room by some incredible force. He lands, completely
unconscious. Lucretia recovers herself, stares at West,
smiles.
LUCRETIA
I'll bet you've never been kissed
like that before. Has he, Midas?
And suddenly, out of nowhere, the figure of Midas MATERIALIZES,
standing over the body of West, looking down at him, and
smiling.
41. OMIT
FADE OUT
END ACT ONE
"NIGHT OF THE BURNING DIAMOND"
Revised First Draft 2/11/66
TEASER
FADE IN:
1. INT. SERBIAN EMBASSY - RECEPTION ROOM - FULL SHOT - DAY
CAMERA LOOKS toward a wide, paneled door as it opens and
TWO GUARDS in dress uniform enter stiffly, followed by
JAMES WEST, in formal diplomatic day wear, with swagger stick.
FIRST GUARD
(announcing)
Your Excellency...an emissary of
the United States Government --
Mister James West.
The guards step aside, remaining at attention, and West
advances down the reception room.
2. REVERSE ANGLE - SERBIAN AMBASSADOR
The AMBASSADOR is in his forties, imposing, bearded. He
wears formal diplomatic costume, adorned by a sash bearing
his decorations. He advances to meet West.
AMBASSADOR
... an honor.
West ENTERS SCENE, makes a slight formal bow of greeting.
WEST
Mr. Ambassador...my deepest
respects to you and your government.
AMBASSADOR
To what do I owe the pleasure of
meeting the redoubtable James West.
WEST
We share a problem of great
importance... and some delicacy.
West glances meaningfully at the Guards. The Ambassador
raises his hands and claps once. The Guards march stiffly
OUT, closing the door after them.
3. CLOSER ANGLE - TWO SHOT
AMBASSADOR
A problem?
WEST
Concerning the International Jewel
Exhibit to be held next week.
AMBASSADOR
(nods, smiling)
A unique event -- and a diplomatic
triumph for your young country to
lure the official treasures of
so many nations.
WEST
We understand your government has
decided to exhibit the Orloff Diamond.
AMBASSADOR
(proudly)
A most unusual gem, Mr. West -- a
full eighty carats, flawless, in
a regal setting.
WEST
I know. My government would like to
take certain measures to safeguard
this priceless treasure.
The Ambassador frowns, considering a moment.
AMBASSADOR
I am convinced my own safety
measures are adequate.
WEST
We mean no reflection on your
judgement... But there have been
several daring and mysterious
diamond thefts in recent weeks,
as you no doubt know.
(brief pause)
In Amsterdam the diamond-cutting
house... in London a museum...
in New York a famous jeweler... and
here in San Francisco --
AMBASSADOR
(interrupting)
What is it you wish to do?
WEST
The United States government wishes
to take your diamond into protective
custody until the International
Exhibition opens.
The Ambassador hesitates a moment, then gives a small chuckle.
AMBASSADOR
Mr. West, you must be joking...
did you have an easy time getting
into this room?
4. ANGLE FEATURING WEST
WEST
(recalling it)
I was challenged by armed guards
at the front gate... the Embassy
entrance... and the corridor to
your private chambers.
(brief pause)
My credentials were checked three
times... I was searched twice --
discreetly, of course.
(pause: smiling)
And I am now being observed from
a peep-hole disguised by the
portrait of your esteemed ruler.
5. TWO SHOT - FAVORING AMBASSADOR
He chuckles again, favoring West with a look of admiration.
AMBASSADOR
You merit your reputation, Mr. West.
(beat)
If at any moment there had been a
slightest doubt of your identity
or intentions -- you could have
been cut down instantly... That's
why this room is a perfectly safe
place for the Orloff Diamond.
WEST
This room?
6. WIDER ANGLE
The Ambassador turns, gestures for West to follow, then
walks to a long, heavy table which dominates the far end
of the room. CAMERA FOLLOWS West and the Ambassador, who
shoves aside a large bowl of flowers on the table. A
center panel of the table folds down, and up into view
rises a square case about two feet each way, covered with
a heavy cloth.
AMBASSADOR
Only for the most privileged guests
... a private showing.
The Ambassador takes hold of the cloth draping the case and
whisks it off.
7. CLOSER ANGLE - FEATURING THE JEWEL CASE
The case is entirely of glass, save the base. Within, a huge
diamond glitters brightly, catching and magnifying the light.
A beauty... very impressive, and it impresses West.
WEST
Give me two of those and I'd have
such a set of cufflinks!
AMBASSADOR
Eh? Oh. A joke. You Americans do
like your jokes, don't you?
WEST
We also like flawless, eighty-carat
rocks. It's quite a stone.
AMBASSADOR
One of the world's finest. That's
why I don't wish it to leave the
perfect protection we have provided
for it.
WEST
Every place that's been robbed
lately has been perfectly protected...
or at least people thought so.
AMBASSADOR
Relax, Mr. West. Nothing can happen
to the Orloff here, There is only
one door to the room. The hall
outside is patrolled twenty-four
hours a day. And we Serbians are
jealous of our national treasures.
As for the windows...
The Ambassador and West move OFF to observe the windows.
CAMERA HOLDS a moment on the diamond, the case left elevated
above the table.
8. FULL SHOT OF ROOM
West and the Ambassador stand in the f.g. at one of the
windows. Beyond them the table and jewel case are visible
at one end of the scene, the only door at the otehr end.
AMBASSADOR
(gesturing at window)
You see -- the walls are sheer...the
fence is high...the guards are ever
vigilant, with orders to shoot if
necessary. This room is as safe --
The Ambassador is cut off in mid-word by an astonishing
occurrence. Simultaneously the door flies open and slams
shut, all in less than a second; the glass jewel case on
the table shatters, hurling glass in all directions; a rush
of air. Before West and the Ambassador can even turn from
the window, it's all over.
9. CLOSER ANGLE - TABLE AND JEWEL CASE
West and the Ambassador spring for the table, West well in
the lead. Newspaper pages are still spiraling gently to the
floor. Fragments of glass are embedded in the table top.
The glass portion of the jewel case has completely vanished --
and the base is glaringly empty.
AMBASSADOR
The Orloff! It's gone!
CAMERA GOES IN FOR A TIGHT TWO, HOLDING their stunned reaction
for just a second, then we
FADE OUT:
END TEASER
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
ACT ONE
FADE IN:
10. INT. SERBIAN EMBASSY - WEST AND AMBASSADOR - DAY
The scene as before, a few seconds later. West annd the Serbian
Ambassador are still staring in disbelief at the empty base of
the jewel case. West is the first to move -- he reaches out
and attempts to pull loose one of the larger hunks of glass
embedded in the table top.
WEST
That glass exploded with
tremendous force.
West's voice seems to jar the Ambassador from his shock. He
manages a brief, forced chuckle.
AMBASSADOR
All right, all right. You have
made your point, Mr. West.
WEST
It was made for me.
AMBASSADOR
(grudging smile)
Even before I arrived in this
country I heard strange accounts
of your talents... but I was not
informed that you are a magician.
West looks at the Ambassador with growing concern and
irritation.
WEST
Magician?
AMBASSADOR
I suggest that your trick was most
effective -- though perhaps not in
the best of taste.
11. TWO SHOT - FAVORING WEST
West is getting angry. He gets a grip on his temper, then
makes one final effort at the polite language of diplomacy.
WEST
Mr. Ambassador... this event is as
mysterious to me as it is to you.
The Ambassador lifts his hands and lightly pantomimes a bit of
audience applause.
AMBASSADOR
A perfect performance, carried to
logical conclusion...
(loud; hard)
Now tell me at once what you have
done with our diamond!
WEST
(pointing)
I was standing over there at the
window with you -- remember?
AMBASSADOR
But that is the essence of magical
performances -- to make it appear
impossible for the conjurer --
WEST
Look, I'm a government agent --
and my job was to warn you your
diamond could be stolen. That's
all!
12. NEW ANGLE - FEATURING AMBASSADOR
The Ambassador and West are both steamed up now. There's a
momentary tableau in which it seems the Ambassador considers
grabbing West by the throat -- then decides he'd better not.
AMBASSADOR
(very cold)
You will return the diamond at once --
this minute!
West sees he's dealing with a fixation which makes further
argument useless.
WEST
As long as you think that way, sir,
you've got a lot of problems.
West turns abruptly and moves toward the door.
AMBASSADOR
Within this Embassy you are on
Serbian soil, Mr. West. I warn
you -- unless we recover our
diamond, you will not be allowed
to leave here alive.
13. ANGLE FEATURING WEST
He turns. There's no doubt the Ambassador means the threat.
West's eyes quickly check the terrain for an easy exit, finding
none. Nothing for it but to try a quick fake and run.
WEST
All right... look under the statue
of your esteemed ruler.
14. FULL SHOT
The Ambassador hurries to a sculptured bust mounted prominently
on a pedestal. While he searches under and around it. West
moves cautiously for the door. But the Ambassador looks up
too soon.
AMBASSADOR
Guards! ... Guards!
The door bursts open and the two Guards rush in to confront
West.
15. CLOSER ANGLE - FEATURING WEST
One of the Guards swings his rifle to fire point-blank at
West, but West grabs the gun barrel, yanks the guard toward
him and cools him with a sharp rap of the swagger stick. The
other one gets off one wild SHOT before West seizes him and
sends him sailing with a judo throw.
Then West charges for the door again, but is met by the ENTRY
of two more armed Gurads -- and behind him two more. He's cut
off -- forced to retreat.
16. CLOSE ON WEST
Desperate, he siezes his swagger stick in both hands and yanks
the gold head off it. Dense smoke immediately pours from it.
17. FULL SHOT
Waving the swagger stick, West quickly lays an impenetrable
smoke screen. SOUND of one or two wild SHOTS, as the room is
almost totally obscured. Chips of rock fly from the bust.
SOUND of breaking glass, with just a glimpse through the smoke
of West going out the window without the formality of opening
it. COUGHING and CHOKING is heard from the Guards amid the
smoke.
18. ANGLE ON AMBASSADOR
As he runs to the broken window, leans out, yells:
AMBASSADOR
Stop him! Stop that man!
ZIP PAN TO:
19. EXT. MIDAS MANSION - FULL SHOT - DAY
The house is a large, ornate Victorian structure typical of old
San Francisco wealth. A closed horse-carriage waits at the
curb. Down the long flight of stone steps from the front door
comes MORGAN MIDAS and CLIVE, the huge Negro major-domo of the
household staff. Between them they bear a large steamer trunk,
with Clive ahead, bearing most of the weight on his immense
shoulders. The trunk appears to be very heavy.
MORGAN
(guiding trunk)
Easy now... Careful, Clive.
Together they ease the trunk into the carriage. At close
range now, we see that Morgan Midas is a strong, handsome
fellow of about 30, blonde, with an engaging smile. He gives
the steamer trunk a casual slap and says, offhand:
MORGAN (CONT'D)
Have a nice trip, old girl.
Then he vaults easily up beside Clive on the driver's seat.
Clive flips the reins and they drive OFF. CAMERA HOLDS on the
spot at the curb, as a horse-cab moves INTO SCENE and stops.
Out of the cab jumps ARTEMUS GORDON.
20. NEW ANGLE - FEATURING ARTEMUS
He flips a coin to the driver, who smiles his thanks and then
quickly drives OFF. Artemus stands a moment at the foot of
the steps, sizing up the Midas house, then he moves quickly up
the stairs, CAMERA PANNING.
21. ANGLE AT FRONT DOOR
Artemus RAPS briskly with the ornate metal knocker. In a
moment the door is opened by RUDD, a squat, dwarfish anthropoid
who gives an impression of inhuman strength and subhuman
intelligence.
ARTEMUS
(a brief take)
Uh, good afternoon. I wish to see
Lady Margaret Midas.
Rudd continues to stare silently at Artemus. It is apparent
that he likes Artemus less with each passing second. His lips
part in a grimace that reveals sharply pointed teeth. Quickly,
in as many foreign languages as he can handle, Artemus tries:
ARTEMUS (CONT'D)
Quiro ver la Senora de la casa.
And so on, in German, Chinese, and whatever. No luck.
Just when it seems Rudd's open hostility is about to
explode into attack, a startlingly beautiful woman
appears in the doorway behind him. This is LUCRETIA
IVRONIN. She speaks sharply to Rudd.
LUCRETIA
Ikklat! Ga bretz dubanov.
Rudd makes a short, awkward bow to her, then backs off,
obviously disappointed at not getting a chance to strangle
Artemus.
ARTEMUS
(relieved, cheerful)
Thanks. I wasn't getting anywhere
with your servant. I guess I don't
speak his dialect.
LUCRETIA
(coolly)
Very few people do.
ARTEMUS
You're too pretty to be Lady Margaret.
Lucretia glances past Artemus down the street, as though
letting her gaze follow the recently departed carriage.
LUCRETIA
Lady Margaret has recently departed.
ARTEMUS
It's very important that I see her.
When do you expect her?
LUCRETIA
I think... not for some time.
22. NEW ANGLE - FEATURING ARTEMUS
He's getting nowhere. There's a momentary silence during
which Lucretia studies Artemus coldly. She has long
black hair and dark eyes. She speaks with a trace of
indefinable accent, suggestive of the Near East.
ARTEMUS
Have you any idea where I can
contact her?
LUCRETIA
That would be very difficult.
ARTEMUS
(growing impatient)
Look, Lady Midas was expecting me.
LUCRETIA
She did not mention it.
ARTEMUS
She asked for federal protection for
the Queen Anne Triplet....the diamonds
she plans to exhibit at the International
Jewel Show. I'm here to give her that
protection.
23. ANGLE FEATURING LUCRETIA
This last speech makes an impression on her, but it is
shown only in a momentary widening of her large eyes
and a brief flash of misgiving. Then she is impassive
again.
LUCRETIA
She said nothing of this.
ARTEMUS
(giving up)
Just tell me where I can find her.
LUCRETIA
It is difficult to say.
ARTEMUS
I don't mean to be impertinent...
but just who are you?
Lucretia's answer is to look over her shoulder and make a
brief signal. At once Rudd moves INTO SCENE, stepping between
Lucretia and Artemus. He glares briefly at Artemus, then
slams the door in his face. SOUND of locks being thrown.
24. CLOSE ON ARTEMUS
Reflecting his frustration.
ARTEMUS
We must get together sometime
for another cozy chat.
ZIP PAN TO:
25. INT. WEST'S RAILWAY CAR - ANGLE ON WEST - DAY
West still has on his formal pants, but his shirt is off, and
he's dressing a few minor wounds. One arm already bears a
narrow bandage, and he's working on a small cut on the
opposite shoulder.
ARTEMUS'S VOICE
(from O.S.)
Didn't your mother ever tell you
not to jump out of second-story
windows?
WEST
I don't recall that the subject
ever came up.
ARTEMUS'S VOICE
What a barren childhood you must have
had.
West turns toward Artemus's voice, and CAMERA ANGLE WIDENS to
show Artemus perched atop the billiard table in the inverted
lotus yoga position. Propped a short distance from his face is
an encyclopedia -- upside down to us, right side up to him.
WEST
I don't mean to pry, but just
what are you doing?
ARTEMUS
Reading about diamonds. Did you
know that in pure oxygen a diamond
can be made to burn with a flame
above four thousand degrees hot?
WEST
That's very warm...Didn't your
mother ever teach you to read
right side up?
ARTEMUS
Of course. If she told me once,
she told me a hundred times...
WEST
So why are you upside down?
ARTEMUS
A Hindu friend taught me this
position. It's good for your
health and stamina.
WEST
What has it done for you so far?
Artemus carefully lets himself down to a normal position before
he answers.
ARTEMUS
It's given me two big calluses
on my elbows.
WEST
I'd be more interested in calluses
on your thinking equipment. What
about these diamond disappearances?
26. TWO SHOT - FAVORING ARTEMUS
Artemus thoughtfully ticks off the points on his finger, as:
ARTEMUS
I've been brooding about those. And
I've got an idea. You'll love it.
First the facts. The diamonds always
disappear in broad daylight, without
anyone ever seeing a thief.
(beat)
Nothing is ever missing except
diamonds. Other valuable gems in
the same case are left untouched.
(beat)
There's always an indication of
some tremendous force having been
present...like shattered glass.
WEST
Intriguing, but not especially
illuminating.
ARTEMUS
One thing at a time. Maybe the
diamonds aren't being stolen at
all. Maybe...through the application
of some force...they're being made
to...will you believe this?.....
explode. From inside.
WEST
Well, it's a thought. Do you
believe it?
SOUND of a firm, heavy knock on the door, bringing a quick
reaction from both men.
27. NEW ANGLE - TOWARD DOOR
West quickly pulls on a shirt and buttons it, as Artemus moves
cautiously to the door. With his derringer close at hand,
Artemus opens the door part way, revealing THADDEUS BAINES.
BAINES
I want to see James West.
ARTEMUS
West?...West...the name is vaguely
familiar...
BAINES
I'm Thaddeus Baines, special envoy
from Washington.
He shows Artemus a card, and Artemus steps aside to let Baines
enter. Baines is about 45, a ramrod-stiff, no-nonsense career
diplomat, heavy-set and forceful. West advances to meet him.
Baines regards both of them rather coldly.
BAINES (CONT'D)
West and Gordon. The unconquerable
duo. I wish I could say I was
pleased. I am not. I've just come
from the Serbian Embassy.
WEST
That must have been jolly.
BAINES
I don't know you, West, so perhaps
I should not be surprised that you
have caused an international incident.
The Ambassador has lodged an official
protest. Our government has been
placed in a most embarassing position.
To say that you failed in your
assignment is an outrageous understatement.
Unperturbed, West picks up a billiard cue and chalks it.
WEST
Where do you fit into this
picture, Mr. Baines?
BAINES
I'm the President's special envoy,
charged with seeing that this
International Jewel Exhibit reflects
credit on our government.
West bends over the table, lines up his shot, strokes the cue.
28. ANGLE ON TABLE
West makes a three cushion shot.
29. BACK TO SCENE
BAINES
Very nice. Too bad you don't
demonstrate the same efficiency
in your work.
West lines up another shot while he talks.
WEST
What happened at the Serbian
Embassy today follows the pattern
of the other diamond thefts...
There was nothing I could do to
prevent it.
BAINES
Mr. West, do you realize the
diplomatic effort which went into
this project? And the effect it
could have on us?
WEST
Yes. It could prove we've come of
age as a country...or it could become
the most costly fiasco in our diplomatic
history.
BAINES
Right! So do you have any clues
so far?...Any theories?
ARTEMUS
Well... I thought -- just possibly
the diamonds might have been...
somehow...exploded.
Baines snorts with disdain. He grabs up the billiard ball
which West is about to shoot and shakes it at Artemus.
BAINES
Exploding diamonds -- nonsense!
Inert objects do not explode! A
diamond could no more explode than
this could!
30. ANGLE FEATURING BAINES
ARTEMUS
(alarmed)
Don't shake that!
West moves quickly, reaching Baines, yanking the billiard ball
from his hand and hurling it through a window. SOUND of a
muffled grenade EXPLOSION from outside. Big reaction from
Baines.
ARTEMUS (CONT'D)
You never know about inert objects.
ZIP PAN TO:
31. EXT. NARROW STREET - HORSE CARRIAGE - NIGHT - (STOCK)
A closed carriage rattles down the cobblestoned street
behind a briskly CLIPCLOPPING horse. A gas streetlamp
throws Gothic shadows. MUSIC suggests an air of mystery
and suspense.
32. INT. CARRIAGE - WEST AND ARTEMUS
SOUND of the rattle carriage and hoofs in b.g.
ARTEMUS
You should come to the exhibit hall
with me. I'll be able to use all the
ideas I can get.
WEST
I'd better take a crack at the
Midas house. Something smells.
The old girl's too methodical to
play free and easy with her jewels.
ARTEMUS
Believe me, they're safe. It would
take an army to get past that gorilla
at the door.
WEST
That gorilla's another point. Lady
Margaret was never interested in
zoology.
ARTEMUS
Lots of luck, pal. You'll need it.
WEST
I've got winning ways.
(glances out window)
Here's her place. See you later.
The carriage stops. West quickly gets out
33. EXT. MIDAS MANSION - ESTABLISHING
West pauses a moment to look up at the juge old Victorian
mansion silhouetted against the night sky. SOUND of the
horse carriage moving off into the distance. Lights show
in the first and second story windows of the house. West
moves quickly up the stairs to the front door.
34. ANGLE ON FRONT DOOR
West RAPS the knocker. In a moment the door is opened by
Clive, the huge, powerfully built Negro. His clothing reflects
his status as general manager of the household, not a mere
butler or servant.
WEST
Lady Margaret Midas, please...
James West calling.
Clive stares hard at West for a moment, then steps aside and
beckons him in.
35. INT. MAIN ROOM - FULL SHOT
The principal downstairs room is of imposing dimensions,
decorated to reflect old-line wealth and taste. At the far
end of the room a stairway leads upward to a balcony, off which
are seen doors to second-floor rooms. Clive leads West to a long
couch, indicates it briefly with a gesture.
CLIVE
Please be seated. I shall
announce your presence.
Clive EXITS through a door at one side of the room. Instead of
sitting, West wanders about the room, looking things over.
36. CLOSER ANGLE ON WEST
On a brocade cushion West finds a large Persian cat, regarding
him intently, ready to spring up and run away.
WEST
Hello, Sultan. You're looking
fat these days.
West gently pets the cat, who settles back, reassured.
MIDAS' VOICE
Good evening, Mr. West.
West turns quickly toward the voice.
37. MEDIUM SHOT - WEST, MIDAS AND LUCRETIA
Coming forward to meet West are Morgan Midas and Lucretia, who
make a very handsome couple. In contrast to the hostility he
had expected, their charm puts West on his guard.
WEST
Good evening. Is Lady Margaret
at home?
MIDAS
Unfortunately, my Aunt departed
recently on a long voyage. I am
Morgan Midas -- and this is my
fiancee, Lucretia Ivronin.
WEST
Your Aunt must have altered her
plans rather suddenly.
MIDAS
She had a recurrance of her old
ailment, the gout. The only
remedy is the mineral waters of
Germany.
LUCRETIA
She asked us to care for her house
until she returns.
West considers this briefly. It seems possible.
WEST
Then I presume she informed you
of her promise to show her diamonds
in the International Exhibit next
week.
Morgan looks puzzled and disturbed.
MIDAS
No...she didn't mention it...
WEST
My partner, Mr. Gordon, was here
to discuss the matter this afternoon.
He got a very cold reception.
Morgan exchanges a look with Lucretia, then forces a brief
laugh.
MIDAS
That must have been the caller she
mentioned to me...
(beat)
I was out at the time -- and my
fiancee has not been long in this
country. In the part of Europe she
comes from, it's the custom to be
very cautious of strangers.
LUCRETIA
I am sorry I did not understand.
...I apologize.
38. NEW ANGLE - THREE SHOT - FEATURNING WEST
WEST
All right...But that still leaves
the problem of the three large
diamonds she was going to show --
the Queen Anne Triplet.
MIDAS
I'm sure you realize, Mr. West, that
I couldn't allow the gems to leave
this house without the specific
consent of my Aunt -- and it will
be most difficult to reach her...
WEST
We already have it -- in writing.
Midas looks more and more worried as West gets out a letter
from his coat pocket and hands it over. Midas quickly unfolds
the letter and scans it.
WEST (CONT'D)
You'll recognize your Aunt's
handwriting...She sent this letter
to Thaddeus Baines, our envoy from
Washington.
MIDAS
(reading)
Yes...yes, I know Mr. Baines
slightly...through my Aunt...
(looking up)
I can't imagine why she forgot to
tell me of this. It must have
been her illness.
39. ANGLE FEATURING MIDAS AND LUCRETIA
They are clearly under pressure now. They look at one another
as though each hoping the other will come up with something.
LUCRETIA
But her entire collection is in
the safe, is it not?
MIDAS
Yes -- that's right. And I don't
even know the combination.
WEST
I'll open it for you.
MIDAS
Really, Mr. West, I can hardly --
WEST
(relentless)
It's my job to locate and protect
those jewels until the exhibition.
...I intend to do my job.
Midas can see that West means it. He might even go looking
for Auntie, and Midas can't have that.
MIDAS
Very well. You can try, I suppose.
But it's a very good safe.
WEST
I'm a very good safecracker.
MIDAS
Show him the safe, Lucretia.
(beat)
I'll be back in a moment.
There is something significant in the way he says it.
Lucretia nods, leads West over toward the ornate, gilt-
framed mirror, as Midas quickly turns and disappears up
the staircase. CAMERA MOVES IN ON MIRROR as Lucretia
pulls it away from the wall, revealing the wall safe.
West moves to the safe, puts his ear to it, begins to
turn the dial.
40. FAVORING LUCRETIA
A little nervous, she stands by and waits. CAMERA PULLS
BACK FOR A TWO SHOT as the tumblers drop into place, and
West opens the safe. He looks inside, feels inside, turns
back to Lucretia with a smile on his face.
WEST
Imagine that. There's nothing
inside.
LUCRETIA
I...I don't understand.
WEST
Neither do I. But I'd like to.
I'm afraid you and your fiance will
have to come with me.
She suddenly moves very close to him.
LUCRETIA
Surely that's not necessary. Can't
we...discuss it?
WEST
What kind of discussion did you
have in mind?
Her eyes flit quickly in the direction of the staircase, and
then her arms go around Jim's neck.
LUCRETIA
This kind?
WEST
Well... it's a starting place.
They kiss. And then, SUDDENLY, they seem to explode
apart. West's head flies back, and he is slammed across
the room by some incredible force. He lands, completely
unconscious. Lucretia recovers herself, stares at West,
smiles.
LUCRETIA
I'll bet you've never been kissed
like that before. Has he, Midas?
And suddenly, out of nowhere, the figure of Midas MATERIALIZES,
standing over the body of West, looking down at him, and
smiling.
41. OMIT
FADE OUT
END ACT ONE